| 词条 | Street Angel (1937 film) |
| 释义 |
| name = Street Angel | image = Street Angel (1937 movie poster).jpg | caption = |film_name={{Infobox name module | traditional = 馬路天使 | simplified = 马路天使 | chinese = | pinyin = mǎlù tiānshǐ | jyutping = | poj = | translation =street angel | lbl8 = | data8 = }} | writer = Yuan Muzhi | starring = Zhou Xuan Zhao Huishen Zhao Dan | director = Yuan Muzhi | music = He Lüting | distributor = United States: Cinema Epoch (DVD) | studio = Mingxing Film Company | country = China | released = July 24, 1937 | runtime = 87 minutes | language = Mandarin | budget = }} Street Angel ({{zh|t=馬路天使}}) is a Chinese film released in 1937, directed by Yuan Muzhi. It stars Zhao Dan and the popular singer Zhou Xuan in her first leading role. The story focuses on the struggle of Shanghai's petty urbanites, and their attempt to escape from their environment. SynopsisThe film begins with a comic marriage procession where Xiao Chen (Zhao Dan) plays a trumpet for a marching band. Xiao Chen is in love with his neighbour Xiao Hong (Zhou Xuan), who fled the Japanese invasion in Manchuria with her sister Xiao Yun. While Xiao Yun has been forced into prostitution, Xiao Hong has become the songstress in a tea house. When Xiao Hong's foster father decides to sell her to a small-time gangster, Xiao Chen and his friends decide to consult lawyer Zhang. As they soon discover that the lawyer does not help the poor, they decide to help Xiao Hong run away. When they start a new life together in another district of the city, Xiao Yun comes for a visit and dreams of starting a new life with Xiao Chen's friend, Wang, but the foster father eventually tracks them down. Although Xiao Hong manages to escape, Xiao Yun is murdered. In the final scene, the friends are gathered around Xiao Yun's bedside, but are unable to do anything but watch her die. Cast and roles
ReceptionStreet Angel, as a film of 'new citizens,' represents Left Wing films and reflects the National Defence Movement. The thematic music, singing and dancing present in the film, solidified the mainstream status of 'new citizens' films around 1937 when the Anti-Japanese War broke out. It also strengthened classical production types and promoted the national spirit by successfully avoiding the destruction that the war brought to the national culture and the styles of the films in Japanese invaded areas, laying a foundation of thought and art for the rapid restoration of the Chinese movies after the war.[1] This story of solidarity, friendship, and love amongst the dregs of urban society has been interpreted in different ways. It is certainly a critique of Shanghai's semi-colonialist society; it might have been inspired by Frank Borzage's Street Angel (1928); it has even been described as a Chinese forerunner of Italian neo-realism. It is a canonized leftist film combining Hollywood and Soviet film techniques with traditional Chinese narrative arts.“ [2] Scholar Laikwan Pang argues that there are traces of Soviet influence in Street Angel such as the excessive use of quick cuts of close-ups and the opening sequence. These techniques are often seen in other classic films such as City Scenes, Dushi fengguang in 1935.[3] Praised for its portrayal of the downtrodden in Shanghai at the time of its release, Street Angel is now considered one of the classics of the "leftist" filmmaking period that reached its peak in the 1930s. It was selected as one of the Best 100 Chinese Motion Pictures by the 24th Hong Kong Film Awards, ranked 11th. MusicDuring the 1930s, Chinese filmmakers were inclined to view cinema as a western invention. Despite this view, filmmakers felt the need to incorporate indigenous and cultural elements that would be deemed more appropriate for Chinese audiences, mostly through the form of music. [4] As one of the early sound films in China, Street Angel is often praised for its innovative use of music, as well as its unique mix of melodrama and comedy. One sequence in particular, where Xiao Chen and his friends attempt to act as barbers, reveals a moment of slapstick or physical comedy in the otherwise dreary third act. There are also several musical interludes, sung by Zhou Xuan (Xiao Hong). The two original songs featured in the film are "Song of the Four Seasons" (四季歌) and "The Wandering Songstress" (天涯歌女), both composed by He Lüting, with lyrics by Tian Han. Sung by star Zhou Xuan, these songs became popular and are still recognized as expressions of the turbulent 1930s era of Chinese history, two of the most famous songs in modern Chinese culture. The use of these popular songs, amongst other popular songs of its time, were used to express and emphasize national Chinese characteristics, distinguishing itself from the West.[5] While both songs were essential to the film’s success, the song “Song of the Four Seasons” was significant in that it was performed alongside pseudo-documentary war footage. In doing so, the film describes the suffering of the people at the time. Because the footage was played alongside the performance of a love song, the film was able to deliver a message condemning the Japanese invasion without arousing the censors. In the late 1930s Shanghai, the National Party exercised strict control over cultural production, meaning that any reference to the Japanese invasion was prohibited to prevent provoking the masses to rise against Japan’s military aggression. [6] According to scholar Jean Ma, the differences in the two songs present two different fates for Xiao Hong. She could become either the possession of the wealthy teahouse client or the lover of the poor musician. There are also differences in the film's thematic articulation of the songs as Xiao Hong offers her values and affections in her performance of "The Wandering Songstress", but she shows more resistance in her performance of the "Song of the Four Seasons". [7] Street Theatre1890’s street theatre served as a new model for representing lilong – Shanghai’s urban spaces[8]. Street Angels mimics street theatre with its primary focus placed on windows and balconies demonstrating a constant interaction between interior and exterior spaces.[9] In addition, alleys are often used as spaces of constant exchange and theatrical interaction displayed by the opening scene of Street Angels.[10] The juxtaposition between window-to-window interaction and street level interaction is represented by the romantic relationship between Xiao Hong and Shao Ping and the representation of Xiao Yun as a streetwalker (䞢䲲, yeji).[11] Street Angels like other movies of this time period place an emphasis on realistic setting.[12]A focus is placed on the broad streets filled with crowds and vehicles and the smaller more intimate spaces of alley townhouses and apartments that acts as a communal space for strangers.[13] Additional Resources
External links
Citation 8 : Chinese films|1937 films|1930s drama films|Chinese black-and-white films|Mandarin-language films|Films directed by Yuan Muzhi|Films set in Shanghai|Chinese drama films |
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