Wen Shu Sairen
In 1961, the Beijing Film Academy brought two college students from the northeast, One was Xiao Guiyun from the Directing Department, and the other was Li Qiankuan from the Art Department.
Li Qiankuan Xiao Guiyun and Former Director of Hongyan Office Tong Xiaopeng (middle)
Xiao Guiyun is one of the few girls in the directing department, and her talent and appearance are complete, which attracts the attention of Li Qiankuan. The two were successively assigned to the Changchun Film Studio, and after the Cultural Revolution, Li Qiankuan first served as an assistant director for Zhao Xinshui, a famous director of the Long Film Studio, and Xiao Guiyun had begun to direct some opera films independently. The official collaboration between the two is "General Sabre", which is set in the Battle of Huaihai, which tells the story of the uprising of underground party members He Jili and Zhang Kexia who went deep into the upper echelons of the Kuomintang army.
General Sabre (1982)
This film is the first time I have seen Xiang Kun, who is good at playing a reverse role, and show a positive image. It also made me aware of the so-called sabre, that is, the Zhongzheng sword issued by Chiang Kai-shek to meritorious deployment. Now it seems that this film laid the foundation for Li Qiankuan and Xiao Guiyun to direct major historical films in the future. But for a long time, they still set their sights on the vast and vibrant frozen soil.
One is "Sweet Girl" and the other is "Field and Green Yarn Tent". The former is gentle and the latter is warm. "Sweet Girl" shows the span of time, reflecting the more moist and silent personality shaping given to people in that turbulent era. Borrow the eyes of a Shanghai female Zhiqing to look at the unique crystal of the ice and snow, and the temperature brought by this crystal. That is Hong Xuemin's rare role as a big heroine, and she also performed well.
Sweet Girl (1983) Sweet Girl (1983)
"The Field is a Green Yarn Tent" is through the opening of a township hotel, densely and gracefully weaving a web of human feelings, a glimpse of the depth of human feelings. The whole film is a very pure Northeast film, and the momentum and style are authentic black earth style. The realistic meaning of the film is naturally the reform of the rural economy, the so-called "open the window, the sun shines in, and the flies fly in." This is a film directed by Li and Xiao that really has a sense of social criticism. Compared with their later "Ghost Fairy Ditch", it is more in-depth and has a sense of breath.
The Field Is a Green Gauze Tent (1986)
What makes this film fascinating is that it plays a concerto of life that people and the land inevitably play. Cunning and bold dancing, cowardice and toughness go hand in hand, helplessness becomes the packaging of confession, and high-profile becomes a low-key prelude. "The Field is a Green Yarn Tent" and Xie Tieli's "The Tempest" form an effective echo, both refer to the revolutionary land policy that took place in the northeast, and both bring a different color to this land that has always been optimistic.
The Tempest (1961)
Both films are group portrait depictions, which extremely test the director's skills. I think this film has laid a solid foundation for Li Qiankuan and Xiao Guiyun to later depict those heroes who sang and appeared on my stage. Both films, both all-star casts. Without saying "The Tempest", just talking about "The Field is a Green Yarn Tent", there are Zhao Lirong, Song Dandan, Fang Qingzhuo, Huang Zongluo, Yan Peter, Li Wei, Lü Xiaohe, Han Yueqiao, Hong Xuemin and so on.
I would like to see Li Qiankuan and Xiao Guiyun again to shoot the wind and clouds of their hometown. It seems that my idea is doomed to fail. In 1989, on the occasion of the 40th anniversary of the founding of the People's Republic of China, Li Qiankuan and Xiao Guiyun's wedding anniversary was October 1. In the same year, they launched the film "Founding Ceremony", which brought them great reputation and repercussions.
Founding Ceremony (1989)
This film is the most intoxicating of the typical fourth generation, and the co-smelting of poetry and reality is a furnace, which is to think big and start small. It tells a history that has turned upside down, and what enters history is the details that flash by. For example, Mao Zedong forgot to bring cash when eating, or for Example, Chiang Kai-shek went to get food for his grandson while mourning.
The decisive battle may be a card game of determination to resist, and the fall of an old regime is a soldier walking in the empty presidential palace. I didn't eat a good table of food, and I lost my head. When the report was reported, the person who listened to the report had fallen into a deep sleep. This is indeed a duel between the autumn wind and the fallen leaves, and Li Qiankuan and Xiao Guiyun's Qinser and Ming play this feeling of swinging and purification very stretched and calmly.
In this film, history is no longer a rigid number in the textbook, but the movement of specific people in time and space. It certainly has a big axe, but it is more leafy. In terms of imagery, it is a progression from black and white to color, which refers to the change of the times. It is also a transition between documentary materials and real-time shooting, and is a response between historical reality and psychological reality.
"The Founding Ceremony" was swept away at the Golden Rooster Awards that year, and won many important awards. Li Qiankuan and Xiao Guiyun also became the most important husband and wife directors in China. In terms of division of labor, it is different from our usual imagination. Xiao Guiyun mainly completed the scene scheduling, and Li Qiankuan, who was an artist, was responsible for the selection of scenes, the selection of people and the planning of the sub-shots. When Li Qiankuan speaks, he is full of emotions and emotions, and he also has his own experience in performance guidance.
After the "Founding Ceremony", the couple once became the top figures of major historical films, but the subsequent "Chongqing Negotiations", "July 7 Incident" and "After the Decisive Battle" were not as good as "Founding Ceremony" in terms of overall achievement and influence. All of them are suspicious of talking about things and discussing things on the basis of facts, and they are not as capable of rippling away as the "Founding Ceremony", so that they can see the clouds open in the clouds of the mountains and the sunrise.
Among them, "Chongqing Negotiation" is the one who wants to continue this charm the most, and its style is also the closest. Pay attention to the confrontation between the two camps, and pursue the imperceptible power of history when it rolls forward. Some slow-motion treatment, as if history does not want to freeze the sky. But there is still a lack of detail, less of a non-decisive element in history. That is, because the directivity is too clear, history here, because it is too well defined, becomes no longer rich.
Chongqing Negotiations (1993)
"The July 7 Incident" lacks some other emotional amplitude outside the guardian country, and we really have to listen to the roar that is forced to come out and look at the Great Wall made of flesh and blood. But a movie with only blood is still thin. "After the Decisive Battle" is the story of the War Criminals Management Center, and yan Jizhou has filmed "The Land of Regeneration" on the same theme.
After the Showdown (1991)
Yan Jizhou's part should be more cold, and emphasize the inevitability of history. Li Qiankuan and Xiao Guiyun should be more lively and warm, and the environment and characters do not constitute a strong causal relationship.
The Land of Regeneration (1983)
That is to say, those prisoners with outstanding military achievements, although they do not fall down, or lose a share of happiness, they can immediately seek another happiness because of ugliness. I actually prefer the creative attitude of Li Qiankuan and Xiao Guiyun, not every prison is from the wind from the tiger, the cloud from the dragon. Perhaps in this place where there is no personal freedom, but can find another kind of tranquility. It's just that if this kind of subject matter wants to be shot in place and shoot with quality, all aspects of the subject matter to be dealt with are too complicated. Here, I can only say that the two directors have worked hard.
After the Showdown (1991) After the Showdown (1991)
In Chinese movies, there are many directors of husband and wife files. Such as Zhang Wanting and Luo Qirui, Luo Zhuoyao and Fang Lingzheng. These two couples are basically husbands and wives, at least in the director's signature can be understood. On the mainland side, it is the husband and wife who are jointly responsible, such as Yu Yanfu and Zhang Yuan, Saifu and Mei Lisi, as well as Li Qiankuan and Xiao Guiyun. Yu Yanfu and Zhang Yuan both passed away one after another, and Saifu left a little earlier. And Li Qiankuan, like the historical films he once directed, has now become history and is equally worth remembering.