The portrait, personality, and soul of President Ho Chi Minh, the beloved leader of the Vietnamese nation, have been portrayed in various art forms. In revolutionary cinema, especially in feature films, the image of this great man, while not yet extensively depicted or marked by major breakthroughs, has achieved initial successes, leaving a deep impression on audiences. In the context of a film industry still facing many difficulties and shortcomings like ours, the initial successes of feature films about President Ho Chi Minh to date are, in our opinion, highly commendable.
First and foremost, it must be stated that portraying a leader who spent over half a century dedicated to the Vietnamese revolution, a person whose life was intertwined with "reality" and "myth," in a truthful manner, is difficult in other art forms, and even more so in cinema. This is simply because cinema is an art form closely tied to life. Its realism and closeness to life are among its most important characteristics. Unlike some other art forms, when watching a film, whether documentary or fiction, the audience always feels as if they are interacting with real people and real life, just as it is happening in real life. While Ho Chi Minh, as we mentioned above, was not only an ordinary citizen but also a president, an exceptionally special person, convincingly recreating his personality and soul is a significant challenge for fictional art forms (such as films). However, overcoming these challenges, within just two decades, from 1990 to 2010, Vietnamese revolutionary cinema produced quite realistic and vivid films portraying the image of President Ho Chi Minh, leaving a positive impression on many generations of viewers both domestically and internationally.
Between 1990 and 2010, revolutionary Vietnamese cinema produced five feature films about Nguyen Ai Quoc – Ho Chi Minh. These films are:See you again, Saigon!(1990, director: Long Vân, screenplay: Sơn Tùng)Nguyen Ai Quoc in Hong Kong(2003, Directors: Nguyen Khac Loi, Vien The Ky, Script: Nguyen Huu Mai)Hanoi in the winter of 1946(1997, director: Dang Nhat Minh, screenplay: Dang Nhat Minh, Hoang Nhuan Cam)Crossing the Shanghai waterfront(2010, directed by Trieu Tuan, Pham Dong Vu, screenplay by Ha Pham Phu, Le Ngoc Minh, Gia Phi)Looking out at the sea(2010, director: Vu Chau, screenplay: Nguyen Thi Hong Ngat). Although not entirely comprehensive and groundbreaking, the films above have relatively systematically depicted the process of personality formation and revolutionary career of Nguyen Ai Quoc – Ho Chi Minh from his youth as a patriotic young man to becoming the President of the Democratic Republic of Vietnam, leading the Vietnamese people to victory in the resistance war against France.
From a chronological perspective, the five aforementioned films, although released at different times, still form a coherent whole if rearranged.chronicleThese five works provide a fairly complete account of President Ho Chi Minh's life, from his childhood to the winter of 1946 (when he became president). Among them,Looking out at the sea(The most recently made film) portrays President Ho Chi Minh (played by actor Minh Duc) at his earliest stage, when he was still a high school student, not yet widely known.
The film is set in Hue and several central provinces during the period when Nguyen Tat Thanh studied at Hue National School and later as a teacher at Duc Thanh School in Phan Thiet. This was between 1908 and 1911. This extremely short period, however, was extremely important in Nguyen Tat Thanh's life. It was during this time that his patriotic feelings and awareness of the nation's destiny were formed and clearly affirmed. It will contribute to understanding the entire character and soul of Ho Chi Minh – a man who dared to sacrifice his personal happiness for national independence and the happiness of the people (later on). The filmmakers' choice of time and setting highlights the character of a leader wholeheartedly devoted to his people and country.Looking out at the seaIn our opinion, that is perfectly reasonable.
With this choice, the filmmakers' overarching perspective clearly shows that, even from a young age, Nguyen Tat Thanh's understanding of the nation, the people, and the country's circumstances was mature and exceptional. Due to the relatively distant setting and the scarcity and limited factual documentation surrounding Nguyen Tat Thanh's life during this period, the filmmakers themselves...Looking out at the seaIt had to rely primarily on one's imagination. Screenwriter Nguyen Thi Hong Ngat, despite having extensive experience making films about President Ho Chi Minh, admitted that when she received the scriptwriting project, she had little to offer except for some letters she had seen at the Ho Chi Minh Museum and a few brief meetings with writer Son Tung, a person who was very knowledgeable about President Ho Chi Minh. Therefore, theA slice of realityThe only thing she could rely on was the period when Nguyen Tat Thanh taught at Duc Thanh School in Phan Thiet province. From that precious historical milestone, director Vu Chau and the film crew "fleshed" the story into flesh and blood.Looking out at the seaThis is about the patriotic young man Ho Chi Minh. Some other details, such as his participation in and assistance to farmers and small traders in protests against the French colonialists' heavy taxes while studying in Hue, his connections with patriotic intellectuals while teaching at Duc Thanh school, the love affair with the daughter of the fish sauce factory owner, and the choice between personal feelings and the common cause of the patriotic young man Nguyen Tat Thanh… are all fictional and imagined by the authors. What is particularly important here is that all the fiction and imagination in the film about the image of Uncle Ho are based on reality. It is thanks to these plausible fictional details that the film succeeds.Looking out at the seaIt has left many lasting impressions and emotions on viewers, creating truly effective artistic results…
See you again, Saigon!It is a film that continues the story.Looking out at the seaIn terms of timing, however, among the five works about Uncle Ho, this is the earliest film to be made. IfLooking out at the seaBuilding the image of President Ho Chi Minh from his childhood, when he was still a high school student,See you again, Saigon!The project began a little later, when he was already a mature young man, capable of making his own decisions about important matters in life. The biggest challenge for the filmmakers when embarking on this project was the weakness and lack of resources in Vietnam's film industry at that time. Even then, Vietnamese cinema had not produced a single fictional film about Nguyen Ai Quoc – Ho Chi Minh (while world cinema had already produced many outstanding films about the lives of Lenin, Indira Gandhi, etc.). Furthermore, other art forms (such as painting, music, literature, etc.), or documentary films, had already produced successful works about him very early on. Feature films, however, had a significant advantage in portraying the character's image. The determination of the film crew, especially the Saigon City Party Committee, the city honored to bear his name on the occasion of the 100th anniversary of Ho Chi Minh's birth, was immense. Shortly after, the project was officially launched: writer Son Tung wrote the script, Long Van directed, and actor Tien Hoi played Nguyen Tat Thanh. The film recounts the years Uncle Ho and his family lived and studied in Hue from 1895 to 1909, after which he went to Phan Thiet to teach and from there found his way to France to engage in revolutionary activities. Regarding the film's story,See you again, Saigon!There are several scenarios for meeting withLooking out at the seaThis was inevitable, as both films focused on portraying a very important moment in the revolutionary life of President Ho Chi Minh. Although the budget for a film in those years was extremely limited (even the screenwriter, director, and cinematographer did not receive any remuneration – a commendable gesture showing admiration and a desire to create the image of a great man), this film is considered the most successful in both realistic and fictional aspects in building the image of President Ho Chi Minh. In terms of realism, it is similar...Looking out at the seaHistorical events recorded in historical books during this period are few and far between. Filmmakers had to mobilize all their talent, imagination, and knowledge to portray the image of Nguyen Tat Thanh in his youth as realistically as possible. This is also considered an advantage of the feature film format. Even when recreating a historical figure as familiar and famous as Ho Chi Minh, without sufficient talent and caution, the artist can easily turn fiction into a double-edged sword. It will lose the authenticity and persuasiveness of the character. Fortunately, the film crew...See you again, Saigon!They did not fall into this trap. Based on the "essence of reality," the filmmakers fictionalized just enough so that viewers would still retain a genuine impression of President Ho Chi Minh. Realism was always ensured. This included Ho Chi Minh's will for national independence and his "patriotic feelings." Every action, word, gesture, and thought of Nguyen Tat Thanh was based on this axis of reality. For example, regarding his appearance, his intelligence was expressed through his "bright" eyes, which actor Tien Hoi successfully portrayed through his efforts; or, his thin, lanky appearance, due to his constant worry about the people and the country, was also well-represented by the actor (Tien Hoi confided that this was his first film role about Ho Chi Minh, and to achieve maximum artistic effect, he had to undergo a lot of rigorous training). The scene before his departure, where Nguyen Tat Thanh visits the grave of his beloved mother, shows the depth of his affection; or the fictional scene of a family meal with Ut Van (Nguyen Tat Thanh's lover) and the suggestion from Mr. Tu Don (Ut Van's father) to arrange a marriage between his daughter and the young man, and Nguyen Tat Thanh's subtle and clever reply, "My work cannot end here" (before he leaves to find a way to save the country), perfectly aligns with the logic of the soul and character of a patriotic young man of that time. This can be considered one of the films that achieves a harmonious and seamless blend of reality and fiction in portraying the image of President Ho Chi Minh.
Continuing chronologically from Ho Chi Minh's revolutionary career, these two films...Nguyen Ai Quoc in Hong KongandCrossing the Shanghai waterfrontProduced by the Writers' Association Film Studio, in collaboration with Chinese cinema, these films, despite being produced at different times, share many similarities in terms of setting and storyline timeline. Compared to the first two films,Nguyen Ai Quoc in Hong KongandCrossing the Shanghai waterfrontThere are more advantages in both recreating realistic and fictional portrayals surrounding the image of President Ho Chi Minh. With the first film...Nguyen Ai Quoc in Hong Kong(Actor Tran Luc plays Uncle Ho), that was the historic trial of Nguyen Ai Quoc (under the name Tong Van So) in Hong Kong in 1931. The second film,Crossing the Shanghai waterfront(played by actor Minh Hai), this is the escape of Nguyen Ai Quoc from Xiamen, through Shanghai and finally to the Sino-Soviet international border crossing, before he boarded a ship to the Soviet Union (formerly). The film also features a rich network of real historical figures as a backdrop for the central character, such as Madame Soong Ching-ling, revolutionary Nguyen Luong Bang, writer Cao Ngu, and famous French journalist Paul Vaillant Couturier. Adhering to this factual narrative as the central storyline, it depicts Nguyen Ai Quoc's "escape" from Shanghai in late 1933 and early 1934. It is not entirely the same as the two films above.Looking out at the seaandSee you again, Saigon!Although the film recreates a more distant context regarding Nguyen Ai Quoc – Ho Chi Minh, it is set in Vietnam, at a time when Uncle Ho was not yet famous. Therefore, the fictional portrayal of this character faced fewer public objections from viewers, even if the film wasn't entirely convincing.Nguyen Ai Quoc in Hong KongandCrossing the Upper Wharf SeaUnlike the previous films, which are set abroad at a time when the main character is already well-known and has spent many years in revolutionary activity, the challenge for the filmmakers is how to recreate his portrait, balancing reality and fiction to create authenticity and convince viewers both domestically and internationally. Because both films are set against the backdrop of a real event in Ho Chi Minh's life: the trial in Hong Kong in 1931 and his spectacular escape from Shanghai to the Soviet Union in late 1933 and early 1934, the two film crews faced significant difficulties.Nguyen Ai Quoc in Hong KongandCrossing the Shanghai waterfrontIt is necessary to create something different so that viewers do not feel the "poor repetition" of realistic details hindering the artist's imagination.
With the filmNguyen Ai Quoc in Hong KongDirector Nguyen Khac Loi focused on two truly compelling and historically significant situations: the Nguyen Ai Quoc case (fabricated by the British government) and the rescue of Ho Chi Minh by Chinese communists. The second situation was also based on a real event: the nine trials of Nguyen Ai Quoc, the insidious plot of French secret agents, and the sincere assistance of the British lawyer Loseby. Importantly, against the backdrop of these two core events, the filmmakers recreated the image of Ho Chi Minh with all the personality traits and soul that remain consistent in the minds of all Vietnamese people. He was a man of fervent patriotism, ready to sacrifice all the pleasures of life for the cause of national liberation. He was also a man who loved life and people, incredibly great yet also remarkably ordinary. Despite being a political drama with a relatively consistent theme, the film feels very fast-paced. Every image and frame is meticulously crafted and sharp, and the characters' dialogue is extremely witty, giving viewers the feeling that this is an action film. Actor Tran Luc successfully portrayed these characteristics in his role. A consistent detail that highlights the intellectual brilliance of President Ho Chi Minh, as portrayed by Tran Luc, is a continuation of Tien Hoi's performance in the film.See you again, Saigon!More than thirteen years ago: those were the keen eyes, the "essence" of a person who remained calm and composed in any circumstance. Because the main theme was political drama, the fictional elements of...Nguyen Ai Quoc in Hong KongAlthough not very extensive (compared to other films on the same subject), thanks to the skillful performance of actor Tran Luc, viewers can still feel a beautiful glimpse into the life of the patriotic young man Nguyen Ai Quoc.
Crossing the Shanghai waterfrontThis film continues the journey from Hong Kong to Xiamen, through Shanghai, and from there to the Soviet Union (formerly), beginning a new chapter in President Ho Chi Minh's life. It's slightly different from...Nguyen Ai Quoc in Hong KongWhile heavily focused on political commentary, this film gives the authors more room for fiction and imagination. The film therefore has more nuances. Viewers can find them in...Crossing the Shanghai waterfrontA blend of many genres: historical drama, social drama, action-thriller... The film's story is thus less monotonous, dry, and one-sided than typical political dramas. To avoid being hunted by French secret agents and Chiang Kai-shek's government, Nguyen Ai Quoc and his bodyguard named Ho (a fictional character) take refuge in the mansion of a kind-hearted wealthy Chinese man in Xiamen (this fictional detail is necessary to show Ho Chi Minh's connection with the international communist movement during his time abroad). Another fictional detail worth mentioning is the relationship between the female doctor Phuong Thao (from Hoi An) and her long-lost older brother, Ngu Lang, with Nguyen Ai Quoc while he was hiding from French secret agents and Chiang Kai-shek's government in Xiamen. Through the character of Phuong Thao, the film director wants to convey the boundless affection of Vietnamese expatriates for President Ho Chi Minh. By fictionalizing Phuong Thao's character, the filmmakers also intend to create a one-sided love (from Phuong Thao's perspective), thereby "normalizing" the image of Uncle Ho (as well as the details of the 11 children, the children of Annamese martyrs, and the detail of the assassin Ngu Lang, Phuong Thao's older brother), so that viewers always feel that this great man was, in fact, an extremely ordinary person, like all other ordinary Vietnamese people. It can be said that the boundary between reality and fiction in the film is blurred.Crossing the Shanghai waterfrontIt's extremely fragile. But we believe this is essential for a feature film, especially one on a historical theme. To succeed with a fictional film about a historical topic, such as one about President Ho Chi Minh, we want to affirm that it belongs only to artists who "dare to be creative."
It was done almost earliest (right afterSee you again, Saigon!) in a series of five feature films about President Ho Chi Minh,Hanoi in the winter of 1946(Actor Tiến Hợi plays President Ho Chi Minh) recreates the most recent real-life setting, up to the present time. The film is titled...Hanoi in the winter of 1946However, the central event remains a crucial moment in the life of President Ho Chi Minh. It was the time when he led the Vietnamese people to complete the August Revolution in 1945, shortly after, in the winter of 1946, when the newly established, young Vietnam faced the threat of French colonial invasion. Because the film's historical context is closer to that of other films on the same subject, it also has the most advantages in exploring and building the image of President Ho Chi Minh. To create this setting, the filmmakers...Hanoi in the winter of 1946There weren't many difficulties, as factual information from this period was readily available in many history textbooks and other documents. At the end of 1946, despite all efforts, negotiations between Ho Chi Minh and the French government at the Fontainebleau Conference had failed. To gain time to build up forces and prepare for a long-term, all-encompassing resistance war, Ho Chi Minh was forced to sign a truce agreement with France. This was an extremely difficult moment for the Vietnamese state and for President Ho Chi Minh personally. Around this intense battle of wits, the image of the leader of the young Vietnamese nation was vividly and prominently portrayed by director Dang Nhat Minh. “We want peace, we must make concessions, but the more concessions we make, the more the French colonialists advance because they are determined to seize our country once again,” “We would rather sacrifice everything than lose our country, than be enslaved” (these resolute words of Ho Chi Minh had previously resonated before he led our people in the great August Revolution: “Even if we have to burn down the entire Truong Son mountain range, we must win independence”; “Nothing is more precious than independence and freedom”). With these intentions in mind, to highlight Ho Chi Minh's character, director Dang Nhat Minh mainly focuses on his domestic and foreign activities during this particularly important moment. All the relationships between him and other characters will also contribute to clarifying his soul and personality. Regarding domestic affairs, Uncle Ho had to both persuade all segments of the population, especially those who did not fully understand the difficult circumstances he faced in signing the ceasefire agreement, to avoid unnecessary losses, while simultaneously demonstrating the resolute stance of the country's leader and affirming national independence. Many scenes depict real events of the Vietnamese revolution during this critical period. Regarding foreign affairs, the flexible diplomatic activities, both resolute and adaptable, affirm Uncle Ho's vision and wisdom during these historically decisive moments. The interwoven details of reality and fiction make it difficult for viewers to distinguish, but they serve to highlight the serene and composed demeanor of Ho Chi Minh. It's hard to imagine that, even during a time of national crisis, the head of state maintained such composure, ease, and an unexpectedly "ordinary" demeanor: receiving the French High Commissioner Saiteny from his sickbed at the Presidential Palace in Northern Vietnam, conversing naturally, even humorously, with the painter Han at a time when he was overwhelmed with worry and anxiety about the nation's fate, showing concern for the private life of lawyer Lam, inquiring about his wife and children, and agreeing to allow the child of a servant to accompany him to Viet Bac after Hanoi's scorched-earth resistance... This can also be considered a political film that most clearly portrays the character of President Ho Chi Minh throughout almost his entire life. We can find this particular style in the film "Nguyen Ai Quoc in Hong Kong." In this case, we see that the element of realism somewhat outweighs fiction. And that is also an encouraging direction in historical films.
It is difficult to fully and comprehensively analyze the relationship between fictional and real elements in the construction of the image of Nguyen Ai Quoc – Ho Chi Minh, even through just a few Vietnamese revolutionary films. Because, as we mentioned above, a great man always has a blend of fictional and real elements.the realityandthe legendRecreating the beauty of President Ho Chi Minh's soul, character, and emotions in a realistic and convincing way is no easy task. We completely agree with the opinion of actor Tran Luc, who played President Ho Chi Minh in the film.Nguyen Ai Quoc in Hong KongThat, making a film about President Ho Chi Minh, regardless of the circumstances, presents many difficulties because "the details of external conflicts and confrontations involving the character are very few. We are committed to portraying him in a way that truly captures the personality of a great yet humble man." Furthermore, making a film about a real historical figure who is already very familiar and beloved by many people is an even greater challenge. Due to the scope and requirements of this article, we do not have the opportunity to analyze this issue in detail, nor can we delve into some other artistic techniques specific to cinema (images, sound, acting, etc.), especially in the feature film genre. This would require a more extensive research project. To conclude this article, we only wish to add one more point: making a film about a great figure like Ho Chi Minh may be difficult, but difficult does not mean impossible, and certainly cannot be left undone. For a man who sacrificed his entire life for national independence and the happiness of the people like President Ho Chi Minh, no amount of work can ever be enough. That is a "debt" of responsibility for the Vietnamese film industry in general, and for the artists of the seventh art in particular.