Zhao Dan

1.1. Birth and childhood

Zhao Dan was born Zhao Feng'ao on June 27, 1915, in Nantong, Jiangsu, China. His family's ancestral home was in Feicheng, Shandong province. Although born in Nantong, he spent his childhood in Yangzhou before residing again in Nantong. From an early age, he was exposed to film and theater through his father's operation of a cinema and theater. This early immersion sparked his passion for performance, leading him to organize the "Little Theater Society" (小小劇社_{Xiǎo Xiǎo Jùshè}^Chinese) with his classmates, demonstrating his early commitment to acting.

1.2. Schooling and early artistic activities

In 1931, Zhao Dan enrolled in the Shanghai Academy of Fine Arts (上海美術専門学校_{Shànghǎi Měishù Zhuānmén Xuéxiào}^Chinese). During his time there, he became deeply involved in various theatrical groups, including the "Tuosheng Drama Troupe" (拓声劇団_{Tuòshēng Jùtuán}^Chinese) and the "Meizhuan Drama Troupe" (美専劇団_{Měizhuān Jùtuán}^Chinese). He was also influenced by the "Nanguo Society" (南国社_Nánguóshè^Chinese) and the "Modern Society" (モダン社_Módànshè^Chinese) founded by the renowned playwright Tian Han. Concurrently, Zhao Dan joined the Left-wing Dramatists' League (左翼戯劇家聯盟_{Zuǒyì Xìjùjiā Liánméng}^Chinese), through which he visited factories and schools to perform anti-Japanese national salvation plays. These performances included works such as Chaotic Bell (乱鐘_Luànzhōng^Chinese), Determination (決心_Juéxīn^Chinese), SOS, and Rising Moon (月亮上昇_{Yuèliàng Shàngshēng}^Chinese), highlighting his early commitment to social and political causes through art.

2.1. Film debut and rising fame

In 1932, Zhao Dan officially entered the film industry by joining the Mingxing Film Company (明星影片公司_{Míngxīng Yǐngpiàn GōngSī}^Chinese). Over the course of the 1930s, he starred in nearly 30 films, quickly establishing himself as a leading actor. His early cinematic roles included Pipa Spring Lament (琵琶春怨_{Pípá Chūnyuàn}^Chinese, 1933), Children of the Era (時代的児女_{Shídài de Érnǚ}^Chinese), Go West (到西北去_{Dào Xīběi Qù}^Chinese), Twenty-Four Hours in Shanghai (上海二十四小時_{Shànghǎi Èrshísì Xiǎoshí}^Chinese), Homesickness (郷愁_Xiāngchóu^Chinese), Daughter's Scripture (女児経_{Nǚ'ér Jīng}^Chinese), Loyal Blood (熱血忠魂_{Rèxuè Zhōnghún}^Chinese), Qingming Festival (清明時節_{Qīngmíng Shíjié}^Chinese), Little Lingzi (小玲子_{Xiǎo Língzi}^Chinese), Crossroads (十字路_{Shízì Lù}^Chinese), and Children of China (中華児女_{Zhōnghuá Érnǚ}^Chinese, 1939).

Among these, his performances in Crossroads (1937), where he played an unemployed university student, and Street Angel (1937), where he starred opposite Zhou Xuan as a bugler, were particularly lauded. These two films are widely considered representative masterpieces of Chinese cinema from the 1930s due to their social commentary and artistic depth.

2.2. Left-wing activism and imprisonment

Zhao Dan's dedication extended beyond the cinematic screen to fervent anti-Japanese activism. After the Marco Polo Bridge Incident (盧溝橋事件_{Lúgōuqiáo Shìjiàn}^Chinese) in 1937, which marked the beginning of the Second Sino-Japanese War, he immediately participated in the performance of the anti-Japanese war masterpiece Defend Lugou Bridge (保衛盧溝橋_{Bǎowèi Lúgōuqiáo}^Chinese). He then joined the "Anti-Japanese National Salvation Drama Team Three" (抗日救国演劇三隊_{Kàngrì Jiùguó Yǎnjù Sānduì}^Chinese).

During the early stages of the Anti-Japanese War, in Wuhan, Zhao Dan connected with Zhou Enlai, who was then the deputy director of the Political Department of the National Government Military Commission. Zhou Enlai mobilized all members of the ten anti-Japanese national salvation drama teams, and Zhao Dan accepted the tasks assigned by Zhou Enlai, dedicating himself to charity fundraising performances. Zhou Enlai often remarked, "Mr. Dan and I are friends!" Likewise, Zhao Dan frequently stated, "The person I respect most in my life is none other than Zhou Enlai!" The anti-Japanese national salvation drama teams, under the guidance of Zhou Enlai and Yang Hansheng, eventually moved to Chongqing. In Chongqing, Zhao Dan performed new plays such as General Mobilization (全民総動員_{Quánmín Zǒngdòngyuán}^Chinese), Under the Roofs of Shanghai (上海屋檐下_{Shànghǎi Wūyánxià}^Chinese), and The True Story of Ah Q (阿Ｑ正伝_{Ā Q Zhèngzhuàn}^Chinese), with Zhou Enlai often attending his performances.

In June 1939, while promoting drama activities in Xinjiang, Zhao Dan was arrested and imprisoned for five years by the warlord Sheng Shicai. He was incarcerated along with fellow artists Xu Tao and Wang Weiyi. During his imprisonment, a rumor circulated that he had been killed.

2.3. Post-war resumption of activities

Upon his release from imprisonment in 1945, Zhao Dan returned to Shanghai. He joined the Kunlun Film Company (崑崙影業公司_{Kūnlún Yǐngyè GōngSī}^Chinese), a private film company established in May 1946 under the guidance of the Chinese Communist Party's underground organization. Kunlun Film Company aimed to inherit and carry forward the tradition of revolutionary films produced under Communist Party guidance in the 1930s and during the Anti-Japanese War.

During this period, Zhao Dan starred in films such as Far Away Love (遥遠的愛_{Yáoyuǎn de Ài}^Chinese, 1947), Rhapsody of Happiness (幸福狂想曲_{Xìngfú Kuángxiǎngqǔ}^Chinese, 1947), Spring Light That Cannot Be Locked Away (関不住的春光_{Guānbùzhù de Chūnguāng}^Chinese, 1948), and Women Side by Side (麗人行_{Lìrén Xíng}^Chinese, 1949). After the Sino-Japanese War, he also developed a significant creative partnership with director Zheng Junli, notably starring in the 1948 anti-Kuomintang drama-comedy Crows and Sparrows (烏鴉与麻雀_{Wūyā yǔ Máquè}^Chinese, 1949).

3.1. Continued film career and joining the Communist Party

Zhao Dan chose to remain in mainland China after the Communist victory in 1949, dedicating himself to the newly established nation's film industry. He continued to make films throughout the 1950s and 1960s, further cementing his status as a cinematic icon. In 1957, reflecting his long-standing alignment with left-wing causes, he officially joined the Chinese Communist Party. In the same year, he received the highest award from the Ministry of Culture for outstanding films from 1949 to 1955.

3.2. Major works and artistic characteristics

Zhao Dan's period after 1949 was marked by numerous significant performances, particularly in biographical films portraying historical figures. He was praised for his ability to embody characters with artistic charm, rich passion, and a superior capacity to depict their psychological nuances. His portrayals of Li Shizhen, Lin Zexu, Nie Er, and Xu Yunfeng (the protagonist of Eternal Life in the Blazing Fire) received widespread acclaim from audiences both within China and internationally.

Some of his notable films as an actor include:

Zhao Dan also directed several films, showcasing his versatile talent:

7.1. Artistic contributions and positive assessment

Zhao Dan is widely recognized for his significant contributions to Chinese cinema. His acting prowess was noted for its versatility, allowing him to portray a wide range of characters with depth and conviction. He excelled particularly in biographical films, where his performances brought historical figures to life, earning him widespread praise. His capacity to convey complex human emotions and psychological states contributed to the richness of his characters, leaving a lasting impression on audiences.

His directorial efforts also demonstrated his artistic vision, further cementing his role as a multifaceted talent in the Chinese film industry. Zhao Dan's works are considered vital examples of Chinese cinematic history, and his performances continue to be studied and admired for their artistic merit.

7.2. Criticisms and historical reassessment

Despite his artistic achievements, Zhao Dan's career was not without controversy. One notable instance was the film The Life of Wu Xun (1950), in which he starred as the titular character, a historical beggar who promoted education. The film faced severe criticism from Mao Zedong himself, who condemned it for promoting "bourgeois reformism" and failing to align with the revolutionary narrative of the new China. This criticism sparked a widespread political campaign and public debate, leading to the film becoming the first to be officially banned in the People's Republic of China.

The unjust persecution Zhao Dan suffered during the Cultural Revolution, including his five-year imprisonment, stands as a stark reminder of the devastating impact of political extremism on individual lives and artistic freedom. This period is now widely viewed as a tragic chapter in Chinese history. After the Cultural Revolution, a significant historical reassessment of The Life of Wu Xun took place. Led by figures such as Hu Qiaomu, the film was re-evaluated, and its positive aspects were recognized. On September 6, 1985, the People's Daily (人民日報_{Rénmín Rìbào}^Chinese), the official newspaper of the Chinese Communist Party, published an article that formally re-evaluated and affirmed the film's value, marking a crucial step towards redressing past injustices and acknowledging Zhao Dan's artistic integrity and contributions. His legacy today is viewed as a testament to artistic resilience in the face of political adversity.