[left, the founding brother: the eldest, Shao Zuiweng. Click on any image to show full size.]
In an earlier article discussing Chinese movie developments of 1925, we briefly mentioned the event of that year having the most far-reaching impact was the establishment of the Tianyi Film Company in Shanghai. It was founded in June by four brothers named Shao 邵, from Ningbo, Zhejiang Province. The studio head and prime motivating force behind the studio was eldest brother Shao Renjie 邵仁杰, who went by the alias of Shao Zuiweng 邵醉翁, (literally "old drunk"). Shao graduated from the Fuzhou University law school, after which he went into practice in Shanghai. This first career didn't pan out, as he "couldn't bear the burden and soon ceased all activity in that field." (1) However, he had impressed the Chinese managers of the Sino-French Zhenye (振业) Bank, who appointed him the bank's chief director. A good job with comfortable income, but he had decided his best future lay in owning and operating his own business, not just for himself, but also to support his widowed mother and provide careers for his several siblings. So Renjie (as he was still known -- after the brothers moved their base of operations to Hong Kong, the spelling became Runjie) acquired the backing for several joint venture projects he ran in such areas as dyes, sugar, an old-style Chinese private bank, silk and paper, in various East China cities including Shanghai, Tianjin, Ningbo,
[the Shao/Shaw brothers, mother and other siblings]
Zhenjiang and Huzhou. But none of these panned out as he wanted. During this period Shao Zuiweng had become interested in amateur theatricals, especially what was called New Drama. He threw himself into this new interest, founded a theatrical troupe called The Peace Society, and operated a theater (The Laughing Stage) with other future filmmakers Zhang Shichuan and Zheng Zhengqiu. Shao became captivated by the stage as an instrument of change, believing it was "an important method of educating society, a most common and powerful means of affecting people's hearts, and altering their customary way of doing things." (2) His primary role with the theater was as a playwright, and he contributed numerous scripts, "all of which were satires on society, yet encouraging to ordinary people and warmly received by audiences." (3)
[left, brother Shao Cunren/Shaw Runde]
This newfound personal interest, combined with the growing entrepreneurial interest Shanghai's infant film industry was attracting as a field for investment, led the hitherto failed young attorney/businessman to think he might at last have found the right industry for the family business he dreamed of creating. But another aspect of cinema which appealed to him was this fledgling industry's potential as a means of expression: as he later expressed it, "the stage is seriously inhibited by its lack of freedom to present time and space. For instance, one cannot recreate the Great Wall or the Yangtze River on stage. A story's time line, as presented on a stage, is restricted and can only represent one moment in time. But film, on the other hand, can bring to life on screen everything presented on the stage." (4) So Shao Zuiweng and his brothers Cunren and Shanke (later Rende/Runde and Renmei/Runmei, respectively) decided to establish the Tianyi Film Company in the Zhabei District in Shanghai. Zhabei (then spelled Chabei) District lay just north of Shanghai's International Settlement, and for years had successfully fought off the International Municipal Council's attempts to incorporate it into the International Settlement, because, as one contemporary guidebook expressed it, "the Chinese prefer to be badly governed by themselves than well governed by others." (5)
[right, brother Shao Yifu, later Sir Runrun Shaw, and still with us]
The brothers' management structure had Shao Zuiweng as film director and general manager. He made it explicit that he was totally opposed to the trendy European style that was being adopted by some other studios, such as the Dazhonghua Baihua Film Company and publicly announced that Tianyi's films would "stress traditional moral and ethical values, promote Chinese civilization and avoid becoming Europeanized." (6) It is somewhat ironic to note that while this doctrine was dominant in the studio's early productions, in a few decades its Hong Kong successor would become for many people symbolic of sex and violence. (I don't know, maybe those are traditional values in any civilization, not just Chinese.)
We have already discussed Tianyi's first production,《Repentance》which stressed the inspiration awakened by Buddhism and traditional ethical doctrines and fully embodied Shao Zuiweng's artistic views. Their second film, finished later that year, was《Swordswoman Li Feifei》and in early 1926 they made《Four Commandments》and《A Couple's Secrets》. A studio spokesperson later said of these films that they "encouraged peace, mutual understanding and help among mankind." (7) The success of these first efforts enabled Tianyi to expand its facilities and staff.
[above left, brother Shao Shanke/Shaw Runmei]
[below left, the Tianyi studio on Huade Road in Shanghai]
In 1926, the company moved into more spacious quarters in another part of Zhabei, and expanded further by purchasing new lighting facilities and enhancing its talent pool. Among the newcomers added to the circle of directors were Gao Lihen, Gu Kenfu and Li Pingqian. The studio's growing pool of acting talent added Chen Yumei, Hu Die, Ding Ziming and Wu Suxin. Another important change occurred in Tianyi's productions as they began shooting unofficial historical films. A literary trend of the times was promotion of folk literature, a trend Shao Zuiweng agree with, believing that the "articles collected in the official histories were written by hack writers who just sang the praises of their emperors. But the folk stories that were created and enjoyed widespread popularity throughout society truly reflected the common people, and the characters in these stories lived out the pain buried in the people's hearts." (8)
Tianyi's distinctive style was awarded with great financial success. The traditional ancient costume film was the genre sweeping the studios, and Tianyi caught the crest of the wave. Starting with《The Tragedy of Liang and Zhu》(1926), the company turned out six of these "unofficial histories," and with story lines based on familiar and accepted folk stories they drew enormous attention fron audiences. Tianyi began a major sales campaign to enhance the company's finances and expand its distribution market in both domestic Chinese cities and throughout Southeast Asia, making it the first Shanghai studio to recognize the vast potential of that region. In less than a year of development and growth, Tianyi had become competitive with the Mingxing and the Dazhonghua Baihe studios, and had laid a firm foundation for its becoming a cinematic empire after World War II.
[below, some Tianyi personnel gather for a group photo. From left: Hu Die, Shao Zuiweng (3rd left), Shao Cunren (5th left), Gao Lihen (6th left), Wu Xuxin (7th left). Others unidentified.]
References:
(1) (3) Xu, Zhihen 徐耻痕, Zhongguo Yingxi Daguan 中国影戏大观 (An Overview of Chinese Shadow Plays). Shanghai Joint Publishing House, 1927.
(2) (4) "The ten-year history of the Tianyi Company." in: China Cinema Yearbook. Shanghai, 1927.
(5) Darwint, Rev. C. E. Shanghai: a handbook for travellers and residents to the chief objects of interest in and around the foreign settlements and native city. 2nd edition, rev. and enl. Shanghai: Kelly & Walsh, Ltd., 1920.
(6)《Repentance》Special Issue. Shanghai: Tianyi Film Company, October, 1925.
(7) (8) "History of the Tianyi Film Company," in: China Cinema Yearbook. Shanghai, 1934.
(Complete Tianyi filmography follows after the break)
1925:
Heroine Li Feifei 女侠李飞飞
Repentance 立地成佛
1926:
Four Commandments 忠孝节义
Pearl Pagoda 珍珠塔
Monkey King Conquers the Leopard 孙行者大战金钱豹
Meng Jiangnü 孟姜女
The Tragedy of Liang and Zhu 梁祝痛史
Secrets of a Couple 夫妻之秘密
Movie Actresses 电影女明星
Legend of the White Snake 白蛇传
1927:
New Camellia 新茶花
Princess Iron Fan 铁扇公主
The Tang Emperor Visits Hell 唐皇游地府
Shilin Festival Tower - Pt.3 仕林祭塔-第3集
Woman Lawyer 女律师
A Crushing Blow 刘关张大破黄巾
Hero with White Haired Legs 大侠白毛腿
1928:
Zhu Hongwu 朱洪武
A Luminous Pearl 夜光珠
Fairies Finding a Father 寻父遇仙记
The Lotus Cave 莲花洞
The Boxer 拳大王
A Red Precious Stone 红宝石
1929:
The Bloody Blade 血滴子
Double Pearl and Phoenix , pts.1,2 双珠凤
Dueling Swordsmen 双雄斗剑
Emperor Qianlong Tours the South I 乾隆游江南-第1集
Emperor Qianlong Tours the South II 乾隆游江南-第2集
Emperor Qianlong Tours the South III 乾隆游江南-第3集
Emperor Qianlong Tours the South IV 乾隆游江南-第4集
Invincible Hero 无敌英雄
The Great Robbers 江洋大盗
A Fabulous General 荒唐将军 AKA: 江侠士刺虎
The Burning of White Flowers Platform 火烧百花台
He is a Monster 混世魔王
1930:
A Concubine's Secret 姨太太的秘密
Yang Yunyou and Dong Qichang 杨云友与董其昌
Yang Naiwu and Little Cabbage 杨乃武与小白菜
Cases of Judge Shi I 施公案-第1集
Cases of Judge Shi - Sequel 施公案-续集
Cases of Judge Shi II 施公案-第2集
Cases of Judge Shi III 施公案-第3集
Emperor Qianlong Tours the South V 乾隆游江南-第5集
Emperor Qianlong Tours the South VI 乾隆游江南-第6集
Emperor Qianlong Tours the South VII 乾隆游江南-7集
Li Sanniang 李三娘
Queen of the University 大学皇后
1931:
The Last Love 最后之爱
Yasen and Luobin 亚森罗宾
Emperor Qianlong Tours the South VIII 乾隆游江南-第8集
Emperor Qianlong Tours the South XI 乾隆游江南-第9集
It's Unlucky to be a Woman 空门红泪
Pleasures of the Dance Hall 歌场春色
Cases of Sherlock Holmes 福尔摩斯侦探案
Between a Couple 夫妻之间
1932:
The Girl Yunlan 芸兰姑娘
Shanghai Beauty Han Xiuwen 上海小姐韩绣雯
One Night of Wealth 一夜豪华
A Married Woman 有夫之妇
Young Actress 小女伶
Traces 兰谷萍踪
Two Daughters of the Northeast 东北二女子 AKA: Two Orphan Girls on the Battlefield
Poem Written on a Banana Leaf 芭蕉叶上诗
1933:
Struggle 挣扎
Pursuit 追求
A Movie Actress 一个女明星
A Woman's Life 生机
Fiery Youth 青春之火
Willow Blossoms 飞絮
Drifting 飘零 AKA: Willow Blossoms, the Sequel
All for Legacy 孽海双鸳
Story of a Waif 苦儿流浪记
The Lucky Land 吉地
The White Dragon 白金龙
1934:
A Hot-Blooded Youth 热血青年
Buried With Flowers 百花州
Virtuous Wife 贤惠的夫人
Circus Troupe 万花团
Just One Night 春宵曲
Romance on the Stage 歌坛艳史
Spring Dream in the Dance Hall 舞宫春梦
Mr. Wang 王先生
Elapse 似水流年
Renzhu 纫珠 AKA: Orchid in a Lonely Valley/Lonely Orchid
Dawn 黎明
She Hides her Feelings Deep 红楼春深
Two Guys and Girl 欢喜冤家
Hard Struggle 艰苦的奋斗
1935:
The Tragedy of Liang and Zhu, part 1梁山伯祝英台前集
The Tragedy of Liang and Zhu, part 2 梁山伯祝英台后集
Two Brothers 两兄弟
Burial at Sea 海葬
Life 生活
The Yokel Takes a Trip 乡下佬游埠
The Yokel Takes a Trip (continued) 乡下佬游埠续集
The Yokel Takes a Trip, part 3 乡下佬游埠第三集
Brother, I Owe You 哥哥我负你
Return 重归
The Beauty's Favor 美人恩
1936:
Fraternity 博爱
Mrs. Li 黎夫人
Daughter of a Chicken-Farmer 蛋家妹
The Hearts of Mankind 世道人心
Ma Jiefu 马介甫
Patriotic Flowers 爱国花
Mr. Wang Seeks a God 王先生奇侠传
Co-eds 女同学
On the Banks of the Wangpu River 黄浦江边
Flora 花花草草
Mother 母亲
Frankenstein's Chamber of Secrets 密室怪人
1937:
Poison Rose 毒玫瑰
Willow Village 杨柳村
Mr. Wang's Road to Riches 王先生生财有道
Fame and Fortune 富贵荣华
1938:
Money Trouble 钱作怪
Omnipotent 叱咤风云
Storm in the Pacific 太平洋上的风云
Flying General 飞将军
1939:
Reunion 破镜重圆
