Teacher Han Yuan is gone. The circle of friends is full of sighs and nostalgia, torrents, known, unknown, well-known, unknown. Rushing to the Yan garden to see the last side, he was already lying in the flowers, and he could no longer talk and laugh as wisely as usual.
I don't dare to say how much I know about Teacher Han Yuan, let alone falsely trust my confidant, I am just one of the countless young people who have the honor of teaching and receiving blessings. The earliest meeting can not be said to know, he talked on the rostrum, I listened to it offstage. The only thing that felt new at the time was, how could this big man not talk big? Shouldn't all the big guys talk big? Passionate, righteous and stern, standing on the moral high ground of eternal correctness, it must be seen only when you look up, erupting with a sea of adjectives. But Chen Hanyuan does not belong to such a big person.
In 1999, I was invited to participate in the award of the Documentary Academic Committee of the China Television Association. At that time, the awards were not as grand and varied as they are now, and the judges really watched the films one by one behind closed doors, and the industry and academic circles also attached great importance to the awards. "Boats and Boats" stood out in this award and won the grand prize. Some scholars were not satisfied with the jury headed by Chen Hanyuan and ending with Zhang Tongdao, claiming that the excellent situation of documentary aesthetics that had been so hard to create had been destroyed. In this award, I experienced the style of Mr. Han Yuan. At that time, documentary aesthetics were like the sun in the sky, and even the solipsism was exclusive, but he did not discuss the advantages and disadvantages of the trend, and insisted that good films must be good and profound. One day after dinner, he took the initiative to chat with me and talk about industry anecdotes. During this time, I asked him for some anecdotes, and he said solemnly, yes. When he was the director of the special topic department, the film crew would have some bus tickets for reimbursement - at that time, the only way to travel on business was to take the bus, and he signed it and said to the visitors: "Next time pick up some clean!" "I don't look up when I speak. In the poor years, some people want to make up for some travel pains, so they pick up some bus tickets left by passengers for reimbursement, often stained with dirt.
Teacher Han Yuan's generosity and ease indulged my greed. After that, I asked him for some wisdom assistance from time to time, and I never remember saying no. In 2009, when I led the team to complete "Real Landscapes: A Study of World Documentary Film Directors," which was about to be published, I asked him to write the preface, and he agreed, saying that these documentary masters "really broke new ground, they really broke new ground, and at all costs, like the bull on the bullring with a sword on its back and bright red blood." He didn't need me to provide a draft to write the preface, but to "stop and think about it and think about it, and sometimes I have to go back and compare, think about it, and make some notes, write a sentence or two of my thoughts." Also that year, my first documentary film "Little Man Country" was released, he gave encouragement, saying, "We saw the real childlike heart, childlike fun, innocence, and felt that we have such a group of descendants, absolutely not afraid to learn from the United States, Russia, France, it is likely that one day they will learn from us, after watching this film I am full of confidence." In 2010, our team released China's first documentary blue book, and Mr. Han Yuan personally attended the scene, saying that this blue book "is a conscience report, a reassuring report, a report that works, and a reflection with an international perspective on the practice of Chinese documentaries." ”
In those years, I often saw Han Yuan teachers at various meetings held in the name of records. No matter what the theme of the meeting is and where it is held, the impression that has not been shattered by time will always be his wise speech, and the rare truths and funny words in countless aesthetically fatigued conference speeches. I always wondered, how could there be so much wisdom in his not fat head? Perhaps this is what he wrote in "Talking about the Canal": the Great Wall is a masculine, majestic one, the canal is a feminine, deep one, this is the human being, the Chinese person. Respecting people, speaking people's words, and handling personnel affairs are the differences between Chen Hanyuan and most big people that I understand. Starting from people, shaking the magic pen of raw flowers, Chen Hanyuan planned and created the documentary "Rent Collection Courtyard", "After Class", "Talking about the Yangtze River", "Talking about the Canal", "Sculptor Liu Huanzhang", "River Martyrdom", TV series "Beijingers in New York" and even lyrics and advertising words, spanning many categories of television, galloping for more than 30 years, leaving a long figure that could not be covered.
Teacher Han Yuan is gone, and an era of television full of legends and dreams has also come to an end.
Ask the gestapo hero, who can turn back the wheel of time? The west wind is remnant, and the Han family is lingque. In my memory, Mr. Han Yuan's aging first appeared at a conference in Shanghai, and after the sincere applause of the crowd, he began to speak. That day, he spoke for a long time, some words were clearly repeated, and the ending became urgent and suddenly stopped, like a sharp brake. The applause from the audience was equally enthusiastic, but his expression was somewhat reluctant. Sure enough, after ten o'clock in the evening, Zhang Yiqing called: Han Yuan was in the room, very painful, and did not speak well today. I texted and asked for room number and he didn't reply. Time went into the middle of the night, and I was inconvenient to ask again. The next day I learned that Yi Qing would not text, and he stayed in Han Yuan's teacher's room until late at night.
In October 2013, he visited Han Yuan's home for the last time to shoot "Movie Eyes on China". He had been diagnosed with Parkinson's disease and had limited mobility, and his emaciated wife lifted him from his chair and carried him to the living room, carefully supporting him on the sofa, but he was still in good spirits, talking and laughing, as usual. For this interview, he made meticulous preparations, and his desk was filled with the original manuscript of the commentary of "Talking about the Yangtze River" and small pieces of paper recording inspiration.
The elderly Mr. Han Yuan's health deteriorated, and his only daughter emigrated overseas, and he finally lived in the Changping Yanyuan Nursing Home. Soon, his wife was gone, leaving him alone, watching the sunrise and sunset in memory and loneliness, and the four seasons were reincarnated. Occasionally, when students visit from the past, talk about the past, talk about the news, he will be excited for a while. Once near noon, Chen Dali and I were ready to say goodbye, and he insisted on inviting us to the restaurant to eat together, experience the five-star treatment, and chatted for a long time before we said goodbye.
A generation of talents who have been in the limelight for more than 30 years is quite old.
When planning "Movies to See China", I had an unrealistic idea of what it would look like if Mr. Han Yuan remade "Rent Collection", but his body did not allow such extravagance. This time I saw him talk about "Rent Collection" in an interview, "If Liu Wencai hears me talking about this matter today in the Spirit of Heaven, I can only say sorry to him." This sentence raised my respect for him vertically by a hundred meters.
This is the true color of Han Yuan.
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