去年夏天,我(谷凡)在上海访问了影片《巴山夜雨》的总导演吴永刚同志。虽说是酷暑时节,闷热异常,但是这位老艺术家仍在自己的寓所里埋头于案头工作。他是一个闲不住的人,虽然早已年逾古稀,身体也不大好,但要他无所事事,那他会感到比什么都难受。当时,他导演的新片《楚天风云》已拍摄完成,照理说,应该歇口气,消除一下疲劳,然而不,他又在考虑新的问题,也许是在写拍摄总结,也许是在作新的准备工作。吴永刚从事电影工作五十多年。早在一九二五年,他就进入上海电影界工作。但那时才十九岁的吴永刚,面对浩如烟海的艺术海洋,深感自己知识的不足,于是又考入刘海粟先生主办的上海美专攻研绘画艺术。当时正值刘海粟先生把欧洲各种流派的造型艺术介绍到中国来,这就大大扩大了吴永刚的美学视 Last summer, I (Gu Fan) visited Shanghai Film Festival “Nightmare” director Wu Yonggang comrades. Although it is a hot summer season, hot and unusual, but the old artist is still buried in his own apartment in the desk work. He is an unmanageable person, although already old and young, his health is not good, but to him doing nothing, he would feel more uncomfortable than anything else. At that time, he directed the new film “Chutian Fengyun” has been completed, it stands to reason that should be a sigh of relief to eliminate fatigue, however, no, he is considering new issues, perhaps in shooting summary, perhaps in the new Ready to work. Wu Yonggang engaged in film work for more than 50 years. As early as 1925, he entered the Shanghai movie industry. However, at that time, Wu Yonggang, a 19-year-old artist, was deeply exposed to the lack of knowledge in the vast sea of ​​art. She was also admitted to the art department of Shanghai Academy of Fine Arts organized by Mr. Liu Haisu to study painting art. At that time, Mr. Liu Haisu introduced the modeling arts of various schools in Europe to China. This greatly expanded Wu Yonggang’s aesthetic vision