Similar to Fang Zhenzhu, in this movie, the stage name of the performer, i.e. the protagonist, is used for the title of the movie.
Like Fang Zhenzhu (1952), this movie is also a masterpiece of cultural introspection and under the cover of World War II, the director carefully disguise the criticism of the dross of the traditional Confucian teachings which discriminates against performers. This cautious approach saved the movie from the certain banning, just like the way Fang Zhenzhu (1952) had succeeded.
Like Fang Zhenzhu (1952), this movie is also a masterpiece of cultural introspection and under the cover of World War II, the director carefully disguise the criticism of the dross of the traditional Confucian teachings which discriminates against performers. This cautious approach saved the movie from the certain banning, just like the way Fang Zhenzhu (1952) had succeeded.