Chapter 100 Qiong Yao's fifth protagonist

In Qiong Yao's movies, there are always five protagonists. The first four protagonists are not difficult to understand-in her movies, there are usually two couples and four people who are entangled, but who is the fifth protagonist?That is the theme song and interlude that will inevitably appear in Qiong Yao's films. In 1965, "Cousin Wan Jun" and "The Dumb Girl Love" were made into films by Li Xing, and Qiong Yao films began to become a brand of literary films, but at this time, the fifth protagonist did not appear frequently.Probably because in the 1960s, Taiwan's pop music industry was still dominated by Hokkien songs, while Mandarin movies and Mandarin songs had a relatively delicate status.Moreover, at that time, Qiong Yao did not have full control over her own movies. In "Where is Spring Returning", "Stranger", "Cousin Wanjun", "Whose Flower Falls", " When is the moon full ", there are very few songs.

In the late 1960s, Mandarin songs gradually gained the upper hand, and Qiong Yao movies gradually showed commercial value.Qiong Yao and Crown Company formed the "Firebird" film company in 1968 and began to shoot Qiong Yao films. The song "Moon Man West Building" composed by Liu Jiachang in the first work "Moon Man West Building" quickly spread. "Firebird" only made two films, but there must be songs in Qiong Yao's films, which has become the tradition of Qiong Yao's films and Taiwanese films since then. The pulse of literature and art in the 1940s, and those "era songs" that were popular in the 1940s, were mostly movie songs.

Why must there be songs in romantic literary films?Because "when the protagonist of the story escapes from the 'real' state of family, society, and ethics, music often appears in this ethical 'vacuum' peach blossom garden, helping to construct a romantic atmosphere." When they were in Shangang, there had to be a song to sum up the process of their warming up.Many years later, Kwan Jinpeng satirized this model in the form of deliberate imitation in the movie "The Happier the More Depraved". The 1970s was the golden age of Qiong Yao's movies, and also the golden age of Qiong Yao's songs. In the golden age of movies, Qiong Yao's movies followed one after another, "Colorful Clouds Fly", "Where Seagulls Fly", "A Thousand Knots in the Heart" , "Yilian Youmeng", but when we hear these names, the first thing we think of is the song of the same name-the movie has been forgotten, but the song has stayed.In 1976, Qiong Yao formed the Giant Star Film Company, which pushed this model to the extreme.The 1970s was the era of folk songs. The protagonists in her films quickly assumed the identity of folk singers and guitarists, and it was only natural that there would be one song or even many songs. "Colorful clouds in the sky", "On the side of the water", "I am a cloud", "Calendula", "Clothes of Dreams", "Two Yiyi", "The moon is hazy and the bird is hazy", "The wild goose in the forest Shooting", "Ask the Setting Sun"... When we hear these names, the first thing we think of is still the song of the same name.

Almost all well-known composers in Taiwan's pop music circle have composed music for Qiong Yao's songs, such as Zuo Hongyuan, Tony, Liang Hongzhi, Liu Jiachang, Chen Yang, Huang Renqing, Tan Jianchang, Shenzhi, Wang Fuling, Ye Jiaxiu, Zhou Lanping, Weng Qingxi, wait.Taiwanese singers used to fight for the right to sing Qiong Yao's songs to ensure their status. Teresa Teng, Feng Feifei, Li Bihua, Xiao Lizhu, Cai Qin, Liu Wenzheng, Gao Lingfeng, Zhong Zhentao, and Fei Xiang are all regulars on this list. All of this has passed, but it left us with a sequelae. Whether it is watching love clips in movies and TV, or walking in the countryside with friends, I always feel owed and feel that there should be a song to accompany it.We all imitate love novels and love movies, and even learn its expression and sound effects.