Bridge the Gap
When it comes to narrative, what Westerners refer to as a throughline is what people in Hong Kong call a bridge. Brigitte Lin’s memoir was published in July 2011 - the month before the publication of Wong Jing’s memoir. Brigitte’s book cost 88 yuan whereas Jing’s book cost HK$88. I don’t know what Taiwanese readers would think about her book being titled Inside and Outside the Window, because Brigitte said the following about Outside the Window (1973): “Because I had just graduated from school, I was afraid that my teachers and classmates would laugh when they saw it, so I really wanted this movie to not be released in Taiwan. Unexpectedly, just as I wished, Outside the Window has not been officially released in Taiwan. Coincidentally, the copyrights of my first film Outside the Window and my 100th film Ashes of Time are both owned by Wong Kar-Wai. Even after making a hundred films, I still feel regretful that there is no one I am satisfied with. After watching Ashes of Time, I told the director - I have fewer regrets and more joy.”
Brigitte is brimming with brio: “When we take writing classes in school, the teacher always teaches us that writing must have origin, inheritance, transfer, and integration. When I write articles, I often think about the beginning and then write all the way down. At the end of the article, I don’t know what to do. I had no choice but to write a happy ending, but I always felt that there was nothing new and I was often troubled by this. In September 2008, when I was writing Re-Watching Ashes of Time, I met the prose master teacher Dong Qiao, I took this opportunity to ask him for advice. He said coolly: "Where do you want to stop? Just stop there." With the words of the master, I felt much more relaxed.”
Eunice Lam became an advisor of sorts in September 2007: “She said that she started writing a column in Ming Pao. I took the opportunity to ask her for advice because Ming Pao was asking me to write an article. She described writing as acting, except that the writing was done with the brain. She said that the most important things in writing an article are the beginning and the end. The beginning should attract readers to read on, and the end should be a summary of the entire article. Write whatever you want in the middle, as long as it is not outrageous.”
Elsa Yang Hui-Shan: “She held my hand very solidly and forcefully, as if there was energy flowing through my palms, arms and even into my heart. This is something I have never felt before. I have been looking for the reason. Is it her compassion? Is she caring? Is she...? Finally, I finally found the answer. What kind of woman is she? The first time I saw her, she was very quiet and didn't talk much. She was sitting next to her sister. I was very curious about her and kept peeking at her. Sometimes I asked her one or two questions, always starting from one sentence or two. She was already very famous at that time, and our acting styles were completely different, so we didn't meet each other in the film industry for ten years. I went to the United States in 1979 and stayed for more than a year. I returned to Taiwan and changed my acting career, and then I had the opportunity to work with her. At that time, most of the films I acted in were social realistic films, and most of her roles were women who were gangster bosses.”
Brigitte reminisces: “The first movie we collaborated on was The Switch, which was a police film. There is a shot of her back, clinging to a man, walking from the deck of the dock to the boat waiting for them. I was watching her acting from behind the camera. She was wearing black trousers, a navy blue windbreaker, and a scarf around her neck. The sea breeze gently blew up the corners of her clothes and scarf. The picture I saw was of a drifting and infatuated woman following the man she loves. I was shocked! She acted so well! She even acted so well from behind. That's when I knew I had met my match. The second film we collaborated with was the humorous comedy Seven Black Heroines. There were seven girls in the film, all of whom had strange shapes. My look was a big fur hat, a red scarf around my neck, a row of bullets around my waist, knee-high riding boots, a smart outfit, and a black eyepatch on one eye. She wore a hedgehog-shaped wig that almost covered her eyes, which was a bit weird. Even so, her performance was the most captivating among the seven.”
Vintage cinema: “From 1972 to 1980, I made a total of fifty-five films, fifty of which were aesthetic, artistic and romantic films. At that time, Taiwan was still under martial law, the folk customs were conservative and simple, and the censorship standards were very strict. Films like ours were the most popular. The relationships in today's romance films are very complex and rich in layers. Some are gay and straight, some have political backgrounds, and some talk about past and present lives. Our romance films at that time were very simple. They were just about men and women falling in love. Most of them were about men pursuing women. Almost every film involved the participation of parents. It’s easy to shoot, no need to set up a scene, no need to style. You need to bring your own clothes. The director told you how many clothes to bring with you the day before, and you can match them yourself when you get home. You can also do your own makeup and combing your hair. A film can be shot within 30 working days and within two months.”
I should note that Jackie Chan married Brigitte’s sister, Joan, in 1982. Following which, she retired. Anyway, back to Brigitte: “Audiences in Singapore and Malaysia are even more crazy. At that time, as long as the producer signed the contract with two of Chin Han, Charlie Chin, Brigitte Lin, and Joan Lin, he could get the funds from the Malaysian film producers, and he could start shooting. Therefore, the media called that era the "Two Chins and Two Lins" era. At that time, each of us had several films going on at the same time. My highest record was that I had six movies being filmed at the same time. I was so busy that I didn't go to bed for two weeks. As soon as the hero and heroine arrived on the set, they looked for a bed and fell asleep when they saw the bed. One time I fell asleep while standing against the wall. The director shouted: "Get ready! Get ready!" which scared me awake. Now that I think about it, I still miss those days of filming.”
A female writer named Sanmao: “We once made an appointment for her to take me wandering and traveling together, but in the end she backed down because I was too sensitive and could easily read her thoughts. Usually when I meet someone for the first time, I remember how they were dressed. But I can’t remember what Sanmao was wearing that day. I only remember that she was a sensitive and thoughtful person. She listened to me attentively and talked about it. The joys and sorrows of the world, love and hatred. Her voice was as childish as a girl's. I was fascinated by listening to her speech and her stories. She is a passionate and romantic woman, and I was completely attracted by her charm. Although we met no more than ten times, we always had endless things to talk on the phone. A few days before she left, I always felt like I needed to have a phone call with her. On the night she left, I called her home, but the phone rang for a long time and no one answered. The next morning, I called a friend at the Veterans General Hospital. I was shocked to hear that Sanmao ended her romantic life with stockings in the bathroom of the ward.”
Four months after Sanmao’s death: “In June 1991, I was in Paris, France, and I made an appointment with my friend Shen Yun to travel to Egypt. Teresa Teng was also in Paris at the time. We asked her to go with us, but she said that there was a strong negative atmosphere there and advised us not to go. I remember that on the first night in Cairo, I called her and asked her to consider coming, but she still advised us to turn back. That night, Shen Yun and I slept in a single bed, with a wicker chair on the right side of the bed. In my dream, I clearly saw Sanmao sitting on a wicker chair. She had straight long hair parted in the middle and was wearing a bright red flowing long dress. She sat there dignifiedly and looked at me, as if she was a little angry with me. As soon as I saw her, I was very happy that she was not dead. Then I thought, no! I immediately said "Om Mani Padme Hum" and I woke up. Is Sanmao keeping her promise? She conveys the message to me, but I dare not face it again and again. I have always kept this mystery in my mind. A few years later, I met Yan Hao at a party and asked him if Sanmao wanted to tell me something. Yan Hao, who believed in Taoism, stared at me with his big eyes and said easily: “This doesn’t matter at all!” From then on, I never dreamed about Sanmao again. After Sanmao left, I always wanted to write an article in memory of her. I didn’t know where to start. This time I saw Ni Kuang’s article and felt something, so I recorded the snippets of my interactions with her.”
Tsui Hark’s wife: “The second time I met Nansun Shi was on a Golden Harvest set. I laid on the high platform and listened to Tsui Hark's opera. I caught a glimpse of Nansun walking in from outside. She was wearing a tight-fitting skirt suit and pointed stiletto heels. The sun shines on her body. I looked out from the darker studio, and there were flashes of light around her figure. Shining with golden light, she seemed to be a female fighter from outside the sky. She and I have never known each other. When the filming of Tsui Hark's Zu: Warriors from the Magic Mountain was about to wrap up, she asked me to go to the UK. Unfortunately, Tsui Hark hadn’t finished filming and he had to fly back to Hong Kong. On the first morning of her arrival in the UK, she had breakfast elegantly by the hotel pool. I walked forward and complained that the itinerary was not arranged properly, which made me tired of traveling. Unexpectedly, she, a strong woman, actually started crying. It seemed like I had bullied her. Later, I found out that day she felt sad because she spent her wedding anniversary with Tsui Hark alone. This time we understood each other and became friends from then on. I have collaborated with Tsui Hark and Nansun Shi on many good films. Because of this, the three of us often get together. They had a great influence on my life along the way. Because of them, I have taken root in Hong Kong.”
Recalling life: “One night in March 2003, after dinner, I asked Nansun Shi to watch a movie. She said that she had just made an appointment to watch a movie with Leslie Cheung, and that she wanted to ask "brother" first before calling me. I was wondering what she was doing. If you want to ask him first, just buy an extra ticket and go see it together. At the top of the stairs at the entrance of Festival Walk Shopping Mall, he leaned against the wall and smiled at me, looking like an angel. I blurted out: "You are so beautiful!" He shyly said that he had just had his hair cut. We were watching Gangs of New York. This drama was so cruel and violent that I felt very uncomfortable. After the show, I walked out of the theater. He put his arm around my shoulders and asked me if it looked good. I shook my head, and it was on his arm. When he put his hand on my shoulder, I was so frightened by his trembling hand that I didn't dare to say anything. He politely opened the door for me and walked me into the car. I sat down in the back seat. While I was puzzled by his unusual gentlemanly demeanor, he had already closed the door. I looked out the car window. He and Mr. Tang were walking in front in the evening wind. Nansun Shi's long black coat behind him was blown open by the wind, and he seemed to be the patron saint of the two of them.”
Recalling death: “I always felt something was wrong, so I called Nansun Shi when I got home and asked her what was wrong with Leslie (Cheung Kwok-Wing's English name). She said, "There is a big problem." After I understood the situation, I concluded that he was suffering from depression. Nansun said that many of his good friends have tried various methods and seen many famous doctors, but to no avail. I heard that there is a doctor in mainland China who can just prick you with his needle-knife no matter what disease you have. I hope I can convince him to give it a try. At that time, the SARS epidemic was at its peak, so the matter was shelved. Unexpectedly, from now on, I would never see him again except in my dreams. After dinner on April 1st, Nansun told me the bad news about Leslie's accident. I beat my chest and said, "Why didn't you help him make arrangements! Why didn't you help him make arrangements!" In fact, I didn't know whether the doctor would be helpful to him, but I kept repeating it. Blame yourself. After Leslie left, almost every friend regretted their neglect of him. He is loved by everyone, and he loves everyone. Time flies so fast. He has been gone for six years in the blink of an eye. When I write about him today, all that comes to my mind is his angelic smile.”