M. Butterfly
(1993)
R | 101 mins | Drama, Romance | 15 October 1993
Cast:
Jeremy Irons, John Lone, Barbara Sukowa [ More ]Director:
David CronenbergWriter:
David Henry HwangProducer:
Gabriella MartinelliCinematographer:
Peter SuschitzkyEditor:
Ronald SandersProduction Designer:
Carol SpierProduction Companies:
M. Butterfly Productions, Geffen Pictures
Following the successful Broadway debut of M. Butterfly, the 20 Apr 1988 LAHExam reported that filmmakers Warren Beatty, David Brown, Milos Forman, and Samuel Goldwyn, Jr. all expressed interest in producing a film version. The 9 Jun 1988 DV also named Roman Polanski among the interested parties. However, production notes in AMPAS library files stated that stage producer David Geffen obtained rights through his company, Geffen Pictures, which had an existing production deal with Warner Bros. Pictures. Adapting his play for his feature screenwriting debut, Hwang completed the first draft of the script in late 1990. Once David Cronenberg joined the project as director, Hwang made edits that shifted focus from the politics of the story to the relationship between the lead characters.
M. Butterfly reunited Cronenberg with actor Jeremy Irons, who previously starred in the director’s 1988 picture, Dead Ringers (see entry). More than sixty men tested for the character of “Song Liling,” which according to the 31 Jan 1992 HR, included Alec Mapa, who acted opposite Philip Anglim in the Los Angeles, CA, and national touring productions of the play. Although Mapa was set to meet with Cronenberg in early Feb 1992 to discuss the possibility of reprising his role onscreen, former Beijing Opera performer and actor John Lone was cast instead.
Due to political unrest in mainland China, filmmakers spent six months negotiating permission to film in the country while concurrently preparing backup locations in the Special Administrative Region of Macao. Although the 28 Apr 1992 HR production chart listed a start date of 24 Aug 1992, the 17 Nov 1992 ...
Following the successful Broadway debut of M. Butterfly, the 20 Apr 1988 LAHExam reported that filmmakers Warren Beatty, David Brown, Milos Forman, and Samuel Goldwyn, Jr. all expressed interest in producing a film version. The 9 Jun 1988 DV also named Roman Polanski among the interested parties. However, production notes in AMPAS library files stated that stage producer David Geffen obtained rights through his company, Geffen Pictures, which had an existing production deal with Warner Bros. Pictures. Adapting his play for his feature screenwriting debut, Hwang completed the first draft of the script in late 1990. Once David Cronenberg joined the project as director, Hwang made edits that shifted focus from the politics of the story to the relationship between the lead characters.
M. Butterfly reunited Cronenberg with actor Jeremy Irons, who previously starred in the director’s 1988 picture, Dead Ringers (see entry). More than sixty men tested for the character of “Song Liling,” which according to the 31 Jan 1992 HR, included Alec Mapa, who acted opposite Philip Anglim in the Los Angeles, CA, and national touring productions of the play. Although Mapa was set to meet with Cronenberg in early Feb 1992 to discuss the possibility of reprising his role onscreen, former Beijing Opera performer and actor John Lone was cast instead.
Due to political unrest in mainland China, filmmakers spent six months negotiating permission to film in the country while concurrently preparing backup locations in the Special Administrative Region of Macao. Although the 28 Apr 1992 HR production chart listed a start date of 24 Aug 1992, the 17 Nov 1992 HR confirmed principal photography began 10 Sep 1992. Locations in Beijing, China, included the Qingle Theatre, the Moon Arch Bridge on Houhai Lake, and the Great Wall of China. For exterior scenes, 400 background actors rode bicycles and wore Zhongshan, or “Mao,” suits specially made in China for the film. Filmmakers also purchased a local man’s pedicab and sent it back to Toronto, Canada, where filming continued for an additional ten weeks. Production took place at an outdoor gravel pit, an unnamed studio soundstage, and inside the city’s Don Jail. Former Chinese Red Guards living in Toronto were hired to paint authentic propaganda banners and signs, while more than 500 members of the Chinese community were included in various scenes. The crew then moved to Budapest, Hungary, for filming at the Hungarian State Opera House, the Budapest City Hall Council Room, and a minimum security prison on the Slovakian border. Principal photography concluded in Paris, France.
According to the 29 Apr 1992 DV, David Geffen planned to leave the entertainment business following the completion of production on M. Butterfly and Interview with the Vampire (1994, see entry). Instead, Geffen closed his production company to co-found DreamWorks SKG with Steven Spielberg in 1994.
The 12 Jul 1993 HR stated that M. Butterfly contained “the industry’s first completely digital feature film main title sequence,” created by Syzygy Digital Cinema, a division of Balsmeyer & Everett title design company.
A 14 Sep 1993 HR article noted that the film received a mixed reception following its 9 Sep 1993 world premiere at Toronto’s Festival of Festivals. Theatrical release in Toronto, New York City, and Los Angeles was planned for 1 Oct 1993, with additional openings to follow on 8 and 15 Oct 1993. As reported by the 24 May 1994 LADN, actor John Lone was displeased with the final cut of the film, which allegedly removed twenty minutes of footage, including an extended version of the scene when “René Gallimard” first sees Lone’s character performing onstage. Reviews were generally negative, with several critics suggesting the reveal of Liling’s gender identity was made less effective after a similar storyline was depicted in the popular 1992 British film, The Crying Game.
Opening credits are followed by the statement: “This film is based on a true story.” End credits note that David Henry Hwang’s original 1988 stage play, M. Butterfly, was “Produced on the stage by Stuart Ostrow and David Geffen and directed by John Dexter.” A dedication misspells the name of Geffen Pictures President David Bombyk, reading, “In memory of David Bombyck.”
René Gallimard, an accountant working at the French Embassy in 1964, Beijing, China, attends a recital featuring excerpts from Giacomo Puccini’s Madama Butterfly. Although he is unfamiliar with the opera, he is enraptured by the story of a Japanese woman falling in love with an American sailor, and afterward approaches the lead singer, Song Liling, to compliment her performance. Song is not surprised by René’s connection to the story, and accuses him of fantasizing about the imperialist romance between a white man and an "Oriental" woman. René interprets the diva’s criticism as arrogance, but follows her advice to educate himself by attending her traditional Chinese song, dance, and acrobatic show at the Beijing Opera. Keeping his growing interest in Song a secret from his wife, René returns to the singer’s house and kisses her, seemingly unaware that female roles in Chinese opera are always played by men. At work, René’s colleagues scorn him for refusing to approve their expenditures on prostitutes, causing him to reevaluate his own infidelity and cut off all communication with Song for several weeks. René is praised for his vigilance and promoted to vice consul. René returns to Song’s house to share the news and asks her, “Are you my Butterfly?” She assents, but confesses she is a virgin and insists she retain her modesty by remaining clothed as she performs oral sex on him. René and French Ambassador Toulon begin providing intelligence to the American government, believing they will be able to coerce Vietnam into submission. As a secret spy for the People’s Republic of China, Song leads René to believe she is deeply ...
René Gallimard, an accountant working at the French Embassy in 1964, Beijing, China, attends a recital featuring excerpts from Giacomo Puccini’s Madama Butterfly. Although he is unfamiliar with the opera, he is enraptured by the story of a Japanese woman falling in love with an American sailor, and afterward approaches the lead singer, Song Liling, to compliment her performance. Song is not surprised by René’s connection to the story, and accuses him of fantasizing about the imperialist romance between a white man and an "Oriental" woman. René interprets the diva’s criticism as arrogance, but follows her advice to educate himself by attending her traditional Chinese song, dance, and acrobatic show at the Beijing Opera. Keeping his growing interest in Song a secret from his wife, René returns to the singer’s house and kisses her, seemingly unaware that female roles in Chinese opera are always played by men. At work, René’s colleagues scorn him for refusing to approve their expenditures on prostitutes, causing him to reevaluate his own infidelity and cut off all communication with Song for several weeks. René is praised for his vigilance and promoted to vice consul. René returns to Song’s house to share the news and asks her, “Are you my Butterfly?” She assents, but confesses she is a virgin and insists she retain her modesty by remaining clothed as she performs oral sex on him. René and French Ambassador Toulon begin providing intelligence to the American government, believing they will be able to coerce Vietnam into submission. As a secret spy for the People’s Republic of China, Song leads René to believe she is deeply fascinated by Western culture, but reports her lover’s knowledge of American war strategy to Comrade Chin. After engaging in a tryst with an emotionally unavailable woman named Frau Baden, René drunkenly visits Song and orders her to take off her clothes. When René begins to move his hands under her gown, she distracts him by confessing she is pregnant. Claiming she will carry and deliver the child in her parents’ village and return once the baby is three months old, she reports to Comrade Chin and insists she be provided with an infant to maintain the charade. As Chinese Communist Party Chairman Mao Zedong’s Red Guard moves to eject all diplomatic figures from China, Ambassador Toulon begins to doubt René’s judgment, suggesting he was misguided to think the Vietnamese would be susceptible to Western influence. When Song returns with a baby boy, René begs her to marry him and leave China. She refuses, noting that the Red Guard has declared all artists criminal enemies of the Communist revolution, and she will be arrested and sent away to a work camp. By 1968, René has divorced his wife and returned to Paris, France, where he lives alone in a small apartment decorated in Chinese fashion. After René attends a performance of Madama Butterfly one evening, Song appears on his doorstep, and they resume their relationship. Since moving back to Europe, René has lost his high-level contacts within the French government, and Song encourages him to get a job as a courier carrying sensitive documents, claiming that passing information to the Chinese is the only way they will be able to see their son again. Two years later, René is tried for treason, and Song is revealed as a man, dressed in a Western suit and tie. Song declares that he is unsure if René ever knew his true gender. Inside an armored van on the way to prison, Song removes his clothes. René reacts with disgust and rejects his former lover, declaring he “wasted” all those years on a man. As Song boards an airplane returning to China, René stages a performance for his fellow prison inmates, applying Beijing Opera makeup to his face and calling himself “Madame Butterfly,” before using the edge of his mirror to slit his own throat.
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