Deng Jichen

Deng Jichen

Born in Nanhai, Guangdong Province (February 17, 1912 - July 2, 1991), he was a broadcasting artist. He was able to create eight completely different voices to perform humorous radio dramas, which made a sensation and won the reputation of "king of humorous dramas".

Character experience

Born on February 17, 1912 in Nanhai, Guangdong, he was born as an announcer. He was able to create eight different voices independently to perform humorous radio dramas, which made a sensation and won the reputation of "king of humorous dramas". His voice in Li's "Deng Jichen's comedy", which was hosted from Monday to Saturday at 12:30 noon, has been spoken for more than 20 years As early as the 1940s, the versatile artists have performed Cantonese Opera in Guangzhou. In 1950, they were introduced by Li Wo to Hong Kong to give lectures on comic opera. They soon entered the film world and became famous comedians. They also recorded humorous Cantonese songs and popular Cantonese songs from time to time. The more well-known Cantonese melodies are "Mexican girl", "Feige falling pit canal"; (Chorus: Li Baoying, Zheng Junmian), <; cheats (Chorus: Zheng Biying) etc. Since 1950, Deng Jichen has been making films, most of which are humorous comedies, especially the "two fools" series he once cooperated with Singapore and Malaysia teachers. The films starring Deng Jichen include "lost soul fish" (1951), "Shizi Street" (1955), "absurd mirror Wudou Chen Mengji" (1957), "two fools in paradise" (1958) and so on. Deng Jichen immigrated to Canada in 1975 and has since faded out of the art world. However, over the years, he has also performed in the Hong Kong film "ghost horse, wisdom and stars" and stone sky's version of "chasing girls". He died in the United States on July 2, 1991 at the age of 78.

Main works

Take part in the film

Lyrics

Qu: Gu Jiahui CI: Deng Weixiong, don't be so sad that you don't have to go after fate even if you don't see it. Don't worry about it. Don't worry about it. Don't be sad. Don't break the old love. How can you go after it? Who can make me believe that we will get together in the future? Tender feelings are like water, drunk hearts are like emptiness. Even if we face the past, we can send a little tears to the bottom of our heart. Don't gather together again. Let's just ask for the memory in our hearts I believe that in the future, we will get together with each other, tender feelings like water, drunk heart, even in the face of emptiness, even in the face of the past to today, a little tears will be sent to the bottom of my heart. Don't let us gather together to rest sad, but only to remember the feelings in our hearts

Hong Kong Film History

Hong Kong Film revived rapidly after the Second World War, but after 1949, it became more and more vigorous. After 1949, Chinese mainland filmmakers went south for political and economic reasons, set up a movie studio in Hongkong, and co worked with local filmmakers to shoot China and Cantonese films, making Hongkong the only and largest movie center in South China. In addition, in the mid-1950s, the movie power of Singapore and Malaysia transited to Hong Kong, and the impact of Hong Kong's original film culture brought by the United States, Japan and Europe made Hong Kong's films into a mature prototype. the 1950s and 1960s were the time when Chinese and Cantonese films took off, especially from the late 1940s to the mid-1960s. This golden age Cantonese film has the following mainstream:

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Guangdong opera

a screen adaptation of a traditional or local opera

it is estimated that in the 1950s, 200 Cantonese Opera films were published every year, and almost one out of every three Cantonese films was a Cantonese opera film. In 1958, it reached its peak, with Cantonese Opera accounting for half of the 160 films in this year. "Stage style" Cantonese Opera films are basically not expensive to produce, and their film skills are not particularly sophisticated, because most of them are performed by the big old man on the stage of Cantonese opera, only singing the main plot, and the rest are not strict. Therefore, most of these operas are ridiculed as "five day fresh" and "seven day fresh". Of course, there are also some immortal classics that are seriously produced and still talked about by people today, such as the emperor's daughter flower (1959), the story of purple hairpin (1959) and empress Li Zhu (1968). The actors in traditional Chinese opera films also have many familiar names, including Ren Jianhui, Bai Xuexian, Xinma Shizeng, Xue juexian and Lin Jiasheng. Why did Cantonese Opera become so popular in the 1950s? This is because after the Second World War, the development of Cantonese Opera flourished, and going to the theatre became the consumption enjoyment of the upper class. As for ordinary people who only like to listen to radio dramas or Cantonese opera, the film company has made a large number of classic Cantonese operas into films, so that fans can enjoy traditional Cantonese Opera with cheap tickets.

2. Art films

most of the literary and artistic films in this period were set in the Republic of China or the contemporary era, emphasizing dramatic structure, or adapted from Chinese and foreign literature, popular novels, or the story mode of Hollywood popular drama. When it comes to this kind of literature and art films that surround family ethics and love between men and women, we have to mention one of the best Cantonese film companies: United Film Co., Ltd. "Zoomlion". Founded in 1952, Zoomlion has produced 44 films and produced many classics in Cantonese films, such as Li Tie's "spring dawn in a dangerous building" (1953), "forever" (1955), and Chu Yuan's "pitying parents all over the world" (1960). The 21 elites of "Zhonglian" were found in the unhealthy trend of shoddy production in the film and art circles, so they set up "Zhonglian" on the premise of serious shooting attitude and healthy film belief to fight against the "seven day fresh" goods of vulgar speculation and inferior quality. These film elites include director Li Tie, Wu Hui and 13 famous actors: Wu Chufan, Zhang Kai, Zhang huoyou, Bai Yan, Huang Manli, ziluolian and so on. "Zoomlion" films often aim at various social problems in Hong Kong, criticizing the hypocrisy and ugliness of the upper class tycoons, with a strong sense of enlightenment, which greatly improves the aesthetic level of Chinese films. Probably because of its excessive commitment to the traditional moral mission, "Zoomlion" is gradually out of touch with the times. In 1967, it was closed with the development of Cantonese films, but its influence on Hong Kong films can not be ignored.

3. Ancient martial arts films

In the 1950s, most of the ancient martial arts films were based on the familiar stories of chivalrous gods and monsters, but the martial arts scenes were not realistic. In the late 1960s, more and more attention was paid to the design of action scenes, with a large number of special effects (such as monsters, gargoyles and model special effects), Cao Dahua and Yu suqiu playing a lot of such ancient martial arts films, such as "Buddha palm" 》Series.

4. Farce

Most of these films are dominated by funny comedians, such as the "two fools" series starring new Ma Shizeng and Deng Jichen. although the artistic sense of the above Cantonese films is a little rough from the point of view of film aesthetics, it is more than enough to bring resonance to the audience. No wonder during this period, the output of Cantonese films was considerable, which made the Cantonese films reach the peak. in fact, from 1967 to 1969, the output of Cantonese films was still higher than that of Mandarin films, and it was only from 1969 to 1970 that the situation began to turn around. The turning point of Mandarin films from low to high was the reorganization of "international distribution company" and Shao's father and son in the mid-1950s to become "film Maoye company" and "Shao's (Brothers) Company" respectively. "Shao" and "Dianmao" are rich in capital and ambitious. After the reorganization, they are determined to play a big role in the Hong Kong film industry. They not only make great efforts to promote Mandarin films, but also establish a sound distribution network to develop the overseas market. In 1957, Run Shaw took the helm of "Shaw" and produced a large number of high-quality films. The first successful works were "beauty of the country" and "no love" directed by Li Hanxiang, which achieved unprecedented box office results of "100000". "Shao's" film production is luxurious and magnificent, while the "rotten shirt drama" in Cantonese films can be said to be dwarfed. Coupled with the emphasis on quality but not weight, there are few "seven days fresh" films. the upsurge of Mandarin films has not only brought the rise of huangmeidiao films in China to Hong Kong and made them popular, but also created new martial arts films, including martial arts works adapted from Jin Yong and Liang Yusheng: biography of Shooting Heroes (1959) directed by Hu Peng. In 1963 alone, the output of martial arts films has reached 61, and the representative works of martial arts films are Hu Jinquan's Longmen Inn (1966) and Zhang Che's one armed sword (1967). The emergence of martial arts stars such as Dilong and Wang Yu can also be seen as the prelude to the emergence of Bruce Lee in the 1970s. In fact, since the 1950s, Chinese and Cantonese films have coexisted. Although there is competition between them, they are compatible in essence. However, with the rapid development of Mandarin films from 1970 to 1971, and the shortage of Cantonese films, the output of Mandarin films reached 116 from 1970 to 1971, while that of Cantonese films was only 22. From 1971 to 1972, the number of Mandarin films was still on the rise, but there was only one Cantonese film, Miss Fan, starring Deng Lijun. In the following years, Mandarin films led the Hong Kong film market. Finally, it is worth mentioning that in the late 1960s, although Cantonese was one-sided threat to the dominance of Mandarin films in the market, it still made great efforts to make a breakthrough in the types of films. The rise of youth song and dance films brought up two popular young people's idols, Xiao Fangfang and Chen Baozhu. The upsurge of idols in the film industry can be attributed to them

Chinese PinYin : Deng Ji Chen