◇ 文|本刊記者 陳科龍 圖| 劉汪洋

戰(zhàn)時(shí)重慶“中國(guó)好萊塢”

◇ 文|本刊記者 陳科龍 圖| 劉汪洋

五月末，一場(chǎng)淅瀝的小雨澆滅了重慶的艷陽(yáng)，南濱路玄壇廟背后，一條彎曲坎坷的老巷子籠罩在縹緲煙雨中。老巷子名喚“黃家巷”，雨巷兩旁青磚高墻森然，并排立在山腰的幾幢老式洋樓和民國(guó)建筑錯(cuò)落有致，透出濃郁的中西合璧式氣質(zhì)。零星的“黃錫滋產(chǎn)業(yè)”標(biāo)志牌，分明在宣示它們?cè)?jīng)的主人。

The burning sun was extinguished by the light rain in the end of May in Chongqing. Behind Xuantan Temple in Nanbin Road, a winding rugged old alley called Huangjia Alley was shrouded in the misty rain, which was fl anked by lofty grey-brick walls. Several old- and western-style buildings and architecture built during the period of the Republic of China were in picturesque order, standing side by side on the hillside, where Chinese and Western styles were perfectly integrated. Fragmentary signs on them saying “Huang Xizi Property”declared their past owners

主人是位傳奇巨賈The Owner, a Legendary Tycoon

黃家巷那些經(jīng)年被風(fēng)雨侵蝕的老式洋樓和民國(guó)建筑，跟一個(gè)叫黃錫滋的重慶人關(guān)系密切。清末光緒九年（公元1883年），黃錫滋出生在重慶的名門(mén)望族黃氏家族。28歲那年，他憑借祖輩留下的10萬(wàn)兩白銀，先后創(chuàng)辦了天錫生和福興玉兩家鹽號(hào)。靈活的商業(yè)頭腦，讓他很快躋身重慶四大鹽商行列。

生意越做越大，黃錫滋開(kāi)辦了更多“天”字號(hào)商鋪，開(kāi)始經(jīng)營(yíng)糖、桐油、布匹、棉紗、油鹽、山貨等大宗批發(fā)業(yè)務(wù)及進(jìn)出口貿(mào)易。為在物流環(huán)節(jié)勝出，黃錫滋又創(chuàng)辦了福記航運(yùn)部，并購(gòu)置了3艘貨輪。上世紀(jì)二三十年代，盜匪橫行，軍閥割據(jù)?？紤]到安全因素，1929年，黃錫滋與法商永興洋行合作成立了中法合資的“聚福洋行”。事實(shí)上，法國(guó)人一分錢(qián)也沒(méi)出，黃錫滋每年還要送給法國(guó)人3萬(wàn)兩銀子，作為“掛旗費(fèi)”。在法國(guó)人庇護(hù)下，黃錫滋靠“聚福洋行”斂財(cái)無(wú)數(shù)，白銀積累最高達(dá)到五百萬(wàn)兩，成為當(dāng)時(shí)重慶屈指可數(shù)的巨賈。

此后，黃錫滋依托南岸區(qū)玄壇廟后的山地置地建房，修了別墅，建了中式瓦房宅院5個(gè)、西式樓房?jī)纱?，并在此運(yùn)營(yíng)航運(yùn)公司。自此，這個(gè)原名為薄刀嶺的山城小巷，因黃錫滋而改稱“黃家巷”，黃錫滋也在市井歷史中留下了傳世之名。

Those buildings in Huangjia Alley, which underwent the erosion by wind and rain, are closely related to Huang Xizi from Chongqing. In the reign of Guangxu in the late Qing Dynasty (1883 A.D.), Huang Xizi was born with a silver spoon in his month. His family was illustrious in Chongqing back then. At the age of 28, he started his salt shops “Tian Xi Sheng” and “Fu Xing Yu”with the 10,000 silver dollars (about 20 million yuan)inherited from his ancestors. With a nose for business opportunities, he quickly became one of the four most successful salt dealers.

With the business expanding, Huang Xizi opened more shops whose names started from the Chinese character “Tian” to do both wholesaling and import and export. His shops sold sugar, tung oil, cloth, cotton yarn,oil, salt, and mountain products. In order to gain competitive edges in logistics, the businessman set up Fu Ji shipping department, and purchased three cargo ships.In the 1920s and 1930s, vices and violence by bandits went rampant, and the country was torn by warlordism,with each warlord dominating a region. In the year of 1929, for the sake of safety, Huang Xizi founded a Sino-French joint venture“Ju Fu Yang Hang” with French enterprise “Yong Xing Yang Hang”. As a matter of fact,the Frenchmen did not offer a cent, while the Chinese merchant had to give them 30,000 silver dollars every year so his businesses could be protected by them. He earned a large fortune with his “Ju Fu Yang Hang”– as much as 5,000,000 silver dollars, thus becoming one of the few tycoons in Chongqing.

Later on, Huang Xizi had his houses constructed in the mountain area behind Xuantan Temple in Nan’an District. Villas, five Chinese-style tile-roofed houses with courtyards, and two western-style buildings were constructed, and his shipping companies were operated there. As a result, the place, Bodaoling Valley, was named after Huang as Huangjia Valley, and his story went down in history.

黃家巷別墅曾為避暑天堂Villas in Huangjia Alley:a Paradise Away from the Summer Heat

早年，黃錫滋及家人住在現(xiàn)渝中區(qū)解放碑一帶，位于黃家巷的別墅實(shí)為黃家人的避暑天堂。每年夏天，黃錫滋都會(huì)就帶著家人過(guò)江到南岸避暑。黃家的別墅花園由一棟主樓和裙樓組成，面積寬廣，還有五六個(gè)小院兒，黃家人住在主樓里，小院兒則給親戚朋友們住。

主樓為一樓一底磚木結(jié)構(gòu)，面朝長(zhǎng)江，是一幢能看見(jiàn)長(zhǎng)江、嘉陵江、渝中半島和江北城的半圓形挑樓。黃錫滋夫婦住一樓，兒孫們則住二樓，一樓還有客廳和飯廳，廚房便安置在離主樓最近的裙樓，保姆和傭人也住裙樓內(nèi)。為加強(qiáng)防御，黃錫滋在此修筑了青磚圍墻，用條石砌成長(zhǎng)50多米、高4米的堡坎。枝繁葉茂的黃桷樹(shù)從堡坎石縫中長(zhǎng)出，形成了獨(dú)特的山城景觀。

黃家巷位于坡上坎下的街巷空間，建筑風(fēng)格就著山勢(shì)變化，講究幾進(jìn)幾橫、院中有院、院中套院、棟棟相連，既沒(méi)有內(nèi)斂的驕矜，也沒(méi)封閉的府第式建筑。在這些建筑里，分布在門(mén)坊、天井、墻角石、串梁、柱基上的市井木雕，描刻著龍鳳瑞獸、花鳥(niǎo)山水和戲曲演義。

黃家花園不僅是黃家避暑之地，也曾是一家人的避難之所。抗戰(zhàn)時(shí)期，重慶也難免戰(zhàn)火。南岸相對(duì)來(lái)說(shuō)比較安全，黃錫滋一家人便在此地躲避轟炸。主樓的廚房后面挖有一個(gè)防空洞，只要一響起空襲警報(bào)，一家人就躲進(jìn)防空洞，并接納周?chē)徖锏竭@里躲避。

In early years, the Huang family lived in Jiefangbei in Yuzhong District, while they went to their villas in Huangjia Alley to escape the summer heat. Huang Xiziwould cross the river to Nan’an District with his family members to escape the scorching sun every year.Covering a wide area, these villas were composed by a main building, podiums, and fi ve or six courtyards. The Huangs lived in the main building, while their relatives and friend in the courtyards.

The main building was a semicircle wood-brick structure facing the Yangtse River, from which the Yangtse River, Jialing River, Yuzhong Peninsula, and Jiangbei District could be seen. Huang Xizi and his wife lived on the fi rst fl oor where there were a living room and a dining room, their children and grandchildren on the second fl oor, and nurses and servants in the podium,which was near the main building and had a kitchen. In order to enhance the safety protection, grey-brick walls and 50 meters long, 4 meters high fortresses of chipped ashlar were built there. Luxuriant ficus virenses grew from the stone cracks in the fortresses, forming a unique scene which characterized the mountain city of Chongqing.

Located between the slopy paths and stairs,Huangjia Alley bore an architectural style attending to mountain features. Neglecting neither the introvert- nor the closed-style, it attached importance to the layout, the feature of yard within yard and the connection among buildings. The wood planks, carved with dragon and phoenix, fl owers and birds, and drama scenes, were decorated on doors, courtyards, cornerstones, string beams and plinths.

Huang’s garden was not only a summer courtyard but also a sanctuary for the family of Huang. During the period of the War of Resistance against Japan, Chongqing hardly could escape the warfare. Luckily, it was relatively safer in Nan’an District where the family hid to avoid bombardment. Behind the kitchen of the main building was an air-raid shelter. The moment the air-raidalarm rang, they would hide in the shelter which accommodated their neighbors as well.

一個(gè)戰(zhàn)時(shí)的“中國(guó)好萊塢”“The Hollywood of China” in Wartime

1937年底，中央電影制片廠內(nèi)遷至渝，并向黃錫滋租賃一幢別墅作為場(chǎng)址。別墅原房頂上蓋的是琉璃瓦，內(nèi)飾豪華，有仿西洋式的壁爐、木地板、地毯，用料講究，與周?chē)ㄖ啾?，氣派時(shí)尚。內(nèi)間還設(shè)有攝影棚、剪接室、洗片室等。

被譽(yù)為話劇界“四大名旦”之一的白楊，當(dāng)時(shí)居住在黃家巷6號(hào)的一棟兩層樓房。樓房由青磚砌成，柏木地板，四方小院，門(mén)楣上書(shū)“嫣廬”二字，至今清晰可辨。在重慶8年時(shí)間，她接觸到斯坦尼表演理論，開(kāi)拓了藝術(shù)視野，加強(qiáng)了表演技巧探索和追求。

中央電影制片廠在此運(yùn)作近8年。當(dāng)時(shí)，國(guó)民黨中央宣傳部電影管理處處長(zhǎng)羅學(xué)濂任場(chǎng)長(zhǎng)，匯聚了眾多優(yōu)秀的編導(dǎo)、戲劇家和電影家，如史東山、沈西苓、陶金、趙丹、陳白塵、吳祖光、老舍、趙丹、王人美、蝴蝶、白楊、張瑞芳、金焰、黃宗江等，共計(jì)出品電影77部，被譽(yù)為戰(zhàn)時(shí)的 “中國(guó)好萊塢”。

受條件限制，中央電影制片廠在此制作的影片多以紀(jì)錄片為主，較為出名的有《東戰(zhàn)場(chǎng)》《克復(fù)臺(tái)兒莊》《重慶防空》《活躍的西線》等。故事片則僅有《孤城喋血》《中華兒女》《北戰(zhàn)場(chǎng)精忠錄》《長(zhǎng)空萬(wàn)里》《青年中國(guó)》等5部，其中的《中華兒女》曾獲捷克斯洛伐克第5屆卡羅維?發(fā)利國(guó)際電影節(jié)自由斗爭(zhēng)獎(jiǎng)，是中國(guó)最早獲國(guó)際榮譽(yù)的電影之一。

1940年，黃錫滋病故，傳奇巨賈一生就此畫(huà)上句號(hào)，曾煊赫一時(shí)的黃家產(chǎn)業(yè)也逐漸走向凋亡。如今，黃家巷的私家別墅也早已沒(méi)了往日光彩，青磚黛瓦間，只余下寂寥的建筑軀殼。回望，黃家巷的斜陽(yáng)草樹(shù)，尋常阡陌，還有日漸老去的舊瓦殘墻，似乎一直在訴說(shuō)著一段曾經(jīng)的歲月。

At the end of the 1937, the Central Film Studio moved to Chongqing and rent a villa of Huang Xizi as the studio site. The roof of the villa was originally constructed with glazed tiles, and the inside was luxuriously decorated with a western-style fireplace, wooden floor and carpets. The choice materials won out over neighboring buildings with its grand and stylish features.Within the building, a photo studio, a cutting room and a fi lming room were available.

Bai Yang, one of the four famous female characters in drama, lived in a two-storey building at No. 6 Huangjia Alley. This building is a quadrangle structure built with grey bricks, fl oored with cypress boards and decorated with a plaque on the door lintel written “嫣廬”(the cottage of a beauty) which is visible to this day. For eight years in Chongqing, Bai Yang learned the Stanislavski System which helped she broaden her artistic horizons and explore and strengthen her acting skills.

The Central Film Studio has operated here for eight years when Luo Xuelian, Commissioner for Film Administration of the Publicity Department of the Central Committee of the Kuomintang, was appointed as head of the studio. The studio brought together a number of talented directors, dramatists, film actors such as Shi Dongshan, Shen Xiling, Tao Jin, Zhao Dan, Chen Baichen, Wu Zuguang, Lao She, Wang Renmei, Hu Die, Bai Yang, Zhang Ruifang, Jin Yan, Huang Zongjiang, etc. Having produced 77 films in total during the wartime, the studio was hailed as “the Hollywood of China”.

Limited by the wartime conditions, the films produced by the Central Film Studio were mainly documentaries, some well-known ones such as The East Battlefield, Retake Taierzhuang, Chongqing Air Defense,and The Active Western Front. Feature fi lms produced were only Death and Glory in Changde, Chinese People,Heroes of the Northern Battle fi eld, Wings of China and Young China. Among them, the Chinese People, which won the Struggle for Freedom Award of the 5th Karlovy Vary International Film Festival in Czech Republic, was the fi rst Chinese fi lm achieving an international fame.

In 1940, as Huang Xizi succumbed to an illness,the story of a legendary tycoon came to an end, and his spectacular industry was on the decline. Now, the private villa on Huangjia Valley has lost its luster, leaving the solitary shell of grey bricks and black tiles. The setting sun slanting through grass and leaves, crisscross paths skirting the fi eld and decaying walls and tiles falling into ruin, all the scenes seem to be telling a story of the good old days.

“The Hollywood of China” in Chongqing during the War Years

Article/ Chen Kelong Pictures/ Liu Wangyang