2006.04.02 “The Reminiscence of Leslie’s Artistic Life” Seminar - Part 2

Leslie Cheung’s Real and Sincerity in the Movies
Date: 2006.04.02
Guest Speakers: Mr. Jacob Cheung and Mr. Jason Lam Kei To
2006.04.02 張國榮影像中的真與誠….. 張之亮先生、林紀陶先生

Translated by Daydreamer on March 14, 2007

PART 2

Leslie Cheung’s Real and Sincerity in the Movies – Part 2

Gorgor’s Influence

Jason Lam Kei To

In the seminar last year, we mentioned that Gorgor’s acting skills changed from the idol style of performance to the one with breadth and depth at the later stage of his career, and we believed that his in-depth performance started from the movie “The Kid”. His character in “The Kid” seemed to be a simple one, yet for an actor like Gorgor, who had status, to play such a role, he was under a lot of pressure. Using a simple word to describe the character, it was “dirt-poor” and of the lowest class. That character subsequently accepted a life style which required very low requirement and basic demand. It was a life style that Gorgor had never lived before. As a result, apart from the difficulty he was facing in putting himself fully into the role, that character would also bring a bad image to the actor. If an actor worried too much about his own image, then it would turn into a kind of pressure. Qiqi was also facing a similar kind of pressure because she played the role of a mother who abandoned her own child. Role of this type would very much scare the actresses away or make them worry. Probably it would not be easy for many actors to conquer this kind of hurdle but as Director Cheung has just said, Gorgor accepted to play this role without a second thought. With respect to the role of father that Gorgor played in “The Kid”, actually he had done a very good job. It was not an expression by merely looking at the outer appearance, but a feeling that could move people. It was like the touching story happened in America at the time of economic depression. A man became the father of an adopted child and they eventually established a very intimate sentimental relationship. In “The Kid”, Leslie’s performance was very very thorough, therefore when I watched it again this time it brought me yet a new feeling and at the same time I could see the pressure Gorgor was facing, i.e. in addition to doing his part well, he had to diligently let other actors had a chance to develop. Many actors who had collaborated with Gorgor before, such as Carina Lam, all said that when Gorgor was around, they would feel relieved and could fully go into the roles that they played. I believe he did not do this unintentionally, instead he was doing this on purpose so that the atmosphere on the set was more harmonious.

On some other occasions, Gorgor also took good care of the people around him. Such as once, although he was invited to attend the Film Critics Society as a guest presenting awards, he was more like a host himself. Not only that he did not require our special attention and care, he also dealt with the situation with calm and ease. At the end, he even asked us whether he had finished all the tasks that we wanted him to do, and if that was the case, would he be allowed to depart. At that moment, he was like working with us. Whenever Gorgor was around, the atmosphere would become very warm and cosy, something that could not be described in words, especially when that warmth came from Gorgor, that would become very touching. Because of him, we would reflect on our attitude towards our junior peers and on our manner in handling matters, and that we should not be imperious because even Gorgor who had such a high status would not do so.

Gorgor’s Characteristic Performing Skill

Jason Lam Kei To:

As a result of the reformation of the Hong Kong movies, most of them that used to be produced locally in Hong Kong in the past have now had more opportunities to collaborate with Mainland China or overseas filming companies. When working together, skills and methods on how to perform will be discussed. There are a lot of significant differences in performing styles in northern China, southern China and eastern China. Performing method used in the Hong Kong movie industry could be considered as southern China’s performing method. South China includes Hong Kong, Guangzhou and Lingnan. Hong Kong’s performing method was derived from the Guangdong opera. We have discussed about the developments and characteristic performing skills of Hong Kong, however, the cultural mood towards movie commentary in Hong Kong was relatively low, therefore it became very difficult to reorganize the data and information. It is a pity that a lot of them have not been retained. We discovered that, among the Hong Kong performing methods, one of the skills was extinct, and the most obvious one was the failure to hand down to the next generation the performing method which was originally developed from the Guangdong operas, such as: Liang Xingbo and Liang Cibo. This year at Tong Tik-sang’s commemorative activities, we happened to review the three-dimensional and comprehensive performance of actors of previous generations. It is a pity that we do not have young generation to continue on with our movie culture. Very often after it sparkled, due to the poor movie industry, it was extinct. We find it worrisome that the performing style of Gorgor cannot be passed on. Gorgor has left us three years now and it is not a very long time, however, this crisis has already emerged. There are many roles that we cannot find an appropriate actor to play. Many times, we still feel that those roles can only be played by Gorgor.

No one could replace the roles that Gorgor played: Master Twelve, Cheng Deiyi, Ning Tsai-shen, and many others. I have a friend who studied literature; Mr. Lau Tai Mou, the scriptwriter of “A Chinese Ghost Story II”. In his article which analyzes the actors whose performing skills have become the end of the era, he raised a simple example, such as the role of Ning Tsai-shen. Let me borrow his analysis in order to discuss it with all of you. The character of Ning Tsai-shen has been used to make into TV series and in some other similar scholar-type of characters. At a first glance, it seemed to be a very simple and easy character to play, but after Gorgor played the role, under the direction of Cheng Xiaodong and molded by Tsui Hark, it became a very unique Ning Tsai-shen. You will see that when other people played the role of a scholar who lived a drifting life, or of a feudal official, they could play them competently, but their characters could not make you laugh; when you found humour in their performance, there was no elegance; when there was elegance, the character was not complex enough. The character of Ning Tsai-shen was very complex. The change of the complex character from “A Chinese Ghost Story” to “A Chinese Ghost Story 2” could not put Gorgor on test. Actually there was no role that could put Gorgor on test because he did not consider himself acting. Gorgor himself said that, “Having been an actor for so long, if people still thought that I was acting, then that really was a big failure.” If it was merely the deduction of the character, then we would not be able to see the very many layers and levels in the character. No matter whether he was familiar with the characters that he played or not, he could merge himself with them. This was his most incredible ability. Even in the three movies he shot for the movie companies of Mainland China, he also could understand and grasp the characters perfectly.

Another role-type was the Peking opera character found in “Farewell To My Concubine”. Actually, Mr. Mei Lanfang was the representative of that character. On the stage, it was a female, but off stage it was a male. Another example was Bandoh Tamasaburo of Japan, a famous Kabuki actor specialized in onnagata [women's roles]. On stage, he had the feminine charm and beauty, yet he was not so off the stage. If an actor does not have any personal experience, it will be difficult for him to interpret the temperament and feeling of that specific type of character, however, Gorgor could manage the role perfectly well. The degree of difficulty in playing the role in “Farewell To My Concubine” was specially high because the actor, through that character, had to express concretely and precisely how the character existed in the two different worlds. In the Peking opera part of the movie, Gorgor’s excellent performance was highly appreciated by the audience; off the stage of the Peking opera, the sentimental part of the character was even much harder to handle because he had to turn the performance into a kind of life, showing human nature’s emotions and sensory pleasures, the unique sentiment shown in the movie as well as the envy that was deeply hidden inside him. Lau Tai Mou said he could only see this type of acting skill in “Farewell To My Concubine”. He also believes that only Leslie could perform it so perfectly well.

These two characters solidly and clearly demonstrate that Gorgor’s performance could never be replaced. They also prove the real and sincerity of Gorgor’s performance. He put himself into the world of the character and was capable to perform in a very unique way. When we enjoy Gorgor’s work, apart from the feelings that we may say out loud, there are also many that cannot be expressed in words. If we keep on researching, there are still a lot of contents and issues we may find to support our points and views. That is the biggest charm of Gorgor’s performance, and that also is the reason why his performance has marked the end of the era. Hong Kong movies actually need this kind of performing skill, but it is pitiful if it really has become extinct.

Directors Loved to Experience with Gorgor

Jason Lam Kei To:

A lot of times, when directors wanted to try out some new ideas or implement new changes to Hong Kong movies, they would ask Gorgor to perform in them. For example, after Tsui Hark finished the movie “Dragon Inn“, he wanted to alter his way of firm-directing. When discussing same with him, he said that both “The Chinese Feast” and “Tri-Star” were his experimental movies. In his world of experimental movies, Tsui Hark could go that far. Whenever he sought changes in his movies, he would simultaneously invite Gorgor and Anita Yuen to play in them because with them playing, the director would feel relieved. Another experimental movie is “Okinawa Rendez-Vous” which we called the “holiday type” of movie. The Director, Gordon Chan, was very good in calculating the market. After he worked out the budget for the production of the film, he negotiated with the owner of the movie company with a request that he be allowed to create the movie independently. The “holiday type” of movie I just mentioned was one he asked Gorgor to play. Likewise, when Derek Yee and Luo Zhiliang boldly shot movies with unique themes, such as “Viva Erotica”, they would feel relieved in getting Leslie to play the role. The directors knew well that Gorgor’s in-depth performance could make them relieved in their venture. Now let’s turn back to “The Kid”, everyone reduced the costs in order to make a film with all their hearts and it really was a piece of work that has preserved the true feelings of Hong Kong movies. It truly required a team of workers behind and in-front of the scene to achieve that.

There was Only Gorgor Alone

Jacob Cheung:

About “The Kid”, I believe that everyone’s opinion towards Gorgor’s acting skills in that movie is an affirmative one. For Gorgor, there would have been some regrets after he finished shooting “The Kid”. Towards the production of the film, he has contributed a great deal, for example, the Royce Rolls sedan you saw in the scene being shot in Shanghai actually belonged to his friend; the front of the car was later scratched by gravels. Also, the restaurant you saw in the film, it belonged to Gorgor. On the production of the film, he would do whatever he could to help without any hesitation. A long time ago, one of my lecturers said that as an actor, the most important thing he should possess is his ability to let go of himself, set himself free, open his eyes to look at the world and observe the people around him. That way, with a broad vision, he could see things clearer and his mind would become broader accordingly. When a person’s mind is broad, he must be a good actor. He may gather and then adopt the act and manner of the people around him as well as their responses towards things. If an actor is not broad-minded enough to accept people, it is impossible for him to play the roles of different characters. Everyone will say that Gorgor’s performance does not resemble acting at all. Just as he said, “Having been an actor for so long, if people still thought that I was acting, then that really was a big failure.” In my view, for a good actor, he will not allow you to realize that he is actually acting because he merely is living a new life with a new face, with the blood of the character flowing within him. That way, he can play the role well. If an actor does not have the breadth of mind to accept the character that he captures visually, then he will never be able to play that role. It is just like what we mentioned earlier. Gorgor could play the role of Peking opera actress well; yet when he played the role of a nobody, or a mafia, he could also do that well. In the overall production of “The Kid”, it has proven that, number 1, Gorgor had the ability to capture and observe people and their feelings and emotions; number two, his attitude of life was good. Ti Lung said that the Gorgor he worked with in “The Kid” was the same Gorgor he collaborated with in the past; his attitude towards life, towards people and towards his goal had not changed at all. Gorgor would not get close to you in order to be benefited. Gorgor made me admire him because of his sincerity and his attitude towards self-worthiness. Many people ask what should a best actor award winner possess. My view is that he should be broad-minded. If he does not know how to respect his own self and to appreciate his innate human worthiness, then he is not worth holding that title.

Gorgor would have some disappointment and regrets towards “The Kid” because due to his decency and magnanimity, he did not speak out uproariously on how much he had contributed towards the film, especially he did not do so to the media. However, we should not neglect that he had achieved great acting success. When he did not make it public, people took it as if it was a matter of course. That was why he felt a bit loss. During our conversation, I realized that he felt loss not because of the evaluation of the movie “The Kid”, but because there was indifference in the Hong Kong movie world and entertainment circle. Was there another movie other than “The Kid”? If Gorgor did not make this move, “Creative Alliance” would never be established. When looking at issues from all angles, we appreciate someone not because of what the newspaper or media has written about him; we saw the facts right in front of us. Gorgor personally took part and kept the whole thing moving. Although many people ostensibly said that they would do this and do that, however, in reality, how many of them did actually come out and do so? I may say that there was only Gorgor and no others.

Jason Lam Kei To:

Every tiny little thing about Gorgor is very precious. We should collect and put them together for other people to read about. He always was talented, but not lucky enough. When his days of stardom had not been too smooth, he still persisted in going his own direction. I believe he understood well that many times there was indifference in this world. However, if he was indifference himself, then this world would never be ideal any more. Gorgor was the first person coming out to melt this iceberg. His manner and attitude could easily influence other people. On movie sets, there was no barrier between the unskilled laborers and himself, and this really was very hard to come by. Therefore, every time when people mentioned about Gorgor, he was greatly missed.