Metamorpho-poetic Legending in 1950s Film: (1) Ashima

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[[[[[[Leggended film-opera: the Yunnan tales. Ashima (1964) and 5 Golden Blooms (1959): metamorphsis vs quest as comedy of errors

Thoughh furelt more were intende dor on thre draw boarars or eve eprhaps were fusiehd but hae been lostr 9as flm), ther are (onoy) two completed and fi,lm-ebedded mytheopoetiuc oepras that bear the mak iof trukly chrthnnic and non-Siuntiic origin. Bith made in Yunnan. Unspoilt, that is, b y any intruson of modern war-0making and heroism-by-rifle that so often is forced into/onto the narartib=ve by upper level supwerbsiors.

***

The most clealry indebted to or repetitive of Greek clasiscall legend is the first, Ashia, whuich bears remarkable similarities in plotline to the story f Eurydice, both startug with musical seducrt1ion (by magical instruemtn), continuing with the kindling of lovepairing desire at the great gathering of the 3/3 fest where the male lover coninues his seducrtion by flute and bird-imitation; thence the oiffending by the love-sytriovckend maid (E) of the local Gd/empowrewd Heir who had been peromised her troth, but who,mwhen challenged, cannnit co,mpete in verese/song; followed i9neviatby by the rage00driven revenge if the denied suitor who steals the hero’s magic arrow and uses it to sert the ribver rising and in flood, casuing the love pair to be sdept away then partted.

A myserious force of fate or unseen csmic will hoswvewer reponds to the hero’s heartbrerak by a compromised revbval of the lsot loibve, who is meam into an echo heard in a mysteriojs forest of mieasto e coljmns: and wo whom (w whom) cval and response continue. But oinly for the blood-relastibe or tribsmen of the Sani natinality, to whom both lovers beloing. Deasonality and saelf-repat metam are not the otucome here, but the envcasing tin kind fi undferwolrd certainly caries the same spirit/]]]]

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