88 Years Later, China’s First Horror Movie Is Still 1 of the Most Perfect Adaptations Ever (& It’s Mandatory Viewing for Film Buffs)

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Gaston Leroux’s Phantom of the Opera, a classic horror story from the 19th century, has held audiences spellbound since the dawn of cinema. There have been countless adaptations of this influential horror movie, and China’s 1937 film by Ma-Xu Weibang, which premiered at a delicate moment in the country’s history, is no exception to this trend.

Five months following its debut, Japanese aggression ignited what would eventually expand into World War II’s Eastern front. This prolonged struggle took countless lives and ushered in stringent wartime censorship regulations. Generally acknowledged as China’s first horror movie, Song at Midnight faced challenges due to worldwide events. The production company, Weibang, had to make extensive modifications to the film to align with changing cinematic norms. These alterations allowed the film to weather political upheaval and quickly gain popularity.

Ma-Xu Weibang’s Song at Midnight is a Must Watch for Film Buffs

Song at Midnight Is Also the First Feature-Length Phantom of the Opera Adaptation to Feature Sound

  • The film’s elaborate marketing campaigns attracted plenty of attention. One promotion placed live-sized coffins, complete with the Phantom’s body, outside participating movie theaters.

In the same vein as many horror movies, the story of “Song at Midnight” unfolds under a gloomy, storm-lashed night. The narrative centers around the endeavors of the itinerant Angel Theater Troupe aiming to perform “Romance of the Yellow River”. The shabby theater often attracts its previous artists, including the stereotypical ominous caretaker, Old Zhang (Wang Weiyi). Predictably, the artists find themselves entangled in a series of enigmatic happenings. Not only is the theater rundown and deteriorating, but it appears to be haunted as well.

Despite the eerie occurrences that have been causing trouble for Angel Theater Troupe during their clean-up process, rehearsals finally kick off. Yet, there’s another twist: The main actor, Sun Xiao’ou (Chao Shi), appears to be struggling with his role. As he rehearses the play’s key song, he notices a second voice harmonizing with his own. This mysterious singer is none other than Song Danping (Shan Jin), an acclaimed actor once thought to have passed away.

The intricate mysteries within the movie gradually weave together, creating a harmonious tapestry where each tale remains unique yet connected. Over time, these strands come together, culminating in a tidy knot at the film’s end – a cinematic marvel often referred to as a masterpiece with lasting charm. Yet, careful viewers may discern subtle similarities between this story and another familiar narrative.

Song at Midnight Is a Novel & Terrifying Adaptation of an Old Tale

Movie Theaters Didn’t Allow Anyone Below 6 to Watch the Film

  • Despite heavy editing, the film’s heavily redacted political undertones helped it gain more fans. Many viewers were attracted to its inherently revolutionary premise.
  • The film’s marketing team capitalized on a rumor that its spooky marketing scared a child to death.

Connecting “Song at Midnight” and “Phantom of the Opera” requires minimal effort due to their shared themes and character traits. Both movies center around similar plots involving romance and a disfigured musical prodigy. Director Ma-Xu Weibang openly acknowledged these parallels, even drawing inspiration from them. Yet, there are nuanced differences that make Weibang’s adaptation distinct in its interpretation.

As a supporter, I acknowledge that, being a Chinese film, there’s an inherent cultural shift. The grandeur of Palais Garnier and its intricate sewer system is replaced by the dimly lit, narrow corridors of an ancient Chinese theater. The narrative also mirrors current political tensions, resonating with many modern leftists in its subplot. Lastly, there are certain “ease-of-production” edits that have been made.

The alterations in question are not strictly linked to sociopolitical motives but rather stem from the movie’s storyline. There is no contemporary competition involved, thus it’s removed. The squabbling theater managers also disappear with the closure of the theater. Contrarily, the eerie caretaker remains a constant feature.

A Story Twist That Quietly Influenced Cinema Years Later

Song at Midnight Became a Massive Financial Success.

  • A sequel debuted in 1942. China has also remade the film multiple times. A 1995 revival, The Phantom Lover, cast pop singer Leslie Cheung in the leading role. It has also spawned television shows and serials.
  • Thanks to its genius marketing, the film easily ranked among China’s most successful films of the year and has since been hailed as one of the nation’s best works.

In the numerous alterations made to it, one particular adjustment stirred up waves in the realm of horror films. Unlike Gaston Leroux’s original story and Lon Chaney’s 1925 adaptation where the ghostly singer is born with a facial deformity, the movie “Song at Midnight” presents a distinct twist; Song Danping’s face in this version remains undistorted. This modification could be seen as an unexpected departure for fans who closely follow the numerous adaptations of Leroux’s tale, as it resembles a recurring and somewhat predictable narrative change. After all, various adaptations, even Universal’s ’40s revival film, have adopted this concept before.

The story had to begin at some point, and “Song at Midnight” is where it all began. While Arthur Lubin’s 1943 version of “Phantom of the Opera” was the first Western interpretation to explore the theme of involuntary disfigurement, it seems likely that this concept was inspired by Ma-Xu Weibang’s film. In fact, Universal’s second “Phantom of the Opera” shares many similarities with China’s adaptation, particularly in its portrayal of contrasting past and present experiences.

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2025-06-05 04:20