Xu Ru-Hui and Chinese Early Motion Picture Music 6/18/2007 点击数：10321 |
(Asian Cinema, US, Vol. 17, No.1, Spring/Summer 2006, pp194-220) A Daughter’s Recollection Xu Ru-Hui and Chinese Early Motion Picture Music Xu Wen-Xia Translated by Holly Y. Shi
Brief Introduction of Xu Ru-Hui’s Career in Motion Picture Music Composition (Asian Cinema, US, Vol. 17, No.1, Spring/Summer 2006, pp194-220) One of the early explores in motion picture music in China, Xu Ru-Hui, was born in July 1910 in Zhejiang. He arrived in Shanghai with his uncle in 1923 and joined the United Music Association of Shanghai, which was led by the Chinese music master Zheng Jian-Wen at the time, in 1925. He studied national classic music there including performance and composition, mastering over a hundred types of Chinese instruments. By the late 1920s, he had formed his own band called Midnight National Music, and had become one of the most famous pop music composers in Shanghai. Some of his most known works include Farewell My Brother, Lady in the Attic, Sell You-Tiao. About the same time, he was working for the major cinemas and theatres in Shanghai and gave live performances for local and international silent movies. As a result of his accomplishments in popular music, in 1930, at the age of 21, he joined Star Film Co. as a music director. He started to compose music in 1931, and became one of the chief composers in 1932 until the close down of the company in August 1937. So far, over ten pieced of music that he had written in 1930s have been discovered; these include “Jade Horse,” “Trip of Two Brothers,” “Flower after the Disaster,” “and “World in Dream.” He went to Chongqing in 1937 after the beginning of the Anti-Japanese War and focus on music composition of national instrument and drama. The works in this era is represented by film music such as “ Glory of East Asia” and “Documentary of Lin Sen.” After he got back to Shanghai in 1945, he was invited to compose music for Pacific Country Film Co. and had written “ Lu Xi Niang,” “Chai Tou Feng,” “ Shi Bu Fang Cao” during this era. In 1950, he was recommended by Xia Yan to the Office of Drama Reformation of the Department of East China Culture. He later switched to drama composition under the penname if Shui Hui (Glory of Water), directing and composing music in Shanghai in the coming 40 years. His works, over 100 dramas in number, have covered all Chinese drama genres. These are represented by Shanghai Drama “Lady of White Hair, ““Luo Han Coins,” “Mother as Slave,” “Chen Hua-Cheng,” “and “Young Lady’s Fan.” In his late years, he focused on the research of early Chinese film history and received interviews upon the request of divisions of the Department of Culture of the PRC in the early 1980s, which left memorial words for Chinese film history. Xu died in January, 1987 at the age of 77. ----------------------- My father Xu Ru-Hui is an early explorer of Chinese film music. The relevant historical material and analysis are already introduced in one of my articles titled “My Father Xu Ru-Hui and Early Pop Songs in China.” But his name and his film music activities before 1949 have not yet appeared in any of the film history books published in mainland China after 1949, with understandable reasons. Prof. Chen Shan, expert of film history research, said, “All existing film histories are governmental behaviours.” Some other scholars suggest that there is so far no accomplishment in the discipline of film history that can excel the book History of Chinese Film Development, edited by Mr. Cheng Ji-Hua in 1963. The restriction of ideology has limited the research of Chinese film history in the frame of “left- wing movement” for a long time. History of Chinese Film Development is indeed no exception either. A substantial around of film artists and historical materials disappeared in the “official history” books. In the vicissitude of trends and movements, the original history is still covered by the confounding stores. For example, music in the sound film “Flower after the Disaster” was composed by Xu Ru-Hui. Music of “Time of Qing-Ming” was composed by He Lu-Ting, voiceover as Zhang Hao and Xu Ru-Hui. These two films have long been propagated as “left-wing films” and “prominent film,” which have been recorded in many film history books. However, strangely, Xu Ru-Hui, as the composer and voiceover has never been mentioned in relevant history books. While researches see the huge film posters in the 1930s with Xu’s name on them, and the albums with Xu’s songs, how can they not see it, or simply ignore it? From another perspective, although film is a systematic art, in the practical film history research, there are literally few people who would take the “system” seriously. Since long age, the focus is put on playwriting, directing, and acting. With the deepening of people’s knowledge in this sphere, some scholars have already called for more study of the “general history” of film. In the history of Chinese film; there are literally vast virgin land. The current opportunity is an inevitable development in history. To look back on generations age, the time comes when history should be clarified. The “general history” of film covers all facets that are related to film, such as literature, art, politics, technology, economy, market, and so on. It also includes the important artists on and off screen who are promoting the evolution of films, such as playwrights, directors, actors/actresses, composers, cinematographers, image designers, art designers, critics, etc. We stand on the shoulders of giants. Through the first 100 years of development, the Chinese film industry is fruitful and flourishing; the pioneers’ hard work cannot be ignores. Presumably, from the viewpoint of contemporary people, the early works are coarse, childish, simplified, or even ridiculous. But what should not be ignored is that these were made by the explores who created out of nothings. The early Chinese film music is one of the subjects in urgent need of research. The early Chinese film music history cannot be finalized without the reorganization of study on the music activities of the early film composers represented by Xu Ru-Hui. The reorganization work is facing a great number of obstacles, such as the death of Xu, the fragmentation of existing research, the disappearance of historical materials and evidence, and particularly the lack of written documents in this area due to the uneasiness of the industry in the early stage. Following is an account of the existing historical facts. From Silent Film, Live Music, to Sound Film The history of film music is a combination of compositions of different styles by various film musicians. The origination and maturation of film music is inherently a response to the development of film. The world motion picture is picture in movement, a unification of arts and lab science. Although labs are relatively closed to secularity, each step forward in the film industry, including film music, is led by scientific evolution. Likewise, the activity of early film musicians went far beyond simple composition. They would even continuously make suggestions on how to explore the technological level in film music production. Since the birth of film, the developmental process can be divided into the following two stages: silent film and sound film. Take China for example. From “Ding Jun Mountain,” the Beijing Opera film in 1905, till the 1930s when it disappeared in the market (the accurate time should be 1936), silent film led around 25 years of film history. The history of sound film lasts for 75 years. Between the two stages there is an interim; stage of live music, which is the first time that music is involved in film, and the first step when film started to become the “electronic sound and light.” From this angle, film development can be divided into three stages, which are silent film, live music film, and sound film. In 1923, my father (Xu Ru-Hui) was 13, on his way from Zhejiang to Shanghai. Two years later, he joined the United Music Association of Shanghai to study traditional Chinese music, under the supervision of the famous national music master in Shanghai, Zheng Jian-Wen. Shanghai in the mid 1920s already took on the look of “shi li yang chang” (miles of foreign sceneries). Radio was becoming popular, while film was gradually replacing theatre and drama. Listening to radio broadcasts and seeing the film was rising to become fads. In a short period of time, thousands of radio stations were created and tided of people were rushing to cinemas. The only traditional art comparable to the fashions at the time was Peking Opera. The office of Star Film Co. was once next door to the United Music Association on Songshan Road. As far as silent film is concerned, both Chinese and western motion pictures were flourishing. Substantial changes had taken place in terms of the contents of the film, although the form of silent film was kept the same. Films such as Husband and Wife, and Zhuang-Zi Tests Wife, produced by Zhang Shi-Chan, Zheng Zheng-Qiu, and Li Min-Wei, have opened up a new style which soon became popular. The trend of the film was developing toward the more viewable and complex moral films, typically represented by Orphan, the Savior, and the Soul of Yu-Yi. In 1928, Star Film Co. started to shoot Fire over Hong-Lian Temple, a series of 16 programs which won wide success later on. This had attracted the more kung-fu films, which formed another trend in silent film production. Xia Pei-Zhen, the leading actress of Fire over Hong-Lian Temple, later became an important singer of the early pop songs written by my father. Father’s first song “Four Seasons,” was recorded by Xia. Nevertheless, father did not really appreciate Xia’s kung-fu movies. It was the moral films which emphasized story plots and human natures that human natures that had great influence on his composition, no matter in music or playwriting. The free atmosphere in the 1920s and 1930s was father’s favourite and he always recalled it in the late years of his life. What he did not anticipate then was that he would enter the film circle of Shanghai very soon and work with the famous moral filmmaker Zhang Shi-Chuan, whom he had been long admiring. Producers and audiences were soon tired of moral silent films after their sudden popularity. The simple presentation style of motion pictures in silent films was a body without a soul; except melodramas, silent films in general could no longer grasp the in-depth texture of the psychology and emotions of human beings. Music, a new element of films, was added accordingly. The involvement of music was a cooperation of the highest visual and audio techniques. The magic of music language had compensated for the drawbacks of silent movies in the novel live music. The aim of live music was to create the atmosphere, play up the story plots, and entertain the audiences. Musicians of Shanghai all followed the trend to pay live music in cinemas, Like elsewhere in the world at the time, posters with the title of “ composers of elegant music,” or “ composers of special live music” were everywhere in newspapers in Shanghai. Musicians created musical atmosphere on the pianos or other instruments in cinemas. Live music, just as kung-fu movies, its predecessor, did not last long. The period of its popularity was roughly between 1928 and 1930. Not all the cinemas in Shanghai provided live music either. The only live music cinemas in Shanghai were Xian Ling Pi Ke (Summer Peak). Da Guang Ming (Great Brightness), Ka Er Deng (Carden), Bai Xing (Hundred Stars), Dong Nan (Southeast), Huang Jing (Gold ), Guang Huang (Glory ), Min Guo (National Republic), Gong He (United). Some of the western live music silent films included Angel, Pola Negri in Flower of Night, The Heaven of Women in Love, Show Boat, Express Train to Escape from Wedding., Finders Keepers, Senorita, West Point, etc. The first national film to be accompanies by live music was called Pink Dream in Old City. The news of it was published on Shen Bao (News of Shanghai) Sept. 25, 1930. After that, the only national film with live music was Orchid in the Empty Valley. Evidently, the pieces of live music made for imported silent films far outnumbered those for local movies. At that time, my father Xu Ru-Hui, having learned over 300 pieces of instrument and mastered more that 100 types, was already well trained in classic Chinese music. He frequently joined the tour of the united Music Association, performing classic music such as “Chun Jian Hua Yue Ye” (flower and Moon Night of the River in Spring), and “Dong Fang Da Yue” (The Great East). He also formed his own pop Chinese music band called Midnight National Music, and composed pop music himself, or played with his band in the major cinemas in Shanghai. Father mentioned his old story of live music playing during the Anti-Japanese war in the 1940s. Liu Zhi-Jian, the member of the United Music Association in Chongqing, wrote to me on August 1, 2001: Your father use to talk to us while we practiced for performance. Before1949, Technology was rather underdeveloped .All his films were silent. The only communication with audiences was done through subtitles. Later, sound movies were created. Your father went to film companies to provide sound tracks at the time. Competing under the rule of survival, it was no exaggeration to say that he led the music circle in that ear. Novelties came out frequently in that era. Even newspapers could not update quickly enough to follow the live music or interview the musicians. Apparently, in addition to adopting existing musical works, live music contains a lot of special compositions. After a few years, some of the musicians were to become composers for sound films. My father was one of them. When I explored father’s early pop songs, I noticed that some of their titles had traces of the imported silent films shown in Shanghai at the same time. These songs were probably composed for foreign silent films. Examples are as following: “Express Train to Escape from Wedding,” (Film of the same title) While live music was still popular in Shanghai, The inchoate sound film already came to stage. The creation of silent film in China was ten years after that of other parts of the world; yet the birth of the first Chinese sound film came only three years after that of the rest of the world. As far as sound film’s characteristics are concerned, dramatist Zhang Jing-Shen suggested “Picture, performance, and sound” to be three elements. To categorize from a pure theoretical perspective, sound film should contain dialogue, sound, and music. The exploration of sound film followed step by step the sequence of dialogue, sound and music as well. Film comes from drama and is a more systematic art than drama. To trace back to the transformation from drama to film: originally, they were musicals that combined poems, literatures, painting/drawings, dancing, and movements; they further developed into dramas, which upgraded to the big screen, from silent to sound film. Therefore, the invention of sound film offers a tool for films to amplify its dramatic factors, particularly those in music. The experiments of sound film in the world all started from making documentary films, and ended when fictional films were produced. It was reported that at the end of 1927, Hundred Stars Cinema on Target Road of shanghai showed sound documentaries for the first time. The price of the ticket was twice as much as that of a silent film, due to refurbishment of cinema.
(Poster for Jazz Singer) For unknown reasons, the creation of sound film, as recognized by film historians, never counted the sound documentaries. The focus was sound fictional films, the first of which was in 1927, a musical called “Jazz Singer” produced by Warner Bros. In 1929, the film was introduced to Shanghai as a famous movie, shown in Summer Peak Cinema. There ware only two sections in “Jazz Singer” that contained sound: a couple of songs and lines by AI Jolson. The first complete sound movie was finished in 1929 with the title of “Lights of New York.” At the time, the production of sound film in China was about to start. The arrow was already on the bow. In 1930, some major film production companies such as Star, United China, Heaven, had all started to buy equipment for sound film production in order to occupy the sound film market as soon as possible. They also advertised in newspapers, which played up the competitive atmosphere in the industry. The affluent Zhang Shi-Chuan, owner of Star, sent Hong Shen to the U.S. to buy machines, getting two sets and eight foreign technicians. The costs of sound film were dozens more that that of silent film. Keeping a lot of small companies from the new filed. The time span for such competition lasted only a short while from six months to one year. On December 1, 1930, the first Chinese musical film was produced, titled Wild Grass, Wild Flower. The theme song was “Where is My Brother?” The composer and lyric writer were not reported in the newspapers. It was checked and found that they were the brothers. Sun Yu and Sun Cheng-Bi. The sound track was not on the film itself. Rather, it was on a separate record and played while showing the film. As the leading actress, Ruan Ling- Yu sang for the first time, this film was regarded as a special milestone in film history. On January 29, 1931, one month after the release of Wild Grass, Wild Flower. Star and United Friends co-produced the sound film Yu Mei Ren (Beauty). It was directed by Chen Keng_Ran, with the leading actress Xu Qi- Fang. Chen and Xu were a couple. Years after, United Friends bankrupted and became part of Star. Xu later became a good friend of my father’s and kept touch with him till their late years. Simultaneously, posters to employ musicians were often seen. On February 15, 1931, China film Co. advertised in the newspaper that “ready to shoot sound film; experts in music and dancing in need.” On March15, 1931, Red rose, the Singer, the musical that took Star six months to finish and the first complete sound film in China, was shown in New Light Cinema. On July 29, Heaven advertised to enlist help from musicians: “anybody with real artistic talents including musicians, composers, dancers, and painters can apply. Salary can be as high as 500 Yuan…” In the rising vogue of sound film in China, the focus of film companies was to recruit musicians. “Composers,” “musicians,” “dancers,” and “singers” suddenly became hot. This was evidence to prove the importance of music to sound films. After the recruitment, the division of tasks of the musicians was also something to be explored by all film companies. Playwriting, directing, and performing were consistently the core of propaganda for companies, including Star. As a result, promotion for musicians was not stressed and it was very difficult to see the composers’ names on posters. Even until 1936, my father composed for the sound film Sheng Long Huo Hu (Lively), including two songs” Moon Night” and “ Happiness of Country Girl.” When the songs were already popular with the release of the film, posters my still did not carry father’s name. Comparatively speaking, United China and heaven did a better promotion for musicians. Xu Ru-Hui and Star Film Co. The early film music activities of Xu Ru-Hui were most related to Star Film Co. He referred to it in one of his resumes: Cooperated with Star Film Co. in March 1930 as music director. Star was recruiting afterwards. For example: on October 20, 1930, it was written in Shen Bao that “Star Film Co. is widely recruiting talented filmmakers recently. All successful candidates are famous, capable of making high quality productions.” Star was the strongest film producer. According to statistics in 1937, film produced by Star composed 22.5 percent of all national productions. Adding 14 percent of United China and 12.5 percent of Heaven, the big three controlled about 50 percent of all film production of China. The ticket of Star was generally more expensive, contributing to its box-office success of Star is closely relevant to the operation style of its owner Zhang Shi-Chuan. Zhang Shi-Chuan was an orphan. As a teenager, he came to Shanghai through Ruisan in Zhenjiang with his uncle. Through pains and hard work, he established a motion picture kingdom of his own. In the times that emphasized commercial competition and the rule of “only the excellent will survive,” Zhang Shi-Chan had the identity of both a businessman and a scholar. He was the boss and a director simultaneously. He took friendship seriously. He was shrewder than any filmmaker about the golden rules of business management. He targeted opportunities, recruited first-class people, kept the original artistic style, expanded operational scales, and maximized profits. Xu Ru-Hui’s process of entering Star and becoming a composer there was recalled by him in later years: In 1931, I was referred by the directors of Star Film Co. of Shanghai to join the company as a composer. I was a special composer in 1931, and was a chief composer from 1932 to 1937. Star was an old factory at the time at the time and expanded later to build a new factory in Maple Forest Bridge, which became Department of Music. He Lu-Ting was the director of the department, with two members, Zhang Hao and Wang Chun-Fang. They three all specialized in western music, while I worked on national music. The work needed to follow the directors. The chief manager was called Zhou Jian-Yun. Directors included Zhang Shi-Chuan, Cheng Bu-Gao, Li Ping-Qian. Wu Cun, Shen Xi-Ling, Xu Xin-Fu, etc. Playwrights included Ou-Yang Yu-Qian, Wang Qian-Bai, and Shen Duan _Xian (better known as Xia Yan) During this time, I was composing for Trip of Two Brothers, directed by Zhang Shi-Chuan. Flower after the Disaster, directed by Li Ping-Qian. Jade Horse. Directed by Xu Xin-Fu. Time of Qing-Ming, directed by Ou-Yang Yu-Qian, as well as Sheng Long Huo Hu (Lively). They all had theme songs. My songs were sung by film stars such as Hu Die, Xia Pei-Zhen, Gu Lan-Jun, Gu Mei-Jun, and recorded in Hundred Generations Recording Co., a British company in Shanghai, managed by Ren Guang. At the time, the factory was divided into two sections, the old and the new. The old part was in Maple Forest Bridge, while the new was on Alp Road (Ya Er Pei, Shan-Xi South Road today). I belonged to the old factory and reported to Zhang Shi-Chuan. My contacts were all in the old part. The new one was managed by Ying Yun-Wei. Xu Ru-Hui never left Star once he was formerly employed by Zhang Shi-Chuan in the early 1930, which demonstrated that his talent in music was appreciated by Zhang, known for using famous and accomplished people, as well as other directors, Xu Ru-Hui served Star Film Co. for quite some time. His works were characterized by an organic combination of traditional Chinese and western music. In the 1930s, Zhang Shi-Chuan was working hard to promote the film star Hu Die. Hence a lot of the songs that Hu Die had sung in motion pictures were composed by Xu Ru-Hui, such as “The Wan and Sallow Spring Light,” “Rights of Women,” “Flower after the Disaster,” “ Cotton Tread,” “ Trip of Two Brothers,” “ I heard You were Ill” etc. Around 1942, Xu Ru-Hui composed the last song for Hu Die, “The Red Liver,” in Chongqing. She sang it in Peaceful Nation Theater in Chongqing. Hu Die always respectfully called Xu Ru-Hui as her music master. As far as we know, the earliest film music by Xu Ru-Hui was Fragrant Grass, Beautiful Woman. The playwright was Ma Wen-Yuan; the director was Hong Shen; the leading actor was Xia Pei-Zhen. The film was released in 1933. It is sill a question what works Xu Ru-Hui had published before 1933. For example, Star has produced a large number of documentation and the three brothers, Wan Gu-Chan, Wan Chao-Chen, Wan Lai-Ming, produced many cartoons. In 1933, the musical Chun Jiang Hua Yue Ye (Flower and Moon Night of the River in spring) was shot in Hangzhou. Before that time, there were still other sound films. The band that Xu Ru-Hui was leading, Midnight National Music, later became a special band owned by Star Film Co. In May 1981, my father told me, “A lot of the film sound tracks were provided by Midnight National Music.” In 1932, Star Film Co. tried to change the style of filming by promoting class conflicts. This was the time when left-wing scholars such as Xia Yan and A Ying entered the company to work as consultants. The time was between 1932 and 1934. In 1934, Zhang Shi-Chuan traveled around Jiangxi, only to find that in Nanchang, the capital of Jiangxi, audiences refused to see anything other than moral films. When he got back to Shanghai, he promptly switched back the focus, which directly led to the rocketing of moral films from1935 to 1937. This was the period during which the film industry in Shanghai matured. The moral films made by Star included to love and romantic stories (called windflower-snow-and –moon in Chinese), and self liberation and feminism stories. Xu Ru-Hui participated in the composition of the music for Peach and Plum Blossom, with the songs” The Wrongful Youth” and “To Break the Jade Banister.” The music of the latter contains certain traces of Jing Qiang (a type of Beijing local music). In addition, there were Trip of Two Brothers, Flower after the Disaster, and Rights of women. These three films had the theme songs of the same title. “Trip of Two Brothers” was included in an album called “Song of Justice” published in 1936. “Rights of Women” was used in many albums. “Flower after the Disaster” has a lot of research value and is worth listening for experts. During this time, Xu Ru-Hui composed three pieces of film music for the detective and national defence series, which focused on horror, suspicion, and excitement. These films were the anti-drug storey Jade Horse, anti-smuggling film Diamond, and Sheng Long Huo Hu (Lively), which talked about fights with bandits and spies. All of them had music in the films. Jade Horse had one song in it sung by Gu Lan-Jun, called “Going down the Jade Horse,” which was very popular at the time. Midnight National Music accompanied it: Hundred Generations Recording Co. made it into an album on September 21, 1935.
(Jade Horse) In Diamond, produced in 1936, the director Xu Xin-Fu arranged a scene within the scene: the musical parade. Among the girls in black and white fashionable clothes, Gu Lan-Jun and Gu Mei-Jun sang and danced in the “Song of Peach Blossom.” The scene was grandiose and important to the film, as at the end of the parade, the place would become a commotion. Robbers came in to the place, where the detective, performed by Wang Zheng-Xin, was there waiting for them. My father made a lot of effort to compose the music for this scene. “Song of Peach blossom,” the song in Diamond was sprightly and pleasant to hear. It was recorded by Hundred Generation into an album.
(“Song of Peach Blossom,” Diamond)
Star Film Co. has taken part in a great number of social activities, such as performing popular film music, in addition to making films, Midnight National Music, led by Xu Ru-Hui, also played accompanying music in these activities. For example, on August 17, 1953, Zhang Shi-Chuan and Hu Die launched the activity of donation airplanes for the Anti-Japanese War in the Aeronautics Show and Exposition, where songs such as “Going Down the Jade Horse” were sung. On the invitation of Star Film Co., Xu ru-Hui of Midnight National Music has composed over ten songs and taught the songs to the female stars of the company. This is prepared for the National Sports Game and to entertain athletes all over the country. The Fair will last for a fortnight with songs and performances. The programs include: 1. National music : Glorious Nation ( all music is composed by Xu Ru-Hui) The above, such as The Wrongful Youth. To Break the Jade Banister, Spring Flower and Trip of Two Brothers, are all film music of the company. Midnight National Music, led by Xu Ru-Hui will perform the music at the time. In addition, the Chinese symphony, “Thousand Years of Aspiration,” composed by Xu Ru-Hui, will also be performed. The symphony is extremely encouraging and aspiring. In October 1935, Star Film Co. organized a large scale drama activity. The leading drama was Crooked Moon. The playwright was Xu Zuo-Dai (also known as Xu Ban-Mei); the leading actress, Hu Die. A huge group of directors from Star Film Co. directed the play. Xu Ru-Hui composed several pieces of music in it. The drama was released in New Light Cinema of Shanghai and went to a tour in Suzhou and Nanjing, United Music Association and Midnight National Music Performed the music. In the early Chinese film history, the renovation movement of Star Film Co. attracted wide attention. The systematic reformation of the company started from the summer of 1935, right after CEO Zhou Jian-Yun came back from a visit to Europe. By 1936, the company was divided into Factory No. 1 and Factory No.2. This laid off over 200 people. Xu Ru-Hui was still in the basic group of the company, and was sent to the stronger Factory No.1, the base of sound film production located in Maple Forest Bridge. Factory No.1 was the old part of Star Film Co. Leading actors and actresses included Hu Die, Gu Lan-Jun, Gao Zhan-Fei, etc. Factory No.2 was the new one, located on Alp Road, managed by Ying Yun-Wei. Members were generally from the bankrupted Dian-Tong Co. Leading actors and actresses included Yuan Mu-Zhi, Chen Bo-Er, etc. According to my father’s memory, film shooting was all at the disposal of the directors, He was mainly composing music for the films of Zhang Shi-Chuan, Li Ping-Qian, Xu Xin-Fu and Cheng Bu-Gao, all from the old factory, and occasionally made music or provided voice for the new factory. For example, one of the films in which he provided voice was Time of Qing-Ming, belonging to the new factory. Father was a good friend of the couple Yuan Mu-Zhi and Chen Bo-Er. Their cooperation in film production is unknown. The Department of Playwriting of Star Film Co. included all playwrights of both factories. The renovation of music was specifically explained in Item D of the famous “Declaration of Renovation on Star Film Co.”: Early last winter (winter 1935), the manager of our company came back from la visit to Europe. By that time, we had had a preliminary decision about rejuvenation. We are confident that the film industry should and would make great achievements. In the meantime, we are actively promoting the renovation plan: A. From July 1st (1936), Factory 2 of Star Film Co. will be established. More famous artists in the film industry will be recruited for more intensified production work. B. New studios will be built. Our company only had one studio in Factory No.2 for production, which was evidently not enough for arrangement. Currently Factory No.2 had added a small studio. The bigger studio of Factory No. 1 is already finished. The two factories now have the capacity to support four films simultaneously. C. To organize the Committee of Playwrights. D. To establish Department of Music. Music is an element of sound film. However, film companies in China seldom have experts in music. The directors, we are seldom trained in music take the responsibility of designing instrument or arranging equipment. Actors or actresses do not have professional trainings before they sing in films. In order to compensate, we establish the Department of Music in particular, employing experts to take charge of composition and arrangement of film music and to train actors and actresses of their sing skills. Below is a valuable photo of the Department of Music of Star. Film Co., taken in 1936. Judging from the clothes, the picture was taken in spring. In the photo are Xu Ru-Hui, joined Star Film Co. in 1931, and He Lu-ting, who joined in November 1935. Zhang Hao told me that he was introduced to Star by He Lu-Ting and stayed there for only a few months. He left for the opera “Song of Shanghai.” He recently died in Taiwan. Wang Chun-Fang was recruited as an expert in singing, and died in Singapore several years ago. Film companies in China seldom have departments of music. Star’s establishment of Department of Music and employment of experts in this aspect were considered to be very high-profile. Its members were all elites of the area Xu Ru-Hui came from United Music Association. He Lu-Ting and Zhang Hao were from Shanghai Technical School of Music. Wang Chun-Fang was a renowned expert n singing. It was not an accident that there four, who stood out among all music elites in Shanghai, were chosen. They were well prepared in all aspects in music and had all reached a certain depth. Star Fortnightly had repeatedly advertised for the newly established Department of Music. At the west end of the studio of Maple Forest Bridge, two independent housed were built, Department of Music was on the first floor of one of them. One report mentioned that “in the renovation of the company, the three gentlemen He Lu-Ting, Zhang Hao, Xu Ru-Hui founded the Department of Music, whose work had already started at the time. In the office of the main factory, there was always a beam of music around the gate. That was the work of gentlemen in the Department of Music.” General Manager Zhou Jian-Yun proposed the plan of “two pieces per month” in “Renovation of Star,” which was realized later. The respected actor Qian Qian-Li mentioned in a telephone call in May 2000, “At the time, Star Film Co. produced one film on average every 10 days or half a months. Your father had started there for long and had composed many works.” In the 1930s, Xu Ru-Hui made music for other companies in addition to Star. The Ground directed by Wang Yuan-Long and Wang Ci-Long, and Moon Night Year after Year of Year of Fortune Star Film Co, were among those that have been discovered. In the poster of Moon Night Year after Year, it was said that “all music is pure national music; ‘Picking Tea’ is melodious.” Another song in it was called “Love Song on the Tea Hill.” Both of them were important film music by Xu Ru-Hui.
(Advertisement for Moon Night Year after Year)
In Star Fortnightly of 1937, a poem by Xu Ru-Hui was also published. This poem was most likely to be the lyrics for a new film that he was about to launch, which eventually did not come into being. According to my father’s habit of creation, the tune was already prepared at the time. They have parent, gathering together: I have parents, in unknown places. They have wives, warmly in the room: I have a wife sleeping in the same bed with different dreams.Sadly, clothes cannot cover the body. Gloomily, food cannot smooth my starving stomach. Hell or heaven? In July 1937, my father finished the music for the film Heaven and Earth in Dream. Written by Hong Shen and directed by Cheng Bu-Gao, including the songs “Song of the Triumph” and “Beautiful Little Family.” The story of Heaven and Earth in Dream related to a couple in a big family who had different dreams on a winter night. The play had won a prize from Central Drama Association. In August 1937, as the war was about to start, the economy was in a depression and the film market was shrinking. Star Film Co. was in trouble. Although Zhang Shi-Chuan tried every means, it did not help: this was a general downfall of the whole business. The only clever company, Heaven. went to Hong Kong, changed its name into South Ocean Film Co. and kept the strength to develop. None of the rest survived and all reorganized later. Film Interlude and Film Music The music factor of sound film was originally embodied in film interlude. For this reason, interludes were the precursor of film music. Through the 1930s, film had reached its height, on the premise of “no song no attraction.” Almost every film had its own theme song. These songs, specifically written by film musicians, presented the soul of the film with melodious music, which composed the main source of interludes. At the time, interlude was promoted to such an extent that it was called “the new attraction of film industry,” “the cherished new born baby of sound film,” “the precursor of the combination of film and music,” and “the new milestone in the artistic evolution of film” Generally, the theme songs usually adopted the same title as the film. Hence with the popularity of the theme song, the film was also remembered by millions of people. For example, all sound films produced in the U.S. had one or two new films songs accompanying them, and were sung around fans. Another example was the French film Sous Les Toits de Paris, whose theme song later became a folk song in France. For this reason, fans in Shanghai were looked forward to seeing its release in Shanghai. The attraction of songs sometimes surpassed the films themselves. Examples are “Ramona” and “Broadway Melody.” By the way, I used to hear the Chinese record of Ramona (1935) by the early star Jiang Man-Li. The beauty of the tune as well as the voice should be able to make it a treasure in film music. In the 1930s, pop songs on radio were very fashionable. As a result, film songs also entered pop culture through broadcasts and records. In 1934, it was announced that “there is the tendency that records of film songs will exceed film themselves.” From 1935 to 1937 was the time when film interludes were most numerous. Xu Ru-Hui was also part of this trend. All the films that he had composed music for contained one or more songs, such as “Trip of Two Brothers,” ”Flower after the Disaster,” and “Rights of Women.” Whenever his songs were published, multiple publishers would include them into albums of new songs and release them.
(“Song of the Triumph”)
The late contemporary composer Liu Chi talked about the gr, eat influence of songs such as “Song of the , , , Triumph” on him: &nb, sp; From the time when I was a baby, it was the great works of the pioneer musicians that had educated and cultivated me, and led me to the career in music. I am already 78. But the good songs 60 years ago, those songs in films, I am still familiar with and can sing right now, from the beginning to the end. This is the attractiveness of music. Although “Song of Triumph” appeared only in a dream, it sang out the expectations of youth in reality, expressed the aspiration of fighting against the enemies, and the happiness of winning, the war. A lot of journals in the 1930s had collections of new songs, by Xu Ru-Hui. These included Music Star Magazine (1936), 1000 Famous Songs around the World (1935), Songs of Justice (1936), Collections of New Fil, , , , m Songs (1939), and Collection of New Film Songs (1946). Recording companies such as Hundred Generation and Beautiful Sound had the songs recorded and released. Following is a list of the film interludes made by Xu Ru-Hui that are known so far. “Fragrant Grass, Beautiful Woman.” Music and lyrics: Xu Ru-Hui. Interlude of Fragrant Grass, Beautiful Woman. Lead singer: Xia Pei-Zhen. Beautiful Singing Recording Co. March 19, 1934. “Willow on the Way, Flower on the Wall.” Music and lyrics: Xu Ru-Hui. Interlude of Willow on the Way, Flower on the Wall. Lead singer: Xia Pei-Zhen. Beautiful Singing Recording Co. March 19, 1934. “Going down the Jade House.” Music and Lyrics: Xu Ru-Hui. Interlude of Jade Horse. Lead singer: Gu Lan-Jun. Beautiful Singing Recording Co. September 25, 1935. “Tune of Picking Team.” Music and lyrics: Xu Ru-Hui. Film unknown. Lead singer: Xia Pei-Zhen. Beautiful Singing Recording Co. October 15, 1935. “Poor Yan Er.” Music and Lyrics Xu Ru-Hui. Film unknown. Lead singer; Xia Pei-Zhen. Beautiful Singing Recording Co. October 15, 1935. “The Wan and Sallow Spring Light.” Music and lyrics: Xu Ru-Hui. Film unknown. Lead singer: Hu Die. Beautiful Singing Recording Co., November 19, 1935. “Trip of Two Brothers.” Music: Xu Ru-Hui. Lyrics: Xu Zhuo-Dai. Interlude of Trip of two Brothers. Lead singer: Hu Die. Hundred Generation Recording Co., January 10, 1936. “To Break the Jade Banister.” Music: Xu Ru-Hui. Lyrics: Li Ping-Qian. Interlude of Peach and Plum Blossom. Lead singer: Ye Qiu-Xin. Hundred Generation Recording Co., January 10, 1936. “The Wrongful Youth.” Music: Xu Ru-Hui. Lyrics: Li Ping-Qian. Interlude of Peach and Plum Blossom. Lead singer: Gu Lan-Jun. Hundred Generation Recording Co., 1936. “Flower after the Disaster.” Music and lyrics: Xu Ru-Hui. Interlude of Flower after the Disaster. Lead singer: Gu Lan-Jun. Hundred Generation Recording Co. June 6, 1936. “Song of Peach.” Music and lyrics: Xu Ru-Hui. Interlude of Diamond. Lead singer: Gu Lan-Jun, Gu Mei-Jun. Hundred Generation Recording Co., July 9, 1936. “Rights of Women.” Music and lyrics: Xu Ru-Hui. Interlude of Right of Women. Lead singer: Hu Die. Beautiful Singing Recording Co., November 13, 1936. “Happiness of Country Girl.” Music and lyrics: Xu Ru-Hui. Interlude of Sheng Long Huo Hu (Lively). Lead singer: Gu Mei-Jun. Beautiful Singing Recording Co., December14, 1936. “Moo Night.” Music and lyrics: Xu Ru-Hui. Interlude of Sheng Long Huo Hu (Lively). Lead singer: Gu Lan-Jun. Beautiful Singing Recording Co., December14, 1936. “Song of Triumph.” Music: Xu Ru-Hui. Lyrics: Qian Bo. Interlude of Heaven and Earth in Dream. Lead singers: Tan Ying and Xie Tian. Hundred Generation Recording Co., 1937. “Beautiful Little family.” Music and lyrics: Xu Ru-Hui. Interlude of Heaven and Earth in Dream. Lead singers: Tan Ying and Sun Min. Hundred Generation Recording Co., 1937. “Cotton Thread.” Music and lyrics: Xu Ru-Hui. Film unknown. Lead singer: Hu Die. Hundred Generation Recording Co., Around 1937. “Crooked Moon.” Music and lyrics: Xu Ru-Hui. Them song of the drama Crooked Moon. Lead singer: Hu Die. Recorded and released. “Love Song on the Tea Hill.” Music and lyrics: Xu Ru-Hui. Interlude of Moon Night Year after Year. Lead singer: Jiang Xi. “Picking Tea.” Music and lyrics: Xu Ru-Hui. Interlude of Moon Night Year after Year. Lead singer: Jiang Xi. “Back to My Hometown.” Music and lyrics: Xu Ru-Hui. Other information unknown. “How Flourishing!” Music and lyrics: Xu Ru-Hui. Leading Singer: Li Li-Li. “Man You Have the Heart?” Music: Xu Ru-Hui. Lyrics: Gua Zhi Er Ji (From the Branches), poem of Ming Dynasty. Interlude of Dong Xiao-Wan. Lead singer: Gu Heng-Bo. “Lu Si-Niang.” Music: Xu Ru–Hui. Lyrics: Pan Gong-Zhan. Two songs with the same title. Interlude of Lu Si-Niang. Lead singer: Lu Hui-Fang. When interlude matured, music for the atmosphere was created as well. The dramatist Zhao Jing-Shen described such music in written language: “Zhao Dan’s performance of death in the film Canon of Girls (sound film in 1934, music composer unknown), accompanied by music, was literally lovely dances.” Composing film music was easy and convenient for Xu Ru-Hui. Hence, while he was making music for films in the 1930s, he also finished several Chinese national symphonies, including” Give My Territory Back,” “Thousand years of Aspiration,” “New Hu Jia Eighteen Steps,” etc. The former two had been performed on stage and radio. News about the preparation of performance of “New Hu Jia Eighteen Steps” was broadly mentioned in newspapers. Xu Ru-Hui was ready to have a band as large as 64 people, all equipped with Chinese traditional instruments. Therefore, he was well qualified to create the tune, narrative, and national style required in the atmospheric music in films. Elements such as pastoral, humanity, and appeal to common people, also characterized Xu Ru-Hui’s musical works. The theme song of Flower after the Disaster was full of twining emotions and touching melodies, all of which was an artistic breakthrough in Xu Ru-Hui’s music composition. The singer Hu Die sang with deep emotion as well. Unfortunately, the atmospheric music in the film is lost with the original film of Flower after the Disaster. The best way to do research on film music is to see the original film. Pitifully, Shanghai Film Co. only kept copies of films after 1957. Although China Film Archive sustained film copies of the early 1930s, the majority were on was recording and cannot be viewed any longer. Years ago, Cheng Jihua, chief editor of History of Chinese Film Development, told me that “at that time in Southeast Asia, films were shown again and again until the film was completely worn out. The original edition was never kept.” This is bitterly disappointing news for researches of early Chinese film music. Following is an advertisement for the film Time of Qing-Ming, produced in1936 by Factory No.2 of Star Film Co. The film was directed by Ou-Yang Yu-Qian. Music was composed by He Lu-Ting. Zhang Ho and Xu Ru-Hui provided voices in it.
(Advertisement for Time of Qing-Ming) In the 1930s, the creation of film and music did not contain any political pragmatic drive. Hence the latitude of creation was rather broad. Composers sought their personal style. Through their truthful feelings, the understanding of film stories and the apprehension of directors’ requirement of music, they created music according to artistic rules. That was an unforgettable experience for musicians from that age.
In August 1937, the Japanese invasion of Shanghai led to the downfall of the nation as well as the bankruptcy of Star Film Co. Artists had nowhere to go except cities such as Hong Kong and Chongqing. On November 13, 1939, Xing Shao-Mei, originally working for the Department of Play Writing of the company, decided to work for the Japanese enemies and tried to force Zhang Shi-Chuan to cooperate with the Japanese. After the failure, the Japanese army burned the newly built main factory at Maple Forest Bridge to ashes. The gigantic film empire that Zhang Shi-Chuan had built from ground disappeared. The heartbreaking feeling was imaginable. However, the refusal of Zhang Shi-Chuan also established the historical position of Star Film Co. in the Chinese saying, to choose to be the broken jade instead of a survived tile. At the time of the Japanese occupation of Shanghai, Star was impeccable. My father Xu Ru-Hui left Star Film Co. in August 1937. When he left, the company still owed seven months of salary to the employees. Father went to Nanjing first to join the family of a far relative, Uncle Qian Zhi-Xiu (a secretary of Control Yuan of National Government), to take a train to Xuancheng of Anhui. Then they switched to a ship and slowly moved to the hinterland. They arrived in Chongqing at the end of the year. After his arrival, my father noticed that film was extremely rare due to the economic blockade during wartime. It was unrealistic to pick up his career of film music composition. One day in 1938, when he was having lunch in Guan Sheng Yuan restaurant, he met the director Yin Yun-Wei, who was originally working for Factory No.2 of Star Film Co., and got the news that the vice chair of Department of Arts of Star, Ma Shou-Hong, was recruiting performers to go to Chengdu. Father found Ma Shou-Hong and joined him to work for Film People Theatrical Company in Chengdu. This was a theatrical company founded by former Star employees who went to Chengdu. Members included Gong Jia-Nong, Zhou Man-Hua, Wang Xian-Zhai, Su Min, and more. Father wrote a musical called Give My Territory Back, with an anti-Japanese theme, composed music for Back to Spring, a drama by Tian Han, and also acted as a filed assistant in the drama Thunderstorm. Because of economic difficulties, the Film People Theatrical Company in Chengdu ultimately bankrupted. Father then joined the Association of Shanghai Amateur Theater People, led by Chen Bai-Chen, Tao Jin, Liu Yue- Min, and Chen Li-Ting. However, as Chengdu was severely bombed, the performances did not have a good reception, after which father went back to Chongqing. Later, He Lu-Ting introduced him to the Department of Music of National Radio of China in Chongqing to be a zheng (a type of Chinese national instrument) performer as well as composer. He then worked as a national music composer and made music for dramas and musicals. Some of his works were: “Music of Concord,” “Sound of the Great Plain,” drama music “Flower of Tan Di Zhi Hua,” “Qu Yuan,” “Li Xiu-Chen the King of Loyalty,” “Dong Xiao-Wan.” “Dream of the Red Chamber;” and the musical Mu-Lan. Father was also invited by the National Government to edit Music for National Rites, composed of 24 chapters. Film music that he had composed included for Glory of East Asia and Documentary of Lin Sen made by China Film Factory, as well as an anti-Japanese film (title unknown), directed by Tao Jin. After the winning of the Anti-Japanese War, Xu Ru-Hui went back from Chongqing to Shanghai at the end of 1945. In the spring of 1946, Xu Xin-Fu, originally a director of Star Film Co. came to visit my father at our home. He was about to shoot the film Lu Si-Niang and was inviting father to compose music. Hence, my father became a special composer for Pacific Country Film Co., managed by Liu Zhong–Hao. He composed the film music for Lu Si-Niang (leading actress, Li Hui-Fang) including two interludes. Pan Gong-Zhan wrote the lyrics. Shortly after, he was invited to compose music for Phoenix on the Hairpin (leading performers, Chen Yuan-Huan and Yang Zhi-Qing ) and Fragrant Grass, Ten Steps (leading actress, Gu Lan-Jun; leading actor, Feng Zhe), both directed and written by Yang Xiao-Zhong. During this time, Xu Ru-Hui wrote his second musical “Tune of West China.” If he had stayed in shanghai instead of going to Chongqing, he would have been more productive, as filmmaking emphasized cooperation. The director and composer usually build up a relationship in which they naturally understand each other with few words. Xu Ru-Hui’s long-term co-operators, directors of Star Film Co., such as Zhang Shi-Chuan, Xu Xin-Fu, and Li Ping-Qian, all stayed in Shanghai at the time.
(Xu Ru-Hui during 1950 year's) In January 1947, Xu Ru-Hui started to compose for Chinese operas. In 1950, Xia Yan and Huang Yuan recommended him to the Office of Drama Reformation of the Department of East China Culture to conduct research on music theory. He later switched to drama composition and fully devoted to Yue Operas, Shanghai Operas, Yang Operas, as well as ludicrous dramas. His nearly 100 music works had touched a variety of Chinese operas, represented by Yue Operas “The Real and Fake Wife,” by Fu Quan-Xiang and Fan Rui-Juan. “To Borrow the Red Lantern, by Yuan Xue-Fen. “Sister You San,” by Qi Ya-Xiang; Shanghai Operas “Lady of White Hair,” and “Luo Han Coins.” both by Xiao Ai-Qin. “Young Lady’s Fan” by Ling Ai-Zhen. “Mother as Slave, “Dragon and Phoenix Candles,” “Camellia Girl,” “Home,” “Tear of a Prostitute,” “Chen Hua-Chen,” and “Two Generations” by Yan Fei-Fei; Yang Opera “ Men Climb Up” by Gu Yu-Jun, as well as ludicrous drama” Goody-goody “ by Yang Hua-Sheng, “ San Mao leans on Business” and “Three Bridegrooms” by Wen Bin-Bin, etc. In the 1980s, the art circle in China started to introspect and re-examine injustices in the past social movements. The Chinese cultural circle, for a very brief period, initiated a trend of recalling historical moments. Father read an article from a historical book published in Beijing, with the title “Zhang Shi-Chuan and Star Film Co. written by Ms. He Jun-Xiu. It must have reminded him of his contacts with Zhang Shi-Chuan and his experience in Star Film Co. With strong emotion, he wrote in a notebook with very heavy handwriting: “written in 1965, sound films in 1931.” He also wrote “over 2000 films in China Film Archive,” as well as name of “Ying Yun-Wei, Zuo Ming, Wang Ying,” etc. During this period, my father received several letters to ask him to recall the “history of Chinese sound film.” When he was putting down his memory, he indefatigably visited the famous people who worked in the film business in the 1930s; he even went to the library in Xu Jia Hui, Shanghai to look for old recording, and wrote down what he had discovered in his diary: In October 1980, I received a letter from the Institute of Art Research of Department of Culture of the Nation, asking me to write recollections about the experience of film creation before 1949. I gladly started writing and sent what I knew to Beijing. Film music was only a small portion of my whole career in music. November 23rd ,1980, Zhen Shi-An (granddaughter of the master of national music, Zheng Jin-Wen), after the request by the Research Institute of Literature and Arts of the Department of Culture of China, visited me and told me that Comrade Xiang Yan-Sheng wrote a letter to her, asking about my address and my health. If I am available. I am invited to work in Beijing to support their Institute in research on history of contemporary and modern music. November 24th, 1980, I have received a letter from the Office of Department of Culture (Office of Research on Art). They sent me the film interludes of “Picking Tea” and “Love Song on the Tea Hill.” Which I composed 50 years ago, both in film Moon Night Year after Year by the former Fortune Star Film Co. They asked for the process of adoption of the two songs, and asked me to recall the mature of the company as well as the month and year of its establishment. November 29th, 1980, visited the old actress of the former Star Film Co. Comrade Xuan Jing-Lin, and got the news that Xu Xin-Fu, previously a director working for Star, died over 10 years ago. Gu Lan-Jun is still alive. She told me to greet Mr. Xia (Xia Yan) for her when I write to him. She also wanted to update him of her recent situation. I also head that Gu Mei-Jun still frequently visited Hong Kong with her son Xu Yong-Shou. November 30th, 1980, after a visit to Shang Zhou (Chinese opera director, and actor in the 1930s; originally an assistant director of Flying Horse Film Co. of Shanghai; a good friend pf Xi Ru-Hui’s), we went together to Han Lan-Gen’s place, visited Zheng Xiao-Qiu (son of Zheng Zheng-Qiu), and met (Zheng) Shi-An in the evening. December 7th, 1980, visited old film director, the 92 year old Gao Li-Hen. October 30th,1984, found in the recording department of Library of Shanghai: “ Farewell My Brother” (Jiang Man-Li), “Going down the Jade House ”(Gu Lan-Jun), “Trip of Two Brothers” (Hu Die), “In My Heart “(Bao Yong-Zhen), “ Moon Night” (Wang Dan-Dan), “Willow on the Way, Flower on the Wall” (Yu Jing), “Four Seasons” (Xia Pei-Zhen), “The Wrongful Youth” in Peach and Plum Blossom (Gu Lan-Jun), “ Lady in the Attic,” “Sell You-Tiao.” “Poor Sewing Woman,” “I Heard You Were Ill” (all were Xu Ru-Hui’s works). It should be noted that in the early 1980s, my father was very willing to write his recollection of Chinese sound film history. He was one of the few earliest Chinese film musicians then. But for many reasons, this extremely important work did not continue. As Zhan Shi-Chuan died in Shanghai in 1953. Xu Xin-Fu went to Taiwan. Li Ping-Qian had settled in Hong Kong for long, the closest acquaintance in father’s late years were Xuan Jina-Lin, Xu Qin-Fang, Zheng Xiao-Qiu, and Hua Xiang-Lin. Father was the recommender when Qian Qian-Li joined Chinese Peasants’ and Worker’s Demographic Party. When reorganizing Xu Ru-Hui’s early film music. I collected some other Star’s composers’ film works, As I checked the index provided by History of Chinese Film Development, I noticed that a lot of the music for the found film (including list of editors and voiceovers) did not contain the writers’ name. Some article mentioned that “from 1936, Star Film Co. only produced sound films. Even cartoons or newsreels had voiceover in them.” Those without authors are listed as following: Sound film of Star Film Co.: Red Rose, the Singer (1931). Farewell Jade Person (1931), Once Upon a Time in Beijing (1931), The Fortunate Film Star (1931), Such a Heaven (1931, voice on was recording), Funny Way to Marriage (1931, partially sound film), Flower of Freedom (1932, sound film), Flower of Freedom(1932, sound film), Blood Debts (1932, directed by Xu Xin-Fu, later banned), the Loss of Love (1932), Two VS One (1933), Cosmetic Market (1933), River in Red (1933), Spring Silkworm (1933, film with voiceover), Mrs, Mai (1934), Canon of Girls (1934), Big Family (1935), The New and the Old Shanghai (1936), The Red Hai-Tuang (1936), Little Ling Zi (1936), Meet at Night (1935), One Heart, Live or Die (1936) , Smile Forever (1937), The Fourth Miss (1937), Escape at Night (1937), and Mother’s Secret (1937). During this time, the three brothers, led by Wan Gu-Chan of Star Film Co. produced a bunch of sound cartoons, such as Mysterious Little Detective (1933), The Painful Folk History (1933), Leak (1934), Camel Dance (1935), Fortune Unexpected (1935), Defence (1935), etc. In addition, Star Film Co. also produced a variety of news documentaries, such as War in Shanghai (1932), Ferry of Yangtze River (1934), Mountain Tai (1934), News of Mountain Tai (1934), Town of Qu Fu (1934), Scenery of the Northwest (1934), To Greet Zhou (Jian-Yun) and Hu Die) To Go Abroad (1935), Conference of Dresses (1935), Welcome Zhou and Hu to Come Back to Country (1935), Ceremony for Wuxi-Shanghai road to Open to Traffic (1935), The Sixth National Sports Game (1936), and News of Mr. Lu Xun’s Death. At 5:59 in the evening of January 4, 1987, my father Xu Ru-Hui died of disease in Shanghai at age of 77. Right before, Qian Qina-Li from the film industry came to see him in his bed. It is proud of see that in the early 1930s, the Chinese film industry was already developing with the same pace to the world. In the meantime, it is 100 year’s birthday of national film. While the country is in a festival celebrating the shining records in the memorial of national film, it should not be forgotten that behind it, there are countless stories of pain and bitterness. We should introspect while celebrating: there has never been a country like China that has destroyed the majority of the materials from that era, that consciously or unconsciously abandoned history, and that tortured the wonderful film artists who had created the history. Of father’s co-operators, Feng Zhe, Ying Yun-Wei, and Gu Er-Yi were directly tortured to death. Even among those who escaped the movement, many died with deep regret and pity, including father, and his co-operators Zhao Dan, Tao Jin, and Shu Xiu-Wen. Up till today, anybody who is reorganizing history and filling in the blanks, including myself, cannot repress the gloomy, regretful, and painful emotion. The Recollection of Film Music, which father should have finished, did not leave enough time for him to write. Without father’s lively description on that experience, how can I adequately depict it? This is out of my capability. The definition of history should be given to history itself! “Xu Ru-Hui and Early Chinese Film Music” is finished hectically, The historical materials in it come from Xu Ru-Hui’s written documents, newspapers, journals, and magazines in the 1930s and 1940s, the original recordings of the recording companies of Shanghai, musicians who have responsible written history, collectors around the world who warm-heartedly collected old songs and records, as well as those people, who are already over 70, who had come through those times…, all are thanked here! “The life of history is in millions of lives!”
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