Fei Mu | |
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Chinese name | 費穆 (Traditional) |
Chinese name | 费穆 (Simplified) |
Pinyin | Fèi Mù (Mandarin) |
Born | 1906 Shanghai, China |
Died | 1951 Hong Kong |
Occupation | Director, screenwriter, film producer |
Fei Mu (simplified Chinese: 费穆; traditional Chinese: 費穆; pinyin: Fèi Mù) (1906–1951) was a major Chinese film director from the pre-Communist era.
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Born in Shanghai, China, Fei Mu is considered by many to be one of the major film directors prior to the communist revolution in 1949. Known for his artistic style and costume dramas, Fei made his first film, 1933's Night in the City (produced by the Lianhua Film Company), at the young age of 27, and he was met with both critical and popular acclaim (the film, unfortunately, is now lost). Continuing to make films with Lianhua, Fei directed films throughout the 1930s and became a major talent in the industry, with films like 1936's Blood on Wolf Mountain (often seen as an allegory on the war with Japan)[1] and 1935's Song of China, a glorification of traditional values that was part of the New Life Movement. Later, Song of China became one of the few films that had a limited release in the United States.[2]
Fei's legacy as one of China's greatest directors was sealed with his 1948 influential masterpiece Spring in a Small Town about a love triangle in post-war China (it was later remade by Tian Zhuangzhuang in 2002 as Springtime in a Small Town). In 2005, Spring in a Small Town was declared the greatest Chinese film ever made by the Hong Kong Film Critics Association.[3] Fei remained active in this so-called "Second Golden Age" and also directed China's first color film Remorse at Death (1948), which incorporated Beijing Opera and starred Mei Lanfang.[4] Following the Communist revolution in 1949, Fei Mu, along with many other artists and intellectuals fled to Hong Kong. There he founded Longma Film Company ("Dragon-Horse Films") with Zhu Shilin and Fei Luyi and produced (under the Longma name) Zhu Shilin's The Flower Girl (1951).
Following his death in Hong Kong in 1951, Fei Mu and his work fell into obscurity, as much of his filmography was forgotten or ignored on the Mainland, rejected by leftist critics as indicative of rightist ideologies.[5] It was not until the 1980s, when the China Film Archive re-opened after being closed down during the Cultural Revolution did Fei Mu's work find a new audience. Most significant was a new print made by the China Film Archive from the original negative of Spring in a Small Town.[6]
Year | English Title | Chinese Title | Notes |
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1933 | Night in the City | 城市之夜 | Also known as City Nights |
1934 | A Sea of Fragrant Snow | 香雪海 | Also known as A Nun's Love |
1934 | Life | 人生 | |
1935 | Song of China | 天伦 | Also known as Filial Piety; co-directed with Luo Mingyou |
1936 | Blood on Wolf Mountain | 狼山喋血记 | Also known as Bloodbath in Langshan and Bloodbath on Wolf Mountain |
1937 | Martyrs of the Northern Front | 北战场精忠录 | |
1937 | Gold-Plated City | 镀金的城 | Also known as the Gilded City; Chinese opera film |
1937 | Murder in the Oratory | 斩经堂 | Chinese opera film |
1937 | Nightmares in Spring Chamber | 梦断春闺 | Episode in Lianhua Symphony |
1940 | Confucius | 孔夫子 | Thought lost, rediscovered in 2001 |
1941 | Children of the World | 世界儿女 | Co-directed with Jacob Fleck and Luise Fleck |
1941 | The Beauty | 国色天香 | |
1941 | Songs of Ancient China | 古中国之歌 | |
1946 | The Magnificent Country | 锦绣山河 | |
1948 | The Little Cowheard | 小放牛 | |
1948 | Remorse at Death | 生死恨 | First Chinese color film; also known as Happiness in neither Life nor Death; Chinese opera film |
1948 | Spring in a Small Town | 小城之春 |
Year | English Title | Chinese Title |
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1934 | Life | 人生 |
1936 | Blood on Wolf Mountain | 狼山喋血记 |
1936 | On Stage and Backstage | 前台与后台 |
1937 | Martyrs of the Northern Front | 北战场精忠录 |
1937 | Nightmares in Spring Chamber | 梦断春闺 |
1940 | Confucius | 孔夫子 |
1941 | Children of the World | 世界儿女 |
1941 | Songs of Ancient China | 古中国之歌 |
1946 | The Magnificent Country | 锦绣山河 |
Year | English Title | Chinese Title |
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1951 | Flower Girl | 花姑娘 |
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