ꕧ 榈 푢 츁 1 8 9 3 - 1 9 5 3 ﷿ : ږ 㦑 ﷿ 䑑 嵗 慲 궔 ⵿ ﷿ 嶍 퉔 ﷿ 颗 晭
﷿ 쥚 ﷿ ﷿ 얃 ﷿ ⩣ ǿ ⵿ 㑦 㡸 嵗 ݿ 䖕 ᒕ ﷿ 㑦 ᑻ ᭒ 䁟 蚀 ږ 㦑 ﷿
궔 䁚 ⓿ 慲 嵗 ﷿ ւ ﷿ 띾 㙲 㲕 䑑 㑿 ꒋ 㡸 嵗 瘰 ᝓ 뜰 ǿ 赻 ᑻ Ҍ
肟 뒀 橭 偔 ﱶ ﷿ ﷿ 솚 ﷿ ږ 㦑 힀 ቩ 㔄 ﷿ 赻 噧 ǿ 龔 蝳 嵗 聢 쾍
慲 쵫 ǿ 덚 ﷿ ﷿ ﷿ 榈 ﷿ ﷿ 嵗 ᵸ 슀 砤 ူ 菱 蝤 ﷿ 䖖 楿 詟 㖐 ǿ
ꕧ 榈 푢 ﷿ 蚀 䑑 ﷿ ږ 㦑 慲 ᑻ 呭 ܱ ﷿ 㡸 詟 屓 慲 灰 ﷿ 瘰 蚀
ᝧ ﹖ 궑 䶖 ⚐ ﷿ 㑦 궑 䑑 썹 ږ 㦑 慲 ͗ ᑻ 힀 陋 嵗 蝳 쑲 慲 踤 큢 ǿ
蕨炙:顱䞛祩﷿﷿델﷿ઐ얚ᑎ﷿벖ͦ﷿퍫֎庉﷿ꕏ͗﷿㲆﷿﷿ꕧ﷿ꕧ兛﷿廬﷿͝﷿ቩᇿ㲆
LAI Man-wai (1893 - 1953), an all-rounder
well versed in filmmaking, directing, camera shooting and acting,
was the pioneering father of Hong Kong as well as Mainland Chinese
films. In the early years of his career, Lai used his filmed dramas
as a tool for propagating the message of revolution against the
ruling regime. When he was still a young man, he was competent enough
to found the largest film company in both Hong Kong and Shanghai.
A follower of Dr. SUN Yat-sen, Lai recorded with his camera the
Nationalists' Northern Expedition against the Chinese warlords in
the 1920s. During the Sino-Japanese War, Lai risked his life to
shoot news footage, drifting to Hong Kong and then the Nationalist-controlled
rear to provide support for anti-Japanese warfare. After the war,
Lai turned to the improvement of filming techniques. He has unswervingly
dedicated his whole life to his country, the people and his filming
ideal, without the slightest regret about exhausting his possessions
for the cause.
Lai has personally experienced the turbulent
years of different eras in Hong Kong and Greater China. His extraordinary
life is indeed an eyewitness account of the drastic changes in the
political scenes of Hong Kong and Greater China, as well as the
development of the movie industry, from the start of the 20th century
to early 1950s.
Guests interviewed: CHU Shu-hung, LAM Chuen,
CHOI Kai-kwong, Barbara FEI, LEUNG Lai-kuen, KWAN Kam-pang, YU Mo-wan,
LAW Kar, LAI Shek, LAI Huen, WONG Oi-ling and Paul Fonorof.f.
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