Eng travels to KL on the anniversary of the 1969 riots to resume her mother's quest to look for the graves of her dad and brother who were killed then
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Short filmTranscript
00:00I'm going to sing a Chinese song for you.
00:02I'm going to sing a Chinese song for you.
00:04I'm going to sing a Chinese song for you.
00:06I'm going to sing a Chinese song for you.
00:08I'm going to sing a Chinese song for you.
00:10I'm going to sing a Chinese song for you.
00:12I'm going to sing a Chinese song for you.
00:14I'm going to sing a Chinese song for you.
00:16I'm going to sing a Chinese song for you.
00:18I'm going to sing a Chinese song for you.
00:20I'm going to sing a Chinese song for you.
00:22I'm going to sing a Chinese song for you.
00:24I'm going to sing a Chinese song for you.
00:26I'm going to sing a Chinese song for you.
00:28I'm going to sing a Chinese song for you.
00:30I realize that there are many memories in this city.
00:32I realize that there are many memories in this city.
00:34They will be gradually pushed down with time.
00:36They will be gradually pushed down with time.
00:38At that time, I started a community art project with my friends.
00:40At that time, I started a community art project with my friends.
00:52On the night of the riot in that community,
00:54in addition to the people who went to the Great Wall Theater to watch the play,
00:56and there was another group of people watching the play in the community.
01:00As a result, those who had no time to escape hid under the theater.
01:04Some people hid in the temple and escaped.
01:13I was involved in the movie.
01:16We named it Puchang Spring Class.
01:18Puchang Spring Class was very important in the development of Cantonese opera in Kuala Lumpur.
01:23Puchang Spring Class was founded by Liang Xingbo,
01:28a very famous Cantonese opera singer in Malaysia.
01:32Many people don't know that
01:33Puchang Spring Class, one of the oldest operas in Kuala Lumpur,
01:38is located in Zhonghua Alley, Cishan Street.
01:44In the process of writing the script,
01:45I combined the development of Cantonese opera in Kuala Lumpur
01:50in many aspects.
01:52For example, the culture in the opera,
01:53the elements in the opera,
01:56the names in the opera,
01:58and the sayings in the opera.
02:03Later, when I was writing the script,
02:04we chose to use Puchang Spring Class.
02:06The main reason is that
02:07Puchang Spring Class is a very important
02:11spoken word for opera in Kuala Lumpur, Cishan Street, and Banshan Bar.
02:15In this film, we discussed with the director
02:24to use the new word for the first scene
02:27where Dou'e meets Cai Chongchang.
02:32The next scene is the most classic scene
02:37in the film, the June Snow scene.
02:42We used the traditional scenes
02:47to show the audience.
03:00The song, Dou'e Yuan,
03:01was originally from Guan Hanqing's
03:04original magazine.
03:05He wrote a lot about
03:08corruption in politics through opera.
03:12I think it's such a coincidence
03:14that he actually crossed the line
03:15between the politics of the time
03:17and the politics of the present.
03:19It's still an old theme.
03:22This snow scene
03:23was shot in the summer of June
03:26to show that Dou'e was wronged.
03:32In May, in Malaysia,
03:35for many people who didn't believe in Li Nan,
03:38it was also an unresolved grudge.
03:45This time, the director told me
03:47that I needed to learn to sing.
03:48I was very excited.
03:51It might be difficult for me
03:52because I haven't sung before.
03:54I have sung before,
03:55but I didn't sing very well.
03:57This time, there were experts,
03:59such as Mr. Yang Weihong.
04:03I was very confident.
04:04So I accepted the challenge
04:07and sang three songs in total.
04:24We invited Master Tsai Ying-hsiang.
04:27He is one of the most experienced
04:30opera performers in our field.
04:33He guided us in many aspects
04:35and gave us some advice.
04:37To me, he is a role model.
04:39He is a real actor from a rich family.
04:44He gave us a lot of advice.
04:45During the filming process,
04:48he was in charge of the female lead's make-up
04:52and acting.
04:53He gave us advice
04:55when we set up the stage.
05:03What do you usually do on the stage?
05:06We usually do this.
05:08When we put on make-up,
05:10we do it in secret.
05:12If you don't call me, I won't call you.
05:14If you call me, we won't recognize you.
05:16Once we are on stage,
05:18we don't say anything.
05:20When we are on the stage,
05:21we shout loudly.
05:23We put a piece of paper on the stage
05:25and put it in a circle.
05:26We put a piece of paper on the stage
05:28and put it in a circle.
05:30We put a piece of paper on the stage
05:33and call those ancestors
05:35to put a piece of pork skin into the circle.
05:37We have a tradition.
05:39There is a long road
05:41where an elder
05:44who is young andnes becomes an old man.
05:46He walks to a place
05:48where the old man put the pork into
05:51the old man's mouth
05:53when he is pass.
05:55This is the past time.
05:58Now, we have a new place
06:00and different platforms in Tacay.
06:02We have to use this metal to make a coffin for the dead.
06:08This is a big sacrifice.
06:10After making this coffin, everyone will be safe.
06:23The value of this culture is getting more and more important,
06:28but it is disappearing.
06:30I am very happy to be able to participate in this important national asset in the 50s and 60s.
06:44In this film, the director uses the elements of Cantonese opera
06:49to experience the most glorious period of Cantonese opera in Malaysia.
06:57Comparing to the present, there is a big difference.
07:00We can't go back to the past.
07:06Master!
07:07Dada!
07:08Yes!
07:14Drama culture is a modern theme that has always existed.
07:22As long as people and emotions exist,
07:25the emotional projection of our times will continue to extend.