Shanghai Waltz

Author: Shu Fen
Publisher:
Publish Date: 2004-05-01
Features: Wen Hui Original Series. A series of fleeting moments, a collection of rediscovered dreams, and a pile of unforgettable memories, transformed into—voluminous notes, reminiscent of a Vienna Waltz on the bustling streets of Shanghai. I am now in my seventies. Over the years, I have attended many weddings. When I was years old, I was chosen more than once to be a "silk-tie boy," which meant standing alongside another boy of similar age to pull the long train of the bride's gown, slowly walking through the hall to the "Wedding March." The two "silk-tie boys" and the little girl carrying the flower basket in front of the bride, who together formed the "young ushers." The young ushers were usually selected from the children of the bride's family and friends, and their small suits were provided by the bride's family. The selection criteria for both boys and girls were generally two: one was to be handsome and pretty, and the other was to be well-mannered and obedient. However, I was far from meeting either of these standards. I had always been dark-skinned and a bit cross-eyed, and being well-mannered and obedient was out of the question. From the day I entered the primary school of the Western-Chinese Girls' School, I had already cried two boys. After that, I was always considered by the teachers as a "restless student." Despite this, I was often chosen to pull the silk for the bride. At that time, I still had some self-awareness. Sometimes, watching the other young ushers at the wedding—those delicate and beautiful children—I couldn’t help but wonder: how could I end up being partners with these "Western-style children"? It wasn’t until I grew older that I realized being a young usher could also be considered a form of favor or honor, a gesture toward the family and even the family line of the child chosen. For this reason, at some Western-style weddings in Shanghai, there were often young ushers like me who didn’t quite fit the image, appearing on stage for reasons that could only be understood but not explained. Due to my young age at the time, I have forgotten which relatives’ homes I was chosen to pull the silk for, and naturally, I also forget where those weddings were held. Among the weddings I attended as a child, the one I remember most clearly is my cousin Sun Qianhua’s wedding.
The Chinese-owned hotels in Shanghai were divided into four grades: Special, Class A, Class B, and Class C. There were only two Special-grade hotels, both located on Jing’an Temple Road. One was the International Hotel, a 24-story building with a total height of 82 meters, built in 1932. It was jointly invested in and constructed by the four major private banks: the Bank of China, the Salt Industry Bank, the Central Bank, and the Continental Bank. From the time the building was completed until the 1960s, it remained the tallest building in Shanghai for over three decades, making it a landmark of the city. The International Hotel was the hotel with the most restaurants in Shanghai. The Feng Zhai Restaurant on the second floor was famous for its Beijing cuisine and had ample space to accommodate more than 50 banquet tables. The Peacock Hall on the third floor was elegantly decorated, offering simple Western dishes and beverages. The Sky Restaurant on the 14th floor was a large Western-style restaurant. Due to its half-glass roof that could be moved and opened, it could host cooling dinners in the evenings during the summer. The Lu Shan Hall on the 15th floor was dedicated to Cantonese cuisine. The Cloud Tower, connecting the 18th and 19th floors, was the highest restaurant in the city at the time, serving authentic French cuisine. The furniture, decor, and tableware were all meticulously chosen—forks and spoons were made of silver, and the utensils were British porcelain. The dishes were also prepared with great precision. All the tables on both floors were placed by the south-facing long windows, allowing diners to overlook