THE CHILD HUSBAND

An Old Northern Custom

To the average Westerner, and any other non-Chinese, there is much that is strange in the customs of the Chinese people. But, these days, thanks to a rapidly advancing Chinese movie industry, there is less truth in the old saying, “East is East and West is West, and never the twain shall meet.”

The Yung Hwa Studios are doing their share in breaking down international barriers through the medium of the silver screen and, for the average Westerner who is interested in learning more about the customs and everyday lives of the Chinese millions, there is a golden opportunity of enriching his knowledge in the comfort of a cinema seat.

In “Hearts Aflame” for instance, the ancient — and still prevalent — custom of child marriage is shown for the benefit of the Westerner, who is eager to see another race cf people in their natural ways and traditions.

This custom — a relic of feudal times — is still practised in many villages, particularly in North China. It is an unhappy tradition, which has claimed many victims and which has brought sorrow into numerous lives. But traditions die slowly in China, and this relic of bygone days still exists to fetter the lives of many people.

In the film, Niu Peng, Yung Hwa’s young star from Peiping, portrays the part of the only son of a widow. His mother, anxious lest scheming relatives should attempt to seize the family fortune, marries him to a mature woman. By so doing, she knows that his wife will take care of him and protect him from his relatives, will help in household duties and, generally, take many burdens from the shoulders of an old, widowed woman. And, of course, as the boy reaches maturity, there is always the prospect of male progeny to carry on the family name.

How tragedy stalks this unfortunate union of boy and mature woman forms the main theme of “Hear’s Aflame.” And, for the benefit of the Westerner, the strict moral code of northern village life is portrayed in all its vice-like tenets.

In addition, Chinese life is shown in all its vivid realism in the sequences showing a typical wedding procession, in the village wedding ceremony, in the performance of a Chinese opera, in the temple scene, in the house of mourning and in many other “shots” actually taken in and around Peiping.

The leading roles are taken by Tao Chin, Pai Yang, Lu En and Niu Peng. Produced by Lee Tsu-yung, the picture was directed by Yuen Tsun.