The Chinese Mirror

Classic Era Interview: the making of "Women Skeletons"

[In a previous post, we discussed "Hongfen Kulou" 红粉骷髅 (Women Skeletons), a successful early Chinese movie, which in addition to being China's first screen detective story, was the first full-length Chinese feature based on a foreign literary work.  In the following interview, the film's director tells us of another, less happy, first for Chinese cinema – it was the first Chinese production in which one of its makers was killed during the filming. 
    Guan Haifeng 管海峰 was a veteran stage director when he made "Women Skeletons", his initial screen directing effort.  He had one previous screen-writing credit, adapting the popular stage play "Victims of Opium"  for the screen.  Despite the box office success of "Women Skeletons", Guan Haifeng continued to concentrate on the stage, making only four more movies.  As often happens with recollections that come many years after the event, some of Guan Haifeng's memories conflict with other Chinese sources we have used.  Since the actual film is lost and cannot be used as a defining reference, we have given each as written.  Full bibliographic information for this interview is at the end of the article.]

[above, director Guan Haifeng]

    "Women Skeletons" was one of the earliest Chinese full-length feature films, and although I was its director, so many years have gone by that I don't know if I can recall all the details, but this is what I do remember:

Classic Era Interview: the Asia Film and Theater Company

[In October, 1956, the China Film Press 中国电影出版社 of Beijing launched a new periodical, Zhongguo Dianying 中国电影 (Chinese Cinema).    In addition to reviews and commentaries on current film, the new publication in each issue took a look back at China's motion picture history, including the first-person recollections of some pioneer filmmakers.  These were collected and republished in book form by the China Film Press in 1988.  While prowling one day through Beijing's many bookstalls, looking for materials on the early history of Chinese movies and the people who made them, the editor came across this out-of-print item that gives us some unique and valuable insights into China's early movie industry.  These oral histories will be translated and published here in the hope they may prove useful to film scholars and historians in the West.  Full bibliographic citation is given at the end of the article.  Items in brackets, like this one, are Chinese Mirror editorial notes, provided for clarification.  The subject of this first interview, Qian Huafo 钱化佛, while an accomplished actor who specialized in comic roles, achieved his greatest fame as an artist, one of China's foremost painters of the first half of the 20th century.]

[left, Qian Huafo in an undated newspaper photo]

     I guess I'm qualified to talk about the Asia Film and Theater Company, because I was involved in the making of nearly all of that studio's films, either as an actor or writer.  So here is what I know.
    The studio had been started by an American named Benjamin Brodsky, and another central figure in the business was an Englishman familiar with the Chinese language.   I never knew the Englishman's name:  everyone just called him "Blondie," (黄毛) so "Blondie" became his name at the studio.
    The company was set up with an investment of US$30,000, and was located in a large building at No.5 Hong Kong Road in Shanghai.  The empty space had advertising on all the walls up to about 3 meters from the ceiling, so we just covered one wall with a white sheet, and considered that to be our movie stage.

Chen Yanyan Answers Readers' Questions

[Dianying Zazhi电影杂志 (Movie Magazine), a biweekly published in Shanghai from October 1947 to May 1949, carried a regular feature in which readers' questions were submitted to movie stars for response.  The following is the result of a q-and-a with Chen Yanyan, published in issue no.36, March 21, 1949.  Although as one would expect when the respondent was able to carefully consider the answers, Chen's answers were non-controversial, even at times evasive, there are some points of interest.  Her relationship with the actor Wang Hao was grist for the gossip mill, and it did result in marriage (which didn't last); the question regarding her possible relocation to Hong Kong was very timely, considering that Shanghai in early 1949 was on the verge of falling to the Communist forces, and she and Wang Hao were among those filmmakers who chose to leave, very possibly saving their lives, given the eventual fates of so many who chose to stay.]

Q:  What is your opinion of Zhang Ailing [Eileen Chang]'s "Unending Love"?
A:  What I think is not important:  what do you think about it?  I'm more interested in audiences' opinions and criticisms.

Q:  Might you make any more movies with [director] Griffin Yue and [actor] Liu Qiong?
A:  Of course I might, if I'm offered a good script.

Q:  Tragedy, comedy, art films, spy movies..which do you best like to act in?
A:  Art films, but I'm willing to try the others.

Q:  I believe your hard work has added splendor to China's motion pictures, especially when you have played young girls in love.  I think that's your representative work, do you agree?
A:  Thank you, but you praise me too highly.

Q:  Of all your movies, which one did you find was most satisfying?
A:  None has ever satisfied me. 

Q:  When did you enter movies?  What was your debut film?
A:  In 1931.  My first picture was "Love and Duty".  [sic:  this was actually her first credited role in a full-length feature]

Q:  What kind of roles are you willing to try?
A:  So long as the character is right for me, I like it.

Q:  How do you handle it when someone criticizes or gossips about you?
A:  If it's constructive criticism, I accept it; if it's malicious I laugh it off.

Q:  We haven't seen you in anything new for quite a while.  Why is that, and what will you be doing soon?
A:  My latest film is "Wushan Meng Hui"巫山梦回 (A Young Doctor).  We're filming it right now.

Q:  What is your hometown?
A:  Beiping.

Q:  What do you find really irritating?
A:  Nothing irritates me.

Q:  How has your physical condition changed over time?
A:  As prices have gone up, I've not eaten enough, and lost too much weight.

Q:  How many roles have you played?
A:  Over a hundred, but I couldn't tell you the exact number.

Q:  Are you willing to correspond with movie fans?
A:  Yes.

Q:  Have you ever talked about your past romances?
A:  My family history has driven the word "romance" from my vocabulary.

Q:  It's said that you've found a 15-room mansion to live in; can you tell us where it's at?
A:  I've never seen a 15-room mansion, but if I ever do, I'll let you know the address.

Q:  Who is your closest friend right now?
A:  They all are.

Q:  From what school did you graduate?
A:  A Beiping girls' middle school.

Q:  It's said that you and Wang Hao (王豪) have feelings for each other now, is there anything to that?
A:  Yes.

Q:  I'm very interested in the life stories of young women, can you tell me about yours?
A:  My life story is the same as any ordinary person.

Q:  Who is your ideal man?
A:  I don't have one.

Q:  I've thought several times of writing to you, but I'm afraid you won't accept it.  If I wrote you a letter, would you read it?
A:  When I have the time, I would definitely read it.

Q:  What do you do at home when you're not acting?
A:  I read, and do my housework.  .

Q:  What do you like to do besides acting?
A:  Travel, eat, play.

Q:  When do you plan to get married?
A:  I haven't given it any thought. 

Q:  How do you usually feel after finishing a movie?
A:  Disappointed.

Q:  What kind of books do you most like to read?
A:  If it's literature or art, anything is OK.

Q:  What is Wang Hao's attitude toward you, and how has he expressed his feelings?
A:  I don't know what he feels, he's never expressed it.

Q:  What colors do you most like to wear?
A:  Black, grey, coffee, dark green.  Simple and understated.

Q:  Of all the directors you've worked with, which is most skillful?
A:  Each has his strong points.

Q:  What do you think of Wang Hao's acting?
A:  That's for audiences to judge; what do you think?

Q:  It's rumored you're moving to Hong Kong; is that happening?
A:  Not right now.

Q:  Are an actor's living expenses paid by the studio, or do you pay that out of your monthly salary?
A:  On location, the studio provides food and housing.  At home, we bear our own expenses.

Q:  Do the actors live in a company dormitory, or do they find their own housing?
A:  There is a company dormitory, but actors don't have to live there.

Q:  Why aren't gunshots in Chinese movies as realistic as they are in Hollywood movies?
A:  That's a technical question, which I can't answer.

Silent Film Star Li Lili: a TV interview

    On August 7, 2005, in the midst of China's centennial celebration of its motion pictures, the last surviving star of China's silent film era, Li Lili, died at her home in Beijing.  Almost exactly one year earlier, on the morning of August 21, 2004, China Central Television (CCTV) recorded for later broadcast an interview with Ms. Li, who was also a major Chinese star of sound movies in the 1930s and '40s.  A full transcription of the interview was for a time posted at the CCTV website.  The English translation which follows was done exclusively for The Chinese Mirror.  In the transcript, LI refers to Li Lili, and CHEN to the interviewer, Chen Luyu.  Sections in italics were narrative voice-overs in the documentary, and notes in parens ( ) are from the transcript.  [Bracketed items in regular type, like this sentence, are the editor's comments, for clarification or when it was felt further explanation was needed.]  A further note:  there are several points in Ms. Li's recollections which conflict with other sources; these will be noted and commented on at the end.