Wen | Lin Lin
Edited | Ji Zhengpeng
The Northeast Anti-Japanese Coalition Army was a heroic unit under the leadership of the Communist Party of China. After Japan invaded and occupied northeast China on September 18, it was composed of some former Northeast China Army, the Anti-Japanese Guerrillas of the Communist Party of China, the Peasant Armed Forces, and the Volunteer Army. Under the leadership of the Communist Party of China, they waged an arduous struggle against the Japanese aggressors for 14 years.
Due to the complex international situation during the Northeast Anti-Japanese League period and the lack of systematic historical materials, there has been a lack of epic, panoramic film works on the big screen.
However, in the past few decades, generation after generation of Chinese filmmakers have created a number of realistic works or fictional romantic works such as "Zhao Yiman", "Self-Descendants", "Red Lantern", "Returning to the Heart Like An Arrow", "Eight Women Throwing the River", "Into Glory", "White Mountains and Black Water", etc. Whether it is realism or romanticism, they all highlight the revolutionary spirit and the national spirit.
Works of revolutionary reality
Truly reproduce the revolutionary spirit of the Northeast War of Resistance
Historically, during the Northeast War of Resistance Against Japanese Aggression, many heroic revolutionary ancestors emerged. Yang Jingyu and Zhao Yiman are representative figures of this period. For the deeds of these revolutionary ancestors, filmmakers have created a number of excellent film works such as "Into Glory", "Zhao Yiman", "Eight Women Throwing The River", "My Mother Zhao Yiman" and so on.
In 1932, Yang Jingyu was entrusted by the Party Central Committee to organize the Anti-Japanese Coalition Army in the northeast, and successively served as the political commissar of the commander-in-chief of the Anti-Japanese Coalition Army, and was one of the main founders and leaders of the Northeast Anti-Japanese Coalition Army. Yang Jingyu led the northeast military and civilians to fight a bloody battle between the White Mountains and the Black Water, and in the emergency situation of ice and snow and running out of ammunition and food, he finally died alone and a large number of Japanese and Kosovars after several days and nights of fighting.
In 1994, co-directed by Yan Xueshu and Zhou Youchao, and starring Wang Gang, Xu Chenglin, Luo Jingmin, Shi Xiaohong, etc., "Into Glory" praised General Yang Jingyu's righteousness and thin clouds, the national integrity of Ning And the lofty sentiments of the Chinese nation.
In "Into Glory", General Yang Jingyu led his troops to be heavily surrounded by Japanese troops, and he ordered the main force to break through, and he only took three fighters to stay on the mountain to attract heavy enemy troops. In the case of several days of food shortage, he preferred to die unyieldingly, and was hit by thirteen bullets in his body, falling on the vast snow in the northeast forest sea, and sacrificing his life for the country. Through the story of a life-and-death struggle between Yang Jingyu and his guards being besieged and chased by the Japanese army, the film shows General Yang Jingyu's high patriotic spirit and indomitable national soul.
If Yang Jingyu in "Into Glory" is the representative of China's good boys, then Zhao Yiman in the film "Zhao Yiman" and the eight female martyrs in "Eight Women Throwing the River" can be described as not letting their eyebrows be raised.
In 1950, the drama film "Zhao Yiman" filmed by Changchun Film Studio was based on the true deeds of the heroine Zhao Yiman, telling the story of Zhao Yiman, who united and organized the masses to carry out the anti-Japanese struggle under the leadership of the party, and finally gave his life heroically.
Veteran film scholar Hook said that films such as "Into Glory" and "Zhao Yiman" are completely based on history, and through the reproduction of real historical figures, they highlight the national spirit and revolutionary spirit. "Films such as 'Into Glory' and 'Zhao Yiman' not only show the revolutionary spirit, but also have individual heroism, shaping the image of a number of special heroes in Chinese history."
As a director and scholar, Zhao Ningyu believes that Zhao Yiman in "Zhao Yiman" is very charismatic. In his view, Zhao Yiman was a southern woman born in Sichuan, but in the face of Japanese imperialism, she was very brave and did not have any fear until she finally shed blood and sacrifice.
Hooke even believes that "Zhao Yiman" laid the basic model for China's individual heroism films since the 1950s. Zhao Yiman in the film is heroic and indomitable in the face of torture, and personal heroism is vividly expressed. At the same time, in the film, under the increasing torture of the Japanese invaders, the ferocity of Japanese imperialism is shown through the actions, language and demeanor of the protagonist. ”
Compared with "Into Glory" and "Zhao Yiman", which focuses on the body of a major hero, filmed in 1987, "Eight Women Throwing River" tells the story of Leng Yun and other eight anti-coalition heroines who would rather die than die in the battle against the Japanese invading army and commit suicide by throwing themselves into the river.
In October 1938, in WusihunHe, Linkou County, Mudanjiang City, Heilongjiang Province, 8 female officers and men of the Northeast Anti-Japanese Coalition Army led by Leng Yun, under the leadership of instructor Leng Yun, launched a fierce battle with the Japanese puppet army. They took the initiative to attract the firepower of the Japanese puppet army, so that the main force of the army quickly escaped the enemy's attack, but they were besieged by the enemy army by the river. In the face of the Japanese puppet army's forced surrender, they swore to die unyieldingly, destroyed their guns, wade into the Ushun River arm in arm, shouted "Down with Japanese imperialism", sang the international song of "Slaves rise up", collectively sank the river, and martyred the country in a heroic way. The oldest of them, Leng Yun, is 23 years old, and Wang Huimin, the youngest, is only 13 years old.
In Hook's view, many of the works represented by "Eight Women Throwing the River" to express the Northeast War of Resistance have expressed the spirit of the National War of Resistance. "What is valuable is that works such as 'Eight Women Throwing the River' express that revolution is not the behavior of individuals, they convey the revolutionary spirit of people of different classes and different personalities, and the film not only highlights the differences of the individual, but also takes care of the overall situation, highlighting that resistance to Japanese imperialism is a matter for all Chinese."
Recalling the picture of the eight martyrs throwing themselves into the river in "Eight Women Throwing the River", Hook is still very moved, "The climax of the film is the eight women throwing the river, showing the revolutionaries' death as a homecoming, leaving a deep impression on the audience." ”
Revolutionary Romantic works
It delicately embodies the national spirit of the Chinese nation
Compared with the above-mentioned works based on real people and real events. Chinese filmmakers have also used fictional plots to create a number of very dramatic and well-structured film works. Zhao Ningyu called them revolutionary romantic films.
The 1963 film "Self-Descendants" depicts the struggle of the people of a northeastern city against Japanese imperialist aggression in 1939. The family of three in the film— grandma, dad and daughter – had different names, but in those difficult years they became a family. In order not to let the secret code pass to the hands of the Japanese emperor, the grandmother and father sacrificed their most precious lives, and the daughter strongly embarked on the path of her father's generation, continued to struggle, and finally did not let the secret code be known by the enemy.
"Although the story is fictional, it is very cleverly designed. The film shows three generations of grandchildren fighting Japanese imperialism in their own way. This is also the reason why the film was later adapted into "Red Lantern". Hooke gave a high evaluation of "Since There Are Descendants", he believes that the film is very innovative in artistic techniques, and it shows the collective nature of the revolution, in which every ordinary working person participates.
And the scene that makes Hooke most memorable is the scene of Li Yuhe's face-to-face dialogue with Captain Hatoyama. "This scene is almost impossible to happen in reality, and the fictionalization of such a scene not only allows Li Yuhe to fight with Hatoyama face to face, but also shows Li Yuhe's wit and firm revolutionary belief."
Referring to the revolutionary romantic films that expressed this period, Zhao Ningyu was most impressed by the feature film "Return to the Heart Like an Arrow" produced by bayi Film Studio, directed by Li Jun, and starring Sichengaova and Zhao Erkang. The film tells the story of Wei Desheng, a company commander of a certain unit of the Northeast Anti-Japanese Resistance League who was seriously wounded and captured, who escaped from the clutches of the enemy, and developed sincere feelings with Yuzhen, a rural woman who saved him, and finally his loyalty to the revolutionary cause triumphed over his personal feelings, and Wei Desheng returned to the anti-Japanese front.
In Zhao Ningyu's view, "Returning to the Heart Like an Arrow" uses the creative techniques of small perspective and big feelings to organically combine people, things and feelings. In addition, every detail of the film is full of the intentions of the creator. "The male protagonist is called Wei Desheng, which means to win. The heroine's name is Yuzhen, which shows her jade-like chastity. Wei Desheng and Yuzhen represent the best sustenance of Chinese to heroes and people, respectively. "In the years of war against imperialism, many Chinese have given up their small homes and many beautiful things for the sake of the country and the nation. Zhao Ningyu believes that these are all reflected in "Returning to the Heart Like An Arrow".
Add era elements
Provide new experience for Chinese film creation
From the timeline, most of the film works created around 1950 about the Northeast War of Resistance are realistic and realistic works. In this regard, Hook believes that that period is relatively close to the time of the real event, the main creators feel empathy for that period of history, and even many actors have participated in the revolution. The personal experience of the creator also made the works of that period very real.
In contrast, when the time came to around 1980, the films that represented the Northeast War of Resistance in this period added elements of the era. In Hook's view, the films of this period expressed the theme of revolution in a more lifelike way and added more content to express human nature, which not only did not weaken the original revolutionary spirit and national spirit, but sublimated these two spirits. Produced by Fujian Film Studio, directed by Sun Tie, and starring Zhang Han, Hirano Takada and Jin Dong, the anti-war drama film "My Mother Zhao Yiman" is such a film work.
The film tells the glorious journey of national hero Zhao Yiman from the "9.18" incident in 1931 to his heroic sacrifice, and the story takes place in the northeast and Shanghai in the 1930s. From the perspective of a son, through the spiritual dialogue between mother and son across time and space, "My Mother Zhao Yiman" shows the tragic and touching and little-known deeds of the anti-Japanese heroine Zhao Yiman on the screen, creating a heroic image that can be sung and wept and has flesh and blood.
In Hook's view, "My Mother Zhao Yiman" adds family affection, enriches the spiritual world of the characters, and highlights the character charm of the characters. "These new creative methods and elements make the heroes closer to ordinary people, but they are higher than ordinary people, providing new experiences for future Chinese film creation."
Not only "My Mother Zhao Yiman", but also films such as "The Last Eight People" and "Adulterous Details" created as early as 1980, while adding expressions of human nature, also use suspense and other very genre-based means to create. In Zhao Ningyu's view: "Although most of the domestic films are feature films, the means of genre creation are not limited to Hollywood, and in the 1980s, there were also many genre works with strong ornamentation in domestic films. ”
The history of the destruction of the country and the death of the family records humiliation, and the struggle of the mighty mountains and rivers bears witness to the greatness. Industry scholars said that although due to incomplete historical materials and many other reasons, the film works showing the period of the Northeast War of Resistance against Japanese Aggression lack panoramic films, a number of works that see the big from the small have outlined the revolutionary experience and national spirit of the Chinese people under the leadership of the Communist Party of China. Chinese people's victory in the War of Resistance Against Japanese Aggression for more than 70 years, China's changes have been earth-shaking. The stories of the Northeast Anti-Corruption League and the spirit of the Northeast Anti-Corruption League that are constantly staged on the big screen will inspire generations of Chinese sons and daughters to work hard together and continue to struggle.
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