Wen 丨 Lonely Island Lord
Nearly two decades after quitting the film industry, Hu Huizhong, an actress who had been in the Chinese film industry in the 1970s and 90s, suddenly opened a Weibo, and it was Sun Li who left a message for her at the bottom and asked for mutual closure. This is not surprising, because Hu Huizhong's cousin is Sun Li's grandmother. The two are relatives of Zheng'er Bajing.
In the early 1990s, when cross-strait relations were just thawing, Hu Huizhong, a son of a taiwanese village, returned to the mainland for the first time to reunite with his cousin. At that time, Sun Li did not and could not realize that her aunt and grandmother had grown up and become popular in a big era of change.
Hu Huizhong, Sophie Marceau, Maggie Cheung
"On a cold and rainy night, I met a wandering orphan, we fell in love", such a gentle narration, from the 1979 movie "Huan Yan", the film opens, accompanied by the prelude to "Olive Tree", which has become the collective auditory memory of chinese people around the world today, a strong light plays a touch of sitting and playing guitar, which is the first time Hu Huizhong who acted in a movie gave the world the first impression, gentle and strong, independent and petite.
"Happy Face"
Among the Actresses of Taiwanese literary and art films in the late 1970s, "Sanhu" was the nickname of the most popular Samsung at the time, they were Hu Guanzhen who starred in "If I Am True", Hu Yinmeng who starred in "Man in the End of the World" and Hu Huizhong in "Huan Yan".
Introduced in the "Erqin Erlin" literary and art film boom and Taiwan's "new film" will rise to the stage, born in the late 1950s, Hu Huizhong, career career continued longer than other erhu, she studied in the history department of National Taiwan University, at the age of twenty was discovered by star scouts to enter the industry, although it is relatively accidental, but in the opening of the performance debut "Huanyan", sang a three-minute complete "Olive Tree" to the camera, injected a clean new wind into the screen, and even became a new star in the late 1970s, the limelight once overshadowed Lin Qingxia.
This can be seen from the film critics' evaluation of Hu Huizhong in "Happy Face" at that time as "the biggest discovery in the film industry since Lin Qingxia in "Outside the Window"" .
Hu Huizhong's beautiful literary and artistic film young woman image, in the Qiongyao film boom faded, Taiwanese film is moving from the "three halls" and political propaganda to the stage of attention to reality, still lasted for nearly five years, 1979-1983, "I sing I Cry", "Migratory Bird Love" and other films, constituted hu Huizhong's early performance career of the most stable and lacking character image map, after the gradual rise of "new films", this kind of role shaping based on traditional literary and art film ideas is difficult for the audience to accept.
"I sing I cry" "I sing I cry"
Like Lin Qingxia, Qin Xianglin and Zhang Guozhu, by the mid-1980s, Hu Huizhong joined them and went to Hong Kong to continue his career, becoming a prominent member of the "cross-regional performance" community in the golden age of Hong Kong cinema.
Similar to Lin Qingxia's gradual transformation from a weak jade girl to a relatively neutral and strong role in the field of Hong Kong film performance, Hu Huizhong's positioning in Hong Kong films in the 1980s has also changed from the heroine of Wenqing or romance films in the early days of her debut to a more intense "beating woman".
From the perspective of the development of the film industry, at that time, the action and adventure genres in the Hong Kong film industry were already the mainstream, and the efficient fighting design team of Cheng Jia Ban and Hong Jia Ban to shape Jackie Chan and Hong Jinbao with personal heroism also became a new trend of Hong Kong action films. Looking back at that year, Qin Xianglin and others who lived from Taiwan to Hong Kong, because they did not have the foundation and experience of action fighting, soon became characters responsible for gags in comedy action movies from literary and artistic students.
Hu Huizhong's encounter is very different, in the 1985 Hong Jinbao directorial work "Fuxing Gaozhao", for the first time, the female main image corresponds to the "Five Blessings Star" of the female police role "Overlord Flower".
Although at that time, the function of the Overlord Flower in the film "being examined by men" was no different from that of Zhong Chuhong in the previous "Strange Schemes and Five Lucky Stars", on the surface, Hu Huizhong's whole body posture and aura were more powerful and rebellious, and he was a strong person who was enough to fight the enemy alone at the final decisive moment.
This film was a watershed in Hu Huizhong's career, and since then, the imprint she has left on the spectrum of Hong Kong film actors is a synthesis of a highly independent personality, but also has not lost the beauty of women.
After "FuXing Gaozhao", "Summer Lucky Star", "Overlord Flower", "Five Lucky Stars Colliding with Ghosts" and other films have been released in succession for several years, Hu Huizhong once described himself as the preparation for the action training he received when shooting these films was very strict, and hu Huizhong actually had a very clear understanding of his body discipline as a woman and the final effect: "Practice movements every day, often practice to the body is dark blue, after training the muscles are as hard as stones, can not move."
Her powerful body shaping has achieved the screen effect of deeply binding her performance with the "Overlord Flower" style character.
In the mid-to-late 1980s, in the context of Yang Lijing, Hui Yinghong and even Wu Junru and other actors have joined the action film performance, Hu Huizhong's existence, in addition to being quite "stared" by the audience first, is more outstanding among actresses.
For example, in her most classic masterpiece of this period, the "Overlord Flower" series, in addition to the specific fight scenes, in the casino and other scenes, Hu Huizhong does not play a direct body action language, but through subtle expression actions, showing the role of the unfazed, cool and rational side.
In exploring the action presentation of stars in Hong Kong action movies of that era, it is often necessary to take into account the factors of using stand-ins, and the action scenes of stars, especially female stars, are not the result of the stars' own complete achievements to some extent, but it is precisely in the literary scenes of action movies that Hu Huizhong adopts the method of effectively highlighting the spontaneous personality of the characters she plays, such as throwing cards casually, and showing a relaxed and innocent look on her face in a precarious sitting, etc., which allows her to distinguish her from the overall screen personality of other actresses of the same era.
This even continued until the 1990s when Hu Huizhong performed in TV dramas, and Hu Huizhong showed her "quiet as a virgin, moving like a rabbit" in "Bodyguard Lover Bodyguard".
In the play, this character is a two-faced spy with two names, often caught in a complicated situation of love and killing with the male protagonist Guo Xu (He Jiajin), usually dressed in a long coat, Hu Huizhong, sometimes weak and uncontrollable, and often kills people quickly, and the conversion between the two personalities is almost to the point of incompatibility.
Until the end of the film, many of the films hu huizhong participated in in the 1990s had not only positioned herself as an action actress, as shown in the drama "Lover's Bodyguard", Hu Huizhong often tried to combine both image advantages and challenges on the screen/screen, such as the female reporter in "Chongqing Negotiations".
Chongqing Negotiations
In many co-production films and televisions born in the era of open cross-strait relations, Hu Huizhong's appearance, in addition to being a commercial requirement, seems to represent more of a signal that the two sides of the strait are gradually thawing.
This layer of relationship, the twists and turns reflect some changes and inability to change in the year of water flow, just like Hu Huizhong's performance career of more than 20 years and the life of another 20 years away from the curtain, it has withstood the test of the audience and time. Her rigidity and softness, in a way, are not the product of specific situations in one era after another?