Fangfang's main works

A black-and-white version of Guerrilla in the Plain

1In the autumn of 955, the long film "Guerrilla in the Plain" tells the story that guerrilla captain Li Xiangyang accepted the task and went deep into the enemy's rear, while restraining the Japanese army from sweeping the mountains, while protecting Li Zhuang's hard-fought public grain, fighting with Japanese captain Matsui and finally defeating the enemy. After the film was released, it had a sensational effect. The audience remembered not only Guo Zhenqing's heroic image of Li Xiangyang, but also Fang Hua's cunning and cruel Japanese devil Matsui. This kind of positive and negative roles is a rare typical image combination on the new China screen.

Before playing Matsui, Fang Hua had played Japanese devils in three films and accumulated rich performance experience. For this main villain who runs through the whole film, Fang Hua made a fresh start and made great efforts. Although there is no in-depth description of Matsui in the script, Fang Hua believes that the simpler the script provides, the greater the creative potential of the actors. He fully mobilized his past experience, drew the evil deeds and ferocious faces of Japanese devils he witnessed in 14 The Conquered Man, posted them on the wall, pondered them one by one, and used * * * to find their different characteristics, thus writing a "personal biography" for Matsui. Especially in Dalian Business School, the savage instructor who beat him up became the key research object of Fanghua and the main prototype of Matsui. Those brutal crimes and ferocious faces of Japanese devils can be clearly seen as soon as you close your eyes. Therefore, he positioned Matsui's appearance as "a livid face, eyes like a hungry eagle, bloodshot, and always wanted to have a terrible look of eating people." At the same time, Fang Hua also studied a large number of Japanese aggression materials and Yamato national history, trying to dig Matsui's complex psychology from a deep level. He also bought an eagle and an old monkey, and observed their behaviors every day, especially the changes of their eyes when they grabbed food, and then applied them to shaping Matsui. In addition, Fang Hua picked up some Japanese words he learned as a child, combined them, and tried to send out pure Japanese to enhance the sense of reality ... Finally, Fang Hua put on a carefully planned Japanese military uniform, appeared in front of the camera with an ocean knife, and began to shape his own role. Immediately after the film was released, there was an upsurge of "plain guerrillas" in the whole country. For a long time, all children who have seen this movie will learn to divide themselves into two teams, Li Xiangyang with two guns and Matsui with a saber, playing war games.

Although the image of "Matsui" was successful, it did not bring much honor to Fang Hua in the film circle. Soon after, Mao Zedong visited the factory in Chang Ying and made an appointment with the actors of Guerrilla in the Plain. However, some leaders in Chang Ying have special respect for the villain played by the other side, and think that such a role cannot be elegant. So the factory informed Fang Hua in advance and ordered him not to show up when Chairman Mao met the actor the next day, so he was given a day off as a meeting gift. Fang Hua was very eager to see Chairman Mao again, but he was dismissed by a cold word. When Chairman Mao shook hands with other members of the film crew of Guerrilla in the Plain, Fang Hua was lying alone in the bed of the dormitory, and the taste in his heart was beyond words. ...

A color version of Guerrilla in the Plain

After 19, Changying Factory, which was in the Cultural Revolution, was instructed by the superior to retake guerrilla warfare in the plain. According to Jiang Qing's original intention, the remake kept the original story frame. Jiang Qing once publicly threatened that the remake must surpass the old film. So the film crew made a big exchange of blood. However, only the Japanese devil Matsui has selected hundreds of actors in film studios and literary and art groups all over the country, and no one has ever satisfied Jiang Qing. Her idea is to find a new actor who is close to Fang Hua's Matsui. "Everything is ready, only the east wind." The film crew waited for Matsui Ishigen for several months but failed to turn it on. In the end, Jiang Qing slapped herself and was forced to let Kare Wah go out again.

Fang Hua is not optimistic about playing Matsui again. On the one hand, he doesn't want to make the same mistake. After all, his role has been successful and it is difficult to surpass it. Secondly, I have left the film industry for many years, but when I go back to acting, I feel a sense of strangeness. Everything must be started from scratch, so as not to ruin the performance; Third, I was just thirty when I played Matsui, and I was very energetic in learning, understanding and playing the role. At this time, people who are already fifty years younger are in poor health. But at that time, filming was regarded as a political task, and there was no room for an actor to choose between left and right. The only way is to go to the film crew. But what he didn't expect was that although the film was still directed by the old director Wu, in that extreme era, the "three prominent" rules and regulations made the political atmosphere of the photography team extremely tense, and there was no room for the actors' "creative freedom". Fang Hua can no longer learn the plot from the director according to his understanding of the role, but he must always pay attention to the lens and light when shooting every scene that confronts Li Xiangyang head-on. Even when walking, he must avoid the positive characters to a certain size, and he must never stand in front of them. On the other hand, the villain can't have a positive shot, and the light that hits his face and body can only be gray-black. The actor's performance requires that he try his best to show and uglify the villain's posturing, and he is arrogant and arrogant. In the process of real shooting, it is difficult for Fang to adapt to the rules and regulations of "three highlights" several times. When I was in the mood, I was immersed in the role, only to hear the director shout: "Stop!" " Oh, it turns out that I made such a big step forward that I almost met Li Xiangyang. It doesn't matter, steal the positive characters! Fang Hua had to interrupt the creative inspiration he had just captured and restart his performance routine with extreme plastic surgery, conceptualization and formatting according to the director's intention. On another occasion, Fang Huagang immediately put on Matsui's aggressive posture as soon as he got on the horse. The director immediately shouted into the microphone: "Attention, you stole the show again!" The scene finally turned into Matsui looking at Li Xiangyang from a distance, with a dark green light on his face and a trembling look. In this regard, Fang Hua can only smile, he fully understands the director's difficulties!

In such a severe creative environment, if you want to play the villain role in front of the camera, you must force yourself to develop the habit of "using one thing for multiple purposes" and always pay attention to and remind yourself not to "go out of line". However, how can such a performance mode play the true level of an actor? Therefore, Fang Hua's second performance of Matsui, although it has also become a hot topic of gossip, has not made any breakthrough in the creation and performance of the role. On the contrary, in the eyes of insiders, it is an obvious retrogression, which is nothing more than creating a "clown" who has been vilified to the extreme.

1957 During the vigorous anti-rightist movement, Fang Hua played a centenarian in Embroidering Jiangshan, which praised real life, and then played an arrogant intellectual with many shortcomings in the satirical comedy Unfinished Comedy directed by Ban Lü. For these two roles, Fang Hua is very enthusiastic, because from the first day he stepped into the film circle, he was determined to play all the roles with different personalities and identities well, not just staying in a fixed role. Previously, he played the role of the old boss in War Horse in order to take over the first positive role after the completion of Guerrilla in the Plain. There is no trace of Matsui in that out-and-out old man in Northeast China. The characters are so simple and the actors' performances are so life-oriented. Fang Hua is very confident. He believes that with his solid foundation and acting talent, he can be competent for any role.

join in work

Sunny (1994)

Turn adversity into luck (1989)

Legend of Nanling (1988)

Ten days (1980)

An American pilot (1980)

People who deal with the devil (1980)

Shanzhai Hawking (1978)

The Battle of Yanhe (I) (1977)

Plain guerrillas (color version, 1974)

Sanjin Mountain City (1965)

Morning in the South China Sea (1964)

Two families (1963)

Sino-Japanese War (1962)

Sanjie Liu (1960)

Unfinished comedy (1957)

Ma (1956)

Plain guerrillas (black and white version, 1955)

Outsmart Huashan Mountain (1953)

Night in Harbin (1948)

Xiaobailong (1948)

Songhua River (1947)