Читать книгу Becky Chan - Jared Mitchell - Страница 6

Feng Hsiao-foon demanded to know what I’d done with his wife, Becky Chan. It was July, hot outside, and the air stank of diesel exhaust and rotting garbage. The back of my shirt was damp with sweat from a trip across the harbour to the Royal Observatory in Kowloon. I’d been reporting a story about atmospheric radioactivity. The beta activity of airborne dust samples had dropped to ninety-six pico-curies, which would come as a relief to those who worried about such things. Fallout over the China coast had been fluctuating following an atmospheric test of a hydrogen bomb in the distant region of Sinkiang. I’d glanced up at the sky over Hong Kong, and while it looked the same as it did every summer, bluish-white, hazy, stunningly bright, I almost wished for a cheery iridescence, something to physically imply the story. Becky Chan was my best friend. Feng said she was missing.

That day was July 2, 1967. I had known Feng, as well as any outsider could know him, for more than fifteen years. He was the chief of production and principal shareholder of the Great World Organisation. His greatest star, Becky Chan, was the Goddess of Mercy, and she presided over those most hallowed of Hong Kong temples, the cinemas of the Great World circuit. The 1958 super-production of The Goddess of Mercy, was her greatest success. It was Great World’s greatest picture and she was its greatest artistic asset. She had played a dual role in that film. The first was that of Koon Yin, the merciful deity draped with snow-white robes and lying on an emerald lotus pad that floated in a purple moonlit sea. She daubed her mystic dew from a willow branch, the dew fell through the purple sea down to our world below, and it brought relief to mankind’s innumerable sufferings. She also played a poor peasant woman, whose family Koon Yin saves from catastrophe. The baroque sets, the brocade costumes, the process photography, The Goddess of Mercy brought great prestige to Feng’s studio. The only thing it failed to do was make a profit.

The rest of Becky Chan’s films, plastic comedies and overheated melodramas, all made profits, and in the jumped-up merchant mind of Feng Hsiao-foon, that made them worthier. Almost always before and after The Goddess of Mercy, Becky’s pictures made money for Great World. Thus, you can understand why Feng Hsiao-foon was deeply concerned about his wife’s disappearance.

My face must have changed when Feng said Becky was missing because Billy Fong, the China Telegraph’s one-eyed copy boy, glanced at me twice. He stared sideways to get a focus and the gesture exaggerated his interest. It unnerved me so I looked down at my desk, fiddled with things on it, shifted a disorganized heap of papers in a wire basket. I pretended to search for something important. I glanced over at Mary Wu, the Chinese switchboard operator, visible at her station through a rectangular cut-out in the cream-coloured wall on the side of the newsroom. She was taking a message from an English-speaking caller and I could hear her bawling into her headset: “How to spell please?” Over by the entrance to the washrooms, prematurely wrinkled from worry, a young Chinese janitor poured water into a zinc bucket from a red rubber hose. A drunken correspondent from the British Press Association had once offered the janitor ten dollars to take him into the loo and beat him with that hose. The janitor had just enough idea of what sexual fetishes were to decline, though in much agony, for he urgently needed the money. Over by the window, Sonny, the Ceylonese copy editor who was apt to daydream, looked out at the weird sight of a double-decker China Motor Bus on the steep grade of Wyndham Street just outside the window, waiting for the traffic light at the bottom of the hill. The diagonal view made it look as if it had just crashed into a pit outside the newsroom and we, lords of the Oriental English-language press, sat ignoring it. Four British reporters sat on the edges of two desks, swinging their feet and talking sports.

I suddenly felt very tired. I dreaded the possibilities, that Becky might have been kidnapped, that she was lost, or dead. Many people suffer through a difficult year some time in their lives; 1967 was my difficult year. Becky’s disappearance was going to exhaust my endurance. An all but overpowering urge to burst into tears crept over me. Becky was the only true friend I’d ever had. The orphan girl from the refugee shack towns that ringed Kowloon. The jade girl, the pretty teenager who had started out performing ingénue roles in Cantonese opera. The local apprentice actress who slaved for cheesy film companies that came to Hong Kong from Shanghai following their closure after 1949 by the triumphant Communists. When she joined Feng’s Great World she had her best years, first in cheap but touching Cantonese stories about sacrifice and suffering, later in unlikely Mandarin comedies and dress-ups. In the early ’60s she had a brief career in Hollywood in stupid, forgettable pictures with Oriental themes: Almond Eyes, Panic on Grant Avenue, Chopsticks. She sabotaged her own career in Los Angeles and punished herself for it by coming back to Hong Kong and marrying Feng Hsiao-foon. He put her under contract at Great World again and, because she was now his wife, he paid her no salary. Becky admired Western directness and sometimes when I put a blunt question to her she shot back with rare revelation. I asked her why she had gone back to that dreadful man’s employ. “I always outlast my jailers,” she said.

Becky and I got on brilliantly. She constantly came down with colds and the flu, and during those illnesses I would listen patiently to her minute analyses of each minor viral assault. She reported their progress with the intensity of a radio sports commentator. Illness and the possibility of getting sick fascinated her. She was actually disappointed when chest X-rays absolved her of tuberculosis. She told me about the hardy bacillus in an odd little lecture over tea in a hotel coffee shop. “If you have tuberculosis,” she’d say to me, “and you spit on the street, the bacilli are in the spit. Even when the spit dries up it’s still alive. So when the dust blows, the bacilli are carried into the air and gets into someone else’s lungs. Then she’s got it.” She sat back and sipped her glass of Coca-Cola, looking terribly stimulated and even hopeful.

She in turn listened to my singing, something that was to have been my intended career. I taught her goofy Western novelty songs. She found their foolishness to be uncomplicated source of fun and laughed innocently and heartily. “Wally the Walleyed Mackerel,” “Thanks for the Buggy Ride,” “The Prune Song.” I sang “The Wee Hoose ’Mang the Heather,” exaggerating the Scottish burr monstrously. “Though A’m far away frae Scotland and the scenes I loov sae weel. There’s a beat for the auld country that in ev’ry pulse I feel!” She couldn’t have liked it more. The song was even more absurd for her than it was for me.

In our early, easy-going years we had an uncomplicated affection for one another in a city that was being strangled by the complexity of its relationships. I did not worship false goddesses. I had no other true and dependable friends. I was not married and had no possibility of becoming so. My society was Becky and I was her window on freedom.

In the 1960s, telephone lines under Victoria Harbour could be unreliable and that day the line that carried Feng’s call intermittently crackled and honked as if afflicted with emphysema. Feng was angry, almost shrill, as if I were still an employee of his to be tossed about by the mighty gusts of his supreme will. He purposefully tried to confuse me so I would lose my guile and confess to crimes I had not committed. He asked me why I was harbouring Becky. I hadn’t even known she was missing. I was as worried as he was. He didn’t believe me.

He said she had left their home in Kowloon Tong the previous morning without saying anything. She had instructed her amah to walk down to Waterloo Road and flag a taxi. When the amah returned with the taxi, Becky came out of the house with a small suitcase. She got in, the driver turned his vehicle about, drove back to Waterloo Road and turned right. That meant she was heading into central Kowloon. The amah thought that was unusual because Becky should have been going to work at Great World’s studios out in Tsuen Wan, which were in the opposite direction. Ah-niu assumed Becky was going to a location shoot and thought no more about it until the director of her current picture called the house asking where she was. The amah called Feng. That had been yesterday and Feng had yet to notify the police. “She left the baby behind,” he said.

He then asked me a series of questions and provided me with alternative answers that might satisfy him, all of them pointing to my culpability in some foggy conspiracy to humiliate him or to ruin the Great World Organisation. I put my head on my hand and let myself get beaten up. The damp sweat patch on the back of my shirt was now very cold in the China Telegraph newsroom. Air conditioning was the worst innovation to come along in the 1960s. Workmen came in and constructed a false ceiling to hide the conduits, which made a merry old runway for the office rats. Late at night you could hear them up there, big, lusty, whiskered things, pounding the top side of the asbestos panels as they dashed above your head.

I listened to the scurrying feet of Feng’s questions and gave short answers. His inquiries had a circular quality leading to an invariably terrible conclusion, like dud missiles you’d see in news-reels, the ones that rose from Florida launch pads then made pin-wheel courses a hundred feet above the Earth and exploded. I told him that I didn’t know where she was and I could tell by his comments he didn’t believe me. He kept spinning about. Feng always assumed that something was hidden, that nothing was wholly visible and innocent. He earnestly believed that, like him, everyone had something hidden, something complicated and soundless, like that penthouse machinery that enables elevator cars to scuttle up and down dark hoist ways and disclose different places to passengers without cohesive explanation.

I could picture him at the other end of the telephone call, taking off his glasses and blinking unseeing at the air. His questions and demands suggested that he couldn’t make sense of where Becky was. He had never really known her, not like I had. He did not want to see her the way I did. He saw her as something to be dug out of the ground, smelted and refined into something useful and then sold off. I really believe he thought that that. I still do.

Feng attempted an oblique threat. “It may be necessary,” he said, “to call the authorities. They might come to your office and ask questions.” This meant more to him than it did to me. Feng had a poor idea of what could scandalize a newspaper reporter. The police turning up at his studio office would be devastating for a senior member of the North Kowloon Rotary and one of the most socially ambitious Shanghanese businessmen in the colony. Although he was a movie showman used to generating publicity for the studio, he wouldn’t do anything that undermined his sorry, sad little pursuit of personal respectability. Feng just didn’t get why Chinese bankers, industrialists and colonial government officials never wanted him around.

As rich as he got, he never found the degree of respectability he thought they owed him. Highly stratified and wary of Northerners, elite Cantonese society shared their charity boards with him and invited him to their banquets — but only when they wanted him to do something for them. Or when they wanted him to write a big, fat, greasy donation to Po Leung Kuk, the society to aid women and children. But he was never a close friend to any of them. He never went to their card games or drank their tumblers of iced cognac in private rooms of fine restaurants while they opened the secrets of their social connections. No messengers hand-delivered invitations to high-caste weddings. There was no personal warmth, only utility. Such subtle exclusions only made him try harder, but in weird ways. When he failed to get an invitation to dine at Chinese New Year with the Tsengs, a banking family who lived on Shouson Hill, he issued a press release stating that thereafter, Great World’s Mandarin-track motion pictures would switch from black and white to colour. He ordered a copy of the release sent to the Tsengs’ offices. I suppose he thought that by adopting colour he would so magnetize himself socially that the invitations would fly to his office and stick to the outer door. He didn’t know that when the Tsengs and other quality families thought of movie producers, weak smiles and charitable looks crossed their faces. For them, transistor-radio factory owners had more prestige than any crude Shanghai showman. The Tsengs organized opera performances in their own homes, the performers they personally chose, such was their taste and knowledge of art. Movies, whether in black and white or colour, were for workmen with salty faces and factory girls with metal hair clips. Feng would always be a vulgarian.

I cared little for Feng’s dainty warning about “the authorities.” I was a bum with a typewriter who spoke with “the authorities” every day. I was used to sniffing around with the police, rather like an unhygienic dog. One of my best friends was in the police, Jack Rudman. Oh, that man. I tried, very hard, to be close to Jack. At the time I thought that he, unlike Feng, was a magnificent man worthy of one’s complete devotion. But he wouldn’t have me. Jack pushed me away, albeit with confusing irregularity. Today, I recognize Jack Rudman’s behaviour to be that of a weak mind in conflict with itself. Then, I was merely frustrated and hopeful. When he was canvassing for a police charity, Jack got me to buy a long-playing record of music performed by the Bands of the Hong Kong Police. It was courtesy and civic duty for me to buy a copy, but also, in a pathetic way, I might have been hoping to get closer to him. I even sat alone one evening and listened to the LP several times, drinking too much while the police pipes and drums performed “The Hills of Kowloon” and “Traffic Control.” I might as well have listened to a whole library of LPs. Did he sit up evenings thinking of me? Would he change his life for me? I might as well have fallen in front of that bus on Wyndham Street.

Much of what little happiness I had in those days was anchored to the hope that something might take root between Becky and me, or me and Jack Rudman. But after nineteen years in Hong Kong, I found my hope was nearly depleted. Like lonely people around the world who were approaching middle age without settlement, I got along with chance encounters and called it my life. Encounters with tourists, co-workers, armed-forces personnel, the oblique relations with people you brushed past in everyday life. I went to a restaurant in Stanley Street for breakfast every morning. There was a very young Chinese waiter who showed me great affection and, lonely me, I reciprocated. After a few weeks of serving me bacon and two eggs six days a week, this tender-hearted young man brought me three eggs, but only charged me for two. I must have shown encouragement through my gratitude, because the next week he brought me four. A week later there were five fried eggs and I had to tell him to stop. He seemed hurt, so now it was my turn, and I showed my escalating warmth with increasing tips until I was leaving one hundred per cent of the bill as a gratuity. One morning I came by and the restaurant had gone out of business and I never saw the young waiter again. That was all, that was it, that was one of my finer relationships.

Once, when I confessed to having a bad migraine, Becky nodded knowingly, removed a bottle of aspirin from her purse and swallowed two. She met my incredulous look with this explanation: “I think I have a headache coming on too.” I could have kissed her for that. In recent years she’d become a vegetarian. She lectured me on the unhealthy nature of meat. “The human intestine,” she’d say, “is like that of herbivorous monkeys: very long. Real meat eaters, such as tigers or lions, have short intestinal tracts.” It could get a bit tiresome and transparent. But if I teased her about eating too many beans by making a lot of crude noises that the scatological people of Hong Kong would find hysterically funny, she would grow huffy. “I see that you’re trying to upset me,” she’d say with a lot of shrugs and glances out the window. “Perhaps you don’t care about my health.” There was an awkward moment in which I tried to ratchet down her indignation but I usually had to apologize before she would warm up again, to give some personal sacrifice of humility before she felt that I had paid enough. A few nights later we went out for dinner and she would choose a vegetarian restaurant. “I need to be with my people,” she said with pretend grandiosity. “My fellow monkeys.”

The way I preferred to think of Becky, the way everyone preferred to think of Becky, was as Koon Yin in The Goddess of Mercy. Great World shot the exteriors in Taiwan because it had unspoiled mountain vistas. The hills of Kowloon that so inspired the police pipes and drums were scabby with squatter shacks and Royal Air Force antennae that snooped the skies of southern China. The police also worshipped the Goddess of Mercy, the one they called “She Who Looks Down and Hears the Cries of the World.” I attended the movie’s premiere with Jack Rudman, who unconsciously leaned against my shoulder in the Ambassador Cinema, perhaps to huddle against the ferocity of the air conditioning. Or perhaps, for once, he was just being nice to me.

Koon Yin is one of the most popular celestial inhabitants among the Chinese because of her compassion. She is destined to fall short of achieving nirvana until every last mortal achieves it, so it is in her interest to end the suffering of ordinary men and women. Becky struck a memorable tableau at the denouement when a married couple, whom the story has followed, rise up and meet her in heaven. The man had been a mariner once and his ship had thrice been saved from destruction when he saw her on a rock in the middle of a stormy sea, like a supernatural lighthouse. Now, in heaven, Becky stood in her white robes surrounded by carbon dioxide clouds. In one arm she held a horsetail duster. With the fingers of her free hand, she touched the rising couple and gave them eternal happiness. In the last shot the camera dollied back irregularly, so Becky appeared to float and bob away into infinity. The picture turned up at the Edinburgh Festival, where programmers praised Becky as “a restrained performer trapped inside an over-pretty chocolate box.” For a few months The Goddess of Mercy became the darling of European film buffs. It still didn’t recoup its costs.

Feng Hsiao-foon had his secretary hold my line while he took a second call, from Great World’s publicity director, whose job it was occasionally to hunt down missing performers. Becky was not the only actress to go missing. Others sometimes fled to escape their killing workloads or simply to escape Feng. They’d turn up in Singapore hotels, flat on their backs in the embrace of mundane exhaustion. Others eloped with amorous plastic-pail manufacturers who spirited them off to secluded villas in rural Hong Kong. These new husbands bought out their contracts and freed them from Feng’s exhausting grind forever. Being married to Feng, though, meant that Becky would never be free until the very last movie goers had found such happiness that they no longer needed the diversion of cinema.

Today, Hong Kong movies are known in the West for their wild and violent but improbable action. They have become newly popular, even chic among irony-loving Westerners who think that Chinese movies were invented around the time of Bruce Lee’s ascendancy. But there has been a movie business in Hong Kong for three quarters of a century although, like Hong Kong itself, it has re-invented itself many times. The movie business in Hong Kong in the late 1960s was a small, diverse, vigorous but not always profitable industry. It could make employees feel like family but then treat them with all the cruelty that families trade in. Dollar-a-day actresses lived in dormitories, barracked in tinsel harems, strictly regimented in their feeding, grooming, acting and public appearances.

The business churned out three hundred pictures a year. Big studios such as Great World operated twenty-four hours a day, with three shifts, sometimes renting out studio space to small independent film companies. Feng would only rent to them if they paid up before shooting began, because he knew they were constantly on the edge of insolvency.

The Kwong Yi Film Company concentrated on white-collar melodramas in which ambitious characters toiling in offices escaped their dull lives with overblown adventure and romance. Another studio devoted its output to a single starlet, Ting Ying. Nicknamed Transistor Girl, she had just one character and one costume — a radio factory employee in a grey smock. When not on the assembly line she was dating the owner’s handsome and agreeably knuckle-headed son. With her irrepressible charm, Ting Ying eventually overcame the boy’s family’s disdain for her low origins. Other studios were openly funded by mainland China and they turned out “socially progressive” pictures about how society cruelly treats the working class. These pictures really bored audiences silly. To carry the snoozers, the socialists also mixed in gangster, nightclub or musical pictures. And there were plenty of tiny Cantonese-dialect studios that eked out pathetic livings with shabby pictures Hong Kong people called “seven-day fresh,” reflecting the factory-farm pace of taking a script to finished print in just one week. One studio was so poor it had to illuminate its movie sets with discarded automobile lights wired to car batteries.

Three big studios dominated the Hong Kong industry: Cathay, Shaw Brothers and Great World. The Big Three produced the whole range of pictures: contemporary musicals, classical Chinese dramas, sword-play epics, gentle, weepy domestic tragedies and even, once, a western featuring all Oriental cowboys. The Big Three prospered. Cathay, Shaws and Great World had sound stages, distributors, theatre circuits, and they had talent. Cathay’s great star was a slightly plump beauty known as Laam Toi. She made Cathay a great deal of money but she was deeply miserable and she committed suicide by overdosing on phenobarbitone in 1964. Hysterical fans at the funeral overturned the hearse. Shaws had Peter Chen Ho, Betty Loh Tih, Chen Ping and Wong Yu. But the biggest star of them all, the greatest box office draw wherever Chinese movies played, five times voted Empress of Stars at the annual All-Asia Film Week, the queen of the Hong Kong cinema: Great World’s Becky Chan.

Feng almost failed to put Becky under contract when I brought her to his attention back in 1951. She was out of work and afraid of starving to death in a town packed with talented artists who had fled the Communist revolution. Feng wasn’t interested in Becky: she was Cantonese and he was a Northerner. He didn’t speak Cantonese yet and had little interest in making movies for that little market. He concentrated on shooting Mandarin-track films with the strange and futile hope of getting them to the huge market in Communist China. But the Communists had no interest in decadent musicals about nightclub singers and silly comedies about the idle rich. That world had vanished and in the new China, Feng Hsiao-foon was unnecessary and unwanted.

After I’d personally introduced them to one another, Becky pursued Feng relendessly, standing outside the gate every morning with flowers or almond cookies or some other pathetic little offering. She kowtowed when his car sped in the gate of his new studios. Whether she actually lifted the hem of her skirt like other would-be actresses I don’t know — and I didn’t want to know. She ground him down with persistence and eventually he signed her on as an extra.

Her bit-part acting impressed him. Becky worked hard and with great loyalty. Within a year he relented to the reality that most of his Hong Kong audience understood only Cantonese so he started a local-dialect division and gave her leading roles. After she won her first award at the All-Asia Film Week in Tokyo for a Cantonese-track picture, Feng couldn’t ignore her talents, and he put her into Mandarin pictures.

Becky was a big enough star to appear in every kind of picture Great World made. In 1966,1 met a young man from Wyoming, a soldier on leave from Vietnam who was delighted when I told him I knew Becky. He had seen one of her comedies at the Metropole cinema in Saigon. In The Trouble That Money Brings, Becky and comedian Li Chi-chuen star as a newly rich couple. They take delivery of their first refrigerator, only to see it take off on the delivery men’s dolly down the steep grade of Cloud View Road in North Point. They chase after it frantically. The fridge barely misses a taxi and forces a grocery-laden amah to jump out of the way. It crashes into a fruit stand and sends oranges in all directions. The affluent couple learn a lesson about the trouble that money brings. The picture was mostly tedious except for Becky and Li’s abilities to chase the fridge, flailing their arms so they looked like they were running much faster than was humanly possible.

Becky had even greater success with tragedies, in which she’d played in Cantonese-track films in the early 1950s. Back then there had been hundreds of thousands of refugees in the colony. You might have thought that refugee audiences in Hong Kong, when they scraped together ten cents to go to a cinema, would have wanted happy stories: giddy comedies, costume dramas adapted from Chinese history or Eastmancolor musicals, something to take their minds off their hideous lives. Instead they favoured weepers that really punched them in the guts. Middle-class Anglo-Saxons who have never lived through a cataclysm like that of Twentieth Century China usually find the plots of Becky’s melodramas mawkish. But to Hong Kong audiences in the 1950s they were the touch of an electrified wire. In the dark of her temple, where no one could see them, refugees could crouch together and watch the most excruciating sufferings and know exactly what it was like. Becky’s cinema tragedies were emollients for pent-up tears.

In A Mother’s Burden Becky played a refugee woman forced to sell her youngest daughter to prevent the rest of the family from starving. The night before the little girl is to be delivered, Becky makes her daughter some sesame cookies or something, I don’t recall exactly what, only that it was the little girl’s favourite treat. The sight of that innocent three year old clapping her hands in delight and the reverse angle of Becky’s face in such raw, profound pain as she hands her daughter the dainty treat brought such a deep moan of agony from all sides of the Ambassador Cinema that I was chilled. The second act of A Mother’s Burden takes place years later. Becky, still living in poverty, goes to work in a rich family’s home. Naturally, the daughter she’d sold has been adopted by them. Becky realizes this but it is her sacrifice to say nothing, to admire her teenaged daughter in silence. The girl treats Becky badly, and mistakenly accuses her of stealing a necklace. Becky works hard to clear her name and the daughter flings herself into remorse and asks her forgiveness, never once realizing Becky is her natural parent.

“Have you ever been a mother?” her daughter asks. Becky is so fighting her tears that she cannot speak, only nod slightly. “One day,” her daughter says, holding Becky close, “I will be as good a mother as you.” They kiss and Becky goes off into the night. She stumbles to a tram-stop and huddles against a pole, tears streaming down her cheeks.

When the film ended and the lights came up, ushers literally had to pry women from their seats. The women collapsed on the stone floor of the lobby, screaming remorse for their own hidden pasts, shouting the names of children. After some shows ambulances had to be called. Feng added a sixth daily screening, and A Mother’s Burden played for an unprecedented three months.