“The Impact of ‘The Pig, the Snake, and the Pigeon’: A Glimpse into Chinese Culture for the Global Audience”
Directed by Wong Ching-Po, the Taiwanese film “The Pig, The Snake, and The Pigeon” (Zhou Chu Chu San Hai) achieved remarkable success in China within just two weeks of its release in March, securing a leading position at the box office. The movie has attracted over ten million viewers, with its revenue exceeding 400 million yuan, and has made it into the top 10 of Netflix’s non-English language films globally.
This film’s narrative follows the story of a Taipei gangster hitman, portrayed by Ethan Juan, who decides to eliminate two high-profile criminals to “leave a legacy” after being diagnosed with terminal lung cancer, leading to a spree of violence.
What makes this movie so captivating within the Chinese-speaking community? This article aims to explore how “The Pig, the Snake, and the Pigeon” connect with Chinese culture and its influence on contemporary Chinese media for an international audience.
Interpreting the Title Across Cultures
The international title, ‘The Pig, the Snake, and The Pigeon,’ cleverly encapsulates the movie’s essence. It draws on Buddhist concepts of the “Three Poisons”—greed, anger, and ignorance—symbolized by the pig, snake, and pigeon, respectively. These animals, found at the center of the Buddhist Wheel of Life, correspond to the three main fugitives in the story.
In Buddhism, the pig represents ignorance, a quality that leads to evil deeds due to a lack of understanding of karma and causation, as reflected in the protagonist, Chen Kui-Lin’s naive and impulsive actions. The snake symbolizes anger, often arising from hatred due to aversion or jealousy, mirrored in the character “Hongkie,” known for his short temper and snake tattoo. Lastly, contrary to its common association with peace, the pigeon signifies insatiable greed in Buddhist teachings, pointing to the character Lin Lu-Ho (Bullhead) and his limitless desires.
The Chinese title, ‘Zhou Chu Chu San Hai,’ references a well-known tale from the “Zizhi Tongjian,” a historical chronicle, illustrating the story of Zhou Chu, who learns of three calamities plaguing his community and decides to eradicate them, including his own harmful influence. Although the film diverges from the original story, understanding this reference enriches the movie’s thematic depth.
A Movie with Multifaceted Meanings
Director Wong Ching-Po, a Hong Kong native now residing in Taipei, embarked on a unique filmmaking journey during the pandemic. With a modest budget of around 2 million USD, he crafted ‘The Pig, the Snake, and the Pigeon.’ The film’s unexpected success in China and its warm reception in Hong Kong have left Wong pleasantly surprised, as he never anticipated such widespread acclaim.
Beijing-based film critic Xianzi observes that the film’s popularity might reflect Chinese audiences’ long-standing frustrations with censorship. In markets less constrained by censorship, “The Pig, the Snake, and the Pigeon” might be considered a standard B-movie, known for low budgets and mass appeal. However, its embrace in China suggests a pent-up demand for narratives that incorporate elements of violence and eroticism, content often restricted by censorship. Yet, Xianzi clarifies, the film’s release does not necessarily indicate loosening these restrictions.
According to Beijing-based film critic Xianzi, the film represents a localized adaptation of Taiwan's Hong Kong B-movie genre. It focuses on religious elements and infuses Hong Kong’s signature gangster and action-packed B-movie aesthetics — characterized by violence, bloodshed, and rapid pacing. This blend has been instrumental to its success, offering audiences both a thrilling viewing experience and a nuanced exploration of religious and philosophical themes.
Beyond Gangsters: Political Allegories and Social Reflections
Online discussions have also ventured into interpreting the film as a political allegory. Some fans see the transition of a character from hitman to cult leader, played by Golden Horse Award-winning actor Chen Yi-wen, as laden with political symbolism, open to interpretation by audiences across the strait and beyond. Debates have swirled around whether certain characters represent specific political ideologies or broader societal injustices, reflecting the complexities of modern societal grievances and the longing for a figure to usher in justice, even if it means resorting to unconventional methods.
Taiwanese film critic Robbie suggests that the film taps into a deep-seated belief in retributive justice. It embodies the anti-hero archetype that resonates with the public’s desire for vigilante justice in the face of systemic failures. This sentiment reflects broader societal issues where individuals feel compelled to seek justice outside established legal frameworks.
Cultural Reflections and the Quest for Entertainment
The film has attracted a diverse audience, from those disillusioned with societal norms to young people challenging the ‘996’ work culture and from officials combatting cults to viewers simply seeking action-packed entertainment. This wide appeal underscores the film’s ability to resonate on multiple levels, offering both a reflection of societal anxieties and a compelling narrative.
As the film garners both box office success and diverse interpretations, director Wong Ching-Po maintains that “The Pig, the Snake, and the Pigeon” transcends typical gangster film tropes, positioning itself more as a crime drama with deeper explorations of martyrdom and moral complexities. This nuanced approach aims to foster a greater understanding of Chinese culture and societal reflections for an international audience, highlighting the film’s significance as more than just a cinematic success but a mirror to the collective psyche and cultural dialogues within the Chinese-speaking world.