The Last Rose of Shanghai

Content Warning: This section of the guide discusses drug addiction, domestic violence, and misogyny as well as its graphic depictions of violence and death. It also discusses racism and antisemitism.

The Last Rose of Shanghai frequently depicts wartime violence, ranging from casual to traumatic and often random or surprising to the characters. These qualities make violence so pervasive that the characters begin to suffer psychological effects, such as growing numb to others’ suffering. Most importantly, Aiyi and Ernest are led to blame each other and their relationship for the tragedies they suffer, as the unpredictability and scope of wartime violence is incomprehensible.

In the first 1940s scene, Aiyi witnesses the murder of a Shanghainese man by a Japanese soldier but feels that “there [is] nothing [she can] do but look away” (4). This is out of necessity to her mind, as the persecuted Chinese have “no choice but to remain unseen” (4). This indifference returns regarding the Jewish refugees; Aiyi thinks that Ernest shouldn’t risk his life for other refugees and rather should keep a low profile. Sinmay remains “unperturbed” by the bombing of the International Settlement, feeling that his apathy is righteous retaliation for the “foreigners” unconcern about the destruction of Chinese neighborhoods.