On March 15, 1948, in the 16th volume of the "Qingqing Film", it was written that——
"Zhang Fa (1919 -2001) and Shi Hua (1915-1957) were equal actors on the stage, and on the basis of experience, the stone swing is more sufficient, and the prestige is also higher than the stone swing, but Zhang Fa's acting skills are not lost to the stone swing. Shi Hua became famous in "Spicy Fei" in "Wen Tianxiang", criticized by all walks of life, unanimously praised, and later Zhang Fa performed this play in "Lan Xin", the results were not inferior to Shi Hua, and his style was better than Shi Hua. “
Zhang Fa's appearance in the drama "The Great Circus"
"In "Begonias", Zhang Fa and Shi Hua played the role of Begonia together, the first half of Zhang Fa was good, and the second half of Shi Hua was good, because Shi Hua played a poor decline drama. Xiao In "The Great Circus" and Yang Qilang in "Nightclub", he is definitely not a person who may be competent. On the other hand, Murong Tianxi and Wen Taishi were not able to play Zhang Fa. And the play of "Tianluo Di Net", if Shi Swing performs, it must be inferior to Zhang Fa. ”
Images of Zhang Fa and Zhou Xuan in the film The Nightclub (1947).
From the comments at that time, it can be seen that the entire showbiz circle in Shanghai at that time greatly recognized the two major drama emperors Shi Hua and Zhang Fa, and even had more love for Zhang Fa.
【Zhang Fa's Film Year】
Looking back at the Shanghai film industry in 1948, it is definitely Zhang Fa's world, in this year, he has starred in six films in "CLP", Cathay Pacific, Qiming and other companies, "Intestines Broken Heaven" (1948), "Pingbu Qingyun" (1948), "Cliff Horse" (1948), "Streets and Alleys" (1948), "Chicken Chirping Early to See the Sky" (1948), "Man Can Do His Husband" (1948).
Promotional photo for the movie "Streets and Alleys" (1948), Zhang Fa and Huang Zongying
In that era of differentiation, some filmmakers went to Hong Kong to work, and before the liberation of Shanghai, in a chaotic situation, it was in such an environment that Zhang Fa's commercial value suddenly exploded.
If you put it before 1948, six movies were released in China at the same time in a year, it is not particularly unusual, but in this special year, there are so many investors willing to find Zhang Fa to shoot, which shows that his popularity and his own audience base can not be underestimated.
Zhang Fa's image in the film Long Live the Wife (1947).
Therefore, 1948 was Zhang Fa's film year, and it was easy to understand that he became the most popular film student in the Chinese film industry at that time.
Zhang Fa's play road is very wide. In this period, the Shanghai film circle is making a famine of actors, and there is a shortage of small students.
Male stars from the drama stage on the screen have become popular, such as Shi Hua, Han Fei (1919-1985), Mu Hong (1920-1969), but most people's play path is still too narrow.
Images of Zhang Fa and Han Fei (left) in the film Long Live the Wife (1947).
Zhang Fa's path is much wider than everyone else's play, small students, middle students, even old students, positive, negative, moderate; rejecting, vicious, lyrical, he can deal with.
【Admitted to Shanghai Drama Art Society】
Originally from Penglai, Shandong Province, Zhang Fa was born in Harbin in 1919. After the "9.18" incident in 1931, he went into exile in Guannei and studied in Beiping, Shanghai and other places.
After graduating from high school, because he could not find a suitable job for a while, he temporarily enrolled in night school and vocational cram school.
Zhang Fa was photographed in 1943
After that, when he arrived in Shanghai, he encountered the "August 13" Shanghai people rising up to resist Japan, so he stayed in Shanghai and entered the Huaguang Amateur Drama Night School. During this period, he studied his own and learned some basic knowledge of theater theory.
In the winter of 1940, the Shanghai Opera Arts Society, sponsored by director Fei Mu (1906-1951), recruited actors, and in order to make a living, he went to take the exam, and only two were admitted— Zhang Fa and Huang Zongjiang (1921-2010).
The life of the Shanghai Opera Art Society is very hard, and the cost of living is limited, but the work is very busy, and everything such as sets, props, stages, and teleprompters has to be done.
Zhang Fa was photographed in Shanghai in 1946
Whenever a performance comes on stage, sometimes a word is spoken, sometimes there is no word, and often two or three roles are hung up or substituted for others.
In this way, Zhang Fa began his stage career, his stage debut was "Flowers Splashing Tears", and then acted in the famous drama "Home" and so on.
The atmosphere of study and discussion among the members of the Shanghai Opera Art Society is very strong, the director and actor often study the performing arts, and after the actors dress up, they have a book in their hands, and each of them grasps to read. All these constitute good conditions for the creation of actors, and thus also make Zhang Fa tempered.
Zhang Fa's image in the film Mother and Son (1947).
While he carefully pondered how others acted, he humbly asked for advice, and after several years of carving, Zhang Fa's acting skills have made a qualitative leap.
【After filming his debut, he stopped filming】
After the outbreak of the Pacific War, the Japanese invaded the Shanghai Concession and the "isolated island" fell. Rikou asked the Shanghai Opera Arts Society to perform a drama to celebrate their "battle achievements". The entire Shanghai Opera Arts Society not only refused to perform such plays, but instead performed the patriotic drama "Wen Tianxiang".
After the dissolution of the Shanghai Opera Art Society, Zhang Fa transferred to the Shanghai Professional Theater Troupe and performed dramas such as "Metamorphosis", "A Q Zheng biography", and "Border City Story".
Advertising leaflet for the movie "Gone with the Wind" (1941).
While acting in these plays, Zhang Fa was introduced to the Venus Film Company by Zhou Jianyun (1883-1970), and filmed the film "Gone with the Wind" (1941) with Shi Hui, Han Fei (1919-1985) and others, which was his earliest "electrocution" screen debut.
Although he only played a supporting role in it, Gone with the Wind was later considered one of the finest works of the "Lonely Island" period.
In 1943, the Shanghai film industry was manipulated and monopolized by the Japanese, and he did not want to make those films that were windy and snowy, and resolutely quit the film industry.
Zhang Fa's image in the film Mother and Son (1947).
Zhang Vasi returned to the drama stage after thinking about it, and formed a hard-working troupe with Huang Zuolin (1906-1994), Shi Hua, Shen Min, Ying Zi and others.
In the Hard work troupe, there are many opportunities for practice, Zhang Fa sometimes plays one main role, and then hangs another main role in Group B, and he often takes turns with Shi Hua to play the roles of Group A and Group B.
Since there is no big capital to back them up, and there is no theater to perform for them, they continue to rehearse the play continuously, waiting for the opportunity to perform.
Zhang Fa's image in the film The Nightclub (1947).
Finally borrowed the field of the Spicy Fei Grand Theater, he staged the long-rehearsed "Nightclub", which was indeed a blockbuster, but the situation was uncertain, people were panicked, and the drama business did not improve.
After a period of time, director Fei Mu organized the rise of the Shanghai Art Theater Troupe Kalden, Zhang Fa is one of the backbone, the first drama "The Great Circus" down, the reputation of the magpie, Calden business is exceptionally good, so "Between Men and Women", "Begonias" one by one performance, Zhang Fa's superb acting skills, won the praise of many audiences.
Images of Zhang Fa and Cui Chaoming (left) in the film Mother and Son (1947).
【Return to the film industry after six years】
At this time, Zhang Fa was already famous on the drama stage, and had become the "bearer" of the drama industry, and also became the object of each troupe's struggle, so he participated in other troupes to perform in "Lyceumin", those troupes were "Yiguang" and "Lianyi" Chinese Acting Club, performing plays such as "Tianluodi Network", "Sherlock Holmes", "Wen Tianxiang", "Sunny Days" and so on.
After Zhang Fa's performance in the Chinese Drama Club came to an end, he was invited by "Wenhua" to star in "Mother and Son" (1947) written and directed by Li Pingqian (1902-1984) with Lu Biyun.
Zhang Fa's image in the film Mother and Son (1947).
This film is also the first film in which Zhang Fa really starred in the true sense of the word six years after he made "Gone with the Wind". It was this film that started Zhang Fa's career as a filmmaker.
He played an illegitimate child in this movie, and as a result, fans were shocked by his acting skills, and public opinion was also applauded.
Images of Zhang Fa and Shangguan Yunzhu in the film Long Live the Wife (1947).
When it came to the comedy film "Long Live the Wife" (1947), tang Zhiyuan, because it did not fit his personality, some people criticized his performance at that time.
He then took over the film The Nightclub (1947). "Nightclub" was originally a play by Kolding (1909-2000) and Shi Tuo based on Gorky's "On the Bottom", and was performed in Shanghai in 1945 by the Hardwork Theater Troupe. The drama's profound exposure to the old society and the brilliance of the dialogue were once sensational.
Images of Zhang Fa and Jiang Tianliu in the film Long Live the Wife (1947).
When it was put on the screen, Ke Ling re-created the original drama, and became more Chinese and cinematic in the character portrayal and arrangement of the plot and scene.
Huang Zuolin also worked the directorial treatment of Nightclub, and every shot was carefully designed. Actors Shi Hui, Tong Zhiling (1922-1995), Zhang Fa, Zhou Xuan (1920-1957), Cheng Zhi (1926-1995), etc., also properly grasped the character characteristics of the characters.
Images of Zhang Fa and Shi Hua (left) in the film The Nightclub (1947).
Zhang Fa played the young and arrogant thief Yang Qilang in "Nightclub", who saved his reputation, and he was bent on reforming evil and supporting himself, but he ran into walls and was cornered, and finally was falsely accused of murder and sentenced to ten years in prison.
Through the tragic fate of this character, the film profoundly exposes and indicts the darkness and evil of the old society. Zhang Fa's performance in this film is simple, real, vivid and touching, and has won unanimous praise from the audience.
Zhang Fa's image in the film The Nightclub (1947).
After that, "the directors thought that his acting in hard school drama was more suitable for his personality", so in "Cliff Rema", he continued to play the role of hard student.
【Radiate dazzling light】
After Zhang Fa finished filming "Nightclub", his contract in "Wenhua" had also expired, and the "CLP" Second Factory rushed to conclude a contract with him as a basic actor, asking him to continue to star in a series of films for "CLP".
Zhang Fa's image in the film The Nightclub (1947).
Later, he filmed "Chicken Singing Early to See the Sky" and "Cliff Horse" in the photography studio of CLP No. 2 Factory, and Zhang Junxiang (then called Yuan Jun, 1910-1996) 'Candle Shadow Shake Red' and Pan Xiaonong's (1909-1993) "Streets and Alleys" also liked him.
"Streets and Alleys" is a comedy film co-starring Zhang Fa and Huang Zongying (1925-2020), which ruthlessly exposes the various shortcomings of the society at that time through the bitter encounters of a pair of unemployed intellectual youths, Li Zhongming and Zhao Shuqiu.
Promotional photo for the movie "Streets and Alleys" (1948), Zhang Fa and Huang Zongying
Not only that, but Sang Arc (1916-2004) also missed him even more, thinking that Wenhua had released Zhang Fa and asked him to make a contract with CLP, which was a loss, otherwise the Golden Lock Would be him again."
At this time, Zhang Fa was not only the most popular and decent student in the film industry, but also became a red student snatched by many directors and film companies at that time.
While shooting the film, Zhang Fa has not stopped performing dramas. Often every day is "uranium turn", after the play into the studio.
Zhang Fa's image in the film Long Live the Wife (1947).
From 1946 onwards, he acted in plays such as Thunderstorm (as Zhou Ping), Chang'e (as Houyi), Begonia (as Begonia), Nightclub, True and False Aunt, Circus, Wen Tiantian, and Wu Zuguang's (1917-2003) farce "Ghost Hunting".
Sometimes he also works as a director and plays a role at the same time. In 1947 and 1948, he shot nearly 10 films and performed more than a dozen plays.
On the set of the movie "Everyone Can Do His Husband" (1948), from left: Han Fei, Zhou Boxun, Bai Guang, Shi Hua, Zhang Fa
Zhang Fa's acting skills are calm and natural, and the audience is easy to accept. Many of the plays and films he has performed have been mainly based on exposing the darkness of the old society and reflecting the tragic lives of the broad masses of the people, and have been welcomed by people from all walks of life.
Zhang Fa was a famous actor on the drama stage in the early 1940s, and a red star in the film industry in the late 1940s.
Zhang Fa's image in the film Longsugou (1952).
【Respond to the call to invest in new shooting work】
In 1948, before the liberation of Shanghai, the Kuomintang frantically killed progressive films and plays. Progressive colleagues in the literary and artistic circles protected each other and secretly carried out the work of ushering in liberation.
On May 24, 1949, Xujiahui was liberated, and literary and art workers in the city took to the streets and performed live newspaper dramas. In June and July, Zhang Fa went to Beijing to participate in the first National Literary Congress.
Zhang Fa's image in the film Cuigang Red Flag (1951).
After returning from Beijing, Zhang Fa officially entered the Shanghai Film Studio. His artistic life entered a new phase.
In that year, he participated in the filming of "Farmhouse" (1950) and "Cuigang Hongqi" (1951), and he successfully played a division of the People's Liberation Army, Jiang Mengzi, in "Cuigang Hongqi", which was widely praised in the early liberation period.
Images of Zhang Fa and Yu Lan in the film Cuigang Red Flag (1951).
Under the new historical conditions, Zhang Fa consciously and voluntarily integrated into the new environment, and he believes that the spring of his true art is about to begin.
Obviously, he is not as penetrating as Yuan Muzhi (1909-1978), Tian Fang (1911-1974) and other literary and artistic revolutionaries! Nor is it as much as Cui Song (1912-1979) who thinks through a lot of things!
Zhang Fa still responded to the call to go to the countryside and factories to experience life, to hone himself in the common labor life with workers and farmers, and to melt what he experienced into the performing arts.
Zhang Fa's image in the film Longsugou (1952).
He seriously creates every role he plays, finds his distance from the character, and strives to shorten that distance.
For example, the coachman with a sense of justice played in "Longsugou" (1952), the public security cadre Zhang Director in "Cutting off the Claws of the Devil" (1954), the advanced worker Lu Zhongkui in "The Great Beginning" (1954), shen Zhenxin, the commander of the East China Field Army in "Red Sun" (1963), and so on.
Zhang Fa's image in the film Red Sun (1963).
Especially before filming "The Great Starting Point", Zhang Fa went to a steel mill in Shanghai to experience life, made close friends with many workers, and made great changes in his thoughts and feelings, so that the screen image he created was real, vivid and simple.
Zhang Fa's image in the film Happiness (1957).
During the filming of Happiness (1957) and Family Problems (1964), he went to the steel mill to live deeply because the film was set in a steel mill. He put on his overalls, fought in front of the steel-making furnace, and humbly asked for advice from workers much younger than him.
While filming "On the Banks of the Jinsha River" (1963), he traveled long distances to experience life in Tibetan areas in northwest Sichuan, learning Tibetan language and Tibetan customs, visiting toast, and learning about life at the upper class.
Zhang Fa's image in the film Family Problems (1964).
Therefore, when he plays Sanger Toast, the character's movements, language, rhythm and details are all in line with the living environment and character identity.
When playing the military commander Shen Zhenxin in "Red Sun", he carefully analyzed the role and finally performed the indomitable mental state and awe-inspiring righteousness of Shen Junchang.
His performances in these films are all distinctive and distinctive, and his performances are remarkable, and they all won praise at the time.
Zhang Fa's image in the film Red Sun (1963).
For Zhang Fa, in addition to superb artistic skills, rich life accumulation and serious creative attitude are important reasons for his success.
Obviously, he was indeed reused after 1949, and the assignment of his filming was quite good at the time, and he was very obedient, but the quality of the films he shot was still the ones he shot in 1947 and 1948.
Cover of the July 1961 issue: Shen Zhenxin, the commander of the army, and Liu Sheng, the regimental commander, in the film "Red Sun", played by Zhang Fa and Li Po (right), respectively
Is Zhang Fa's luck worse? Or did the choice of the head character never tilt toward him?
Wei Heling (1907-1979), who was somewhat similar to his screen image, was luckier than him, and after 1949, "My Life" (1950) and "Blessing" (1956) directly let Wei Heling enter the "List of Canonized Gods".
Cover of the 2nd issue of Popular Cinema magazine in 1959, stills from the Soviet film Rasskazy o Lenine (1957).
[Voiced for Lenin was his must-
In addition, Zhang Fa also participated in the dubbing of many translated films, the most classic of which is lenin's voice in the Soviet film "Lenin in 1918", which was translated and produced by the Shanghai Film Studio, which not only has a clear rhythm and is sonorous, but also has distinct character characteristics and the momentum of the leader, with extremely touching power.
On the back cover of the 4th issue of "Shangying Pictorial" in 1959, the promotional photo of the movie "Bulao Song" - Zhang Fa and Wang Yi
The Lenin he portrayed with his voice, and the voice image of Lenin created by The Northeast Film Studio Bai Jingsheng (1927-1991) for the film October Ленин В Октябре (1937), which is still unparalleled.
During the "Cultural Revolution", the movie "Red Sun" was branded a "counter-revolutionary" film, and Zhang Fa naturally had nothing to do with it.
Zhang Fa's image in the film Midnight (1981).
Four years of imprisonment, five years of "cadre school" labor, and then two years of work in the Shanghai Radio Fourth Factory, and finally he ushered in another spring.
Zhang Fa returned to the film industry and participated in the filming of films such as Midnight (1981).
Zhang Fa's image in the film Midnight (1981).
In 1984, he played one of the main characters in the TV series "Long Night", a bank clerk, and he vividly performed the mood of a kind person during the "Lonely Island" period in Shanghai, making the "Lonely Island" come alive on the screen.
The wedding photo of Zhang Fa and his wife Tang Yuming, the first on the right is Shi Yuan
【Ordinary People's Life】
Zhang Fa is a man of integrity, but he is very low-key in life. When shooting locations encountered extremely poor living conditions, he never accepted the care of him by the film crew.
Zhang Fa and his wife Tang Yuming married before 1949, and the couple has been dependent on each other for a lifetime.
After 1949, Zhang Fa participated in more films, the role was heavy and the task was tight, and the number of days at home in a year was few.
At this time, most of the work in the family fell on Tang Yuming's head. She takes care of the life of the family, arranges all kinds of people's sophistication, and works hard and complains.
Zhang Fa and his wife Tang Yuming were photographed in the early 1980s
At this time, most of the work in the family fell on Tang Yuming's head. She takes care of the life of the family, arranges all kinds of people's sophistication, and works hard and complains.
His eldest son, who settled on a farm in Xinjiang as early as the 1950s, has two daughters, one of whom was a worker at the Anshan Steel Mill.
In 1981, the house he lived in was only one large and one small, and it was very crowded, but he didn't care. Usually, he loves to read, play ball, swim, and also like to comment on the bomb.
But he never talked about his past, presumably those filmmakers he had been exposed to and the process of shooting movies were permanently sealed in a corner of his brain.
The main creators of the TV series "Under the Eaves of Shanghai" (1982) took a group photo of Kang Tai, Zhang Fa, Yu Fei, Wang Bei, Qin Yi, Yang Zaibao, Zhu Manfang and others
Because the road he has walked is indeed an extraordinary road, he is in that era, he can only choose for himself.
Later, Zhang Fa moved to Yongfu Road in Shanghai, and his accommodation conditions improved, but he still wore a borscht hat and Chinese cotton pants when he went out, just like an old man in a Shanghai alley.
Zhang Fa's image in the film Long Live the Wife (1947).
Zhang Fa may look back on his life and think of his former colleague Shi Hua in the movie "My Life" (1950) in the old patrolman finally became a beggar, sighing to himself in the cold night, "My life Oh."
In 2001, Zhang Fa died at the age of 82 due to the spread of esophageal cancer to lung cancer.
July 1965 issue cover: Shen Zhenxin and Ding Political Commissar in the film "Red Sun" (1963), played by Zhang Fa and Gao Bo (left).
- Before August 1937, Lan Ping was just an actress who was willing to be motivated
- He returned to Shanghai for four years without drama, and 1962 was his brightest year on the screen
- Cui Song, who became a late master, abandoned the official to follow the art, entered the film world at the age of 42, and became the first Hundred Flowers Film Emperor at the age of 48
- The "all-round villain" in China's early film industry, with a serious private life, died of exhaustion on the set at the age of 42
- Entering the film world because of his entry into the basketball team, Premier Zhou made a phone call and asked him to withdraw from the "Twenty-two" list