Shamoon

Shamoon

Sha Meng (November 2, 1907 - June 26, 1964), formerly known as Liu Shangwen, was born in sungezhuang Township, Yutian County, Hebei Province. He is a director, screenwriter and actor in mainland China and graduated from Shanghai Academy of fine arts.

In 1935, he played a shop assistant in the comedy city view. In 1936, he played a young man in exile in Northeast China in the plot movie "streets of ten". In 1938, he served as a teacher of the art group of the Youth League of the fifth theater. In 1944, he served as the head of Yan'an Luyi experimental drama troupe. In 1950, he directed his first film, Zhao Yiman. In 1951, he co directed Shangrao concentration camp with Zhang Ke, which won the second prize of "1949-1955 excellent film" from the Ministry of culture of China. In 1953, he directed the plot film harvest, which won the third prize of "1949-1955 excellent film" from the Ministry of culture of China. In 1956, he co directed the plot film Shangganling with Lin Shan. In 1962, he and Fu Jie co directed the plot film "Fenshui Changliu". On June 26, 1964, shamun died of illness in Beijing at the age of 57.

Character experience

On November 2, 1907, Shamon was born into a peasant family. In his early years, he studied in a private school under Li Bingjun. In 1919, he studied in the Experimental Primary School of Beijing Normal University. In 1922, Shamon was admitted to a French university. Influenced by the May 4th movement, he actively participated in the student movement.

In 1925, he was reprimanded for participating in the fund-raising activities for the victims of the May 30th Movement, and then he left school angrily. In 1926, he was admitted to fulder College of Sino French university. Due to the turbulent situation, he dropped out of school after only one year. In 1929, he was admitted to Harbin man Sui Long Distance Telephone Bureau as a telephone operator.

In March 1933, he entered Shanghai Academy of fine arts to study, and successively joined the progressive drama groups such as Xindi drama society, Chenxi drama society, Shihou drama society, Dadi drama society, etc. In 1935, he played a shop assistant in the comedy "City Scenery"; in the same year, he played an artist in the plot film "singing in the middle of the night". In 1936, he played a young man in exile in Northeast China in the plot movie "Shizijie"; in the same year, he acted in the drama "Thunderstorm".

In 1937, after the outbreak of the "August 13" Anti Japanese War, he engaged in Anti Japanese and national salvation drama activities in Wuhan, Chongqing, Hong Kong and other places. In 1938, he served as a teacher of the art group of the Youth League of the fifth theater. In 1939, he worked with Ouyang Ruqiu as a teacher in Yucai School sponsored by Tao Xingzhi in Beibei, Chongqing. In 1944, he went to Yan'an and served as the head of Yan'an Luyi experimental drama troupe.

In 1945, after the victory of the Anti Japanese War, he joined the Northeast cadre regiment to open up the northeast liberated area; in the same year, he served as the deputy leader of the eighth middle school team; in addition, he also served as the deputy head of the Northeast cultural and industrial regiment and presided over the daily work. Later, the regiment was renamed as the Northeast cultural and industrial regiment 1, with Shamong as the head. In 1946, he joined the Communist Party of China; in the same year, the Northeast literary and Art Troupe changed its name to "the first troupe of northeast literary and art work". Sha Meng served as the head of the troupe and member of the Culture Committee of the Propaganda Department of the Northeast Bureau of the CPC Central Committee.

In August 1948, in order to create the film industry of new China, according to the order of the Northeast Bureau, the Northeast literature and art work group was incorporated into the Northeast film studio. Sha Meng served as a member of the Management Committee of the East film studio, vice chairman of the Art Committee, member of the general Party branch and leader of the editing and directing group.

In 1950, he directed his first film "Zhao Yiman"; in the same year, he served as a member of the Art Committee of the film Bureau. In 1951, he and Zhang Ke co directed the plot film Shangrao concentration camp, which was based on real historical events. The film won the second prize of "1949-1955 excellent film" from the Ministry of culture of China. In 1953, he directed the plot film harvest, which won the third prize of "1949-1955 excellent film" from the Ministry of culture of China.

In 1956, he co directed the war movie Shangganling with Lin Shan, which was adapted from the film literature script 24 days. In May 1957, he was elected vice chairman of the Chinese film workers' Association; in August, the anti rightist struggle began, and shamun was wrongly criticized and classified as "extreme rightist" to deprive the director of the right to film.

In 1959, Changchun film studio set up a creative group, and shamun was assigned to the third creative group as a consultant. In 1961, he took off the label of "extreme rightist" and transferred to Beijing Film Studio. In 1962, he and Fu Jie co directed the plot film Fenshui Changliu, which was adapted from Hu Zheng's novel of the same name. On June 26, 1964, shamun died of illness in Beijing at the age of 57.

Main works

Directing works

Screenwriter's works

Take part in the film

Award winning record

Character evaluation

Shamon lives in his own works. In his short life, he directed five films. Although there are only a few, he left a deep footprint in the history of Chinese film. Looking back at his films, you will find that shamun is getting closer to people again. His eyes, his thoughts and his passion are still glowing with the brilliance of life, and continue to feel the pulse of the times. Among the five films Shamon left to us, three are about revolutionary history and revolutionary war. This is his works full of artistic brilliance and social influence, which is by no means accidental. He has a passion for such subjects. He has an unforgettable nostalgia for the revolutionary martyrs who died for the Chinese revolution, and has an irresistible creative impulse. Shamon's persistent pursuit of new realism art is shown in that when he properly highlights the main characters, he never belittles or belittles the minor characters at the cost (the ridicule and satire of the villains is another matter). He dealt with the relationship between the main character and the secondary character in a real and appropriate way - as natural and appropriate as in life (Contemporary Film Review).