In 1931, he entered the graduate school of Shanghai Academy of Fine Arts, and participated in the China Left-wing Dramatists' Union and the Art Troupe. Because he is good at playing erhu, he was selected as the soundtrack for Wang Renmei's film episode "Yu Guang Qu", which is his first contact with movies.

After p>1934, he served as a reporter of Yihua Film Company, an actor and deputy director of Xinhua Film Company. Weiyi Wang had a wide range of artistic hobbies in his youth. In 1932, he was admitted to Shanghai Academy of Fine Arts, engaged in oil painting creation and led the art troupe. During this period, he and Zhao Dan and Xu Tao of the troupe became close friends.

In the autumn of p>1932, he joined the China Left-wing Dramatists' Union and actively participated in the performances and political activities of the Drama Association, so he was expelled from the school. He is good at playing erhu, and once played the music for Wang Renmei's "Yu Guang Qu". This is his first contact with film work.

In p>1933, Weiyi Wang joined the EMI Music Team headed by Nie Er as a performer, and joined the China Left-wing Musicians Union with Nie Er. Nie Er wanted to use the EMI band to reform national music, record records and perform abroad. But half a year later, the management asked them to learn western musical instruments and record the dance music. Nie Er was angry and resigned, and Weiyi Wang resolutely left the team because of his support. Weiyi Wang's father likes movies and plays, and he knows famous directors such as Zhengqiu Zheng and Shi Dongshan.

After Weiyi Wang lost his job, his father begged Shi Dongshan to train him, and Shi Dongshan readily agreed to introduce him to Yihua Film Company as a reporter. In October 1934, because Weiyi Wang had been engaged in progressive movement for many years, Kuomintang reactionaries were going to arrest him. At his sister's wedding party, Weiyi Wang cleverly got rid of the tail of the Kuomintang spy and left Shanghai for Hong Kong to work in a global film company.

At the end of p>1935, Weiyi Wang returned to Shanghai and joined the Shanghai Amateur Dramatists Association. In 1936, introduced by Shi Dongshan, he joined Xinhua Film Company and played a role in such films as Carnival Night and Singing at midnight. Shi Dongshan admired this versatile young man and promoted him as the assistant director when he directed the Youth March. Later, due to the underground party organization in China, it was decided to deploy a group of artistic backbones to set up the first large-scale amateur experimental troupe in China. Weiyi Wang interrupted the filming of the March of Youth and returned to the stage, taking part in the performances of Romeo and Juliet, The Moon Rises and Taiping Heavenly Kingdom.

After the outbreak of the Anti-Japanese War in p>1937, Weiyi Wang took an active part in the third team of the National Salvation Drama Team (later changed to the first team of the Anti-Japanese Drama Team) and trudged through Nanjing and Yangtze River ports to reach Wuhan. During this period, he edited and directed a large-scale live newspaper drama "Fighting for Freedom and Peace" with cinematic techniques, which inspired the broad masses of soldiers and civilians to resist Japan and played a positive role. After the fall of Wuhan, he moved to Chongqing and worked as a director in China Film Studio.

Weiyi Wang, Zhao Dan, Xu Tao, Jinming Zhu and others are deeply influenced by stanislavski's performance theory and yearn for studying in Moscow Art Theatre. In the summer of 1939, they went to Xinjiang to develop drama work, and prepared to study in the Soviet Union from Xinjiang, with a view to returning to Shanghai to establish a drama performance system in China after the Anti-Japanese War. Unexpectedly, they were arrested by warlord Sheng Shicai in Xinjiang and lived behind bars for five years. Under the rescue of the underground party and progressives in China, they were not released until the eve of the victory of the Anti-Japanese War and returned to Chongqing to continue to engage in progressive films and dramas.

After the victory of the Anti-Japanese War, Yang Hansheng, Cai Chusheng, Shi Dongshan and others returned to Shanghai in early 1946 on the instructions of Comrade Zhou Enlai, and established the progressive film base led by the Party-Lianhua Film and Art Society (later merged into Kunlun Film Company). At the beginning of 1947, Weiyi Wang, as an assistant director, assisted Shi Dongshan to complete the company's first film, Clouds and the Moon. In recognition of Weiyi Wang's achievements, Shi Dongshan specially put Weiyi Wang's name and his own name on the same screen with the same number in the opening credits. Against the background from the beginning of the Anti-Japanese War to the early victory of the Anti-Japanese War, the film eulogized the noble spirit of the national salvation dramatists represented by female college student Jiang Lingyu and young musician Gao Libin, showed their painful experiences after the victory of the Anti-Japanese War, exposed the ugly face of the Kuomintang reactionaries represented by Zhou Jiarong, who took advantage of the Anti-Japanese War to make a fortune and rob them of money, and timely raised the issues that people were most concerned about after the war: The film, with its profound ideological content and sharp reality, caused a sensation in the China film circle at that time, and was warmly praised by the audience and the media, winning a good reputation for the creation of progressive films after the war. In cooperation with Xu Tao, he directed "Uncaged Spring" (written by Ou Yangyuqian), which reflects the intellectual women's resistance to bondage and their desire for freedom-meaning the people's demand for liberation. The critics spoke highly of the two new directors of the film and thought that the filming of the whole film had reached a "considerable degree of naturalness".

in the winter of p>1948, the war of liberation developed rapidly and the white terror became more and more serious. Under the arrangement of the Party organization, Yang Hansheng, Cai Chusheng and Shi Dongshan, the main creative leaders of Kunlun Film Company, left Shanghai and went south to Hong Kong to set up film companies such as "Southland" in order to prepare for the retreat of Kunlun. Soon, Weiyi Wang also left Shanghai to work for Nanguo Film Company.

In the summer of p>1949, Weiyi Wang independently directed the first Cantonese film of Nanguo Company-Tears of the Pearl River (producer Cai Chusheng and screenwriter Chen Canyun), which reflected the bloody life of farmers in South China and their awakening and struggle. Based on the rural areas along the Pearl River in Guangdong after War of Resistance against Japanese Aggression's victory, this paper angrily accused the feudal forces of the heinous crime of harming farmers and exposed the reactionary nature of the Kuomintang regime through the acts of bullying landlords and officials and expensive officials and the experience of the Daniel family. At that time, the Hong Kong film industry was in chaos, especially when the creation of Cantonese films was quite backward. Tears of the Pearl River won warm welcome from Hong Kong and mainland audiences with its serious creative attitude, distinctive ideology and valuable artistic achievements. It was hailed as "a correct, solid and brand-new starting point for realistic Cantonese films" and "a revolutionary masterpiece in Cantonese films", which has paved a way for the creation of Cantonese films.

In the National Excellent Film Awards Conference from 1949 to 1955, the film won an honorary award. After the closure of Nanguo Film Company, Weiyi Wang participated in the 195s film company organized by Sima Wensen, Hong Zhou and Qi Wenshao. In 195, he directed the company's first film, Fire Phoenix, which was about intellectuals. The film borrows the meaning that the phoenix has been tempered by fire and turned into a full-feathered, dazzling regenerative phoenix, expressing the joy of progressive filmmakers to meet the earth-shaking new era. Shortly after the liberation of the whole country, people from film companies went northward in the 195s, and some film workers who stayed in Hong Kong reorganized their organizations, that is, the Phoenix Film Company named after it was established.

in p>1951, Weiyi Wang returned to Guangzhou to take part in the preparatory work of the Pearl River Film Studio and concurrently served as the director of the drama department of South China Institute of Literature and Art.. In 1952, Zhu Ying stopped preparing for construction, and he was transferred to Beijing Film Studio and Shanghai Film Studio as a director. In 1956, he joined the China Producer Party. During this period, he directed films such as Mountain Bells and Caravans, Coconut Grove Songs and Fire Behind bars. Fire behind bars is based on the real historical data of Shanghai workers' revolutionary struggle before liberation, and according to the deeds of Wang Xiaohe martyrs, it created the heroic image of a young worker leader, Zhang Shaohua, who was born in party member. The film truly reproduces the atmosphere of the times in 1947, eulogizes the lofty spirit of the * * * producers, represented by Zhang Shaohua, who risked their lives for the people, and exposes the ugly face of the Kuomintang reactionaries, represented by the social director of the puppet regime, who frantically suppressed the people before the collapse. In contrast, it has a strong artistic appeal and won the National Excellent Film Award in 1958.

In p>1958, he returned to the Pearl River Film Studio, which was under construction again. The following year, I joined the work of co-directing South China Sea Tide with Cai Chusheng. Together with Cai Chusheng, he enthusiastically went to the fishing port with a history of struggle to experience life and collect materials; Visit Hainan Island and choose location. According to the creative plan, this film is divided into two episodes: History of Children's Struggle in Fishing Country and Endless Ends of the Earth. In 1963, the first episode of the film was released. Through the joys and sorrows of Jin Xi, A Cai and others, it reflected the suffering, awakening and struggle of fishermen in Guangdong coastal areas from the Great Revolution to War of Resistance against Japanese Aggression, with a strong flavor of life and national style.

In p>1963, Weiyi Wang also directed the Cantonese comedy Seventy-two Tenants (co-produced by Zhujiang Film Studio and Hongtu Film Company). The film reflects all kinds of injustices in the old society with the experience of 72 tenants in a dilapidated building, satirizes the corruption of Kuomintang reactionaries, and praises the mutual sympathy and help among the lower classes. There is no lack of comedy jokes in the film, and it also has a more serious realistic style. In 1965, he directed two comedies-Playing Gong and Mending Pot, which were based on Hunan Huagu Opera.

In p>1966, when Lin Biao and the Gang of Four were rampant, Weiyi Wang was persecuted like other upright artists. After the downfall of the Gang of Four, Weiyi Wang devoted himself to new creation with abundant energy, and directed the feature films Blue Sky Defense and An American Pilot. The former, with the sharp and complicated class struggle at home and abroad in the early 197s as the background, describes the plot of soldiers and civilians in a city on the southeast coast to smash the enemy's sending military planes to sneak in at low altitude to harass and destroy, and praises the noble behavior of PLA commanders and militia headed by instructor Yang Ping to rescue Taiwan Province fishermen heroically. The latter shows that during the War of Resistance against Japanese Aggression period, an American pilot who came to China to help the war was unfortunately destroyed and pursued by the Japanese aggressors and puppet troops. Guerrilla fighters and the masses of the New Fourth Army risked their lives to save the pilot. As a result, the pilot's thoughts changed, he distinguished true and false friends and established sincere friendship with the soldiers and the masses of the New Fourth Army. The plot of the film is tortuous, thrilling and full of interest in life, with strong artistic appeal. In 1981, Weiyi Wang directed Sanjiaxiang, which was adapted from Ouyang Shan's novel of the same name.

On September 29th, 212, the 21st China Golden Rooster and Hundred Flowers Film Festival and the 31st Hundred Flowers Award Awards Ceremony were held in Shaoxing, and Weiyi Wang won the Golden Rooster Lifetime Achievement Award.