田汉的电影创作以其鲜明的个性特点而在中国电影史上占有突出的地位。就剧本写作的数量和质量而言，三十年代是他的高峰期。由于艺术观念的转变，这一时期他的电影剧作出现了新的特征，主要表现在：“反抗”主题由个人性演变为社会性；“拯救与被拯救”的人物关系模式被改写和重新演绎；而在情节的设计、歌曲的运用等方面，也体现出了对大众化策略的谋求。本文认为，上述创作上的变化，仍然是田汉独特性的一部分。 Tian Han’s movie creation occupies a prominent position in the history of Chinese cinema with its distinctive personality. The thirties was his peak in terms of the quantity and quality of script writing. Due to the change of artistic conception, new features appeared in his movie dramas during this period mainly as follows: the theme of “resistance” evolved from individuality to sociality; the relationship model of “rescuing and being rescued” was rewritten and renewed Interpretation; but in the plot design, the use of songs and so on, but also reflects the pursuit of popular strategy. This paper argues that the above changes in creation are still part of Tian Han’s uniqueness.