19 - Portrayal of the Outsider in And the Spring Comes and Mona Lisa Smile
Posted: Wed Apr 11, 2018 3:02 pm
Although set in different cultures and different times, And the Spring Comes and Mona Lisa Smile reach the consensus that art is an powerful and sometimes destructive force when it confronts conventional and worldly values. The origin of the conflict is as much geographical as it is social and cultural, and if women are under the spotlight, such conflicts will be further complicated. The distinct portrayals of the outsider in these films reveal their roots embedded in the cultural traditions in the east and the west.
Generally speaking, And the Spring Comes records the clash between highbrow art and the mundane daily life of the common people, specifically in an industrial city in northwestern China. Geographical distance and scale are the metaphor for the chasm between them. Here art is embodied by the National Opera House and prestigious institutes in Beijing, and mundanity the cold, grayish small town where agriculture and industry are the major themes. When art serves only as an occasional entertainment, it can be accommodated peacefully in the town life, as operas in the radio and dancing in the park are enjoyed by town residents in the film. But when art is pursued by visible people, the individuals will be ridiculed by other residents are outcasts and even perverts. The conflicts between common good and individual desire are universal, and due to its cultural tradition, in China the promotion of the former is often championed. This contributes to the enjoyment of art as a whole concept and the rejection of it when it is boiled down to the very individual.
All three “artsy” characters appear as the martyrs of their beloved profession at first, but gradually we understand that Hu Jinquan is the only artist that is willing to sacrifice everything else for the sheer love of ballet, while the other two characters hope to capitalize art to climb up the social ladder. Among them Wang Tsai-ling is special because as an ugly woman, she is burden with the extra responsibility of marriage, and compared with (straight) men and other (beautiful) woman, she will be less tolerated if she chooses career before marriage. Unlike in Mona Lisa Smile, where there is a clear-cut line between the characters that the audience are expected to love and those expected to be disliked, Wang Tsai-ling is both unlikable and pitiful; her misery is the accumulative result of her circumstances and her “tragic flaws” that are arrogance and vanity—I call it arrogance because the film implies that Wang Tsai-ling’s skills are good, but not “Beijing good,” as the secretary recognizes that Wang has come to interview the year before. And the Spring Comes is profound and mature in its presentation of character arc for both leading and supporting characters in which one can detect a somewhat Taoist view of human nature that recognizes good in evil and purity in greed.
In Mona Lisa Smile, East clashes with West, though it is the “east and west” within the borders of the United States. The spirit of the west coast is embodied by Dr. Katherine Watson, whose “unconventional” teaching methods and liberal attitudes toward marriage would stir up the east coast WASP establishment. Apart from the lines, Katherine’s position as an outsider and intruder to Wellesley College is also subtly conveyed through her costume. In the train station scene in the opening, she is seen wearing a bohemian floral shirt and carrying a large leather tote bag, her hair loosely tied into a ponytail, while most of the local women have their hair exquisitely styled; a bonnet, a plain color shirt and a midi dress are like the unofficial uniform of the town. Probably because “all her life she had wanted to teach at Wellesley College”, Katherine is eager to fit into the culture tradition of the east coast at the beginning. In the first few days of the academic year she is dressed like a Wellesley woman. The headmistress’ speech almost moves her to tears. After Katherine discovers that Wellesley doesn’t follow the principles it preaches, and that it is no more than a training school for the wives of east coast elitist man, she resumes her old clothes in her next lecture where she challenges the rote learning of the Wellesley girls. Katherine’s choices of clothes reflects her psychological journey throughout the film, as well as her eventually firm belief to defend what she considers right even though it makes her an outsider in the eyes of the school board, instead of submitting herself to the established standards of an ideal woman from the east coast. Compared with And the Spring Comes, what I find to be “west” in this film is the unwillingness to reconcile. For Wang Tsai-ling, reconciling with her circumstances is the way to retain inner peace, but for Katherine Watson, remoulding herself to be a Wellesley woman can never lead to peace. Of course, Katherine’s persistence of individuality is also supported by ample knowledge and ability. In this sense Katherine is confronted because she seems too advanced, and in a historical view she will eventually be welcomed, but Wang Tsai-ling, being less privileged, has less assets for negotiation and a dimmer future if she chooses not to settle.
Generally speaking, And the Spring Comes records the clash between highbrow art and the mundane daily life of the common people, specifically in an industrial city in northwestern China. Geographical distance and scale are the metaphor for the chasm between them. Here art is embodied by the National Opera House and prestigious institutes in Beijing, and mundanity the cold, grayish small town where agriculture and industry are the major themes. When art serves only as an occasional entertainment, it can be accommodated peacefully in the town life, as operas in the radio and dancing in the park are enjoyed by town residents in the film. But when art is pursued by visible people, the individuals will be ridiculed by other residents are outcasts and even perverts. The conflicts between common good and individual desire are universal, and due to its cultural tradition, in China the promotion of the former is often championed. This contributes to the enjoyment of art as a whole concept and the rejection of it when it is boiled down to the very individual.
All three “artsy” characters appear as the martyrs of their beloved profession at first, but gradually we understand that Hu Jinquan is the only artist that is willing to sacrifice everything else for the sheer love of ballet, while the other two characters hope to capitalize art to climb up the social ladder. Among them Wang Tsai-ling is special because as an ugly woman, she is burden with the extra responsibility of marriage, and compared with (straight) men and other (beautiful) woman, she will be less tolerated if she chooses career before marriage. Unlike in Mona Lisa Smile, where there is a clear-cut line between the characters that the audience are expected to love and those expected to be disliked, Wang Tsai-ling is both unlikable and pitiful; her misery is the accumulative result of her circumstances and her “tragic flaws” that are arrogance and vanity—I call it arrogance because the film implies that Wang Tsai-ling’s skills are good, but not “Beijing good,” as the secretary recognizes that Wang has come to interview the year before. And the Spring Comes is profound and mature in its presentation of character arc for both leading and supporting characters in which one can detect a somewhat Taoist view of human nature that recognizes good in evil and purity in greed.
In Mona Lisa Smile, East clashes with West, though it is the “east and west” within the borders of the United States. The spirit of the west coast is embodied by Dr. Katherine Watson, whose “unconventional” teaching methods and liberal attitudes toward marriage would stir up the east coast WASP establishment. Apart from the lines, Katherine’s position as an outsider and intruder to Wellesley College is also subtly conveyed through her costume. In the train station scene in the opening, she is seen wearing a bohemian floral shirt and carrying a large leather tote bag, her hair loosely tied into a ponytail, while most of the local women have their hair exquisitely styled; a bonnet, a plain color shirt and a midi dress are like the unofficial uniform of the town. Probably because “all her life she had wanted to teach at Wellesley College”, Katherine is eager to fit into the culture tradition of the east coast at the beginning. In the first few days of the academic year she is dressed like a Wellesley woman. The headmistress’ speech almost moves her to tears. After Katherine discovers that Wellesley doesn’t follow the principles it preaches, and that it is no more than a training school for the wives of east coast elitist man, she resumes her old clothes in her next lecture where she challenges the rote learning of the Wellesley girls. Katherine’s choices of clothes reflects her psychological journey throughout the film, as well as her eventually firm belief to defend what she considers right even though it makes her an outsider in the eyes of the school board, instead of submitting herself to the established standards of an ideal woman from the east coast. Compared with And the Spring Comes, what I find to be “west” in this film is the unwillingness to reconcile. For Wang Tsai-ling, reconciling with her circumstances is the way to retain inner peace, but for Katherine Watson, remoulding herself to be a Wellesley woman can never lead to peace. Of course, Katherine’s persistence of individuality is also supported by ample knowledge and ability. In this sense Katherine is confronted because she seems too advanced, and in a historical view she will eventually be welcomed, but Wang Tsai-ling, being less privileged, has less assets for negotiation and a dimmer future if she chooses not to settle.