text/ Zhu Anping
During the 1920s and 1930s, the peasant movement flourished in the history of the Chinese revolution. Hundreds of millions of Chinese peasants have awakened from a thousand-year-old sleep and swept the decadent feudal palace with the power of a storm. Beijing Film Studio and Tianjin Film Studio co-produced the color feature film " Red Flag Spectrum" in 1960. The magnificent yet delicate and vivid display of this dramatic historical turning point, the northern rural areas Under the leadership of the Communist Party, the magnificent picture of the revolutionary struggle was in full swing. It successfully outlined the tortuous process of the masses of farmers from spontaneous resistance to organized struggle. With a grand historical picture, full character image, and distinctive national style, it became quite a piece of new Chinese film history. Featured works.
"Fetching Jing Yonghong" adaptation
The film "Red Flag Genealogy" is adapted from the novel of the same name by the famous contemporary writer Liang Bin. The author stated that the original work originated from the true deeds of an old man who sacrificed his three sons, and added another family to the conception process, and also integrated into the people of in Lixian County, Hebei Province that he had directly participated in on the eve of the Spring Festival in 1931." After a long period of deliberation and full preparation, the struggle against the “head tax” and the “Second Division Student Tide” in Baoding in July 1932 were written in five years. It was written by two generations of farmers and two generations of landlords in Suojing Town, Jizhong Plain. The sharp contradictions and struggles have made a very vivid artistic summary of the revolutionary road and historical destiny of our peasants.From the old generation Zhu Laogong and Yan Laoxiang "bare-armed" to the second generation Yan Zhihe and Zhu Laozhong, they continued to fight against feudal forces with "one civil and one military", and they all suffered failures and setbacks. The third generation Yun Tao, Jiang Tao and others accepted the leadership of the Communist Party before they achieved an initial victory in the struggle. It profoundly revealed that "only under the leadership of the Communist Party can Chinese farmers unite better, defeat class enemies, and liberate themselves." The novel was widely acclaimed after it was published at the end of 1957, and it was regarded as "an epic of a new type of peasant revolution in terms of its description, scale and style".
was the first to put the novel "Red Flag Spectrum" on the screen. It was the Tianjin Film Studio, which was born during the "Great Leap Forward" boom, and will be very local in June 1958. "Red Flag" as a "gong drama", invited the first director of the Hebei Federation of Literary and Art Circles, then the Changchun Film Studio Editorial Director and screenwriter Hu Su adapted the script. "Mother", "Chrysanthemum in the Mountains" and other revolutionary historical themes, Ling Zifeng, who is well-known in the film world, plays the lead role. Ling Zifeng not only readily agreed, but also voluntarily applied to the Ministry of Culture for transfer to the Tianjin factory.
At this time, in accordance with the requirements of the Central Secretariat, the Ministry of Culture began to deploy the creation and production of the 10th National Day gift film. Beiying learned that Zhou Yang, deputy director of the Central Propaganda Department, gave a high evaluation of the novel "Red Flag". The leaders of the Ministry of Culture and Film Bureau, Xia Yan, Chen Huangmei, and Chen Kehan, who was transferred to the secretary of the Beijing Municipal Party Committee by the Vice Minister of Culture, also Advocate that it be adapted into a movie and included in the gift film plan. In view of the fact that the conditions were not met at the beginning of the establishment of the Tianjin Film Studio, Chen Huangmei discussed with Xia Yan and proposed to focus on Beiying and co-produce with the Tianjin factory. The director of Beijing Film Studio Wang Yang and the deputy director in charge of art production, Tian Fang, went to the Tianjin factory and reached an agreement on the joint production of "Red Flag Spectrum", and mobilized Ling Zifeng to return to Beijing Film Studio, expressly asking Ling Zifeng to participate in the formation of the team. One of the persons in charge, Ling Zifeng, known as "Desperate Saburo", felt that he would be very useful.Return to Beiying with enthusiasm. Later, Beiying formally established four creative collectives, led by Shuihua , Cui Wei , Ling Zifeng, and Chengyin as the chief director, known as the "Four Commanders".
◆ Stills: Zhu Laozhong promotes the revolution at home.
The adaptation of "Red Flag Spectrum" became the first script to be submitted to Beijing Film as a tribute to the 10th anniversary of the National Day. The factory deliberately published on the inaugural issue of "Film Creation", which was run by the factory, to understand the reflection and solicit opinions, and specially organized research and discussion. It was agreed that Hu Su had adapted a "Red Flag Spectrum" into the first, second and second episodes of the movie. The plan is too big, so it’s better to focus on adapting it into a film to focus the story, and put forward specific opinions on how to modify the first draft based on Hu Su’s first draft, requesting that the end (end) be set at the anti-"head tax" In terms of victory, the main line of the whole play must be clear, several leading roles must be clear, and everyone must be photographed.
Ling Zifeng was ordered to modify the script and read the novel "Red Flags" repeatedly. After reading it seven times, he was very familiar with it. In order to change the script, he specifically found Haimer, who was also a screenwriter at Beijing Film Studio. The two got acquainted with the FireWire Theatre of the Central Hebei Military Region during the Anti-Japanese War. "Chrysanthemum", after researching and revising the outline together, it was written by Haimo. He didn't sleep for four days and four nights and drove out the revised version in one go. The comrade-in-arms who was engaged in drama activities during the Anti-Japanese War, Wu Jian, who taught at Central Academy of Drama ,He also participated in the period, so the script writers signed the four characters Hu Su, Ling Zifeng, Haimer, and Wu Jian. Later, when the film was released, Haimer was ignored because of the wrong criticism of the "Dong Xiao Heng Blow" during the "anti-rightist" movement. . Ling Zifeng didn't close his eyes for four days and four nights during the shooting. With the assistance of assistant director Chen Fangqian and others, he modified the script and finished it.
In the process of script creation and modification, it fully embodies the principle of “extracting essence and using hong” put forward by Hu Su at the beginning of the adaptation, that is, extracting the essence of the original work and enriching it with the life you are familiar with. The original work, stretched out, carefully conceived, and deepened the theme. The original novel is 330,000 words long, with huge length and numerous characters, and various contradictions are intricate. According to the requirements of the film style, the adaptors extract the differences between the peasant masses represented mainly by Zhu and Yan and Feng Lanchi, the representative of the bully landlord. The main line of contradiction takes the development of Zhu Laozhong’s character as the core of his artistic image, and his growth process from spontaneous resistance to conscious revolution runs through the film, forming drama plots and development links, focusing on reproducing the upsurge of revolutionary struggles in northern rural areas before and after the Great Revolution. The situation highlights the themes of the peasants’ destiny, future and historical experience of struggle revealed in the novel. For this reason, the whole play begins with "Zhu Lao Gong protects Zhong's life" and ends with "the victory of the anti-cut head tax struggle". It decisively abandons the part that reflects the student trend in the Second Division of Baoding, because it has turned to the struggle of urban revolutionary intellectuals, and It involves the issue of being affected by the "Left" blind movement route. For the essence retained in the original work, a lot of effort has been made to remodel it, either focusing on rendering, or necessary to regenerate, and even adding new plots and scenes. For example, Zhu Laogong in the novel "The Wedge" makes trouble in the willow forest. The play is reorganized into a self-contained bell-guarding section, consciously placing the young tiger (Zhu Laozhong) in this epic struggle. In the whirlpool, they laid the groundwork for them to inherit the spirit of struggle from their fathers and embark on the road of revolution. After the heroic death of Lao Gong, Huzi left the Kanto area. After a few days from the original work, Feng Lanchi wanted to cut the grass and wiped out the roots and was forced to go immediately. Not only for the need to concentrate the play, but also to expose the landlord’s vicious class nature. The audience left in suspense whether they could take revenge.
"Kneeling and Alliance" gathering
While working hard to create the script,Preparatory work for the filming started intensively. As the director, Ling Zifeng knows that a good movie depends on good actors. The movie involves important revolutionary historical themes. The geographical and local characteristics are also very prominent. There are many characters in the play, and the performance requirements are also high. Therefore, the selection and arrangement of actors Become the top priority, and a lot of effort was spent on it.
◆Stills
In order to make the character image continuity, Ling Zifeng decided to have the same actor, that is, one person plays two roles, but Zhu Laozhong is the main choice for the actor, because Zhu Laogong appeared in the film as the "introduction", the main body of the play In Zhu Laozhong, his image carries multiple meanings. Politically, he is an advanced farmer who has progressed from spontaneous resistance to conscious revolution. Ethically, he is a good son who is loyal to his elders and determined to avenge his father, and a good father who teaches his son well. A good folk who cares about his neighbors and is popular with others, his appearance and psychology are extraordinary. He has a burly body and extraordinary martial arts. He has strong cohesion and charisma. In the situation of "the enemy is strong and we are weak", "turn bad things into good things" and send the captured son of Ding as a soldier to the reactionary army to "learn the skills". He has the traditions of "Water Margin" and "Jiang Yang". The cultural genes of the heroes and heroes in the literary works and the new ideas and strategies of "revolutionaries" learned from the underground Communists Jia Xiangnong. How such a "multi-faceted, three-dimensional" character is portrayed is whether the film can be successful key. Although many people recommended and asked to act, the person Ling Zifeng intended is Cui Wei, who has starred in "Song Jingshi", "Sea Soul", " Veteran New Biography", and plays Song Jingshi, Dou Erpeng, and Zhan Changhe. From ancient times to the present, there have been leaders of uprisings in history and builders of new life. Cui Wei is handy in acting and can use it freely, although he is full of rough, bold, unrestrained enthusiasm.But each has new creations, similarities and differences, and each has its own characteristics. In addition, Cui Wei fought for a long time on both sides of Hutuo River during the war years, which meets the requirements of Ling Zifeng's selection of the actors for the film’s experience in rural life in Hebei. In a comprehensive comparison, Cui Wei is undoubtedly the best candidate to play the role of Zhu Laogong and Zhu Laozhong, a typical image of a peasant hero who crosses the old and new eras.
◆Photography Wu Yinxian at the shooting site of "Zhu Lao Gong Hu Zhong".
Cui Wei himself read the original work and script of "Red Flag Spectrum", and was excited and excited by its artistic charm. He was particularly impressed by Zhu Laogong and Zhu Laozhong's eagerness, self-sacrifice, and fear of violence , Ningzhe's unyielding character of a national hero, aroused the unyielding desire to create, and took the responsibility of playing the roles of father and son for two generations, and expressed his willingness to join the old comrade-in-arms crew. However, at this time, Cui Wei has begun his artistic career as a director, and is now leading the second creative collective of Beijing Film Group. He is rushing to shoot " Youth Song " which is officially listed as a gift to the 10th anniversary of the National Day. Ling Zifeng was delighted that Cui Wei was able to take over the play of "Red Flag Pu", but thought that he had to be a director and act for himself at the same time. Both of these burdens are very heavy. It is indeed not the same thing, but there is no other person to replace it. It is not necessary to star in, only to make the final "finalized". Therefore, Ling Zifeng deliberately found Cui Wei in front of the factory office building and asked him "how is it" about his appearance. Cui Wei still firmly expressed "very willing". Ling Zifeng immediately said: "You can't repent, and I won't be replaced, it's you. The time I arrange can be between you filming "Song of Youth", and the two of us match up. You shoot me today, and you guide tomorrow. Yours. Take me again the day after tomorrow and arrange the time." As soon as the voice fell, Cui Wei "slapped" to his knees in the street, and Ling Zifeng also hurried to kneel for him, just like Taoyuan’s Yi Yi.Swear to each other: "I must play this film well!" "Okay!" The two "marshals" knelt down and swore together, which soon became a good story in Beiying Chuan.
In September 1959, "Red Flag Score" was officially launched. As expected, Cui Wei kept his promise and lived up to the high expectations, interspersed with shooting, directing and acting. Throughout the shooting, Cui Wei always maintained a lot of passion, coupled with his familiarity with the historical environment, people’s lives and struggles described in the film, and made full use of his profound artistic attainments and exquisite performance skills, as well as his unique subjective temperament and external image. He naturally created the artistic images of the two generations of Zhu Laogong and Zhu Laozhong in his own body, and showed the characters' chivalrous courage and awe-inspiring righteousness. It not only blends the beautiful qualities of traditional farmers in the old era, but also casts new ones. The fighting spirit of the heroes of the times. Because of Cui Wei's successful and outstanding artistic creation in the film "Red Flags", he was praised by audiences at home and abroad. In 1962, he won the best actor award in the first " popular movie" " Hundred Flowers Award" selection. . The famous writer Lao She presented a banner titled "Zhen as a green bamboo and bright in the snow, as quiet as a pine and a dragon", and gave a perfect summary and high praise for his performance characteristics and screen image.
plays Yan Laoxiang, Yan Zhi and his father and son. They are from Hebei Provincial Repertory Troupe 's Cai Songling . The troupe took the lead in adapting and performing the drama "Red Flag Pu" in 1958 and achieved great success. It was the director who served as the director and also played Yan Zhihe and the old donkey head. Cui Wei starred in "Red Flags" and went to the group to "learn", and recommended to Ling Zifeng Cai Songling and one of the screenwriters and also played Zhu Laoming's village to participate in the filming. Cai Songling devoted himself to the character Yan Zhihe played by herself, rereading novels and related materials, starting from "If Zhu Laozhong is a horse with many years of experience, then Yan Zhihe is a native who has never left the fertile soil of his hometown. Enlightened by the evaluation of "Niu",Reading through a lot of memorabilia when going deep into life, analyzing the character characteristics of the characters, firmly grasping the basic characteristics of the character's swallowing voice, cowardice and fear of things The image of a loyal, kind and weak peasant is portrayed vividly.
◆Director Ling Zifeng (second from left) tells the actors about the drama, the first from the left is photographer Wu Yinxian.
The bully landlord Feng Lanchi, who is against him, plays from young to old, which is very difficult. The 29-year-old Ge Cunzhuang has not been an extra on the screen since his career. How many shots, but he never picks and cares, but conscientiously acted well, leaving a deep impression on Ling Zifeng, who had collaborated twice in "Chinese Daughter" and "Chrysanthemum in the Mountains", so "eyes and talents" thinks he has a performance Potential, boldly used to entrust the important task of playing the negative protagonist Feng Lanchi. The director’s trust inspired Ge Cun Zhuang to “make his best effort to play Feng Lanchi” and bought two original works of "Red Flags". Behave, analyze the psychological dynamics in detail, and cut the relevant paragraphs of another book and paste them on the corresponding parts of the sub-scene script, and think about it, and grasp the "spicy" in the description of "ginger or old spicy" in the book. The word, as the keynote of the character performance, is carefully designed for every appearance, with a wretched posture and cold eyes, permeates the innermost sinister, vile, cruel, and vicious heart. Because of its excellent vividness, it has become a rare negative image on the screen. His performing skills and reputation have also been greatly improved.
combined production
into the official production,Ling Zifeng, who is good at shooting revolutionary historical themes, shows off his talents. With his mature and unrestrained creative style, he gives full play to the rich expressiveness of film art. In terms of theme expression, plot processing, character depiction, environment creation, atmosphere rendering, etc. , With fine craftsmanship and fine brushwork, it is rugged and elegant, vigorous and fresh, giving the film a magnificent momentum and bright colors.
The film begins with Zhu Laogong sacrificing himself to protect the clock. There are not many shots but the audience is brought into sharp and intense conflicts. Although it is a spontaneous resistance that ended in failure, it focuses on changes in different angles and scene scheduling. It highlights Zhu Lao Gongning's unbending heroic posture, which is in sharp contrast with Feng Lanchi's ugly appearance of being strong and capable. After 25 years of adulthood, Zhu Laozhong led his family back to Kanto. He did not treat it simply as a general cutscene. Instead, he mobilized a variety of methods to strengthen the treatment. In a set of long panning shots showing the old style of Baoding Station in front of the station, the drum book was specially interspersed. The artist raps and sings "Zhu Laogong makes trouble in the willow forest", which echoes the return to his homeland and the struggle in the past, and then uses concise and powerful camera movements to show that Zhu Laozhong broke the "old rules" in front of Feng's house. , Glared at Feng Lanchi and the housekeeper, shook his whip to drive away Liu Ermao who had come to block the drive, and drove straight away. The pitch contrasts between standing tall and retreating in amazement, accompanied by the whip of the cloud and the sound of suona. The rhythm of the strings makes people proud of it, and I feel deeply that the struggle will open a new chapter. At the end of the play, under the guidance of Jia Xiangnong, Zhu Laozhong successfully led the masses to carry out the "anti-cut head tax" struggle, and completed the transformation from personal grievances to class resistance. The scene of crowds and powerful people rising up is the most powerful proof. The most prominent contrast. While reproducing the magnificent struggle scenes, there are also picturesque pictures of rural scenery, such as Yan Zhihe and Jiang Tao and his sons talking on the bedside night before the riot. The shadow of Jiang Taoniang's spinning wheel is reflected on the wall, accompanied by the sound of squeaking spinning wheels, which reveals a long distance. Another example is Chunlan and Yuntao's Guapeng Night Talk, Chunlan sends Yuntao to Huangpu Military Academy on the farewell night, moonlight, river water, small boats, wild flowers or paved or embellished, creating a realm of blending sceneries.
◆ Stills: Zhu Laogong stands up to protect the clock.
The director's intention is largely dependent on photography, and the famous photographer Wu Yinxian is the master of "Red Flags". In his early years, he became famous in the left-wing film scene with "Children of the Wind" and " Road Angel". Although Wu Yinxian was over sixty years old, and Beijing Film and Tianjin Factory provided him with two assistants, he still must do everything by himself. Starting from the specific severe revolutionary historical themes of the film, carefully determine the photographic tone that matches it: vigorous, simple and solid, avoid frivolous, bright, thin, and have a rustic flavor. This is the basis for in-depth study of the plot structure and analysis of conflicts Contradictions, find out the main plot and secondary plot, determine the replay and cutscene, consider different treatment options for the characters, scenes, seasons, time, etc., and conceive and design how to use composition, light, color, etc. to express, In order to create the required artistic atmosphere and strengthen the appeal of the film. He merged his styling ideas into the director’s unified intentions, and implemented them effectively during the shooting. Each shot was refined to achieve the ideal photographic styling effect. The final film not only embodies its usual photography style, simple composition, perfect modeling, natural lens processing, outstanding character, but also new creation and development in the combination of content and form, with diversified sports photography methods Carrying the ups and downs of the film's narrative and emotions, through the flexible shooting angles and the bright and smooth spatial rhythm, it reflects the gentle poetic sentiment and simple regional folk customs, showing a vigorous and powerful style, and was awarded the first "Popular Film" The Best Photography Award of the Hundred Flowers Awards.
Also involved in the production of the film is the famous musician Qu Xixian . At the time, she was invited to be the composer of the film "Song of Youth", and the background and geographical location of "Red Flag" The same, but there are differences between urban and rural areas. She took advantage of this different feature to make a differentiated treatment, using Hebei Bangzi, which is popular in Hebei and especially popular in rural areas, as the keynote music.The orchestration also uses instruments such as suona and gaohu with distinctive northern characteristics. The combination of the two brings the characteristics of high-pitched, agitation, generosity, and patience to the extreme, and plays a very good role in rendering the atmosphere of the environment and portraying the image of the characters. After several trimmings, the film was officially screened nationwide at the end of June 1961 to celebrate the 40th anniversary of the founding of the party. It aroused a enthusiastic response from the audience and was well received by all quarters. The film in the "Cultural Revolution" was criticized along with the original work, and was accused of "distorting historical facts" and "establishing a stele for the wrong route" and wearing the hat of "black flag spectrum". "Hundred patriotic films" were re-released in theaters across the country and were hailed as "outstanding films worthy of our time."
This article is the original "Party History Boca".
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