对程季华《病中答客问》中关于郭安仁部分的几点纠正与澄清

对程季华《病中答客问》中关于郭安仁部分的几点纠正与澄清

郭梅尼

读了《电影艺术》2009 年第5 期程季华先生的《病中答客问——有关〈中国电影发展史〉及其他》一文,关于我父亲郭安仁(笔名丽尼)的一段文字,作为他的女儿,我有权利也有责任出来纠正 和澄清。一、程季华在文中说,我父亲从武汉调到北京中国电影出版社(其前身为中国电影编译社)“之前是在新华书店做编辑”,这与事实不符。我父亲从武汉调 到北京之前,是在中南人民文学出版社任副社长兼总编辑。这在他的档案中是清清楚楚,有案可查的。1950 年,父亲从四川到武汉投身革命,曾在新华书店做过编辑工作。当时新华书店不仅经销图书,编辑出版也在它的业务范围之内。在新华书店工作期间,父亲同时还兼 任武汉大学中文系教授。1954 年父亲从武汉调到北京中国电影编译社时,中南人民文学出版社副社长兼总编辑的级别待遇已定了多年。父亲的职位是党任命的,不是如程季华文中所说是“我任命 给他一个职位”。

二、关于父亲的历史经历。程季华文中两处提到父亲“历史反革命”的问题,但父亲在国民党国防部任职期间,不顾身家性命将他利用工作之便弄到的一份 蒋军“整个作战计划”军事情报送交地下党,“中央军委来电奖励,认为对我军作战有很大帮助”( 见原中共中央统战部副部长张执一文)。这些事情“文革”后都经组织调查写进父亲的政治历史结论中。荒煤为此曾在《人民日报》专门写过《告慰丽尼》,电影界 有同志也曾转告过程季华同志。在国防部任职期间,父亲“还利用自己的地位营救过被捕的地下党员”。“在三十年代白色恐怖中,他曾为被列入抓捕名单中的青年 学生通风报信,为被敌人捉住的同志挺身担保,为无处栖身的同志提供住处,并予以经济上的支持”(见暨南大学为父亲做的政治历史问题结论)。父亲的政治历史 问题结论已做出二十多年,张执一同志披露父亲给地下党送军事情报有功之事后,中央组织部落实政策让我母亲重新回京落户,把我姐姐从内蒙古调入北京,以照顾 我母亲,并将街道军代表强占的我家房屋退回。三、程季华文中借父亲的嘴说:他只是搞文学的,对电影不熟悉。这里我想简单说一下,父亲虽然对电影的修养不如 对文学的功底深厚,但是应该说,父亲对电影也是比较了解的,特别是对三四十年代的电影。

三十年代中国电影兴旺发展的那些岁月,父亲正好生活在上海滩的文化圈子里。他主要从事文学的创作和编辑出版工作,同时还和上海剧联的朋友搞些戏剧 方面的活动。三十年代的主要电影他几乎都亲自看过并和文化圈子里的人议论过。这样的亲身感受,比后来仅仅依靠历史资料来了解要深刻得多。父亲1965 年调到广州去之前的几十年里,我基本上都和他生活在一起,经常听到他谈电影方面的事。父亲有个姓杨的好朋友,当时几乎天天到我家来玩儿,他有几本装订得非 常好的三十年代的电影海报,海报按年代一张张装订,有精美的电影剧照,片名、导演、演员、电影公司等等写得都清清楚楚。我们当时非常喜欢看。父亲常常和杨 先生坐在一起聊电影方面的事。我的许多电影知识都是听他们聊天听来的。1946 年抗日战争胜利后,我家住在南京。当时父亲下班后从不和国防部的官僚去应酬,下班就回家,只要有好电影,无论中国的外国的,都要带我们去看,看完后还兴致 勃勃地评论。正是在父亲的熏陶下,我积累了一定的电影知识。在中国青年报社工作期间,1956 年我负责搞过一段时间电影方面的报道,曾到上海去采访郑君里、张瑞芳、黄宗英等许多著名影星和导演。他们听说我是丽尼的女儿,都热情地接待我,和我长谈, 与我一起进餐。“文革”后,荒煤叔叔到我家看望我母亲时曾告诉我,父亲三十年代在上海剧联,还和魏鹤龄等一些老演员同台演过戏,和他们比较熟。这些在荒煤 的《一颗企望黎明的心》中有记叙。(见《忆丽尼》第19 页)抗日战争胜利后,一天盛家伦路过南京专程来我家看望父亲。父亲送走他后告诉我,他就是在电影《夜半歌声》里唱插曲的盛家伦。看来,父亲和当时的有些电 影工作者是很好的朋友。

1954 年以后,父亲调到北京的中国电影出版社后,专门从事电影方面的编审工作。按郑雪来的回忆文章说,父亲经手审订的出版物达三四千万字之多。对电影的了解有多 深,业界人士比我更清楚。父亲说自己对电影不熟悉只是相对于文学功底而言。很明显,像父亲这样一个要求自己很高的人,总是很谦逊的,总是认为自己很不够。 这恰恰是他人品的反映。

父亲审定修改《中国电影发展史》期间,正好我就住在家中。因为我做记者,经常出差,我女儿很小,就留在父母家中请他们照顾。只要我回到家中,总是 看见父亲在弄《中国电影发展史》稿。他不仅白天忙着,我半夜醒来还常常看见他伏在桌案上改那部稿子。我记得有相当长的一段时间,差不多几个月吧。加上他那 严谨的作风,修改的重要观点还要做编辑笔记,说明论证自己的看法。这编辑笔记连程季华都不得不承认“很好,有些修改意见非常有价值”。陈荒煤看了父亲的编 辑笔记也认为很好,才让父亲根据这个编辑笔记写了一篇署名“立尼”的评论《中国电影发展史》的文章,标题是《中国电影的战斗道路和革命传统》。我记得这篇 评论很长,约上万字,读过的人都认为很有分量,惊讶这位“立尼”怎么会对中国电影史如此熟悉。“文革”中“四人帮”的打手丁学雷曾发表了一篇气势汹汹重量 级的批判《中国电影发展史》为“变天账”的文章,我清楚地记得,丁学雷的文章中点名批判了“立尼”这篇评论,也可见父亲这篇评论的分量非同一般。正因为父 亲是亲历三四十年代的人,对当时的电影和电影人有亲身的感受,他才能在审定修改这部分文稿时不仅仅凭一些文字材料,就比那些仅靠文字材料来了解三四十年代 电影的人敢于判断,敢于修改。程季华文中说:“因为郭安仁没有看过材料,所以他做的工作主要集中在对于文字和措词的修改和改动上。”我想,仅仅是修改几句 文字和措词,也不必专门写编辑笔记,而且不可能根据编辑笔记写出那样有分量的评论文章。

四、程季华文中提到,我母亲在“文革”中被红卫兵赶出北京后,在广州和父亲“两个老人相互搀扶着站在田边”,这与事实不符。我母亲被红卫兵赶出北 京,去广州找父亲时,是有“造反派”押送的,在广州火车站迫于“造反派”的压力,看见来接她的丈夫的身影,两人相见却没敢相认。没料想这就是父母悲惨的诀 别……这些情景有专文记述,巴金、荒煤等都是看了此文才知道父亲去世消息的。 2009 年9 月

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