A script about San Mao's wandering.

There have been many articles in newspapers introducing the comic book Sanmao and the movie Sanmao's Wandering Story. However, there are still many inside stories that are not known to everyone.

Sanmao's wandering story was published in Ta Kung Pao from June 1947 to June 15, which caused a strong shock. Its great artistic charm makes Sanmao a hot spot for children and adults in Shanghai. Many people write letters, send money and send clothes to Sanmao. Throughout the ages, only works that reflect the times and have progressive social significance can become masterpieces handed down from generation to generation, and San Mao Wandering has therefore been sublimated into an immortal classic.

1948 In the early autumn, an independent filmmaker with a unique vision made up his mind to put Sanmao's wandering story on the screen. He is Weber, who was the director of the New China Drama Club. Although he has never made a film, his aversion to the social darkness aroused by San Mao has made him have great enthusiasm and perseverance in making this film well. With the help of Wei He, he overcame many difficulties, raised funds by himself, took risks and became an independent filmmaker. After Feng introduced, he resolutely bought the copyright of the album and invited Mr. Chen Liting, a classmate and famous artist from Jiangyin High School in his hometown, to direct it.

And Chen Liting is directing Tian Hanlao's "Two Ways", and she is too busy to care about anything. Mr. Li Ting pointed out that the script is the key to the success of the film. This masterpiece should be re-created by Mr. Yang Hansheng. As for the director, he solemnly recommended Zhao Ming and me. The Webb brothers and I fought in the "New China" and knew each other well, so we agreed without hesitation. Knowing this, Zhao Ming and I are very excited. Both Zhao Ming and I are newcomers to the cinema. Li is the leader of Nanjing Branch of 1934 Left-wing Drama Association. He is also the leader of Shanghai Amateur Experimental Troupe and Drama Team, and the first teacher when I entered the theater. His recommendation is his trust and understanding of me. We also understand that it is more important to realize the strategic arrangement for the Party organizations to train new China film directors.

We all respect Comrade Yang Hansheng as "Han Lao", and his legendary deeds have long been admired by us. When I was young, I organized a "socialist" youth league in Sichuan, served as an instructor in Huangpu Military Academy, and participated in the "August 1st Nanchang Uprising" as a representative of the division. After he presided over the party's cultural work, he created many well-known plays and films. Fuxin once played the leading role in his screenplay "The Hero of the Grass". 1947, he was one of the leading members of the party's "Cultural Committee" and was busy establishing Kunlun Film Company.

Kunlun is a film factory directly led by the newly established underground party in the Kuomintang-controlled area, which concentrated the backbone of the party's films and was also a famous artist at that time. Kunlun Film Company insisted on the party's film work in the harsh environment of political white terror and social and economic collapse at that time, and directly helped the underground party work with the convenience of the industry. At that time, Hunan generals Cheng Wei and Chen Mingren were interested in the uprising, but they could not contact Chairman Mao directly. The underground party sent people to contact them several times, but all failed because of spy surveillance. Finally, with the help of Ren, the boss of Kunlun Company, disguised our military radio operator as a "Kunlun" employee in the name of promoting new films by the company, hid the radio station in the projector and smuggled it to Changsha. He successfully established a radio station in Chen Mingren's home, directly established contact with the Central Committee of the Communist Party of China, and made an uprising plan, which contributed to the liberation of Hunan.

Han Lao is the director of the director committee of Kunlun Film Company. It is conceivable that his work is heavy, but he resolutely assumed the heavy responsibility of writing San Mao's Wandering.

At this time, our people's liberation army has won one after another, and the Wang dynasty of the Chiang family on the verge of extinction is even more crazy. Assassinations and kidnappings occur from time to time, and streets are often stopped for raids. Even in the middle of the night, you can hear the shrill siren of the police car (known as the "flying fortress") arrested by the military police. Zhang Leping and Webb both received headless and tailless threatening letters: "No Sanmao movies! Disobedience is not good for you! " "San Mao, you go again, be careful of your head!" There are bullets in the letter! Weber showed it to us, but we all stuck to it without hesitation.

At this difficult and dangerous moment, Han Lao said: "It doesn't matter if it is difficult to raise funds now. With our Kunlun company, Sanmao must shoot well. " He also said to Webb: "In this case, it is difficult for independent filmmakers to make this film, so Kunlun Company should bear it." As a result, "Kunlun" returned Weber's money to buy copyright. Zhao Ming and I are originally "Kunlun" people, and Webb is one of the producers and concurrently the production director.

However, an accomplished playwright like John suggested that he must go deep into life and go to the place where street children live. This made us very worried, so the organization decided that I would follow him everywhere, on the one hand, defending, on the other hand, assisting. This is an important period in my artistic career. We live together day and night, and my keen thinking, earnest and down-to-earth style and superb scriptwriting skills have given me great inspiration and education. It is my happiness to be taught by a generation of great masters in extreme hardship.

To be on the safe side, John dressed as a businessman and wore sunglasses. I'm wearing a suit and tie, and my hat is slightly tilted. Like a "white-faced man" (a member of the Shanghai gang), I went deep into the "rolling earthworm" where street children live and the abandoned sewers along the Huangpu River. I personally saw the frozen street children being thrown into the car like sticks by the "corpse collection team", their hands hunched and their feet dragged on the ground, which aroused our strong sympathy and indignation!

When we entered the writing stage, we rented a hotel under a pseudonym. In order to avoid spies, I changed places in two or three days. I lived above the Paramount Hotel and Shixian Company. Among them, an interesting thing happened: one day, we were eating in a small restaurant. Suddenly, a bejeweled young lady came to the corner where we were sitting, greeted Mr. Yang politely in Sichuan dialect, and invited us to dance at Paramount in the evening. It turns out that this is the Bailemen red dancer that Han Lao knew when he was doing United front work. After she left, the old man said humorously, first of all, you' Mr. Wang' will dance with her tonight; Second, we must act at once! "In this way, I turned to hide, respect the life of Mrs. Ouyang every day, and call her to report peace.

In such a harsh environment, John is still in charge of the overall work of Kunlun, but he often discusses his thoughts on the script with us young people, mostly in Ren Mansion (the home of the boss Ren) on Hunan Road. After a heated discussion, he turned on the radio and listened to the radio in the liberated areas in the dead of night. What a passionate day.

Soon, Han Lao wrote the first draft of the script of San Mao's Wandering Tale, which solved the problem of changing from a serial comic book without plot to a movie script from an artistic point of view. This is not a copy of this painting. John always grasps the characters, digs deep into the theme and takes the essence. On this basis, he boldly conceived the plot. Among them, the climax scenes of "Sanmao is adopted as an adopted son" and "Street children make a scene in the mansion" are all ingenious, which are indispensable from the perspective of character development and film structure. Everyone is satisfied, but John himself thinks it needs to be revised.

Preparations for filming are in full swing. At that time, Fuxin and I couldn't afford to live in the city, so we had to rent a pavilion in a ramshackle wooden house in Hua Fu New Village, Majia Village, a suburb of Xujiahui. One day, the old man came quietly. He said in a low voice, "Third Sister, Gong Yan, I'm leaving Shanghai for Hongkong, and then I'm going north to the Liberated Area." We couldn't respond at the moment, but we had a hunch that he must be going to attend a major event (as expected, he was later informed that he was going to attend the "First Chinese People's Political Consultative Conference Preparatory Conference"). He then charged: "You tell everyone that after I left, the script was revised by Bai Chen, and I have already told him."

Although Fu Xin and I really wanted to talk to him more, for the sake of safety, we had to stand by and watch Han Lao leave in a hurry along the vegetable path.

Han Lao's manuscript is full of sympathy for street children and accusations against the dark society. On this basis, comedian Mr. Chen strengthened the comedy factor. It is easier to write comedies with negative characters as the main satirical objects, but it is more difficult to create comedies with positive characters and children as the main satirical objects. Mr. Bai Chen solved the second difficult problem in the script stage very well. After revising a draft, Mr. Bai Chen also left Shanghai in a hurry because of persecution. Then his student and his younger generation, comedian Li Tianji "passed" the draft again.

Kunlun Company decided to finalize the details, which will be solved when Zhao Ming and I split the lens. We all feel a great responsibility, so we must try our best to complete the revolutionary task. We are determined to firmly grasp the character's character and show the conflict between the character's character and the dark gray environment on the basis of the creation of Mr. Han Lao and Mr. Bai Chen, and resolutely refuse to take the vulgar and funny road of Laurie and Hardy. Make people laugh, but don't preach it hard, and it has a profound meaning, which makes people laugh with tears. Comedy is my favorite. The Lantern Festival created by 1939 is a kind of pursuit attempt, which is high-level and requires both ideology and art. When we split the lens, a copy of San Mao's Wandering Story cut and pasted around almost broke.

Sanmao is a Shanghai waif who has been deeply rooted in the hearts of the whole society. The cartoonist Zhang Leping created this mature artistic image: he was bullied, humiliated and loved; Smart and witty, he hates evil. The shape of "Sanmao" is also a household name. Where can I find a young actor with both form and spirit? Let a six or seven-year-old child play the leading role in the most important scene, which child can do it?

The artistic creation of children's films is by no means implemented from actual shooting. The Soviet children's film director told us: "You can find children's images suitable for playwrights to create, study, understand and imagine, and your directing work is 50% completed." As long as you have the experience of directing children's films, you will feel that this is not only a judgment, but also a feeling of actual experience. It can even be said that if the actor is wrong, the film may fail 100%.

Kunlun Company asked me to undertake the task of selecting Sanmao, and instructed me to "look for it"! So, I went to many schools and welfare homes and advertised for a job ... During this period, many powerful husbands and rich wives recommended their sons and nephews to me, and they agreed to be selected and gave me gold bars and dollars. Of course, I don't care. The shooting date is delayed again and again, and we are determined not to turn it on until we find the ideal "Sanmao"! This process dragged on for two months. At that time, investors expressed their understanding that it was valuable in the era of "money is the only thing, money is the highest", and it is difficult to persist even today. But "the correct choice of actors is the key to the success of the film", which has been proved by countless practices. Although it is difficult for directors to persist in the commodity society, it is indeed the iron law of success!

Just when I had no place to find iron shoes, I happened to see a child playing pinball in an alley outside the gate of Kunlun Company, and there was a "just war" between him and the "deadbeat" older child. The child's stubborn and fearless character caught my attention. He was seven or eight years old, with a big head, a thin neck and a thin figure, which met the requirements of the image of "Sanmao". This is young Wang Longji.

Some newspaper articles only emphasize Wang Longji's stubborn character, and his appearance and figure are similar to those of Sanmao. In fact, as a director, what is more important is his life experience similar to Sanmao. Although he was the son of Wang Yunjie, a famous composer of Kunlun Company, at that time, artists were often poor and their lives were unsustainable. The Wang Yunjie family fled from Chengdu to Shandong and from Shandong to Shanghai. Even when Longji was young, his parents reluctantly gave him away twice because he was really embarrassed at home. Once it was put in front of the school, and it was picked up by someone, and finally I couldn't bear to get it back. When Longji was four or five years old, he watched his brother die in his parents' arms because he had no money to see a doctor. Later, my father was seriously ill in hospital, and his family property was sold out. Even the last quilt was sent to the hospital. Mother took him and had to sleep in a straw nest. Because he had no money to eat, Xiao Longji fainted from hunger and even vomited bile. These life experiences similar to Sanmao's wandering are the basis for Longji to play Sanmao well.

I have always insisted that children actors should also have the inner qualities and life experiences as close as possible to their roles. Although unprofessional actors were rarely used at that time, except Wang Longji, all the other homeless children were selected from the real homeless orphans in welfare homes, and their performances were very realistic. This is probably one of the reasons why the international film circle asserts that China has already created the national "new realism", even earlier than the Italian "new realism" school.

Wang Longji, nicknamed Wang Beibei, is a gifted child actor. Mr. Shi Dongshan saw it and said, "Ah, here comes the' old' actor." Because I don't play Sanmao, I starred in "New Forever in My Heart" with Bai Yang, and also played the calf in "Sunny Days", which was written by Mr. Cao Yu and rarely directed by himself. Wang Longji's performance made Mr. Cao Yu regret not writing more plays for the calf. So I personally taught Ji Xiaolong Mandarin and acting skills. Since then, Wang Longji has appeared in the film "Spring Without a Cover" by Kunlun Company and "Mother" by Wenhua Company. The Wang Longji family knew that Longji loved Sanmao very much and was eager to try, but his father Wang Yunjie felt a great responsibility. He couldn't bear the heavy pressure of this film that attracted the attention of the whole society until I accidentally discovered Longji.

Child actors need the basis of life experience, but do they need to experience life? Still want it! We insist on this. Although Zhao Ming and I had no experience in dealing with children actors at that time, we always insisted on realistic creative methods when we were in the drama team. We decided to take Wang Longji to experience life on the premise of ensuring the children's safety.

So, Wang Longji and I went to the places frequented by street children: on the bustling Nanjing Road and the Bund, some street children were selling newspapers and some were picking up cigarette butts; Under the bridge opening of Waibaidu Bridge, he saw with his own eyes the tragic life of street children living there; In the arch bridge on Sichuan North Road, street children are scrambling to push tricycles across the bridge and ask for some change. On a snowy night, we all shed tears when we saw the hungry and homeless children shivering around the extinguished stove to keep warm ... Wang Longji was a genius. At the age of eight, with my encouragement and protection, he bravely further integrated into the life of street children, making friends with street children and pushing carts on the bridge together. Not even afraid of being dirty and smelly, he ran to the back door of the restaurant to grab leftovers ... It was because of his poor experience and strong sympathy that he naturally integrated into the role and created a classic artistic image with excellent performance ability. This artistic creation process is the key to his performance of San Mao.

What is commendable is that Wang Longji still has a strong spirit of hardship and perseverance. The film started shooting after the Spring Festival in 1949, and it was "difficult to shoot in 3949", which was chilling. In the whole shooting process, in order to truly reproduce the tragic life of street children, Sanmao is required to wear very few rags all the time, especially barefoot all the time. Eight-year-old Wang Longji has never been barefoot. The tender meat of the child walking on the road really stung, but he didn't flinch or get angry. In the end, he just grinds out a layer of calluses. Especially when even adults stamped their feet in cotton shoes, he stood barefoot on the frozen ground, which was not only commendable, but also more admirable than adults because of his tenacious spirit. It should be said that he is a well-deserved genius child star.

The shape of "Sanmao" is carefully designed by makeup master Xin Hanwen. The first time I saw Mr. Zhang Leping, I said, "He is my three hairs!"

In filming, how to deal with child actors is a series of problems. In my opinion, directors should go all out from the selection of children actors to the entry of actors into the crew. Because children actors are first and foremost "actors", they are not playing real life. There is a process I call "the game state of hypothetical situation", which is extremely important and the key to whether the whole movie can be performed well.

In particular, it needs to be emphasized that the essence of all artistic creation processes, from the creation of a "game" atmosphere and situation by the director to the guidance of young actors into the role, is sincere and deep love for children, and we must not put the cart before the horse and regard child actors as tools for coaxing and cheating. Children are extremely sincere to people, their young hearts are very sensitive, and the response to their sincere love can make the experienced adults tremble with excitement and burst into tears; And for hypocrisy, they can also distinguish subtlety.

As soon as Xiao Sanmao entered the film crew, he lived with me and Zhao Ming, and lived together day and night. We feed him, dress him, care about his warmth, and even go to the toilet ... On the basis of deep feelings, we have established a solid trust. In this way, when you guide him into the prescribed scenes, he firmly believes that what the director's uncle said is "true", especially some scenes and actions that he has never experienced or even made him afraid. He firmly believes that you are right and will protect him. This is very important. Some scenes, such as "dog bites", "picking up steamed buns from the ground" and "covering them with garbage", are easy to shoot. Even so, he will suddenly become uncomfortable and refuse to drink "paste". Even if he has replaced the film that flies just climbed and added lotus root starch and sugar paste, he will resolutely not drink it. Finally, I picked it up and drank it for half a minute before he "drank" it. I have deep feelings with Longji, so that he not only succeeded in artistic creation, but also resolutely refused to go back with his family after filming.

Due to the performance of street children, street positions account for more than three quarters. Except that the "corner of the market" is the location of the venue, most of the rest are real shots on the street. This is the difficulty of shooting. There are many people in Shanghai, and the streets are crowded, especially in the prosperous areas such as North Sichuan Road and Bridge. Shanghainese like to join in the fun, and the local dialect is called "Bai Xiang" and "Rolling Meng". At that time, unlike now, you could ask the public security bureau to cut off traffic. Even if it can, it will be too late for the authorities to ban San Mao, let alone send it to the door. Besides, they can't afford that much money. The only way is: grab the camera on the spot!

"Stealing the Scene" is unique to our times, and it was forced out, involving a series of work such as photography, lighting and clothing. Look forward to the future, and the tasks, status and technical requirements of each department shall be uniformly planned and coordinated by the director. Almost at the same time of shooting, the car quickly stopped at the designated place and the equipment was moved out again and again. The machine was quickly installed, so it was impossible to measure the light on the spot. On-site staff organized extras to temporarily isolate pedestrians, which put Sanmao in position, uncovered the blanket wrapped around him, and started shooting immediately! Evacuate immediately after the filming. In this case, it is not easy to be calm and engage in art, but it is also the ability to be forced out. Of course, Wang Longji's savvy and acting genius are important factors for success. The director's language inspiration for off-court rehearsal and posing as a child actor enables him to understand the director's requirements only by seeing the scene in the crowd and the overall coordination and command of shooting. There are many experiences and skills here.

"San Mao, San Mao, quick" flow "..."

The film crew of Sanmao's wandering story has a total of 17 people, which is much less than today's compilation. They are all generalists, who work hard on technology and are willing to use their brains. Although at that time, whoever did worse than others lost their jobs, I still admire their dedication, seriousness and responsibility, which ensured the smooth progress of filming and is worth learning from today's filmmakers.

In the first stage of the film, the photographer was Zhu Jinming, and then there was another task, followed by Zhong Lianghan. Both of them have a good sense of art, especially street shooting, which shows their skillful skills. Zhang Hanchen, an artist, is very good at thinking. With very little money, he can create a beautiful scene. Few people can see that the scene in the lobby of a mansion is connected with the model, which adds a lot of color to the film.

It is worth mentioning that there are many popular stars at the scene of the "luxury ball", and there is no need to pay any price. Interestingly, in 1930s, a boss, known as a "film stunt expert", invited all the stars to the dance in order to make a film for himself. At the dance scene, he pretended to make a news film, edited it into his own film afterwards, and noted on the poster: "All the red stars in Shanghai starred." Caused public outcry and fought a lawsuit. Of course we won't do that. "San Mao's Wandering Tale" is indeed a movie star's initiative to play for a child actor, commonly known as "holding the corner". This can only be explained by their concern for San Mao's fate in reality. What is particularly precious is that there are famous directors Shen Fu and Yunwei Ying who rarely leave the country. The big stars are Zhao Dan, Huang Zongying, Wei Heling and Shang Guanyunzhu, and their lovely little daughters Yaoyao, Sun Daolin, Wu Yin (Miss Kong Er), Shuhuang Zhong, Lan Fuxin, Lin Moyu, Liang Ming, Xiang Jian, Zhu Lin, Sally, Xiong Wei and Zhang Manping. This is an unprecedented move of China films in the past century. They are all my friends and partners who have struggled together. I just want to thank them here.

The story of Sanmao's vagrancy was officially started in late February of 1949, and the venue of "CLP No.2 Factory" was rented, which was strongly supported by the director Xu Suling. In April, the guns of the People's Liberation Army are often faintly heard in the filming, and the sky in Shanghai is about to dawn! The persecution of the enemy is even crazier. In the case that most of the scenes have been snapped, but not all of them have been shot, and it is too late to do the later stage, the organizational instructions are: at present, the spy is rampant, the situation is critical, the film tries to keep secret, and the personnel are scattered and hidden to welcome liberation.

In the rush to transfer, I accidentally left my ID card and a few silver dollars on the rickshaw, which increased the danger. Fortunately, I escaped the difficulties and the whole family hid in liberation.

1On May 27th, 949, Shanghai residents who lived in their own houses for half a month and avoided guns suddenly felt very quiet outside. When I opened the door in the morning, I saw the PLA sleeping on the cold and wet ground under the eaves. On this basis, the people believe that this army is their own. Shanghai is jubilant and the people are crazy! "Kunlun Company" employees flocked to the streets to welcome the People's Liberation Army, and Zhu Jinming captured many precious shots of the People's Liberation Army entering the city.

Xia Gong (Xia Yan), who was stationed in Shanghai with the army and dressed in military uniform, served as the deputy director of the Culture and Education Committee of the Military Management Committee. When he went to town the next day, he called Kunlun and told us that the director of the Cultural and Educational Committee was Commander Chen Yi. This shows that the party attaches great importance to cultural education, and we are deeply responsible and proud.

Comrade Ling was in charge of film work. At that time, he was a member of the "Cultural Committee" and deputy director of the Department of Literature and Art.. The organization decided to focus on "Kunlun Company" and transfer personnel from "Kunlun" to take over the first and second plants of "CLP" operated by the Kuomintang.

Zhao Ming and Webb and I ran to the military management committee of the city. Comrade Yuling smiled and shook our hands and said, "San Mao's wandering story should flow quickly!" ……"

So we found the sealed film, stepped up our work, re-conceived, and robbed the unfinished important scenes such as Luxury Ball, Big House, and April Fourth Parade. According to the development of the real era, San Mao was added to welcome the end of liberation, making this film a double-ended work. However, starting from the character's personality, it should correspond to the March of vagrant children led by San Mao on the fourth Children's Day, and strive for a complete structure.

This ending is quite controversial. Of course, from the perspective of "new realism" based on social criticism, this is an uncoordinated stroke. However, under the jubilant situation of the newly liberated host, it is true and in line with the wishes of the audience. Even foreign critics have these two different views. When it was shown in France, some critics thought the ending was "reasonable" and not unnecessary. The USS potemkin, a business card associated with the Soviet Union, caused a sensation in capitalist countries such as the United States, Britain and France, won numerous world film festival awards, and became a recognized classic in the world film history, indicating that a film that was not filmed under the guiding ideology of capitalism must have no audience among the people in capitalist society. The key point is that the film is not a hard sermon, but follows the principle of realism, which is true, touching and reasonable; Only by reaching a high artistic level, moving the audience with vivid, credible and lovely artistic images and shocking the audience's hearts with artistic charm can we win the love and recognition of the people of the world.

At the end of September, on the eve of "founding ceremony", San Mao's Wandering Story, the first children's film shot under the leadership of the Party, which was officially released in New China, was released for the first time in Shanghai's "Daguangming" and "Maggie" cinemas. The first scene was in the Daguangming Cinema where foreign films were shown, and the audience reacted strongly. The whole Shanghai performance lasted for two months, and the venue was full.

On June+10, 5438, Sanmao's wandering story began to be released nationwide, causing a "great sensation" (in newspaper terms). Under the leadership of Vice Chairman Soong Ching Ling, Wang Longji held charity performances in various places to help street children and build a "San Mao Paradise". In Nanjing and other places, he completely reached the warm welcome of today's "groupies". According to the newspaper, at the Nanjing premiere held in Nanjing Xindu Theater, fans went crazy as soon as Wang Longji appeared. People snatched his hat as a souvenir and wanted to see his "three hairs". In front of the stage screen, Wang Longji, who is not tall, said to the audience in a childish voice, "Thank you for liking me. I'm Wang Longji who plays Xiao Sanmao. Please give your love to Sanmao to help the real' Sanmao' who is wandering on the road. Thank you! "

On the basis of Mr. Zhang Leping's cartoons, the artistic creation of the film has achieved success. Until today, the image of the film San Mao has become an artistic model representing an era and penetrated into the whole society. It can be said that all men, women and children in China know and love Sanmao deeply.

It is worth mentioning that Chairman Mao also neglected to take care of his beloved son during the revolutionary years, and both Mao brothers became vagrants. The People's Daily once published Mrs. Mao's memoirs, which mentioned that when Comrade Mao watched the movie "San Mao's Wandering", he couldn't help but shed tears and told with emotion his tragic experience as a child. The real scene seems to be in front of us.

An artist living in America once discussed it with me. He talked about the social impact of a film, which must be able to move from a simple cinema to society and enter the daily life of the people. This is the symbol of a classic film handed down from generation to generation. He pointed out that there was "Mickey Mouse" in America, and I blurted out, "We have three hairs!"

Yes, in this comparison, we don't have to be shy. The influence of a film on society has different ways, and it cannot be generalized. However, going deep into people's daily life is indeed an important symbol, and movies are absolutely indispensable as a nation. As an epoch-making art film, "San Mao" in "San Mao's Wandering" has not only become an immortal classic image of life situation and character, but also its toys, pictures and trademarks can be seen everywhere. After more than half a century, various art forms, arts and crafts, TV dramas, comics and other works are still being refurbished and reprinted, all over urban and rural areas and all over the country. It is worth noting that the promotion of American film image is a conscious and powerful commercial operation, and our San Mao is based on the wishes of the people, which is completely spontaneous and in-depth, which is even more commendable.

In China, as an artistic image of a film, it can be recognized and loved by people all over the country, and it can be extended to all fields with the times, which shows that the image of Sanmao has risen to a national classic image. Unfortunately, the "San Mao" in children's feature films is still the only one in China. I hope we can have more artistic images that can become classic images that go deep into people's lives like "San Mao".

At the historical moment of the centennial ceremony of China film, the leaders of the State Administration of Radio, Film and Television commented on Sanmao's wandering from the perspective of historical development, pointing out: "(The Wandering Lamb and Sanmao's wandering) played its due role in matching the revolutionary form of China at that time, reflecting the real life and revolutionary aspirations of the people at the bottom, welcoming the victory of the struggle and the birth of the new China, and had a great influence in the history of China film. In particular, Sanmao, a typical image of street children in old China, has become an immortal classic in domestic movie character galleries. With its vivid and far-reaching artistic charm, it has remained in the hearts of the audience for a long time and is deeply loved by domestic and foreign audiences. " (Zhao Shi, Director of the State Administration of Radio, Film and Television: "Children's movies are related to the future of the motherland")

I regard this lofty spirit and heavy evaluation as a praise for the political thought, artistic achievements and historical achievements of the party's left-wing films. I am only a member under the leadership of the party, which is an encouragement to me.

Until now, this film is still broadcast on various TV stations on Children's Day every year. According to CCTV statistics, the film has the highest broadcast rate and has become a truly handed down work that the masses spontaneously love. In 1958 and 1980, in order to meet the needs of the audience, the copy of the film was reprinted twice in China.

Up to now, the film "San Mao Wandering" has been recorded into dozens of versions of videos and VCDs, and recently it has been released on DVD, and both of them have the largest circulation.

In the newly-built china national film museum Children's Museum to commemorate the centenary of China's film, The Wandering of San Mao was recognized as the first children's film in new China, and The Portrait of San Mao created by clay figurine Zhang was placed in a prominent position as an artistic classic.

Sanmao's wandering story was listed as "the most suitable movie for children" by the Propaganda Department of the CPC Central Committee, the Central Committee of the Communist Youth League, the Ministry of Education and the State Administration of Radio, Film and Television, and became one of the 100 movies to commemorate the centenary of China's film in 2005.

Indeed, after the founding of the People's Republic of China, during the Cultural Revolution, due to the extreme left-wing misjudgment of left-wing films-although Chairman Mao had already highly praised the achievements of the left-wing movement and even listed it as a victory on the cultural front with military struggle, San Mao's Wandering Story could not participate in the international film festival as a representative of China films. It was not until the Gang of Four was crushed that the CPC Central Committee headed by Comrade Deng Xiaoping set things right and restored the reversed history to its true colors. At last, San Mao's Wandering Story got a fair evaluation.

Sanmao's wandering story finally represents China's films going to the world.

1981may 2 1 day, San Mao's vagrancy was shown at the Cannes Film Festival "China Day", which immediately caused a sensation. Since then, major French newspapers have published comments, TV stations have broadcast special programs, and airports, shops, restaurants and cafes have posted large posters. It has been shown in six major cities such as Paris for nearly 60 days, and the audience is still very enthusiastic. 198 1 Foreign Film Reference (edited by China Film Association) published the enthusiastic response from abroad at that time, and translated the foreign comments on San Mao's Wandering in detail with the subtitles of "China's quest for immortals, Oliver Twist", "China's new realism" and "exquisite and perfect works".