Lingyu Ruan
Ruan Lingyu (阮玲玉)
Ruan Lingyu (阮玲玉), born Ruan Fenggen (阮凤根) on April 26, 1910, and also known by her English name Lily Yuen, was a renowned Chinese silent film actress. Prominently active in the 1930s, she became one of the most illustrious figures in Chinese cinema. Her extraordinary talent, combined with her tragic suicide at the young age of 24, cemented her status as an icon in the annals of film history.
Early Life
Born into a working-class family in Shanghai, Ruan Lingyu’s roots traced back to Xiangshan, Guangdong. Her early life was marred by hardship. Her father passed away when she was still young, leaving her mother to single-handedly raise her. To support the family, her mother worked as a housemaid. Despite these challenging circumstances, Ruan’s resilience and ambition began to shape her path towards a remarkable career in the film industry.
Early Career
Love and Duty and Early Breakthrough
In 1926, at the age of 16, Ruan Lingyu embarked on her film career by joining the Mingxing Film Company. Her debut film, A Married Couple in Name Only (掛名的夫妻/挂名的夫妻), directed by Bu Wancang, marked her entry into the cinema industry. This opportunity arose as Ruan sought ways to support her family financially.
By 1928, Ruan had moved to Da Zhonghua Baihe Company (大中華百合公司/大中华百合公司), where she acted in six films. Her career trajectory took a significant turn with the release of Spring Dream of an Old Capital (故都春夢 or Reminiscences of Beijing, 1930), a film that became immensely popular in China. This film was particularly notable as it was Ruan’s first major project with the then newly-formed Lianhua Studio.
Breakthrough and Important Films
Rise to Stardom
Ruan’s ascent to stardom was meteoric following her association with Lianhua Studio. She became a leading figure in the studio, particularly after 1931, with her performance in the melodrama Love and Duty, directed by Bu Wancang. Her growing popularity was evident when she was voted as the second runner-up in the Star Daily (明星日報) poll for China’s “movie queen”.
Collaboration with Leftist Directors
Ruan’s career took a dynamic turn with her collaboration with leftist Chinese directors, beginning with Three Modern Women (1932). Her role in Little Toys (1933), directed by Sun Yu, where she portrayed a toy-maker, further showcased her acting prowess.
However, it was in The Goddess (1934; dir: Wu Yonggang) that Ruan delivered what is often considered the zenith of her career. Her sympathetic portrayal of a prostitute raising a child in this film is hailed as a high point in Chinese silent cinema. Following this, Ruan starred in New Women, directed by Cai Chusheng, where she played an educated woman driven to death by a heartless society. This film was inspired by the life of actress Ai Xia, who also committed suicide in 1934.
Ruan’s final film, National Customs, was released posthumously.
Rediscovery of Lost Films
Interestingly, one of Ruan’s earliest films, Love and Duty (1931), long believed lost, was rediscovered in Uruguay in 1994.
Personal Life
Turbulent Relationships
Ruan’s personal life was fraught with challenges. At 16, she became involved with Zhang Damin (张达民/張達民), whose family employed her mother. Zhang, later estranged from his wealthy family due to his extravagant lifestyle and gambling habits, became financially dependent on Ruan. Their relationship ended in 1933, largely due to Zhang’s gambling issues.
Subsequently, Ruan started a relationship with Tang Jishan, a tea tycoon. However, in 1935, Zhang filed a lawsuit against Ruan, which, coupled with invasive tabloid journalism, placed immense pressure on her.
Death
Suicide and Aftermath
Ruan Lingyu took her own life on March 8, 1935, at the age of 24, by overdosing on barbiturates. Her suicide note allegedly contained the phrase “gossip is a fearful thing” (人言可畏), though its authenticity has been questioned, with suggestions that it may have been forged by Tang Jishan. Her death prompted Lu Xun, a preeminent Chinese intellectual, to pen an essay titled “Gossip is a Fearful Thing”, in which he criticized the tabloids.
Researchers believe the combination of her deteriorating relationship with Tang Jishan, the lawsuit by Zhang Damin, and the hostile media, particularly in light of her role in New Women, contributed to her decision to end her life. There are also beliefs that she suffered physical abuse on the night of her death.
Funeral Services and Subsequent Tributes
Massive Public Mourning
Ruan Lingyu’s funeral procession attracted immense public attention, with more than 100,000 people attending. It reportedly spanned 3 miles, and during the event, three women committed suicide. The New York Times described it as “the most spectacular funeral of the century”. Her tomb, however, was destroyed during the Cultural Revolution, and in 1998, a monument dedicated to her was unveiled in Fushouyuan Cemetery in Shanghai.
Suicide Notes and Alleged Forgery
Controversy and Investigations
There are two sets of suicide notes attributed to Ruan. The first set, published shortly after her death and supplied by Tang Jishan, is now believed to be forged. The second set, considered more authentic, reflects a chaotic state of mind with multiple corrections and edits. These notes were later verified by research and republished, reigniting public interest in Ruan’s story.
Portrayal in Popular Culture
Films and TV Series
Ruan Lingyu’s life and tragic end have inspired several portrayals in popular culture. Notably, Stanley Kwan’s 1991 film Center Stage, starring Maggie Cheung as Ruan, revived public interest in her life and works. Additionally, her story has been depicted in various TV series across Asia, further cementing her legacy as a significant figure in Chinese cinema history.
