Behind-the-scenes tidbits of Pearl River tears

Tears of the Pearl River is a blockbuster.

1in August, 945, War of Resistance against Japanese Aggression finally won. After going through the double purgatory of war and hard life, Wang Weiyi devoted himself to drama and film art with full creative enthusiasm. He joined the "Left-wing" Kunlun Film Company directly led by China Underground Party.

1947, the famous director Shi Dongshan directed "Clouds and Moon on Eight Thousand Miles", which is a feature film with the hard life of Wang Weiyi and other performance teams as the theme. The film stars famous actors Bai Yang and Tao Jin. Wang Weiyi himself has experienced this past, and he was once again appointed as the deputy director of the film by his mentor.

1948, Wang Weiyi and his good friend Xu Tao jointly directed "Open Spring", which was written by Ou Yangyuqian, photographed by Weiyun Wu and starring Zhao Dan, Wang, Feng Zi and Su Hua. The film describes an intellectual woman's life pain caused by her wrong marriage. Finally, she firmly knows herself and resolutely breaks up with her husband. This is also the only screen cooperation between Wang Weiyi, Xu Tao and Zhao Dan, three friends in trouble. Wang Weiyi co-produced two progressive films, Hope on Earth and Two on the Road, in Kunlun Film Company. Wang Weiyi played the villain role of the ferocious Japanese leader in these two films describing the heroic struggle of the people of China against the Japanese invaders. For Wang Wei, who personally experienced the Anti-Japanese War and hated the Japanese aggressors, it was another challenge with great contrast between class feelings and roles.

1in the second half of 948, the situation of the people's liberation war began a major turning point. According to the turning point of the war at that time, the film front will leave Shanghai in large numbers and go south to Hong Kong. Yang Hansheng, Cai Chusheng, Yu Ling, Shi Dongshan, Bai Yang, Shu Xiuwen and others arrived in Hong Kong successively, and together with Hong Kong's progressive filmmakers, they launched the progressive film movement in Hong Kong, making contributions to the overall victory of the People's Liberation War.

1949 In the summer, "Southland" Film Company completed two Cantonese films: Tears of the Pearl River, A Hate History of Yangcheng and a Mandarin film "Winter Go and Spring Come". Tears of the Pearl River is the first independent film directed by Wang Weiyi and written by Chen Canyun, a famous Guangdong playwright. The film from shooting to release was in good agreement with the social reality and current affairs environment at that time. In the process of film creation, the famous film director Cai Chusheng helped a lot. In the middle of June 5438 of the same year+10, Guangzhou was liberated, and the film crew rushed to Guangzhou to shoot real scenes in many places. The story of this film takes place in a rural area near the Pearl River in Guangdong Province shortly after War of Resistance against Japanese Aggression's victory. A pair of farmers experienced joys and sorrows in their hard years. This film focuses on the economic contradictions and sharp struggles in the Kuomintang-controlled areas on the eve of liberation, and reflects the urgent demands of the broad masses of the people for liberation through the misfortunes of farmers persecuted by landlords. The realistic style of the film, coupled with the excellent rendering of the environmental atmosphere, the unique streets, narrow lanes, lion drums, snacks, blind girls' songs, sails on the Pearl River, people on the Haizhu Bridge and ships moored on the dock are all so rich in southern customs and Guangzhou characteristics. The artistic achievement of Tears of the Pearl River laid the foundation for Wang Weiyi's directing style, which has the characteristics of "South China".

Following the great success of the Cantonese film Tears of the Pearl River, Huang Guliu, a famous playwright in Guangdong, wrote the novel The Story of Shrimp, and Jian Qin also directed and filmed Man Jiang Hong. The appearance of these progressive Cantonese films and a large number of excellent Mandarin films with certain artistic achievements has obviously improved and improved the Hong Kong films with mixed quality and low quality in the past. This positive promotion has enabled the Hong Kong film industry to advance and develop on a correct, healthy, high-level and artistic track. It is no exaggeration to say that it is the realistic expression style and strong southern amorous feelings of Tears of the Pearl River that added a touch of bright color to the Hong Kong films of that year.