Mao's Last Dancer

I finally watched ‘Mao’s Last Dancer’ and am happy to report that it is actually quite true to the book and does not take too many liberties with the story. I am even happier to report that the creators did not do that silly thing where the provincial Chinese people speak English. Instead, they have given viewers a little more credit and decided that it wouldn’t be too hard for us to read subtitles, and have therefore put all the relevant dialogue in actual Chinese – adding that extra bit of authenticity.

As for the storyline itself, screenwriter Jan Sardi has thankfully not veered too far from Li Cunxin’s original autobiography. Instead, Sardi has focused on what, I think, are the most important themes, issues and events of the book. As mentioned in a previous blog, the story is underpinned by Li’s constant love and devotion to his family. This universal theme has been successfully transferred onto the screen, as has Li’s quiet determination in his dancing, his awe at Western culture and his dramatic deflection from China; and of course the background of oppression shrouded under the incessant mechanisms of political propaganda.

As the adult Li, Chi Cao plays the role just as I had imagined it would be played; with a telling display of humility, humble resolve, inner strength and that sense of tortured freedom which comes when it is gained at such a high price. Considering Cao is a professionally-trained ballet dancer, his acting is superb as he is able to subtly demonstrate Li’s emotional turmoil, and joy, beneath the mask of staunch masculinity that pervades Chinese tradition. Even at the most emotional moment in the film, when Li breaks down in tears of joy, that stern detachment that has been indoctrinated in him from childhood is still present along with the overwhelming happiness at being reunited with his parents. It is a juxtaposition of emotions that is more difficult to portray than it is to explain, and yet, Cao has done it with ease and realism.

Only one other book-to-film adaptation, that I know of, has stayed so true to the story – that is the ‘Godfather’ in which Mario Puzo, the author of the book, is also the screenwriter of the three films. ‘Mao’s Last Dancer’, the film, is a great companion to the book and only adds another layer of understanding to Li’s story, instead of confusing and undermining the events of the book, as so many film adaptations have done. This is a great film! [image from http://blogs.smh.com.au/]