《杨贵妃》(1955,沟口健二)是第一出打着“港日合拍片”旗号的电影,在历史上具有划时代的意义。然而,有关本片的研究向来不多,评价亦见负面。本文尝试从《杨贵妃》的制作背景及艺术成就,讨论其在承接第二次世界大战时期中日电影于上海的合作基础,以及对日后邵氏大举拍摄大型彩色宫廷片,如李翰祥导演的《杨贵妃》(1962)、《武则天》(1963)和《王昭君》(1964)的意义。 “Yang Guifei” (1955, Mizoguchi Kenji) is the first film out of the title of “Hong Kong-Japan Cooperation Movie” and has epoch-making significance in history. However, there have been few studies on the film and negative comments. This article attempts to study the production background and artistic achievement of “Yang Guifei”, discussing the basis of the cooperation between China and Japan in undertaking the Sino-Japanese film in Shanghai in the period of World War II and discussing the filmmaking of large-scale color court films in the future, such as “ Yang Guifei ”(1962),“ Wu Zetian ”(1963) and“ Wang Zhaojun ”(1964).