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中国第1位冷艳好莱坞的女演员——黄柳霜 Anna May Wong(上)

发布时间:2018-05-01 13:49:32 来源:网络浏览:

中国第1位冷艳好莱坞的女演员——黄柳霜 Anna May Wong(上) Anna May Wong (January 3, 1905 €€ February 3, 1961) was the first Chinese American movie star, and the first Asian American actress to gain international recognition.Her long and varied career spanned both silent and sound film, television, stage and radio.黄柳霜(英文名:Anna May Wong,1905年1月3日-1961年2月2日),

Anna May Wong (January 3, 1905 €€ February 3, 1961) was the first Chinese American movie star, and the first Asian American actress to gain international recognition.Her long and varied career spanned both silent and sound film, television, stage and radio.

黄柳霜(英文名:Anna May Wong,1905年1月3日-1961年2月2日),第1位美籍华人好莱坞影星,同时也是第1个取得国际名誉的亚裔美籍女演员。她的职业生涯漫长且丰富,演艺事业逾越了默片、有声片、电视剧、舞台剧和广播剧。黄柳霜在好莱坞星光大道占有1席位置,是李小龙、成龙之外的3位华人之1,更是唯1的华人女性。

Born near the Chinatown neighborhood of Los Angeles to second-generation Chinese-American parents, Wong became infatuated with the movies and began acting in films at an early age. During the silent film era, she acted in The Toll of the Sea (1922), one of the first movies made in color and Douglas Fairbanks' The Thief of Bagdad (1924). Wong became a fashion icon and by 1924 had achieved international stardom. Frustrated by the stereotypical supporting roles she reluctantly played in Hollywood, Wong left for Europe in the late 1920s, where she starred in several notable plays and films, among them Piccadilly (1929). She spent the first half of the 1930s traveling between the United States and Europe for film and stage work. Wong was featured in films of the early sound era, such as Daughter of the Dragon (1931) and Daughter of Shanghai (1937) and with Marlene Dietrich in Josef von Sternberg's Shanghai Express (1932).


诞生于洛杉矶唐人街附近的黄柳霜是当地的第3代美籍华人,她的父母都是在美国土生土长的华人,祖籍广东台山。她父亲黄善兴 (Wong Sam Sing)在附近经营1家洗衣店。黄柳霜在家中8个孩子中排行老2。自小就迷上了电影并开始在电影中扮演1些角色。她在1919年的《红灯笼》中只是个籍籍无名的小演员。1922年依然属于默剧的时期,她凭著首部以特艺7彩技术拍摄的《海逝》(The Toll of the Sea)1炮而红。[2][3]。其后她代表作还有1929年的《唐人街繁华梦》(Piccadilly)、与玛莲娜€€迪特里茜大演对手戏的《上海快车》(Shanghai Express)、正面华人形象的1937年《上海女儿》(Daughter of Shanghai)及1942年《重庆英烈》(Lady from Chungking)、艳惊欧洲的《爱比刀更利》和《人海浪蝶》,及1931年的《龙女》。

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In 1935 Wong was dealt the most severe disappointment of her career, when Metro-Goldwyn-Mayer refused to consider her for the leading role of the Chinese character O-Lan in the film version of Pearl S. Buck's The Good Earth, choosing instead the German actress Luise Rainer to play the leading role. Wong spent the next year touring China, visiting her family's ancestral village and studying Chinese culture. In the late 1930s, she starred in several B movies for Paramount Pictures, portraying Chinese Americans in a positive light. She paid less attention to her film career during World War II, when she devoted her time and money to helping the Chinese cause against Japan. Wong returned to the public eye in the 1950s in several television appearances as well as her own series in 1951, The Gallery of Madame Liu-Tsong, the first U.S. television show starring an Asian-American series lead.She had been planning to return to film in Flower Drum Song when she died in 1961, at the age of 56.


1935年,赛珍珠开拍《大地》,美高梅谢绝了黄柳霜担当女主角,反而让德国女演员露易丝€€雷娜(Luise Rainer)担当这个黄皮肤的角色,让她非常失望。翌年,她到中国旅游并且到她的故乡探望父亲,学习中国语言及中国文化,更跟随梅兰芳学习京剧。[4]1930年代末,她返回美国为派拉蒙电影公司的B级片饰演1些具有正面性情的角色。在《上海女儿》与《重庆英烈》(1942)中,分别演活1个真正有智有谋的女英雄及充满爱国气节的女子。

2次大战期间,由于专心献出时间与金钱来支援中国,所以比较疏忽了她的电影事业。1950年代,她重返电视圈。1951年,她开始担纲美国的电视连续剧《柳霜女士的艺廊》(The Gallery of Madame Liu-Tsong)。

当她计划参与《花鼓歌》的演出却不幸于1961年去世,享年56岁。


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For decades after her death, Wong was remembered principally for the stereotypical "Dragon Lady" and demure "Butterfly" roles that she was often given. Her life and career were re-evaluated in the years around the centennial of her birth, in three major literary works and film retrospectives. Interest in her life story continues and another biography, Shining Star: The Anna May Wong Story, was published in 2009.


在她离世后的数10年里,黄柳霜留给众人的记忆主要是西方人眼中典型而被扭曲的东方形象“龙女”或是她常常饰演的“胡蝶夫人”式角色。直到黄柳霜诞辰1百周年之际,在3部主流文学作品及她的电影回顾展中,她的生平和演艺事业得到重新评价。人们对黄柳霜生平故事的兴趣仍在延续,又1部关于她的传记于2009年出版。

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Anna May Wong was born Wong Liu Tsong (meaning "yellow willow frost" respectively, though "yellow" being her family name can be considered functionless here semantically) on January 3, 1905, on Flower Street in Los Angeles, one block north of Chinatown, in an integrated community of Chinese, Irish, German and Japanese residents.She was the second of seven children born to Wong Sam Sing, owner of the Sam Kee Laundry in Los Angeles, and his second wife Lee Gon Toy.


1905年1月3日,黄柳霜诞生在洛杉矶唐人街北面的花街,那里是中国人、爱尔兰人、德国人和日本人混合居住的街区。黄家有8个孩子,黄柳霜排行第2。她的父亲黄善兴与第2任妻子在洛杉矶开洗衣铺以保持生计。

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Anna May Wong's parents were second-generation Chinese Americans; her maternal and paternal grandparents had resided in the U.S. since at least 1855.Her paternal grandfather, A Wo郑州富士康工作服女装
ng Wong, was a merchant who owned two stores in Michigan Hills, a gold-mining area in Placer County. He had come from Chang On, a village near Taishan, Guangdong Province, China in 1853.Anna May's father spent his youth traveling between the U.S. and China, where he married his first wife and fathered a son in 1890. He returned to the U.S. in the late 1890s and in 1901, while continuing to support his family in China, he married a second wife, Anna May's mother.Anna May's older sister Lew Ying (Lulu) was born in late 1902, and Anna May was born in 1905, followed by five more children.

黄柳霜的父母都是第2代美籍华人,她的祖父母和外祖父母早在1855年就已来到美国定居。黄的祖父来自广东台山附近的1个小村落,于1853年来到美国。他是个商人,在加州普莱瑟县的淘金矿区密歇根山具有两家店铺。黄的父亲(黄善兴)年轻经常来回于中美两国,他在中国娶了第1任妻子,并于1890年有了1个儿子。19世纪90年代末,黄善兴回到美国。1901年,他娶了第2个太太,也就是黄柳霜的母亲,同时他依然供养着中国的妻儿。黄柳霜的姐姐柳莺诞生于1902年底,1905年黄柳霜诞生,其后还有5个孩子陆续出世。


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In 1910, the family moved to a neighborhood on Figueroa Street where they were the only Chinese on their block, living alongside mostly Mexican and Eastern European families. The two hills separating their new home from Chinatown helped Wong to assimilate into American culture.She attended public school with her older sister at first, but then moved to a Presbyterian Chinese school when the girls became the target of racial taunts from other students. Classes were taught in English, but Wong attended a Chinese language school afternoons and on Saturdays.


1910年,黄家搬到费古洛街(Figueroa Street),他们是那个街区里的唯逐一户中国家庭,周围邻居大多是墨西哥人和东欧人。新居与唐人街隔着两座小山,这使得黄柳霜脱离全华人环境而融入美国文化中。最初她和姐姐1起在公立学校就读,但是由于当时的种族偏见,姐妹俩在学校常遭到其他同学的嘲弄欺侮,因而父母将她们转入中国长老会学校。学校里还是以英文授课,黄柳霜则利用下午和星期天的时间到中文学校学习汉语。

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About that same ti冬天女士工作服
me, U.S. motion picture production began to relocate from the east coast to the Los Angeles area. Movies were shot constantly in and around Wong's neighborhood. She began going to Nickelodeon movie theaters and quickly became obsessed with the "flickers", missing school and using lunch money to attend the cinema. Her father was not happy with her interest in films, feeling that it interfered with her studies, but Wong decided to pursue a film career regardless. At the age of nine, she constantly begged filmmakers to give her roles, earning herself the nickname "C.C.C." or "Curious Chinese Child".By the age of 11, Wong had come up with her stage name of Anna May Wong, formed by joining both her English and family names.


大约与此同时,美国的电影产业开始从东岸西迁至洛杉矶1带。经常会有电影在黄家所住的街区及其附近取外景。黄柳霜开始去5分钱影院,她很快就迷上了好莱坞电影,因而开始逃学,并且省下午餐钱去看电影。她父亲对她的这1爱好很不满,认为这影响了她的学业,但黄柳霜决心不管如何都要从事电影事业。9岁时,黄柳霜由于常恳求导演们让她饰演角色,从而取得了“C.C.C”的绰号,即“好奇的中国娃娃”的英文首字母。到11岁时,黄柳霜开始使用艺名Anna May Wong参与演出,这个名字是由她的英文名和中文姓氏组成的。

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Wong was working at Hollywood's Ville de Paris department store when Metro Pictures needed 300 female extras to appear in Alla Nazimova's film The Red Lantern (1919). Without her father's knowledge, a friend of his with movie connections helped Anna May land an uncredited role as an extra carrying a lantern.

黄柳霜在好莱坞的巴黎部门工作时,由Metro Pictures公司投资,艾拉€€娜兹莫娃指点的电影《红灯记》(The Red Lantern, 1919)正巧需要300个女孩子作为大众演员。该电影公司的1个客户同时也是黄柳霜父亲朋友,介绍她在电影中出演了1个拿灯笼的女孩子的小配角,当时黄柳霜的父亲其实不知晓此事。

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She worked steadily for the next two years as an extra in various movies, including Priscilla 名族风工作服
Dean and Colleen Moore picture工作服短袖套裙
s. While still a student, Wong came down with an illness identified as St. Vitus's Dance which caused her to miss months of school. She was on the verge of emotional collapse when her father took her to a practitioner of traditional Chinese medicine. The treatments proved successful, though Wong later claimed this had more to do with her dislike of the methods.Other Chinese thought such as Confucianism and particularly Taoism and the teachings of Laozi had a strong influence on Wong's personal philosophy throughout her life.The family's religious life also included Christian thought, in the form of Presbyterianism and as an adult she was a Christian Scientist for some time.

在接下来的两年时间里,黄柳霜在许多电影里跑起了龙套,乃至在普里西拉€€迪安和科琳摩尔的电影中都有出镜。但不久后黄柳霜得了“舞蹈病”,不能不休学数月。病痛的折磨几近使她精神崩溃,所幸她的父亲寻到1名老中医,才将她治愈,但这段经历也让她从此讨厌中治疗疗法。其他中国的思想例如儒家、道家思想、老子学说对黄柳霜的人生观影响至深。黄家人还信奉基督教中的长老教派,因此黄柳霜在成年后曾1度是基督教精神疗法的拥戴者。


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Finding it difficult to keep up with both her schoolwork and her passion, she dropped out of Los Angeles High School in 1921 to pursue a full-time acting career.Reflecting on her decision, Wong told Motion Picture Magazine in 1931: "I was so young when I began that I knew I still had youth if I failed, so I determined to give myself 10 years to succeed as an actress."

1921年,在洛杉矶中学念书的黄柳霜决定为理想放弃学业,立志成为1名演员。她在1厦门工作服实体店
931年接受电影杂志的采访时回顾了当年这1举动,她说:“我作出那个决定的时候年龄还很小,但那时我就知道正由于我年轻,我输得起,所以我决定给自己10年的时间来奋斗,成为1名成功的女演员。”


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In 1921, Wong received her first screen credit for Bits of Life, the first anthology film, in which she played the wife of Lon Chaney's character, Toy Ling, in a segment entitled "Hop".She later recalled it fondly as the only time she played the role of a mother;her appearance earned her a cover photo in the British magazine Picture Show.

黄柳霜第1次以正式演员的身份出演的电影是在1921年的《人生》(上图)中,饰演朗€€钱尼的妻子李宝宝。她曾不无怀念的回想说这是她唯逐一次饰演了1位妈妈。她在这部影片中出色的表现让她登上了英国电影杂志的封面。



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At the age of 17 she played her first leading role, in the early Metro two-strip Technicolor movie The Toll of the Sea. Written by Frances Marion, the story was based loosely on Madama Butterfly. Variety magazine singled Wong out for praise, noting her "extraordinarily fine" acting.The New York Times commented, "Miss Wong stirs in the spectator all the sympathy her part calls for and she never repels one by an excess of theatrical 'feeling'. She has a difficult role, a role that is botched nine times out of ten, but hers is the tenth performance. Completely unconscious of the camera, with a fine sense of proportion and remarkable pantomimic accuracy ... She should be seen again and often on the screen."

随后年仅17岁的黄柳霜在首部以特艺7彩技术拍摄的影片《海逝》中担负女主角并1炮而红。这是1个弗朗西斯马里恩所著,有着胡蝶夫人式情节的故事。影片上映后,多家杂志社高度赞美了黄柳霜在影片中“极其冷艳”的表现。《纽约时报》评论说:黄小姐在影片中的表现恰如其分的唤起了观众对她所饰演的角色应有的同情。而其角色之复杂,演员中亦是10者有9难以诠释,而黄小姐则正是那第10人。她未有在镜头前“演”的作态,尺寸拿捏得当,收放自若。我们应期待她将有更多的精彩作品。

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Despite such reviews, Hollywood proved reluctant to create starring roles for Wong; her ethnicity prevented U.S. filmmakers from seeing her as a leading lady. David Schwartz, the chief curator of the Museum of the Moving Image, notes, "She built up a level of stardom in Hollywood, but Hollywood didn't know what to do with her."She spent the next few years in supporting roles providing "exotic atmosphere",for instance playing a concubine in Tod Browning's Drifting (1923).Film producers capitalized on Wong's growing fame but they relegated her to supporting roles.Still optimistic about a film career, in 1923 Wong said: "Pictures are fine and I'm getting along all right, but it's not so bad to have the laundry back of you, so you can wait and take good parts and be independent when you're climbing."


虽然各界评论都看好黄柳霜,她仍因肤色原因难以在好莱坞导演们心目中取得女主角的地位。活动影象博物馆馆长戴维€€舒瓦茨曾评论道:“她为好莱坞建立了新的演员标准,好莱坞却不知如何应对。”接下来数年时间黄柳霜游走在弥漫着“异国风情”的配角间,如在《托德布朗宁飘流记》(1923)中饰演妃子1角。黄柳霜的名望使她在电影中短暂的出镜成了电影商们推行自己电影的利器。即使如此黄柳霜仍对自己的电影生涯保有乐观的态度,1923年时她曾说:“电影业的发展势头正好,我也已适应演员的生活。偶尔的挫折并不是坏事,它们可让我反思自己,并且更加独立。”

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William V. Mong, Anna May Wong and Wallace Beery (right) in Tod Browning's Drifting (1923)

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At the age of 19, Anna May Wong was cast in a supporting role as a scheming Mongol slave in the Douglas Fairbanks picture The Thief of Bagdad (1924). Playing a stereotypical "Dragon Lady" role, her brief appearances on-screen caught the attention of audiences and critics alike. The film grossed more than $2 million and helped i风电防寒连体工作服
ntroduce Wong to the public. Around this time, Wong had an affair with director Tod Browning. It was a romance largely known of at the time: it was an interracial relationship and Wong was underage.

19岁的黄柳霜取得了在道格拉斯€€范朋克的神话电影《巴格达窃贼》中饰演1名蒙古女奴角色的机会。这个戏份不多的常规“龙女”角色却吸引了观众和评论家们的眼球,更使得电影获得了超过200万美元的票房成绩。

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After this second prominent role, Wong moved out of the family home into her own apartment. Conscious that Americans viewed her as "foreign born" even though she was born and raised in California, Wong began cultivating a flapper image.In March 1924, planning to make films about Chinese myths, she signed a deal creating Anna May Wong Productions; when her business partner was found to be engaging in dishonest practices, Wong brought a lawsuit against him and the company was dissolved.

这是黄柳霜演艺生涯中第2个高峰,尔后她搬离自小长大的家庭,开始独居生活。深知虽然自己生于加州擅长加州,美国人仍将自己视为“异乡人”这个事实,黄柳霜开始结交圈中朋友。1924年3月,黄柳霜计划拍摄有关中国神话传说的电影,她与合伙人签订了建立“黄柳霜电影公司”的协议,却在不久后发现合伙人生意上其实不老实。她起诉了合伙人,成立公司的计划却也无奈的流产了。

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It soon became evident that Wong's career would continue to be limited by American anti-miscegenation laws, which prevented her from sharing an on-screen kiss with any person of another race, even if the character was Asian, but being portrayed by a white actor.The only leading Asian man in U.S. films in the silent era was Sessue Hayakawa. Unless Asian leading men could be found, Wong could not be a leading lady.


美国1850年通过的《反异族通婚法》是黄柳霜电影事业上的另外一个阻碍,根据该法,她没法在荧幕上与任何欧美男演员接吻。而默片时期美国唯1稍着名气的亚裔男演员只有早川雪洲。彼时东方角色通常由白人饰演,因此,除非能有与之搭档的亚裔男主角,否则黄柳霜绝无可能出演女主角。

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Wong continued to be offered exotic supporting roles, playing indigenous native girls in two 1924 films. Filmed on location in the Territory of Alaska she portrayed an Eskimo in The Alaskan. She returned to Los Angeles to perform the part of Princess Tiger Lily in Peter Pan. Both films were shot by cinematographer James Wong Howe but Peter Pan was more successful; the hit of the Christmas season.The next year, Wong was singled out for critical praise in a manipulative Oriental vamp role in the film Forty Winks. Despite such favorable reviews, she became increasingly disappointed with her casting and began to seek other roads to success. In early 1925 she joined a group of serial stars on a tour of the vaudeville circuits; when the tour proved to be a failure, Wong and the rest of the group returned to Hollywood.


尔后1段时间黄柳霜都只能接到B级电影里的配角,此类形象常常褒贬不1。往昔的光辉让黄柳霜对现状愈发失望,她开始思索新的前途。1925年初她同1些明星1起举行歌舞巡演。但巡演成绩不如人意,他们只好1道重返好莱坞。

但是,在《巴格达窃贼》成功以后的好几年里,黄柳霜出演的角色不过就是1成不变的,天真且自我奉献的“胡蝶女”或是诱人而危险的“龙女”。在由艾伦€€克罗斯兰为华纳兄弟拍摄的 《旧金山往事》(1927)中,黄柳霜的角色还是换汤不换药的“龙女”€€€€饰演了1个土匪的女儿。

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In 1926, Wong put the first rivet into the structure of Grauman's Chinese Theatre when she joined Norma Talmadge for its groundbreaking ceremony, although she was not invited to leave her hand- and foot-prints in cement.

1926年,黄柳霜随诺玛€€塔尔梅奇参加了好莱坞中国剧院的动土仪式,她为该剧院安上了第1颗铆钉。但她始终未曾取得在剧院水泥地上留下手印脚印的殊荣。


In the same year Wong starred in The Silk Bouquet. Re-titled The Dragon Horse in 1927, the film was one of the first U.S. films to be produced with Chinese backing, provided by San Francisco's Chinese Six Companies. The story was set in China during the Ming Dynasty and featured Asian actors playing the Asian roles.

这1时期中她的代表作有由其担当主演的《吴先生》(1927)和《丝绸花束》(1926),后被改名为《龙马》与1927年发行。《龙马》是第1部由华人投资的美国电影,旧金山中国6大公司出品。电影以中国明代为故事背景,角色都由亚洲人扮演。

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Wong continued to be assigned supporting roles. Hollywood's Asian female characters tended toward two stereotypical poles: the na€€ve and self-sacrificing "Butterfly" and the sly and deceitful "Dragon Lady". In Old San Francisco (1927), directed by Alan Crosland for Warner Brothers, Wong played a "Dragon Lady", a gangster's daughter.In Mr. Wu (1927) she played a supporting role as increasing censorship against mixed race onscreen couples cost her the lead. In The Crimson City, released the following year, this happened again.

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