Before she began her acting career in Shanghai in 1942, Huang Zongying
spent her school days in Tianjin. She still clearly remembers the summer
of 1937 when she finished primary school. She took the entrance examination
for Nankai Middle School, and on the day the results were announced,
she set out, her heart full of hope and excitement, to see if her name
was on the list of successful candidates. Just as she was passing Zhongyuan
Department Store, she found that martial law had been declared. She
crowded into the store along with the other pedestrians taking shelter.
She saw tanks rumble by, flying the Japanese flag. The huge treads cut
deep into the very bosom of her motherland, leaving in her young heart
a wound which would never heal. That was the day Japanese troops occupied
Tianjin. After that, the Japanese language became mandatory at school.
With tears in her eyes, the teacher, who had spent so much of her time
with the students, taught The Last Lesson by Alphonse Daudet.
In 1941 she dropped out of school after just one
semester of senior high because her family was unable to pay the tuition
fee. Her mother sold the last piece of her jewelry to buy Huang Zongying
a train ticket for Shanghai, where she was expected to earn a living
on her own. Shanghai was a dazzling world of myriad temptations, yet
to her, a young and inexperienced actress, it seemed a place filled
with more pitfalls than opportunities. She went back to Tianjin several
times to look for a more secure and stable job, but each time she was
compelled to return to the stage in order to support herself and her
friends. Once traveling between Tianjin and Shanghai, her train became
snowbound. She saw Japanese military police lashing her countrymen lying
in the snow and spraying water on the refugees who were scrambling to
board the train.
Her life passed through a series of successes and
failures as she searched for a new path. In the midst of her depression
and frustration, the Communist Party stretched out a helping hand to
her, and she plunged herself into the cultural movement of the Party.
She played a role in The Ballad of Beauties, which marked the turning
point in her life.
From 1948 to 1949, she and her husband, Zhao Dan,
together with other progressive film-makers, secretly filmed The Crow
and the Sparrows in Shanghai, which was still under the strict control
of the Kuomintang. The film was a realistic depiction of the last days
of the Kuomintang regime and anticipated the birth of the new China.
(Translated by David Moser with reference
to "Catch 'Tomorrow'" trans. by Wang Wei, Chinese Translators' Journal,
1989.3)