During the filming, Leslie Cheung also went to Mei Lanfang's grave with several actors to pay tribute.
Mr. Mei Lanfang has made continuous breakthroughs and progress in art, and the modeling in his masterpiece Farewell My Concubine was also developed by him. -Yu Ji didn't wear "fish scales" earlier. Among them, Nanbangzi's singing is also the original creation of Mr. Mei Lanfang.
In addition, the impressive action of "lying fish" in "Drunkenness of the Imperial Lady" was designed by himself, adding dance elements and becoming one of the main styles of Mei School in the future.
1956, Mr. Mei went to Japan to perform, and someone distributed anti-China leaflets in the theater. Although leaflets fell from the sky, he sang and danced. ...
In the film, Yuan said, "In my opinion, your play has become a farewell to the overlord at this stage, and there is nothing to see for the overlord." -this sentence is also based on facts.
In 192 1 year, Mr. Mei began to perform his masterpiece Farewell My Concubine with people who are 16 years older than him. They condensed the play, which used to take two days to complete, into one day, but it was still not as concise as it is today. After Yu Ji's death, there should be a overlord play. However, in the end, the audience left after watching Yu Ji's suicide, so that Yang Xiaolou said with no face: "This is not a farewell my concubine, it is simply a farewell my concubine."
Mr. Mei Lanfang is obviously not the prototype of Cheng Dieyi (Mei Lanfang was born in 1894, while Cheng Dieyi was obviously born in the Republic of China), but when Li Bihua wrote Farewell My Concubine, he also borrowed from Mr. Mei's life.
For example, Master Yuan praised Die Yi's poem: "Laugh forever, cry forever", which was written by an old man named Zhang Juding to Mr. Mei.
The scene in which Die Yi talks about the development of Peking Opera on the stage is also the real scene of Mr. Mei Lanfang. That sentence: "Let me say two words, and I will say two words …" was also the original words of Teacher Mei at that time.
Yang Xiaolou, a famous Peking Opera master, is only one word behind Duan Xiaolou in the film. The age gap between the two is even greater.
According to the author of the original novel Farewell My Concubine, the prototype of Yuan in the film is Yuan, one of the four sons of the Republic of China.
Yuan Kewen (1890- 193 1), the second son of Yuan Shikai, was born to Yuan Zhisan's aunt and a Korean Kim.
Yuan was clever since childhood, good at calligraphy, writing poems, lyrics and articles. He also loves to sing Kunqu opera, and all the small clowns act very well. Representative works include "The Palace of Eternal Life" and "Dreams in the Garden". Yuan Shikai was partial to him, and once wanted to make him a "prince", thus creating Yuan's lavish, willful and extravagant playboy character, eating, drinking, gambling and smoking (opium).
Aoki Masako
1965438+In April and May of 2009, Mei Lanfang and his party made their first performance in Japan. He has performed in Tokyo, Osaka, Kobe and other places 17 days, and performed 19 performances. During this period, famous figures in Japanese literary and art circles, such as Nai Tojiro, Yoshio Fujii and Masako Aoki, etc. Write an article to introduce, inspect and comment on Mei Lanfang's performance.
Of course, this "Aoki" is not another "Aoki". Aoki is a famous Japanese sinologist and drama history expert, and one of the leading figures of the Sinology School in Kyoto, Japan. Aoki in the film is the chief of the Japanese invaders, and the two are not the same. But interestingly, the existence of this Aoki just proves what Die Yi said: "There is a man named Aoki who knows drama." "If Aoki were still alive, Peking Opera would have spread to Japan."
Pu Jie
The movie Farewell My Concubine begins with the inscription of Mo Bao in Aisingiorro, Pu Jie. As the younger brother of the last emperor of China, Puyi's inscription matches the film both in origin and identity.
Of course, movies are movies, facts are facts, and it is unwise to attach real people with movie characters. These historical facts quoted in the film are definitely not insinuating anyone, but enumerating them, which can make us see more clearly that the intention and rigor of film creation have reached the point of "everywhere", which is really amazing.