From Characterization to Socio-cultural Presentation-Exploring the Use of Lines in the Film “A Simple Life”

A Simple Life

Introduction

Ann Hui, a distinguished Hong Kong director, directed the film A Simple Life in 2012, featuring acclaimed actors Andy Lau and Deanie Ip. This film is inspired by the true story of a woman named Zhong Chun Tao, who, since her adolescence, has been employed in Luojia and has devotedly tended to five generations of family members for over six decades. Upon experiencing a stroke, the roles are inverted as the young master, Roger, who has been under her care, assumes the responsibility of nurturing her. He acquires the skill of preparing bird's nest congee and corn soup for Sister Tao, accompanies her during her final days, and carries out funerary duties. Ann Hui's cinematic work explores profound themes such as life and death, love, respect, and gratitude through the lens of ordinary individuals. The film garnered three accolades at Taiwan's 48th Golden Horse Awards.

The Shaping of Lines for Characterization and Character Relationships

The dialogue in the film is ingeniously crafted to convey the distinct personalities of various characters. Rather than dramatic conflicts, the film portrays the quotidian lives of  ordinary individuals. The mundane exchanges of daily life enable the characters of Sister Tao and Roger to emerge as fully realized and multifaceted, revealing Sister Tao's strong, forgiving, and kind disposition, as well as the evolving emotional rapport between the two individuals.

As Sister Tao goes the market to purchase groceries, she appears in one of the film's most commonplace scenes. The vendors' conversations with Sister Tao reflect their disdain for her, insinuating that she is a regular and fastidious customer. The vendors lower the temperature in the cold storage and pretend to adopt a courteous demeanor, inviting Sister Tao to "take her time." Meanwhile, Sister Tao meticulously selects garlic cloves, enduring the frigid temperature. This scene resonates with the personal experiences of the audience, eliciting sympathy for Sister Tao while simultaneously evoking contempt for the unscrupulous vendors.

Roger's character is portrayed as a pampered child under Sister Tao's care. Despite his age exceeding 50 years, Sister Tao treats him as "a little gentleman" who never fully matured. Unacquainted with operating the washing machine when Sister Tao is hospitalized,  comically and poignantly grapples with whether to insert water or clothes first, studying the instructions repeatedly. Upon Roger's return to Hong Kong, Sister Tao carefully arranges a feast of his favored dishes. Rather than overtly expressing gratitude for Sister Tao's efforts, Roger eats slowly as she anticipates his reaction. He relishes the fruit before sipping his tea, and their dialogue discloses a distinct master-servant dynamic.

Conversely, the evolution of Roger's manner of addressing Sister Tao signifies a shift in their relationship. Initially, when inquiring parties ask about Sister Tao's identity, Roger responds, "Not a relative, merely an elderly employee who has served my family for nearly six decades." Subsequently, he affectionately refers to her as his godmother. Finally, Sister Tao's delight and relief are evident when she sees Roger's name prominently featured in the credits, remarking, " Your dad would be so happy if he was still alive." "He wouldn't." " Yes, he would." "He wouldn't; you would." Sister Tao respects Roger's profession and, despite its novelty, takes immense pride in her godson's achievements. Roger's retort, "He wouldn't; you would," clearly communicates his understanding, appreciation, and recognition of her contributions.

Visual Expression Based on Hong Kong’s Local Society and Culture

In a film tailored to the Hong Kong context, A Simple Life poignantly captures the unique human connections and life experiences of Hong Kong residents within the framework of Chinese culture. The esteemed 65-year-old director Ann Hui employs the character of Sister Tao as a vehicle to express concerns about an "aging Hong Kong population," in addition to offering insights into the broader issue of aging. A Simple Life meticulously portrays every facet of life within a nursing home. The depicted nursing home, nestled alongside a bustling street, suffers from a lack of space. Its exterior is bordered by the street, while the interior opens into a hall. The home's facilities are subpar, and there is a palpable shortage of caregivers. Scenes featuring the nursing home reveal only a handful of caregivers, each visibly engaged in multiple tasks. The elderly inhabitants of the nursing home long for affection, compassion, and dignity. Upon Sister Tao's arrival, she is immediately questioned about her background, including inquiries about her absent family. When Roger first appears, the curious locals express interest in understanding the nature of his relationship with Sister Tao. As Roger identifies Sister Tao as his "godmother" who cared for him for several decades, her inner contentment and solace become apparent.

The master-servant relationship is emblematic of Hong Kong's unique historical and spatial context. Ann Hui previously claimed that creating a film centered on the elderly, such as A Simple Life, serves as "an homage to a particular moment in history" and a reflection of "her mental state." The movie's opening title preface states, "As a domestic helper, Sister Tao is assigned to the Leung family. She has cared for four generations of the Leung family since she was thirteen, a period spanning more than sixty years." This statement highlights the connection between the two central characters. The protagonist's role as a nanny (maid) sheds light on the historical social ecology and cultural origins of Hong Kong films and provides a vivid depiction of the specificity and cultural essence of the Hong Kong film industry.

The Influence of the Film on Subsequent Films of the Same Genre

Emphasizing marginalized and women's groups, realistically rendering a plebeian aesthetic, and contemplating local culture and social issues have impacted and inspired subsequent Chinese films in the same genre. Examples include Ilo Ilo and Wet Season directed by Anthony Chen, Echoes of the Rainbow directed by Alex Law, Fagara directed by Heiward MAK Hei-yan, Love Education directed by Sylvia Chang Ai-chia, and recent releases such as B for Busy and Mama! Additionally, Yang Li Na's Mama! carries forward the emotional focus on elderly women's lives as presented in A Simple Life and adopts a realistic approach. The film concentrates on elderly women and a community of individuals with Alzheimer's, and in Mama!, both protagonists are retired, elderly intellectual women over 55 grappling with the challenges faced by middle-aged and elderly women during their twilight years. This time, the filmmakers have opted to embody a poetic style and a potent emotional force in a life-stream narrative. A Simple Life has left an indelible mark on other films in the same genre as well. These movies present life-stream cinematic storylines akin to aimless strolls, characterized by slow narratives and unhurried language, devoid of exaggerated drama or intense conflicts, and appearing monotonous and insignificant. However, they offer a more profound examination of emotions and a more accurate insight into life. It is these unpretentious, minute moments that encapsulate the intricacy and gravity of life, enrich character development, and hold significant philosophical insights - all of which are present in life, still, and profound.