Zou Wenhuai, the founder of Jiahe, died at the age of 91. He saw one of the essays on social networks. "Jin Yong can pretend that I am not familiar, but Zou Wenhuai can't. Because my youth can't do without the movie of Jiahe, I skipped the video." In the days of the hall, if there is no him, I will be lonely and bored. Boss! Change!"
Although Shaw created a kingdom of Hong Kong movies, there is no doubt that for a large number of "video generations" in the Mainland, Golden Harvest has a more intimate feeling. The Golden Harvest classics are coming out. This is how many Hong Kong film fans belong. beautiful memories. After all, Shaw’s glory is a farther past, but Jiahe has fought against the Shaws since the 1970s. In the 1980s, it was with the New Art City and Debao, and then absorbed in the mid-1990s. Multi-independent production companies and further internationalization, at a certain stage of its development just coincide with the youth of our generation. So with the help of video tapes, VCD (Guangdong area and wireless ATV two free TV stations), Golden Harvest movies have entered our growth trajectory and become another kind of spiritual food for our youth. At the same time, it has become a way for us to see Hong Kong's prosperity and development, and it is full of beautiful dreams for this Oriental Pearl.
Whether it is the action film, Ma Rulong stepped on a bicycle in a narrow alley in the bicycle fight ("A Plan"), or in the love movie, like a flower back to the once in the Tangxi Fengyue waiting for the emergence of twelve (reel buckle); whether it is the police film Chen Jiayu Struggling to jump from the Atrium of Tsim Sha Tsui ("Police Story"); or Li Zhi and Li Xiaojun in the literary film on the streets of New York ("Sweet Honey"), and so on, these classic pictures constitute a section of our growth period Watching memories, all of which are from Jiahe.
The significance of Golden Harvest is that it allows us to know what is a "Hong Kong film", or that Jiahe defines the word "Hong Kong film". In my movie experience, there are still differences between Hong Kong films and Hong Kong movies. When you go to elementary school, you will pay special attention to the ATV evening program on Saturdays and Sundays. Because ATV will play Hong Kong films in prime time, the column name will have the words "Hong Kong film", which will play the most in memory. The film was produced by Jiahe and the new art city. In this way, the Hong Kong film and Jiahe have already been equated in my early observation.
If I want to give a definition of "Hong Kong film" exactly, I can hardly give an answer, but when you say "Police Story", "Mr. Zombie", "Fantasy Wonderful Five Lucky Stars", "Flying Dragons", "Cousin, how are you," I will not hesitate to think that these are Hong Kong films, but if you say "Thorn Horse", "One-Armed Knife" and "Thirteen Taibao", I will not include these films. Hong Kong films, of course, these are also famous works of Hong Kong movies.
To put it bluntly, in my opinion, the emergence of "Hong Kong-made films" is first of all from an industrial point of view. The Golden Harvest model is a production mode different from the previous Shaw and eDonkey eras, and it also affects many movies in Hong Kong. How the company works. Unlike the large-scale factory system represented by Shaw, Jiahe implements an independent film production system. Zou Wenhuai will choose to cooperate with talented directors to let these directors establish their own production company and become Jiahe Satellite Company. Jiahe invested in these companies, but did not interfere in the creation, giving these companies sufficient creative freedom. After the filming, Jiahe was responsible for the declaration and let the director participate in the box office dividends. This is obviously known as "authoritarian". I can't think of it. So when Xu Guanwen first took his own script to Shao Yifu and said that he wanted to be a director and wanted to participate in the split, Shaw’s style would never be considered.
Shao Yifu’s dictator directly completed the acquisition of Xu Guanwen by Jiahe, or that Shaw’s centralized model left Shao Yifu to lose Li Xiaolong and then lost Xu Guanwen, which made Jiahe unprepared and quickly in the first few years of its establishment. Established its own brand in the 1970s. Zou Wenhuai brought Xu Guanwen to his majesty. He satisfied Xu Guanwen's desire to self-direct and self-directed himself, and established Xu's company. The first film "Ghost Horse Double Star" was born out of him and Xu Guanjie's popular tv program "Double Star Announcement" ", has a very good audience base, the film broke the box office record as soon as it came out.
The Jiahe model joined the group from the early Zou Wenhuai and Li Xiaolong to establish a dividend system (Li Xiaolong was the first director to cooperate in this way), and later established Xu with Xu Guanwen, and developed into Weihe of the 1980s, Baohe of Hongjinbao. These satellite companies have produced a very entertaining commercial film for Jiahe, and the reputation of Hong Kong films has gradually started. In the 1980s, Hong Kong-made film types emerged in an endless stream, whether it was the "Ghosts and Ghosts" series represented by the early demons, or the zombie films brought up by "Zombie Road Chiefs". Without Zou Wenhuai's "decentralization", let these have The talented directors are free to play their own strengths, and it is impossible to create these types of films that are later popular.
Golden Harvest's satellite company model is a relatively free cooperation system. That is to say, although these satellite companies have contracts with Jiahe, they will not prevent them from filming outside. Hong Jinbao once said with another official of Jiahe, He Guanchang: "You When there was no scene for me to shoot, I went outside to shoot." Zou Wenhuai thinks that this is also fair and allows this behavior. By the early 1990s, Jiahe would also take the initiative to cooperate with other production companies. For example, Maidangxiong made a slap in the face of Jiahe’s production of “Gao Hao”, and invested in Xu Ke’s film studio to shoot “Huang Feihong” and set off again. Huang Feihong, when looking back at the Hong Kong film industry from the 1970s to the late 1990s, found that Hong Kong films that lead the trend in almost every period are related to Golden Harvest.
Secondly, the "Hong Kong film" also represents a cultural and linguistic transformation, and the leader of this transformation is Golden Harvest. In the early 1970s, the Hong Kong film industry had a miraculous feature. In a place where the Cantonese population accounted for 90% of the population, the Mandarin film produced by Shaw’s head was completely overwritten with Cantonese films. The Cantonese film began to decline in the late 1960s. By 1971-1972, the Cantonese film production was zero. The two major Cantonese films were transferred from Long Gang and Chu Yuan to Shao's Mandarin film.
In 1973, Chu Yuan broke the box office record of Bruce Lee for Shao’s filming of the Cantonese film comedy "Seventy-two Tenants", which brought the Cantonese film back to life. Originally from Shanghai, the burlesque was re-edited into a Cantonese film by the left-wing film company Xinlian and Guangzhou Zhujiang Film Studio in 1963. However, this film was mainly aimed at the overseas Guangdong overseas Chinese market, and it did not cause much repercussions in Hong Kong.
Although Shaw's "Seventy-two Tenants" has a pioneering effect on the reincarnation of Cantonese films, it is said that changing the trend of the whole industry can lead a trend that affects the latecomers. It is definitely Xu Guanwen's "Ghost Horse Double Star" and " Genius and Idiot, "Half-pound" and other films.
Xu Guanwen's films have quite a distinct style compared to the past Cantonese films and even the Cantonese films produced by Shaw in the same period. That is the use of Cantonese proverbs, colloquialisms, and tidal languages. The playful and lively vocabulary of Cantonese is used to the extreme. Although some proverbs have been used in Cantonese films in the past, they have never been used intensively and flexibly like Xu Guanwen. And incorporated into some trendy jokes. More importantly, Xu Guanwen's story is very close to the public's mentality at the time, and the small person's experience can be recognized by the general audience. Xu Guanwen's films broke the box office record one after another, and also affected other comedy and type films of Jiahe. Later, like "Feng Qian Han" and "Lin Yazhen", both used Cantonese and Kung Fu movies. From 1977, "Three German Monks and Demi Six" also Dubbed in Cantonese, it is a humorous piece of Kung Fu represented by "Snake-shaped Hand", which is dubbed in Cantonese.
In the 1970s, Hong Kong's economy took off and the society stabilized. After the post-war baby boomers in Hong Kong entered the society, they did not have the passer-by mentality of the previous generation, and gradually established the cultural identity of "Hong Kong people". Xu Guanwen is this generation. The directors who cooperated with Jiahe in the late 1970s were almost all Hong Kong people in the post-war baby boom generation. Unlike Shaw’s North South, which is represented by Li Hanxiang and Zhang Che, even in the mid to late 70s, Shaw’s director The backbone of the powers like Huashan, Guizhihong, and Yudun were the growth of Taiwanese art. Until the mid-eighties, Shaw began to use the post-war generation of Hong Kong people, such as Zhang Jianting, "The 7th Day of Love", Xu Anhua, "Love of the City" 》.
Therefore, Golden Harvest’s transformation of the Hong Kong film format is almost in sync with the development of the city of Hong Kong. The Hong Kong film is gradually taking shape with the economic take-off of Hong Kong, and has formed a unique symbol of entertainment culture, becoming the film we are talking about today. "Hong Kong taste." At this point, Jiahe has made great contributions.