In the days leading up to August, excerpts from director Tran Dac's film "August Star" have resurfaced on social media, reminding viewers of a heroic era. Released one year after the country's reunification, the film is a milestone in Vietnamese revolutionary cinema, a heroic ballad about the 1945 general uprising.

Nhu witnesses two grandparents scavenging for food during the 1945 famine. Video: Feature Film Studio I

Based on Ha An's memoir "Sunshine of Hung Yen", the two-part film opens in early 1945, depicting the widespread famine and suffering under the oppressive rule of the Japanese and French. The Viet Minh (League for the Independence of Vietnam) emerges as a powerful force, seizing the opportunity to launch a general uprising and wrest control from the Japanese.

The film begins with Nhu (artist Thanh Tu) and Kien (artist Dung Nhi), two Viet Minh soldiers, meeting at an exhibition in Hanoi, secretly distributing anti-Japanese leaflets. From here, the director portrays the story of communist soldiers assigned to establish secret bases. They work alongside the working class, gaining a deep understanding of their plight.

The protagonist, Nguyen Thi Nhu, occupies much of the film's screen time and is one of its highlights. The role is inspired by revolutionary Nguyen Thi Hung (real name Nguyen Thi Uc, 1920-1993). Nhu is a cadre assigned to work in the suburbs of Hanoi, connecting with the people to prepare for the general uprising for independence.

Artist Thanh Tu captivates viewers with her expressive acting. To spread the revolution, Nhu takes a job as a factory worker, enduring abuse from the foreman. The actress pours emotion into her voice, expressing Nhu's grief upon learning of her husband's capture and her unwavering determination to pursue the greater mission.

People's Artist Thanh Tu as revolutionary soldier Nguyen Thi Nhu. Photo: Feature Film Studio I

People's Artist Thanh Tu as revolutionary soldier Nguyen Thi Nhu. Photo: Feature Film Studio I

One poignant scene shows Nhu witnessing two grandparents returning from bartering for food, only to fall and have to gather rice mixed with dirt into their basket. Her eyes conceal her anger when confronting those collaborating with the colonialists, while maintaining a composed demeanor to protect her identity.

Other characters, though with less screen time, leave a lasting impression. Kien, the patriotic intellectual, played by Dung Nhi, wins the audience's affection. At the film's climax, Kien is shot by Japanese soldiers during a protest. Before falling, he looks at Kieu Trinh, his collaborator sister (artist Duc Hoan), his face a mixture of anger and despair.

Men (Thanh Hien), a young woman from the countryside, refuses to bow to local bullies and embraces the revolution. Against the backdrop of severe consequences for harboring communists, the soldiers persevere, building trust and instilling hope in a brighter future.

Alongside the portrayal of communist soldiers, the historic At Dau famine is realistically depicted. Filmed 30 years after the event, the film's scenes of people struggling with hunger remain haunting.

A scene depicting the historic At Dau famine in "August Star." Video: Feature Film Studio I

The director portrays the famine with powerful details. The wealthy, like the rice seller (artist Ngoc Dau), hoard grain, paying the poor with bowls of bran. Elderly people collapse in the marketplace and temples, with no one left to mourn them. In their desperation, people resort to eating dried oil cakes meant for fertilizer.

Short but evocative lines of dialogue enhance the film's impact, such as an elderly person begging not to be buried, only to be met with the callous reply, "You're going to die anyway, go early so it's cooler." Or Men being berated by the rice seller: "These days, people regret losing a chicken, but losing the likes of you only takes a few shovels of dirt." The director uses contrasting imagery, juxtaposing the suffering of the people with the revelry of collaborators.

Almost 50 years later, "August Star" remains a shining milestone in Thanh Tu's career. The veteran actress recalls facing opposition, even from the studio director, when she was chosen for the role of Nhu. They doubted her suitability, seeing her as a "Hang Dao lady, always in flared pants, riding a motorbike." However, director Tran Dac believed she could embody the role.

Thanh Tu immersed herself in research, observing various lives to deepen her understanding of the character. To prepare for Nhu's factory worker disguise, she visited a power plant. To play a nun, she visited temples, listened to Buddhist teachings, and learned to chant sutras.

Several tragic scenes challenged Thanh Tu's acting abilities, like witnessing her husband's execution, conveying both pain and hatred. The director's instruction not to cry but still convey the character's anguish made it particularly difficult. At that moment, Nhu had to set aside her grief to fulfill a crucial mission: raiding two rice stores and distributing the grain to the poor.

The film's climax, with people seizing power at the Northern Residency. Video: Feature Film Studio I

The scene of people seizing power at the Northern Residency (Bac Bo Phu) is one of the film's most emotionally charged moments. According to Thanh Tu, despite its brevity, the scene required hundreds of extras and a full day of filming. The image of the red and gold starred flag waving atop the residency, accompanied by the music of "August 19th", and the smiles exchanged between Men and Nhu amidst the crowd, became iconic images.

Director Tran Dac stated that his aim was to portray certain aspects of society within a limited scope of Hanoi's inner and outer city, from February to 8/1945. The film exceeded his expectations, becoming a prominent work on the August Revolution, reflecting a brutal yet glorious period in Vietnam's history.

The film won the Golden Lotus Award (Best Film, Best Actress for Thanh Tu) at the 4th Vietnam Film Festival (1977). It was also screened at the 1977 Moscow International Film Festival, where Thanh Tu received a special commendation from the Soviet Women's Committee.

Mai Nhat