"Tunnel warfare, hey tunnel warfare, millions of soldiers lay in wait..." On New Year's Day 1966, in a village near the Bayi Film Studio, the villagers hurriedly brought their own wood after eating at home. The bench rushed to the village entrance, and a group of people concentrated on waiting for the surprise brought by the studio's projectionist-the anti-Japanese war film "Tunnel War" just finished filming. The adults were discussing the plot happily, while the children were in groups, singing "Tunnel War" while arguing about who would play Captain Gao and who would play the little devil. After a while, they would chase and fight. Hu Jiemin, the deputy director of a film studio, looked at this scene and knew that the film was going to succeed. In fact, he is not worried about the quality of this film. After all, starting from the feature film "Breaking the Darkness Before Dawn", Bayi Studios has been firmly established with many classic films such as "The Never Gone Electric Wave" and "Lin Haixueyuan". Caught the hearts of the people. Today, the shining red star on the screen has become a memory of an era. When the new born
mentioned Bayi Film Studio, he couldn't do without one person-Hu Jiemin. Hu Jiemin was originally named Hu Chuyang. Like most young students of that era, after witnessing the peril of the nation and the fragmentation of mountains and rivers, he resolutely abandoned his pen and walked out of the campus to join the revolution in Yan'an. As a scarce "cultural man" in the army, Hu Jiemin was assigned to be responsible for various propaganda work, but this experience made him a little regretful. After all, the young and energetic he wanted to do with the enemy "with real swords and guns". Last battle. With the idea of "however they are doing revolution", Hu Jiemin devoted himself to political propaganda work, but he did not expect that this work would last for 12 years. After liberation, Hu Jiemin dragged his legs crippled by frostbite during the battle to Nanjing to report, and his indissoluble bond with the movie began. In the early days of the founding of the People’s Republic of China, my country’s film industry was far from popular, but the central government has long realized the importance of film to ideas. In 1950, the central government opened a film screening class in Nanjing. Hu Jiemin was appointed as the deputy director, and Bai Dafang, who was also a student in the army, served as the director. After all, in that era, let alone making movies, it was extremely rare to have seen movies. After the screening class was over, the central government organized 600 screening teams. Before that, the total number of screening teams in the entire mainland was only 100. After that, Bai Dafang became the principal of the Film School of the Central Film Bureau, while Hu Jiemin accepted an important task-to go to Beijing to prepare for the PLA Film Studio, which is a unique military film studio. As a soldier, Hu Jiemin is also very aware of the importance of film propaganda in the army. Just like when he left school, he went to Beijing without saying a word. However, the reality is cruel. At that time, film talents and equipment in China were extremely scarce. The PLA studios could be said to have started from scratch. They lacked everything except for ideas.
But this did not stump Hu Jiemin's "start-up team." No factory? Then build! On the 300 acres of sorghum land beside the lotus pond outside Guang'anmen, the first building of the studio rose from the ground. no one? Find it! After learning that Ji Zhifeng, who graduated from the East China Military University, had studied film editing in the United States, Hu Jiemin came to the door himself with a thick face, and forcibly snatched people from the Shanghai Film Studio. In the process of building from "0" to "1", Hu Jiemin and factory director Chen Bo organized more than a dozen comrades to study at the Beijing Film Factory, and took Xia Guoying and a few foreign students who had studied film to give everyone a training. In 1952, he organized a group to study at the original Czechoslovak film studio, and finally formed a group.
With many efforts, on August 1, 1952, the People’s Liberation Army Film Studio was formally established with Chen Bo as the director and Hu Jiemin as the deputy director. In January 1956, the People's Liberation Army Film Studio was renamed Bayi Film Studio, and the legend of the Red Star began. In the following thirty years, Bayi Film Studio replaced several directors, but Hu Jiemin remained there until his retirement in 1984. Breaking Through the Darkness Before Dawn In the spring of 1952, when all the conditions were not mature, Bayi Film Studio and the Northeast Film Studio teamed up to shoot the first military instructional film "River Attack". The photographer was Wang Ping, the first female director in China, and one of the legends in the history of Chinese cinema. Wang Ping, formerly known as Wang Guangzhen, was born in a family of intellectuals. She liked drama performances since she was a child. While serving as a primary school teacher, Wang Guangzhen also took part in performances outside of work.
Wang Ping in the "Nara" stills Who would have thought that the Ministry of Education of the National Government dismissed Wang Guangzhen for the absurd reason that "how can an actor be a teacher", she simply used "Wang Ping" as the stage name and devoted herself to itInto art work. After the establishment of the Bayi Factory, Wang Ping was transferred from the Northeast Film Studio to the Bayi Factory. Faced with the difficult conditions that even the production workshop had not been completed, Wang Ping and others worked together to transform the ground floor of the office building into a printing press. In the workshop, half of the canteen was converted into a recording studio, and the upper half of the dormitory was turned into an editing workshop, and thus began the production of the film. In the beginning, the Bayi Factory mainly shot military education films and documentaries. After shooting "River Attack" in the spring, the crew of the Bayi Factory went to the front line to shoot documentaries in the War to Resist U.S. Aid Korea in winter, but in the opinion of the director Chen Bo, this was not enough. The Bayi Factory should not only shoot military education films and documentaries, and the Bayi Factory’s films should also be shown to the masses.” Therefore, Chen Broadcast and director Yan Jizhou discussed and tried to shoot a short feature film "Footprints." As soon as the film was filmed, Chen Bo approached Zhuravlev, a Soviet adviser to the Film Bureau, with the original film, and was criticized by Russian friends who were proficient in lens use for "not understanding montage at all." He wasn't angry about this, but pulled the other party to study, determined to make a feature film. After a few years, he finally waited for his chance.
In the summer of 1954, the General Political Department assigned the Bayi Factory the task of filming a feature film, and the Bayi Factory immediately took action. In April 1955, the famous drama "Breaking the Darkness Before Dawn" was put on the big screen. The director was Wang apple. After the great success of "Breaking the Darkness Before Dawn", Bayi Factory made persistent efforts and successively launched a number of classic works such as "The Never Gone Electric Wave" and "The Muslim Detachment", including those criticized by Russian friends for "not understanding montage". Director Yan Jizhou also produced the highly acclaimed "Heroes and Gallant". In the 17 years before the turmoil, the Bayi Factory produced nearly 70 outstanding feature films while guaranteeing the production of high-quality military education films and documentaries. Accompanied by the classic images in the films, the shining red star, It has become an indelible memory of that era. In the 10 years of turmoil, the shining red star was treated unfairly. Under the resistance of Director Peng Bo from the 60th Army, the Bayi Factory did not resume shooting until after 1970. The translation of foreign films such as "Barton" and "Robin Hood".
In 1972, the novel "Sparkling Red Star" was continuously broadcast on China Central People's Broadcasting Station and spread all over the country at once. Zhang Dongliang, who had worked in the production of films such as "Red Lantern" and "Red Detachment of Women" heard it, and recommended it to Peng Bo: "I think this novel has a good foundation, I wonder if it can be included?" Due to the limitation, the Bayi Factory had not produced feature films for nearly 7 years. Peng Bo was also struggling to control the inaction of a factory in Nuo Da, so he immediately decided and turned to the General Administration. In the second half of 1973, Bayi Factory began to prepare for the production of "Sparkling Red Star", which was co-directed by director Li Jun who had filmed "Serf" and director Li Ang of "Heroic Tanker". In the original script, there were three "Pan Dongzi" of different age groups, so the crew also needed to find three children actors of different age groups, but the assistant directors searched the entire elementary school in Beijing, but failed to find a suitable one. The shooting was put on hold. While everyone was distressed, director Li Jun occasionally saw Zhu Xinyun, who was only 9 years old at the time, on a TV show for children. He immediately decided to take him to the Bayi Factory for audition and sent the photo to Li Xintian, the author of "Sparkling Red Star". Everyone was very satisfied. Pan Dongzi, three age groups, was merged into one. And this big eyebrows, big eyes, lively and lovely "Pan Dongzi", really was loved by the people of the whole country, and became the idol in the hearts of teenagers across the country. After ten years of turmoil, the art workers of Bayi Factory quickly resumed production of the film, and successively shot excellent feature films such as "Homecoming" and "Road Man". While maintaining the high level of the past, a bold idea gradually emerged. In their minds. As early as the beginning of the establishment of the factory in the 1950s, the Bayi Factory had planned to film the three major battles that affected history, but due to various reasons such as backward equipment and limited conditions, it was once shelved. After the reform and opening up, the Chinese film industry ushered in a new spring. In March 1985, the middle-aged Xiao Mu came to the Bayi Factory as the director with great ambitions. He also brought the latest instructions from the central government. : Shooting three major battles! In February 1986, the Bayi Factory was formally instructed by the Central Military Commission to set up a script creation team for the Three Great Campaigns. Xiao Mu established the principle of "not filming if the script is not good" at the beginning of the establishment of the team. The team ran north and south, checked a lot of relevant information, interviewed nearly 300 participants in the campaign, and inspected the old battlefield on the spot. In order to strive for truth, the entire crew's requirements for the script can be saidStrictly speaking, when writing the story about Lin Biao, Yang Shangkun, then vice chairman of the Military Commission, proposed: "There must be Lin Biao in the play. If Lin Biao is not written, who fought the battle in the Northeast battlefield?"
, 1987 At the end of the year, the script was completed. Director Li Jun, who had filmed "Serf" and "Sparkling Red Star", served as the chief director. Over the past five years, he spent 100 million and mobilized more than 130,000 cadres and soldiers, and finally completed the miracle in the history of world war movies— -"The Great Battle" trilogy, Bayi Factory and the main theme movie ushered in the most glorious era. Difficulties and developments in the new era. After a series of themed movies such as "The Great Battle", "The Great March" and "The Great Turn" have blossomed, the Chinese film market has entered the era of marketization, and the Bayi Factory has also ushered in. new challenge. With the development of the times and the improvement of people's entertainment needs, the main melody film and television works have fallen into an awkward situation. On the one hand, they are faced with diversified and high-level imported film and television works to seize the market. On the other hand, the main melody works themselves have narrative patterns and stereotypes. The natural characteristics of culture and missions with heavy plots are becoming less and less suitable for people's entertainment needs, and the market is shrinking day by day, and a large number of crude "anti-Japanese drama" has accelerated this process.
Even though Bayi Factory quickly adjusted its creative ideas and borrowed from the creative model of Hollywood movies, it produced excellent film and television works with ideological and ornamental features such as "China Overlord Flower" and "Out of Amazon". The output has been declining year by year and the market is shrinking. The nightmare still surrounds him. How to shoot the works that the audience loves has become a problem that the Bayi film studio and the entire theme market must solve. Fortunately, Chinese filmmakers never give up.
"Soldier Assault", "Assembly Number"...One after another Chinese directors explored the commercialization of the main theme film with excellent works. In 2009, Bayi Film Studio participated in the production of "The Founding of the Country Trilogy" Also obtained good social and economic benefits. With the great success of a series of themed films such as "Operation Red Sea", "Wolf Warriors" and "Wandering Earth", the main theme films have once again ushered in brilliance, gained people's love, and gradually become a guarantee of the box office.
During the 70th anniversary celebration of the founding of the People’s Republic of China soon, the three heavyweight themes of "The Climber", "My Motherland and Me" and "Captain of China" were released one after another, and the "Return of the King" was also announced. Bayi Studios also completed its historical mission perfectly. On February 2, 2018, Bayi Studios was merged into the People’s Liberation Army Culture and Art Center, and was renamed as "The Film and Television Production Department of the People’s Liberation Army Culture and Art Center." The original logo continues to appear in the film. Just like an old soldier, Bayi Studios has spent more than sixty years in the Southern and Northern Wars in exchange for horrendous military exploits, and after supporting the growth of the new generation of forces, quietly took off the old military hat and left silently. go with. The rest is the red five-star on the military cap, still shining. References: The Birth of "The Shining Red Star", The Birth of "The Great Battle", The Birth of "The Shining Red Star—A Record of the Development of Bayi Film Studio", etc.
