In a span of just three years, between the defeat of the Japanese and the victory of the Communists, the Shanghai movie world experienced a truly golden age. The city was home to many luminous stars, and none was more gifted than Shi Hui (1915-1957). It is one of the many tragedies of Chinese cinema that less than a decade later he would fall victim to a political movement.
Born in Tianjin, Shi moved to Shanghai after the outbreak of the Sino-Japanese War. The city's theatrical scene was experiencing a renaissance, and Shi quickly joined the ranks of the city's most popular stage actors. He made a couple of movies in 1941, but didn't really pursue a motion picture career till after the war.
Between 1947 and 1952, he was the leading light of Shanghai's Wenhua Studio, starring in and/or directing over a dozen movies. These include some of the masterpieces of Chinese cinema, and demonstrate Shi's versatility. To name just a few: The Imposters (1947), a comedy with Shi as an amorous barber; Long Live the Missus (1947), in which the 32-year-old Shi played the title character's eccentric, middle-aged father; A Bright Sunny Day (1948), a Capraesque drama with Shi as a lawyer who fights for the downtrodden; and the self-directed This Life of Mine (1950), featuring Shi in his most acclaimed role, as a Beijing policeman.
After the Wenhua Studio, along with Shanghai's remaining privately run motion picture companies, was nationalized in 1952, Shi concentrated on directing. The Letter With Feathers (1953) has entered the pantheon of classic children's films, and Marriage of the Fairy Princess (1955), an opera movie, was the first PRC feature to become a huge box office success in Hong Kong.
During the virulent Anti-Rightist Movement of 1957, Shi was branded a “reactionary rightist” and, subjected to relentless pressure and merciless criticism, killed himself. He was just 42. For the next twenty years, his name was virtually expunged from the annals of Chinese cinema. It wasn't until after the Cultural Revolution, in 1979, that Shi was posthumously rehabilitated. Today, some of his films are available on DVD, allowing us to experience a brilliant talent cut off in its prime.
以下是我大力的翻译：
从抗战胜利到共产党最终掌权这三年多的时间里，上海电影界经历了一段真真切切的黄金年华。上海相当于是很多耀眼明星的家乡，然而他们之中，没有一个人像石挥（1915—1957）这样才华横溢。可悲的是，从那时起不到十年的时间，石挥便沦为政治变动的牺牲品。这何尝不是中国电影的一大损失！
石挥生于天津，随日本鬼子侵华战争的爆发而迁至上海。当时，这座城市的戏剧行业正处于复兴时期。而石挥的及时到来，恰为这蒸蒸日上的舞台表演事业增添了一股新鲜活力。在1941年这整整一年中，石挥参与了多部电影的拍摄。然而直到战争结束，他的电影事业才得以发展。
在1947年到1952年间，石挥一直作为上海文华影业公司的领头人，不断关注抑或指导着许多电影的拍摄和制作。这其中包括一些中国当年最杰出的电影。石挥过人的天赋也在此显露无疑。
以下是一些石挥的代表作：
《假凤虚凰》（1947），在这部电影中，石挥饰演了一个多情的理发师。
《夜店》（1947），32岁的石挥在剧中担任主角，把一位性格古怪，身为店主的中年父亲演绎的淋漓尽致。
《艳阳天》（1948），（此片由曹禺自编自导）讲述了一位敢于为被压迫的底层劳动者打抱不平的律师的故事，石挥便是律师的扮演者。
《我这一辈子》，石挥在影片中扮演了一名民国时期，地地道道的北京警察。这是石挥最具代表性且广受好评的一个角色。
结束文化影业公司的工作后，伴随着1952年上海私营影业公司的国有化，石挥开始专注于他的导演工作。
《鸡毛信》（1953，石挥导演）自上映后很快进入到一流儿童影片的行列中；
《天仙配》（1955，石挥导演）则是一部以戏曲方式演绎的传统神话故事影片。该片在香港上映后，引起香港拍摄黄梅调影片的热潮。
1957年的恶性“整风运动”及“反右”期间，石挥被打成右派。在饱受持续不断的压力和冷酷无情的批判之后，他终于意志崩溃，自杀身亡，年仅42岁。往后的20年里，他的名字在中国电影界中消声匿迹。直到1979年文化大革命的结束，石挥的冤情才得以翻案。
如今，石挥的很多部电影已经制成DVD，以供人们从这位电影艺术家的佳作中体会、领略他的个人魅力。
看了袁奕的翻译，我发现自己有几处小错误。
但是我没有改，照原样发上来了。
我还要虚心学习，积极进步！
哈哈。
而且，袁奕同学对事情认真细心且负责的态度很值得大家学习！
