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Four Moods

Name: Four Moods
Director: Lee Hsing, Pai Ching-jui, King Hu, Li Han-Hsiang
Released: 1970
Duration: 140 min

Representation Score

5.5/10

Fair

1970

Director

Lee Hsing, Pai Ching-jui, King Hu, Li Han-Hsiang

Runtime

140 minutes

Average Rating

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New Showbiz Analysis

Four Moods is a sophisticated blend of traditional Eastern storytelling that challenges Western cinematic norms. By incorporating Peking Opera and folklore, the film achieves a high level of cultural authenticity. However, it adheres to the romantic and gendered conventions of its time, lacking explicit LGBTQ+ representation or engagement with disability narratives.

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Category Breakdown

Does Four Moods have LGBTQ+ representation?

Fair

The film follows traditional romantic storylines without any clear indication of LGBTQ+ identities or queer themes.

How does Four Moods portray gender?

Fair

Women play central roles in both the supernatural and emotional arcs of the film, interacting with men to shape the main narratives.

How racially and ethnically diverse is Four Moods?

Good

The film focuses on non-Western perspectives through its use of Chinese language and Peking Opera elements, adding cultural richness and depth.

How does Four Moods represent religion and culture?

Good

Eastern philosophical ideas are emphasized through folklore and the Strange Tales of Liaozhai, blending fluid morality between the living and the dead.

Does Four Moods include disability representation?

Minimal

There is no depiction of physical or neurodivergent disabilities in the film.

Present on Screen

Strong cultural authenticity through the use of Peking Opera and traditional art forms.
Non-Western aesthetics and philosophical perspectives are prominently featured.
Central female characters provide nuanced emotional depth.

Limited or Absent

No explicit LGBTQ+ representation or queer themes.
Traditional romantic and gendered storylines are followed closely.
No depiction of physical or neurodivergent disabilities.

Official Synopsis

Directed by some of most well known Chinese-language directors of the time, the portmanteau film Four Moods was an attempt to alleviate Li Han-hsiang’s financial troubles during the late 1960s. Arguably one of his best works, King Hu’s short Anger is an adaptation of the famous Peking opera San Cha Kou; set to opera instrumentation and stylishly shot, the film deftly captures the tense showdown between political schemers, avengers and vagabonds inside an inn. Li Han-hsiang’s Happiness, inspired by the Strange Tales of Liaozhai, tells a tale of reprieve for a kind-hearted ghost, while Pai Ching-Jui’s Joy and Lee Hsing’s Sadness both explore the fateful encounters between mortal men and ghostly women.

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