Ask 1960 for the recommendation of old movies such as ghost stories, which is the recommendation of movies before 1960.

Time: 1933 Director: Sun Yu

This film was filmed four years before Japan's all-out war of aggression against China. It is one of a series of masterpieces of Lianhua Film Company in the later period, and it is also one of Sun Yu's masterpieces. Ruan He starred in this silent film. Several female characters in the film are particularly prominent. Among them, Pearl comforted Ye Jie before she died, especially Ye Jie's shouting in the street at the end of the film became a classic paragraph of the film. Like many serious masterpieces at that time, this film is not rigid, showing a high sense of art and lightness.

goddess

Time: 1934 Director: Wu Yonggang.

In the brilliant pages created by China's films in 1930s and 1940s, in retrospect, we can find many immortal proofs. If "Spring in a Small Town" indicates that China's films were at the forefront of the world in the 1940s, such works can also be found in the silent film era of China's films, that is, Wu Yonggang's Goddess. China's silent film says that the goddess has reached the level of perfection. Director Wu Yonggang tells the story of a prostitute from the height of human nature, but it is unconventional. Fairy stands out from other similar themes. It profoundly expresses people's dual identity, dual personality and complex inner feelings for the first time, which is hard to see in previous China films.

Street angels.

Time: 1937 Director: Yuan.

From 65438 to 0937, China produced a classic, Street Angel, and the development of China films reached a peak in this period. However, it was in this year that the Japanese launched a full-scale war of aggression against China, which interrupted the normal creation of China films. However, it is precisely because of the threat of Japanese militaristic aggression that China's films in this period were highly ideological. For example, Street Angels is full of romance, but its keynote is a serious accusation against social problems. Zhou Xuan sang a four-season song, and Yuan cut into the image of resisting enemy invasion according to the lyrics, and finally sang "The Great Wall is flesh and blood, and Nong is willing to be small in those days" to inspire the people. Street Angels is the finale of China films in 1930s.

Midnight song

Time: 1937 Director: Weibang Ma Xu.

As one of several representative works produced by 1937 China, the title of midnight singing is far less than that of Street Angel starring Zhao Dan, of course, because the consciousness and story of this film are not mainstream. Director Weibang Ma Xu is famous for his gloomy and weird style, and this film is his work that develops this feature. Singing at Midnight tells the story that revolutionary Song Danping was disfigured and had to hide in a theater. He often sings on a full moon night to comfort his old lover Xiao Xia. In such a story, the director Weibang Ma Xu made a terrible atmosphere, so the film still has a high reputation overseas, even higher than Spring in a Small Town.

A spring river flows eastward.

Time: 1947 Director: Cai Chusheng Zheng.

"A River Flows East" is the first film with national epic temperament in China film history, and it is also a controversial film. In terms of techniques, some people refer to it as vulgar and mediocre, while others praise it as extensive and profound. Consciously, some people say that it represents the voice of the people at that time, while others say that its ideology is too strong, which is detrimental to the artistry of the film. However, in any case, it is undeniable that "A River Flows East" has had a far-reaching impact on China movies and the lives of people in China. Although it has not been recognized by everyone, its outstanding artistry will still make it one of the greatest masterpieces in China's film history. The film reveals that the nation is in crisis and the whole society is in numerous turmoil, which strongly expresses the people's voice for justice. The film integrates China's classical novels, poems, operas, paintings and other artistic expressions into the film art form, creating an artistic style that is loved by the general audience. "One River Spring Flows East" was released in June 1947 and June 10, which lasted more than three months and attracted more than 700,000 people.

Long live the wife

Time: 1947 Director: Sang Arc

This is a masterpiece of urban comedy produced by 1947, written by Zhang Ailing and directed by Sang Hu. After Chen Sizhen and Dreamman Tang got married, they tried to be a virtuous wife every day. For her husband's career, she had to lie on both sides of her family and her husband's family. As a result, she lifted a rock and dropped it on her own foot. This is a typical citizen life world, and there is no legend. However, in Zhang Ailing's works, the feeling of "floating in sorrow and joy" conveyed in the daily life of citizens is unforgettable and makes people feel boundless or enlightened. Sang Hu's film style is euphemistic, delicate and considerate. What is more lovely is the warm and lively humor and allegory, which is happy but not greasy, sad but not hurt, and complements Zhang Ailing's plays. In addition to Shi Hui's modeling and performance, Jiang Tianliu, Zhang Fa, Shang Guanyunzhu and Han Fei's performances are vivid and delicate.

Spring in a small town

Time: 1948 Director: Fei Mu.

Although Spring in a Small Town was a movie more than half a century ago, it still has some rare qualities. The structure of this film is surprisingly simple. A small town destroyed by the war, a family whose home was also destroyed by the war, a couple and a man from outside the city, the story begins with peace and ends with peace. Nothing serious seems to have happened, but a lot of things seem to have happened ... From the outside, this is just a typical example of love triangle. The difference is that this movie focuses more on everyone's heart in this chess game.

Thousands of lamps

Time: 1948 Director: Shen Fu

The ruthless exposure and satire of the darkness of post-war society was the theme of many excellent films in the late 1940s. Among the films with this theme, The Lights of a Thousand Houses directed by Shen Fu and The Crow and Sparrow directed by Zheng are the best works. The lamp seems peaceful, but in fact it is profound. It describes the life of the petty bourgeoisie in the Kuomintang-ruled areas after the war. The protagonist Hu Zhiqing is a company employee, kind and honest, works hard for the company, and his wife keeps a good house. Later, due to the bankruptcy of the countryside, Zhiqing's mother and her brothers came to Shanghai to reunite with him. Due to the sudden increase in population, soaring prices, difficulties in life and friction at home. Later, Hu Zhiqing was fired. The family was desperate, and various contradictions and storms followed ... This film described the changes of a family, but it became the epitome of society at that time. There are painful differences in the film, and more is affection and understanding. Finally, the hero of the film said, we should live, "Let's get closer", which means to unite and fight for survival, and let the film shine with the brilliance of thought.

The joys and sorrows of middle age

Time: 1949 Director: Sang Arc

This is a "China film with almost perfect content and skills", which is the pinnacle of director Sang Hu. Shaochang Chen, a middle-aged primary school principal, never got married after his wife died. Although his children have been filial since childhood, they just want to keep their father as a pet, but they lack real consideration for their feelings and hearts. Father's remarriage really caused an uproar. Fortunately, Shaochang Chen, determined and determined, finally opened the second plum blossom of love and life. The mainstream of China's films shows more concern for the collective and class than for the individual. In terms of caring for individuals, caring for vulnerable groups such as women, children and the elderly is far greater than caring for middle-aged people; Furthermore, in middle-aged stories, the concern about their material life is far greater than the concern about their emotions and spirits. The sadness and joy of middle age is obviously an alternative. This film is a unique blend of sadness, satire and humor. Its choreography skills are excellent, just like a lyric poem of sadness and music. Some film critics say that this film can be measured by international standards, which is true.

My whole life

Time: 1950 Director: Shi Hui Shi Hui is one of the names that we should not forget when reviewing China's films. He is an outstanding talent in China's film history, and has reached the first-class level in performance and directing. His characters, ranging from drama to film, cover three religions and nine streams. He was once known as the "drama emperor", and the highest achievement of his film belongs to 190. The film is adapted from Lao She's novel of the same name, written by Shi Hui's brother Yang Liuqing, and tells the story of a policeman's experience in old Beijing for nearly 50 years. My Life is not only an excellent new realism work, but also one of the most popular movies at that time. It is an immortal work with realistic artistic brilliance and rare humanistic depth in China film history, and it is a world-recognized classic.

Fairy couple

Time: 1955 Director: Shi Hui

The great success of Huangmei Opera "The Fairy Couple" has triggered the enduring popularity of Huangmei Opera movies in Hong Kong for decades!

The film won the second prize of Excellent Stage Art Film of the Ministry of Culture 1957.

Fairy Descent is a beautiful fairy tale, which entrusts the lower working people with their yearning for free and pure love. The film stars Huangmei Opera actors Yan Fengying and Wang Shaofang, who are very famous in the field of traditional drama in China. Yan Fengying's interpretation of the image of the seven fairies is not only a fairy girl in heaven, but also a village girl on earth. Enthusiastic and bold, hardworking and intelligent; Yan Fengying, in particular, showed the sincere love of the seven fairies for Yong Dong, which was touching. After the film was released, it was warmly welcomed by the audience at home and abroad. According to the statistics at the end of 1958, the audience in Chinese mainland alone was as many as1400,000, which set the highest box office record at that time. When the Fairy Couple was shown in China, Hong Kong and Nanyang, it was equally grand.

Mambo girl

Time: 1957 Director: Literature and Art (Hong Kong)

Glen was a famous actress in Hong Kong in 1950s, and the musical Mambo Girl of 1957 was one of her masterpieces. At that time, she led a group of young people to dance cha-cha, and rock music and jazz also joined in. The scene was spectacular, reflecting that Hong Kong people were influenced by western trends at that time, and their concepts and dress styles were relatively open.

Mambo Girl is a film tailored for Gü len, and it is also a bold and innovative classic in the history of Hong Kong Mandarin musical films. "A new musical woman appears on the screen; Mambo girl, completely urbanized, belongs to Hong Kong. This is the first film that takes dance as a role and a dramatic element. It describes a playful, naive, young and rhythmic attitude towards life with vivid vision and narrative.

Lin Zexu

Time: 1959 Director: Zheng Cenfan.

Directed by Zheng and Cenfan and starring Zhao Dan, Lin Zexu is a masterpiece in the film history of new China. It is an epic film with tragic historical stories as its theme and full of literati temperament.

Lin Zexu is one of the most successful screen images created by Zhao Dan. His performance draws lessons from China's freehand brushwork techniques. Starting with the overall grasp of the characters and the setting of the scene, it has a clear hierarchy and a degree of relaxation, showing a glorious national hero image on the screen. In addition, the art and music of the film have also been explored in terms of national style, which makes the film have a subtle, harmonious and appropriate artistic conception and a fresh, refined and lasting lyrical color.

This film can be regarded as the masterpiece of the new China historical film.

Song of Youth

Time: 1959 Director: Xie Fang, the heroine of Cui Wei's Song of Youth, knew nothing about her fame after the film was released, but when she came to Japan, she was surprised to find that her photo was copied to a floor high, and enthusiastic Japanese fans shouted "Lin Daojing" again and again in blunt Chinese. This film is another masterpiece after Cui Xie's Private Zhang Ga. Compared with the lively interest of private Zhang Ga, Song of Youth is quite restrained and solid in style, showing a very high level of performance, director, screenwriter and photography, which is touching and the film's response and classic status are well deserved.

Our young people

Time: 1959 Director: Suri

The Young People in Our Village made the young people in the city yearn for it at that time, and it was the most representative work in the film reflecting the rural life in New China. It shows a group of young people full of vigor and vitality, writing a hymn of a new life with their own labor and love. The remarkable feature of the film is that it boldly adopts the abandoned multi-angle love mode-Gao Zhanwu, Cao Maolin and falling in love with Kong at the same time. However, when dealing with this traditional narrative mode, the creator does not stick to the rules, but expresses and praises the altruistic view of love. With an optimistic and relaxed aesthetic attitude, the creator also examined and dealt with the ideological conflicts between people and the love entanglements among young people in that particular era ("Great Leap Forward"), which made the film have a strong "utopian color" as a whole, and "young people in our village" became the yearning of all young people at that time. Starring Li Yalin and Di Chin also jumped into the ranks of 22 movie stars in New China.

The Private Lives of Elizabeth and Essex

Time: 1959 Director: Li Hanxiang (HK)

This film is Shaw's, and it is also the first Chinese-language film in Hong Kong. The production cost of that year was staggering, showing the courage and courage of the Shaw brothers in doing business. The film won the Best Film Award at the 6th Asian Film Festival, and the Huangmei School in Li Hanxiang gradually became the main film produced by Shaw.

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Maggots love carrion.

Shadow name: Fengyun children

Director: Xu Xingzhi

Starring: Bai, et al

Release year: 1935

Country of manufacture: Chinese mainland.

Language: Mandarin

Dentsu film company

Synopsis of story:

Xin Baihua is a poet. He has an extremely good friend, Liang Zhifu, a college student. Both of them are from the northeast. After the "September 18th" broke out, they walked out of their hometown and lived a wandering life, but they never lost their confidence in life and looked forward to a bright future. Xin Baihua and Liang Zhifu's neighbors are A Feng and his mother. They live in poverty. Xin Baihua and Liang Zhifu are very sympathetic to their mother and daughter and often help them. Later, Liang Zhifu was arrested and imprisoned for his relationship with revolutionaries. Xin Baihua fell in love with a rich widow. Feng's mother died, and the helpless Feng took a song and dance class and often performed everywhere. After Liang Zhifu was released, Japanese imperialism invaded North China, and Liang Zhifu took part in the revolution and bravely resisted the enemy. At this time, Xin Baihua is spending his summer vacation with his rich widow in Qingdao. Afeng Song and Dance Troupe went to Qingdao to perform and met Xin Baihua. After reading A Feng's The Singing Girl under the Iron Shoes, Xin Baihua was greatly shocked and aroused his patriotic enthusiasm, but he still didn't get rid of the shackles of love, and that enthusiasm cooled down again. Finally, Liang Zhifu died on the enemy battlefield. After Xin Baihua learned the news, he finally abandoned his former life of enjoyment and took to the front line of the enemy. This is the second of four anti-imperialist and anti-feudal films produced by Dentsu. This story was written by Tian Han. After Tian Han was arrested, Xia Yan made it into a documentary. Although the Kuomintang and the concession authorities banned the filming of anti-Japanese films at that time, the films still had a distinct anti-Japanese theme, which reflected the awakening and growth of intellectual youth under the background of the national liberation struggle at that time and also reflected the enthusiastic desire of the people of the whole country to unanimously demand anti-Japanese. March of the Volunteers, the theme song in the film, sings the voice of the times with unrestrained revolutionary enthusiasm and passionate melody, and its influence far exceeds that of the film itself. It has become one of the widely circulated revolutionary songs and has been deeply loved by people for many years. After the founding of People's Republic of China (PRC), March of the Volunteers was identified as National Anthem of the People's Republic of China.

Chinese name: Dalu

Year: 1934

Category: comedy, music, plot and war

Country/Region: China

Language: Mandarin

Director: Sun Yu

Starring: Jin Yan, Chen Yanyan and Li Lili.

Lianhua film company

Introduction: A group of young people, such as workers, coolies, pickpockets, college students, street performers, waitresses, etc. , opened the way for War of Resistance against Japanese Aggression's early motherland and United the evil forces. Sun Yu's successful portrayal of characters' personalities and relationships has pushed the film to a higher artistic level. He makes good use of the narrative and figurative ability of images, grasps the rhythm appropriately, and skillfully blends the skills of singing, laughing and farce into the film to make it lively and interesting. The whole movie is full of enthusiasm and bold scenes, which makes people excited. It is an epic, a lyric poem, and a wonderful entertainment.