Scenes of City Life

800 Chinese soldiers guard the important warehouse district against the invading Japanese Army. Re-imagination of a famous (bordering on legendary) episode from the battle of Shanghai: 800 soldiers of the 88th regiment against what feels like the whole of Japan’s Imperial Army - think Thermopylae, Chinese version. A splendid, visually amazing gem which, in its own way, is also a last stand: of silent cinema, Shanghai style. (iffr)

Probably the most sheerly entertaining of all the films made in 1930s Shanghai by 'underground' leftists, this riff on The Prisoner of Zenda is funny and engaging from first to last. The irresistible Yuan Muzhi (director of Street Angel the following year) plays both Li Tao, a revolutionary on the run, and Liu Yuanjie, an American-Chinese teacher visiting China with his fiancée. Liu is mistaken for Li and thrown into jail; Li teams up with the fiancée (Chen Bo'er, Yuan's real life wife) to get him out of prison and into the spirit of revolution. Ying Yunwei (who started out playing female roles in Chinese opera) uses chiaroscuro lighting, highly mobile camerawork and zippy pacing to give it maximum impact, but it's Yuan who really keeps you watching.

In old Shanghai, two sisters, a prostitute and a singer, try to escape from the local scoundrels with the help of a trumpet player and a newspaper seller.

The film tells the tragic story of two recent college graduates, Tao Jianping ("Tao" is a homophone for peach), and Li Lilian ("Li" is a homophone for plum). Married, the two hope to change society for the better, but are continuously challenged by the corruption and injustice of Chinese society.

The young poet Xin Baihe flees Shanghai with his friend, Liang. Liang soon joins the resistance against the Japanese invaders, but Xin chooses to pursue a relationship with a glamorous and westernized widow in Qingdao. After hearing that Liang has been killed, Xin has a change of heart and rushes to join the war effort.

The propaganda documentary about youth coming to Yan'an and join the communist party. The film was shot and negatives were sent to Soviet for post-production. The film studio from Soviet Union evacuated because of the Nazi-Soviet war and all negatives for this documentary were lost during this situation. Years later, some shots were used as archival footages in multiple Soviet documentaries.