The simple story of Happy Times overlays an interesting commentary on China's government, society, and future.
The first act of film creates the characters, their relationships, and the overall situation, to set up the political allegory that plays out in the final two acts. The story unfolds that retired/laid-off Old Zhao must take care of the young blind girl, Wu Ying. Through a series of lies, Zhao has put himself in a situation where, although he is retired and poor, Wu Ying believes he owns a successful hotel. He offers to give her a job in the hotel's massage room. (This is not a front for prostitution. In China, "blind man massage" is available in most cities.)
He uses the factory where he worked - which is shut down but not yet abandoned - and the help of his former workmates, to create a fake massage room and fake customers. Zhao also provides the money to pay Ying for massages, until the crew hits upon the idea of using fake money.
In the old China, the state guaranteed jobs for everyone. The patriarchal and authoritarian government wanted to show off their glorious communist system, and how well it worked (compared to the decadent capitalists, with their unemployment problems). The government could always print more money, to pay these workers.
The allegory is clear: Zhao represents the "state" - and its well-intentioned "make work" projects. The pride of Zhao (and his chances with his fiancee) is at stake, and he struggles to maintain the charade. As well, he finds that he cares for and is concerned about his charge, Ying.
In the end, two things happen independently: Zhao finds that he cannot sustain the masquerade - he is running out of money and resources (and gets into a situation where it is impossible for him to continue, and, indeed, might put Ying in desperate jeopardy); and Ying, who cottoned on to the charade long ago, decides to take responsibility for herself, and seek her own fortune.
In the same way, China's government realized it could not continue along its Maoist path, and its citizens (or at least some of them) were eager to be responsible for themselves, rather than relying on their government. A new path for China's people has opened, with greater responsibility and greater opportunity.
The film's ending brings mixed emotions: we are concerned for Ying, who must begin coping with the world with no help (at her own choice, although circumstances would force this choice, anyhow); at the same time, we are optimistic for her future possibilities; and we are sad that the relationship of Zhao and Ying has ended.
It is a tribute to director Zhang Yimou, Zhao Benshao (Zhao), and Dong Jie (Wu Ying) that the story and characters are touching, regardless of the underlying allegory. The movie plays well as the delicate and simple story of two people brought together by funny circumstances and human nature.
The first act of film creates the characters, their relationships, and the overall situation, to set up the political allegory that plays out in the final two acts. The story unfolds that retired/laid-off Old Zhao must take care of the young blind girl, Wu Ying. Through a series of lies, Zhao has put himself in a situation where, although he is retired and poor, Wu Ying believes he owns a successful hotel. He offers to give her a job in the hotel's massage room. (This is not a front for prostitution. In China, "blind man massage" is available in most cities.)
He uses the factory where he worked - which is shut down but not yet abandoned - and the help of his former workmates, to create a fake massage room and fake customers. Zhao also provides the money to pay Ying for massages, until the crew hits upon the idea of using fake money.
In the old China, the state guaranteed jobs for everyone. The patriarchal and authoritarian government wanted to show off their glorious communist system, and how well it worked (compared to the decadent capitalists, with their unemployment problems). The government could always print more money, to pay these workers.
The allegory is clear: Zhao represents the "state" - and its well-intentioned "make work" projects. The pride of Zhao (and his chances with his fiancee) is at stake, and he struggles to maintain the charade. As well, he finds that he cares for and is concerned about his charge, Ying.
In the end, two things happen independently: Zhao finds that he cannot sustain the masquerade - he is running out of money and resources (and gets into a situation where it is impossible for him to continue, and, indeed, might put Ying in desperate jeopardy); and Ying, who cottoned on to the charade long ago, decides to take responsibility for herself, and seek her own fortune.
In the same way, China's government realized it could not continue along its Maoist path, and its citizens (or at least some of them) were eager to be responsible for themselves, rather than relying on their government. A new path for China's people has opened, with greater responsibility and greater opportunity.
The film's ending brings mixed emotions: we are concerned for Ying, who must begin coping with the world with no help (at her own choice, although circumstances would force this choice, anyhow); at the same time, we are optimistic for her future possibilities; and we are sad that the relationship of Zhao and Ying has ended.
It is a tribute to director Zhang Yimou, Zhao Benshao (Zhao), and Dong Jie (Wu Ying) that the story and characters are touching, regardless of the underlying allegory. The movie plays well as the delicate and simple story of two people brought together by funny circumstances and human nature.