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說實話,我自稱為著名電影導演謝晉作品的最老觀衆之一,是確有根據的。這裏自然有其歷史的因素。一九四八年春夏,我曾有幸在上海大木橋大同影業公司的攝影棚裏親見謝晉以副導演身份(實際執導)導演根據法國莫里哀名著改編的喜劇故事片《啞妻》。當時擔任導演的是謝晉的恩師、我國劇影導演前輩吳仭之。那部《啞妻》雖然談不上是什麼載入中國電影史册的巨製,加之又是他的‘處女作’,自然也不足以反映謝晉的藝術水平和才華。但是,如果說,‘從處女作看一位作家(藝術家)’這句話還有一定道理的話,那麽那部並未能引起轟動的《啞妻》,却在某種程度上給人們一種預
To be honest, I claim to be one of the oldest audiences of the famous film director Xie Jin’s works. Natural history here has its own factors. In the spring and summer of 1948, I had the honor to see Xie Jin, director of the director (actually directed), in the studio of Datong Film Company in Shanghai, on the comedy feature film “Dumb Widow,” adapted from the famous French actress Mauricio. At that time, the director was Xie Jin’s mentor, the predecessor of Chinese drama director Wu Zhi. That “dumb wife”, though not a matter of fact, is a giant system that has been incorporated into the history of Chinese film. In addition, his “debut work” naturally does not reflect Xie Jin’s artistic level and talent. However, if there is some truth to the phrase ’seeing a writer (artist) from a debut album’, then the one that has not caused a sensational “dumb wife” is to some extent a precondition