Author Yiman Wang argues that Song at Midnight not only presents left-wing nationalist ideology indirectly, but also alludes to the war anxieties of Chinese citizens in the late 1930s. According to Wang, the phantom in the film was related to the traumatic history in Shanghai and Hong Kong, which was under colonial domination. Indeed, Yomi Braester notes that the unique narrative style of the film also makes it different from the "soft movie" entertainment more prevalent in the 1930s. Braester goes on to state that because of its "hard" characteristics, left-wing critics were able to promote Socialist Realism through this film, emphasizing cinema's mission to awaken the masses.
The ending of Song at Midnight is very similar to that of Frankenstein, wherein both movies, the "monster" is chased by the fiery mob into a structure and killed after the structure is set on fire. The Phantom in Song at Midnight also borrows the pathos in Frankenstein as a sympathetic monstrous figure. Similarly, according to David Robinson, Song at Midnight is deemed to be the Chinese version of The Phantom of the Opera (1925). He deems the film as a creative and fascinating interpretation of Leroux's tale. In both films, the phantom provides vocal tutoring to young actors preparing for a play. Both phantoms are also driven by passion. In The Phantom of the Opera, the phantom wants his protégée to be his eternal wife, and in Song at Midnight, Danping wants to use his protégé to get closer to his long lost love.
Once the Video Package is purchased, you will be provided with a confirmation email, and then another email with a special discount code that will allow you to download the specified videos from the website for free.
The 100 most popular and best selling movie soundtracks, film scores, and broadway cast recordings downloaded at the iTunes music store. To listen to the songs and download the albums you must have Apple's iTunes player installed on your system. Chart updated daily. 2b1af7f3a8