A
FATHER'S PRIDE
As a father, it is only natural for me to care about my son's growth
and career development. But as Zhang Yang started to work on his
own films—Spicy Love Soup and Shower—both his mother and
I were kept strictly in the dark about the scripts, the shooting
and the postproduction work. So our concerns, worries, uneasiness
and expectations became even more pressing and complex. What themes
had he selected? Would the films appeal to an audience? Would he
succeed?
To be honest, I had my doubts. I guess he was reluctant to communicate
with me because he was afraid that I might meddle with his work—both
as a veteran film director and as his father. Or perhaps because
he wanted to prove to me he could work independently. Or maybe it
was because of the emotional gap between us.
A famous old actor who had worked with both my son and me once said:
"Your masterpiece is Zhang Yang. He can make a film that you can
never match." True, the education my generation received and the
social environment during my productive years were completely different
from those of Zhang Yang's generation. Education for me was mostly
propaganda, characterized by heroism and class struggle, with man
serving as a symbol of certain ideals. But Zhang Yang's generation
has developed out of a great economic boom and a vibrant, modern,
stylish and pluralistic urban life. In an atmosphere much less restricted
than before, creative artists are now able to explore and interpret
life in light of their own experiences, their own feelings, their
own understanding—and through their own languages, visual and
otherwise. That's how Zhang Yang made his two films.
But to my great surprise, the aesthetics in Shower are traditional,
sprinkled with charming touches of Chinese culture and a typical
Eastern flavor. Even more pleasantly surprising to me is his ability
to blend that with a sense of modernity. The unity of content and
form created an unadorned but profound feeling of intimacy. However,
I was stricken by the way he handles father-son relations in Shower.
Zhang Yang is my only child. Therefore, I have high expectations
for him and have always been very strict with him. Perhaps that
means I have wronged and hurt him. In his eyes, I must have been
a very tough father, which may be why he has seldom tried to communicate
with me since he was small. When we have talked to each other, the
words have been matter-of-fact. I have often felt an insurmountable
barrier between us.
Since Zhang Yang grew up, I have apologized to him on numerous occasions,
mostly to no avail. I never expected he would take such a unique
approach to portraying the emotional exchanges between a father
and son. In Shower, when I saw the old man's unwavering love for
his sons Da Ming and Er Ming, when I saw the boys' eventual understanding
of their father, when I saw the affection among people in the film,
I was deeply touched. I saw traces of Zhang Yang and myself in Da
Ming and his father. It was then that I suddenly came to realize
that there was no emotional gap between Zhang Yang and me, that
his feelings toward me are intrinsic and enduring. As two generations,
we are only different in lifestyle and mindset. I think the so-called
"generation gap" is only a matter of age. The key lies in mutual
understanding and sincerity.
I heard that Zhang Yang has already started on his next film. Although
I know nothing more than that, I give him my blessings from the
bottom of my heart. For all my worries are really unnecessary.
ALSO IN YOUNG CHINA: THE ARTS 
