泰安路上的老房子 | 汤晓丹、蓝为洁旧居

泰安路10弄1号（汤晓丹、蓝为洁旧居）

汤晓丹、蓝为洁旧居位于泰安路10弄1号，一栋三层三开间石库门房子。建筑为砖混结构，红瓦双坡顶，外墙作水泥仿石抹层，层间有腰檐；细棂木窗外设木质硬百叶，仅窗裙做简单装饰。底层南向有入口处庭院，入内即为堂屋，东、西两侧为厢房；二、三层中部均设有内阳台，三层北向有晾衣晒台。

此处原是中国电影制片厂上海办事处的职工宿舍，1946年电影厂为照顾汤晓丹一家生活，腾出了10弄1号三楼一间杂物间给他住，没有抽水马桶和自来水，汤晓丹却甘之如饴，一家人一住就是七年。

汤晓丹简介

汤晓丹 (1910-2012)，福建华安人，电影导演艺术家。童年时侨居印度尼西亚。10岁随父回国。1928年在厦门集美农林专科学校学习时，因参加学生运动被开除学籍。后到上海，1931年进入天一影片公司任布景师。

1933年拍摄了处女作《白金龙》，自此走上导演之路。而后拍摄了抗日影片《上海火线后》《小广东》《民族的吼声》，及揭露国民党腐败统治的《天堂春梦》等。中华人民共和国成立后，加入上海电影制片厂。

一生导演电影近50部，有“银幕将军”和“战争片之父”之誉。由其执导的影片《渡江侦察记》《南征北战》《红日》《难忘的战斗》《南昌起义》等，成为中国战争题材影片的经典。1984年获第四届金鸡奖最佳导演奖。

2004年获中国电影金鸡奖终身成就奖。

汤晓丹

蓝为洁简介

蓝为洁 (1926-2014)，四川重庆人，电影剪辑师。1944年，高中毕业后进入重庆中国电影制片厂，后与导演汤晓丹结为伉俪。

1946年，随厂迁回上海。1952年在上海翻译片组任剪辑。1957年后，调入江南电影制片厂，后并入上海电影制片厂。

一生参与过300多部电影的剪辑，有“南方第一剪”之称，曾剪辑出《巴山夜雨》《城南旧事》《苦恼人的笑》《南昌起义》《廖仲恺》等多部经典影片。1984年退休后，为全国数十家电视台、电影厂剪辑过《徐悲鸿》《传奇夫人》《杨家将》等近千部（集）电视剧和多部电影。

1993年起，在报上开设专栏，并出版多部专著，记录下中国影人和中国影史的点点滴滴。

蓝为洁

蓝为洁与汤晓丹相识于20世纪40年代，彼时，刚刚高中毕业的蓝为洁是中影厂一名职员，汤晓丹是从香港逃难到后方的“金牌导演”。两人相识、相爱，婚后不到三年，在上海有了两个儿子。蓝为洁曾回忆，一日三餐、一家四口，全靠她这个“磨心”人物操劳。

蓝为洁不仅是非常成功的职业女性，也是一位伟大的家庭主妇。她相夫教子，操持家务，使四口之家成为非常成功的艺术之家：丈夫汤晓丹导演过《南征北战》《红日》等战争大片，被誉为“战争片之父”；大儿子汤沐黎和小儿子汤沐海，分别是蜚声中外的油画家和指挥家。

父子两代都是大艺术家，蓝为洁曾自豪地说：“我家出了三个艺术家，一个保姆。”保姆说的是她自己。

汤晓丹全家合影

“可爱的老太太”，是电影圈很多人提到蓝为洁脱口而出的评价。不仅因为她从不以“大师”自居，更因心直口快，一生都给人率直、有个性的川妹子印象。

蓝为洁晚年好写书，写对儿子的培养，写对“汤爷爷”的照料，而她自己却是电影剪辑大家，诚如她所言：“我们的家庭是很奇怪的组合，我的脾气说来就来，想到什么说什么；‘汤爷爷’不一样，他修养很好，就像一块橡皮，用针扎下去，拔出来看不到孔。我们的家庭之所以能有一点成绩，离不开汤晓丹的宽容和体谅。”

2012年年初，汤晓丹以102岁高龄辞世。两年后，曾说过“我们不要把离别看作是悲伤的……”的蓝为洁追随而去。相濡以沫66年的银幕伉俪，终于在天堂相会。

汤晓丹 （忻秉勇画）

Introduction of former residence 

of TANG Xiaodan and LAN Weijie

The former residence of TANG Xiaodan and LAN Weijie lies at No.1 in Alley 10 on Tai’an Road, which is a three-story house with a style of stone gate and with a width of three rooms. The building is of a structure of bricks and concrete. The roof has double slopes covered with red tiles and the exterior walls have imitated stone surface of cement. Between floors, there are belt eaves; the wooden hard shutters are set outside the wood windows with thin lattices and only the window curtains have simple ecorations.At the south side of the ground floor, there is a courtyard at the entrance and inside it is the main room.  At the east and west sides are wing rooms;  the second and third floors are equipped with balconies and at the north side on the third floor there is a drying veranda. Here it was formerly the dormitory for staff members working in Shanghai office of China Film Studio. In 1946, in order to favor the whole family of TANG, the director of the film factory had a utility room emptied on the third floor at No.1 in Alley 10 for him. The house did not have toilet and tap water. Though the living conditions were so humble, he enjoyed it and the family stayed here for seven years.

TANG Xiaodan (1910-2012) has his ancestral family from Hua’an in Fujian Province and is known as a film direction artist. In his childhood he migrated to Indonesia and lived there. When he was 10 years old, he came back to China together with his father. When he studied in the Xiamen-based Jimei Agriculture and Forestry College, he was expelled from school in 1928 due to his participation in the students’ movement. After that he went to Shanghai and then he served in Tianyi Film Studio and became a setting decorator in 1931. In 1933, he produced his first film The White-golden Dragon and embarked on the road to be a director since then. Later he produced the resisting-Japanese films including Shanghai under Fire, Little Boy from Guangdong, Roar of the People as well as the film Dreaming In Paradise, which exposed the corrupted rule of the KMT. After the founding of the People’s Republic of China, he joined the Shanghai Film Studio. In his lifetime he directed nearly 50 films and was reputed as both “General of the Screen” and “Father of War Film” . Films directed by him include Reconnaissance after Crossing the Yangtze River, Fighting North and South, The Red Sun, Unforgettable Battle and Nanchang Uprising, which all became the classics of war films in China. In 1984, he was awarded the Golden Rooster Award for Best Director and in 2004 he won the Golden Rooster Award for Lifelong Achievement.

LAN Weijie (1926-2014) has her ancestral family from Chongqing in Sichuan province and was known as a film editor. In 1944, after graduating from high school, she entered China Film Studio in Chongqing and later got married to director TANG Xiaodan. In 1946, she moved back to Shanghai with the studio. In 1952, she became the film editor of Shanghai translation film group. After 1957, she was transferred to the South Film Studio which was merged into the Shanghai Film Studio. She edited over 300 films in her life and was reputed as “the First Editor in the South”. She edited quite many classical films such as Evening Rain at Mount Ba, My Memories of Old Beijing, Troubled Laughter, Nanchang Uprising, LIAO Zhongkai and so on. After her retirement in1984, she edited nearly one thousand television series and many films for dozens of television stations and film studios, the former including XU Beihong, Legendary Lady and Generals of the Yang Family. Since 1993, she launched special columns for herself in newspapers and published many monographs which recorded abundant details of Chinese filmmakers and Chinese film history.

LAN Weijie and TANG Xiaodan got to know each other in the 1940s. At that time, she was the staff of the Central Film Studio and just graduated from high school while he was the “Gold Director” who fled from Hong Kong to the rear. They met with each other and then fell in love with each other. Within less than three years after their marriage they had two sons in Shanghai. She once recalled that the whole family of four members relied on her labor for three meals a day.

She was not only a successful professional woman, but also a great housewife. She helped her husband and taught their children. She ran her house well and made the family of four a successful home of art. Her husband directed such large-scale war films such as Fighting North and South, and The Red Sun, known as the “Father of War Film”, and her first son TANG Muli and the younger son TANG Muhai were famous oil painter and music conductor well-known both at home and in the world.

Both father and sons being great artists, she said proudly that “My family breeds the three artists and one nanny.” Nanny meant to refer to herself.

“A lovely old lady”—this was what escaped from the lips of many people in the film circle when they made any comment on her. This was not only because she never viewed herself as a “master”, but also because her straightforwardness impressed people with the image of Sichuan girls who have the reputation of being enthusiastic and frank.

She took to writing books in her old years, writing about the training of sons or about her taking care of “Grandfather TANG”, while she was a great master of film editing. Once she said, “Our family is a very strange combination. My temper is changeable, saying whatever I think. In contrast, “Grandpa TANG” is quite different with a good command of accomplishment, just like a piece of rubber which you can’t find any hole on the surface after pricking with a needle. Thanks to his tolerance and understanding, our family has been able to have a little success.”

In the early 2012, the husband bid a forever farewell to the world at the age of 102. Two years later, the wife followed him, who once said, “We do not regard the parting as sadness...”. This screen couple who had been married for 66 years finally had a gathering in heaven again.

来源：慢品上海湖南社区、《200031——一个历史街区的文化记忆》