Review of local film "Summer Snow"

During the early 90s, the period before the return of Hong Kong to China, the practical examination of the present political situation or urban change became a significant characteristic of Hong Kong cinema at that time (Leung 2000). The local movie Summer Snow (Nuren sishi, 1995), directed by Ann Hui presents a story about how an ordinary housewife, Ah Ngo (played by Josephine Siao Fong Fong) struggling in all kinds of misfortune in daily lives and surviving in the changing society. This movie not only highlights the transitional urban space with different kinds of problem in Hong Kong, but also construct the identity of domestic housewife which reflects the progress of feminism.

First, the urban setting constructed in the film emphasizes the mixed and transitional characteristics of Hong Kong architecture (Leung 2000). Ah Ngo lives with her family in the traditional vernacular building (唐樓) built before the war in the newly developed satellite town of Tai Po, where new housing estates and high buildings are going to be constructed. This constitutes a contrast between old and new – the Chinese and Western ways of life. Besides, Ah Ngo has mentioned desperately that the old building they are living is going to be dismantled. They are waiting for the new arrangement and compensation from the government. It somehow reflects the uncertainties and worries of Ah Ngo, and most Hong Kong people, towards this rapid urban change of the city.

Second, Ah Ngo represents a typical identity of domestic housewife as well as a new modern career woman. This representation also plays an important role of strengthening Hong Kong cultural identity. At the beginning of the film, Ah Ngo acts as a bargain hunting housewife at the market. When she gets home, she cuts the fish into pieces and decides to eat it in separate meals so as to save money. This scene helps shape a more concrete image of a traditional housewife who always depends on flexible tactics to deal with daily situations such as economic difficulties. Also, the film strengthens the local identity of domestic housewife. For instance, the way An Ngo's husband calls her “Ah Tai” (阿太) is a typical nickname for housewife in Hong Kong. This helps construct the collection of people with common social identity.

On the other hand, Ah Ngo is also working as a sales manager in the company at the same time. She is considered a reliable subordinate by her boss. In the film, even though her father-in-law suffers from serious illness that requires Ah Ngo to stay at home more often, she still fights for her freedom to work. She has stressed to her husband that, “working is my greatest pleasure and I will never give up.” Marchetti (2000) stated that traditionally, under patriarchy, women are only allowed to circulate according to male rules.  However, apparently, Ah Ngo in this film is represented in a more flexible circulation, and challenge the traditional notions of masculinity. The rise of postmodernism of feminism is obvious that women can venture further and even become the financial mainstay of the family in Hong Kong during the 90s.

The movie ends with a scene about the conversation between Ah Ngo's teenage son and her little girlfriend. “Are you going to love me forever? Remain unchanged for 50 years? ” the girl asks. And her son replies without hesitation, “Sure!” Ah Ngo laughs at the little couple and wonders how naïve they are.

The whole film Summer Snow, from the cityscape to the post modernity presented, it reflects the urban changes Hong Kong has experienced and how people keep abreast of times. After all, this movie is all about changing. In the last scene, when it comes to “remain unchanged for 50 years” (五十年不變), a term which always refers to the political relationship between mainland China and Hong Kong, Ah Ngo's ridicule to her son once again reinforces and concludes the uncertain attitude towards the future of Hong Kong during that unstable period.

Reference

Summer Snow (Nuren Sishi), 1995. Film. Directed by Ann Hui. Daiei Motion Picture Company.

Leung, P W 2000, Urban Cinema And Cultural Identity, Cambridge University Press, U.K.

Marchetti, G 2000, Buying American, Consuming Hong Kong, Cambridge University Press, U.K.

Zoe Wong Sze Wing 10554459/ 21238687