In the 50s of the 20th century, Beijing Film Studio emerged and released a large number of excellent films. On the screen, there are several Beiying actresses who are particularly eye-catching, and they are good at playing "female villains". They are Zhou Ting, Li Huan, Mang Yiping and Qi Li. 
Zhou Ting, a native of Xuzhou, Jiangsu, switched from the drama industry to the screen in the 40s and filmed the first movie "The Legend of the Phoenix", officially opening the road of acting. After the establishment of Beiying, she became the first batch of actors to join the company, and she was known for playing villains from the beginning. Matchmakers and female tyrants are her forte. Li Huan's specialty is a mean landlord's wife. Pick up the long cigarette stick, and she can instantly turn into a mean-faced landlord's wife. The big wife in "The Storm" is exactly the same as herself. Mang Yiping is good at the role of female spies, and has played spies with different images in many movies. Her performance is natural and realistic, and every look is full of deep meaning. The youngest Qi Li played more positive roles at first, and later became a prolific "female villain". In "Xu Mao and His Daughters", she and Zhang Jinling come and go, and their acting skills are perfect. 
Each of them has their own specialties, but what they have in common is that they are all the four "female villain actors" of Beiying. Because the main theme films were popular at that time, a large number of villains were needed to match the theme. And their artistic attainments are profound, and they have successfully created a series of expressive villains, so they have gradually become "villain actors". Whether they are good or bad, their acting skills are breathtaking. Speaking of Zhou Ting, I have to mention the three fairy aunts she played in "Little Erhei Gets Married". This is a rural woman who is keen on fortune telling, and Zhou Ting interprets her vividly. The three fairy girls wore a gray-black shabby long dress, with a headscarf wrapped around her head, and exaggerated ornaments around her neck. As soon as she appeared, she raised her cigarette pouch and smoked a hookah, spitting smoke rings from her mouth, and her movements were exaggerated and vivid. 
She was extremely concerned about the newcomers Xiao Erhei and Yang Sanmei, and volunteered to tell their fortunes. The people on the side didn't believe her, but the three fairy aunts were righteous, saying that she had studied astronomy and geography for many years and knew everything about marriage numerology. So she asked Xiao Erhei to stretch out his hand and look at his palm prints. She first squinted her eyes for a long time, and then said mysteriously that this man had a bright future, but she just needed to prevent things from going wrong. Then he looked at Yang Sanmei's hand and said that this woman was spicy and capable, and her only drawback was jealousy. The onlookers all burst into laughter, coaxing the three immortal aunts to continue guessing. The three immortal girls were proud, and they counted the fortunes of a few people, all of whom were convincing and made people laugh. 
Zhou Ting vividly interpreted the three fairy aunts. Her every move is full of mystery and comical, telling fortunes with words, and the whole process drives the surrounding atmosphere to be lively. Especially when she mysteriously warned Xiao Erhei that things were not going well in the new room, the onlookers laughed, and she didn't realize it, and she kept talking to herself. The three fairy aunts' style of drama is alive and well with a rural version of "A Lot of Money". It can be said that Zhou Ting portrayed a local and interesting character through the role of Sanxian Gu very expressively. Although it is only a small role, she has achieved one of the most classic laughs of this comedy movie. The image of the Three Immortal Aunts is still unforgettable, all thanks to Zhou Ting's wonderful interpretation. This is enough to show what a wonderful actor she is. Speaking of Li Huan, the eldest wife she played in "The Storm" can be said to have both form and spirit, and portrays the face of the mean landlord vividly. 
This is a landowner's wife dressed in an earthy green robe and wearing a flowered hat. She held a long cigarette stick and walked out from behind the curtain, exuding an aura that was not easy to mess with. When Han Chang came over and told her that she had said good things to the government in the town, she looked him up and down with sharp eyes, as if she was judging a greedy and flattering subordinate. She reluctantly took out a few oceans from her arms, frowned, and looked very stingy. When he handed the money to Han Changneck, he deliberately counted it, for fear that he would get an extra point. At the same time, she was still saying polite words, asking Han Changneck to go to the town to buy something to eat. Judging from her impatient expression, it is clear that she is accompanying the smiling face, and she has already played it countless times in her heart. 
Li Huan uses a very detailed expression management to show the inner activities of this eldest wife's cautious eyes and helplessness. The atmosphere she created through her eyes and movements completely put the audience in it and felt the character characteristics of this character firsthand. It can be seen that Li Huan's acting skills pay great attention to details and level changes. She can give a specific emotional connotation to an ordinary action by changing micro-expressions. This kind of meticulous performance technique has made her skillful and in place to play the landlord's wife. It is Li Huan's excellent acting skills that make the image of this big wife so vivid and plump. She fully integrates herself into the role, so that the audience no longer sees an actor, but a flesh-and-blood vivid character. This is where the high level of acting lies. When it comes to the role of a female spy, I have to mention Mang Yiping. Since the 50s of the 20th century, she has created all kinds of spy images in many movies, showing amazing acting skills. 
In 1956's "Tracking the Tiger's Den", Mang Yiping played Mi Ruzhen, who lurked behind enemy lines as a spy. She disguised herself in civilian clothes and infiltrated the revolutionary ranks to gather intelligence. In order to hide her eyes, she is friendly to her comrades on the surface, but behind the scenes she sets a trap. Two years later, she transformed into a female spy Cai Meimei in "The Outpost". This is a female spy who is sweet on the surface but vicious on the inside. She disguised herself as ** and infiltrated our army, secretly sabotage, and was finally discovered. In the 70s, the female spy played by Mang Yiping changed her appearance. The little golden ring in "Pearl of the Sea" is the daughter of a famous family in Shanghai, which is hidden and finally exposed. In "Hunting Word No. 99", she incarnated as a beautiful strong woman, and finally lost under the wisdom of the red **. 
It can be seen that from a poor female soldier to a famous daughter, Mang Yiping has successfully shaped spies with various identities and backgrounds. She seamlessly blends their cunning and cruelty with glamorous decency, making the audience love and hate these female spies. All of Mang Yiping's performances are so delicate, she is fully integrated into the role and grasps the key attributes of each agent. It is her strong acting skills that will make these female spies stand out and become such an unforgettable screen image. It can be said that from the 50s to the 70s, Mang Yiping perfectly played the role of a female spy. She used her keen insight and rich emotions to give life and soul to these female villains, and achieved a classic in the history of Chinese cinema that is both good and evil. Among the four "female villains" of Beiying, the youngest is Qi Li. But her acting skills are not inferior because of this, and she has performed well in many movies, especially in "Xu Mao and His Daughters". 
Zheng Baixiang played by Qi Li is Xu Mao's concubine, an extremely rude woman. She was wearing an embroidered gown and a flowered hat, and she looked squeamish. But under this external delicateness, it is unimaginably strong and arrogant. She and Li Suying, the main room, quarreled with each other and refused to give in to each other. Especially in the face of the sharp-toothed third lady Li Cuiping, she didn't let it go at all, you and I said a word, and she had the upper hand. When Cuiping counted that she didn't know how to count, she sneered, "I don't understand? I don't think you understand! After saying that, he made a gesture to beat someone. is unforgiving, and he is not soft when he fights people, fully revealing the strong personality of a concubine. It can be seen that Qi Li has completely deduced the pampering and arrogance of this concubine. She has a soft figure and a sweet voice, but she is tough in her heart and has a natural aura. Especially in the rivalry with Zhang Jinling, Qi Li was not inferior and showed excellent acting skills. 
Although she is more than ten years younger than other actresses, Qi Li has become a leader in the new generation of Beiying. She is no longer the young and lovely college student she was back then, but has successfully transformed into a mature and excellent screen actor. She perfectly interprets various roles and shows a good acting heritage. After reading the above, I believe you have a better understanding of these four "female villains" of Beiying. They have their own strengths and have their own masterpieces. Personally, I prefer Li Huan and Mang Yiping. The former's eldest wife in "The Tempest" is particularly expressive, and the various female spies portrayed by the latter are unforgettable.
Of course, this may not be the case. This requires each viewer's own feelings. Zhou Ting and Qi Li are also very good, and they have their own unique artistic charm. Either way, these four actors represent the essence of mid-20th-century Chinese cinema. They provide a variety of villains to the screen, showing an amazing breadth of drama. They use their talents to promote the progress of the film industry and enrich the cultural life of ordinary audiences. I hope you will pay more attention to these older generation actors and feel the atmosphere of the times and artistic temperament in their works. Which one do you admire more? Welcome to leave a message in the comment area to discuss. Time flies, years change. Now more than half a century has passed since the middle of the 20th century, and the four major actresses of Beiying are gradually aging. But the classic screen roles they created are still lingering in people's memories today.
These actresses represent the peak of film art in an era, and they have contributed their talents and wisdom to Chinese films. Now, I hope that future generations can inherit their spirit, not forget the history of film development, and inherit the essence of these older generation artists. When we look back on those classic old movies, we often find the brilliant artistic brilliance left by our predecessors. We should not only cherish their glory, but also absorb their essence and make it a driving force for self-motivation, so as to promote the new development of the film industry. Let's look forward to the birth of more outstanding filmmakers in the future. And those glorious years and screen actresses in the past will forever remain in history and people's hearts. February** Dynamic Incentive Program