During our research we used the information concerning the topic from different books and articles as for example: the book by Emilie Yueh-yu named China. The International Film Musical; Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema by Rey Chow and the Film history: an introduction by Kristin Bordwell, David Thompson. These books describe different aspects of the Chinese filmmaking in general; the Yueh-yu’s book reveals some important peculiarities of the songstress Grace Chang and the image of Deng Sijia created by her in the film The Wild, Wild Rose. Also this essay includes our own thoughts concerning the Deng Sijia’s representation (behaviour) and its resemblance to the typical Hollywood films.
The film under the study resembles more American than Chinese style of the main character’s representation. The author Rey Chow gives a critical point of view to the Chinese filmmakers who create their works imitating the American ones (Chow Rey, 1995). So the given film is obviously one of those who fell a victim to such a criticism. And agree with the Chow’s point of view. Emilie Yueh-yu in her turn claims that: “From the beginning, musicals in China were entangled with Western forms and thus unlikely to qualify as national cinema, despite the importance of opers and popular songs in Chinese life” (Yueh-yu. 2012).
To my mind, the songstress, in that part where she sings the song The Merry Widow, shows us one of the most vivid examples of the American-style behaviour. She is trying to seduce a young pianist by touching his face, laying her hands on his shoulders and carelessly playing with his hair. She also uses all her feminine power to draw the pianist’s attention; she dances around the piano, graciously sways around her beloved man. So, we can say that the behaviour of the Wild Rose is quite unusual in comparison with that one which is typical and considered to be normal for the Chinese