永福路147弄35号（张伐旧居）
张伐曾居住于永福路147弄35号。
永福路147弄原是永福路（旧名古神父路）上的曹家巷，20世纪初这里人烟稀少，多为菜地，原法租界越界筑路后，开始建独院式别墅。
35号为假三层老房子，类似三开间石库门，两厢一厅。
张伐简介
张伐 (1919-2001) ，祖籍山东，原名张大民，国家一级演员。
1936年到上海，入君毅中学学习，后考入上海华光戏剧学校。1940年入上海剧艺社任演员，相继加入上海职业剧团、苦干剧团、上海艺术剧团任演员，先后参加《蜕变》《阿Q正传》《文天祥》《夜店》《雷雨》等话剧的演出和电影《乱世风光》的拍摄。1947年起在文华影业公司、启明影片公司、中电二厂参演《母与子》《太太万岁》《夜店》《平步青云》《鸡鸣早看天》《街头巷尾》《喜迎春》等影片。中华人民共和国成立后任上海电影制片厂演员，在《翠岗红旗》《伟大的起点》《幸福》《龙须沟》《枯木逢春》《黄浦江的故事》《金沙江畔》《家庭问题》《子夜》《最后的太阳》等20余部影片中饰演主角或重要角色。
为第三、四届中国电影协会理事。荣获国家文化部优秀影片创作个人奖及第四届中国电影表演艺术学会“金凤凰奖”特别荣誉奖，被授予“从事电影工作五十年——中国电影家”荣誉称号。
张伐
一点都不含糊
电影《红日》根据吴强同名小说改编，取材于1947年闻名中外的孟良崮之战，拍摄于1961至1963年。张伐塑造的军长沈振新，脱胎于解放战争中的真实人物——华东野战军第六纵队司令员王必成。
《红日》剧组为再现孟良崮战役激烈壮观的场面，远赴孟良崮进行实地拍摄。剧组住在一所破旧的小学校里，张伐平时休息用的“床”由高低不平的课桌拼接而成，张伐瘦削，躺在坚硬的课桌上，可谓“骨头碰木头”，并且一翻身，就被课桌间的缝隙夹到皮肉，常常一觉醒来浑身都疼，但他没有丝毫怨言。张伐非常能吃苦，因饰演主角，他比其他演员每天早起一到两个小时，在细致化完妆后便潜心钻研表演艺术。
张伐在话剧《大马戏团》中饰小铳
他对业务精益求精，在表演中，能根据沈振新的身份和特定环境，从行为动作、语言节奏等细节入手丰富人物形象。在他的文学本和分镜头本里，写满了自己对人物、场景、情境的分析。正如曾受张伐悉心指导的仲星火所言：“他创作态度非常严肃认真，很用功。剧本中的每句台词边上都写上自己的表演设计，写得密密麻麻的，一点都不含糊。”
拍摄《红日》时有一段时间恰逢酷暑，气温常高达40摄氏度，但由于拍摄的是冬季戏，张伐还得穿着厚厚的大棉衣、裹着绑腿布。并且，当时《红日》拍的是宽窄两个银幕，每个镜头都要拍两次，气温高、拍摄时间长，张伐衣服湿了又干，干了又湿。在这种拍摄条件下，张伐仍镇定自若，他用精湛的演技和沉稳、质朴的表演风格塑造出了沈振新沉着冷静、有勇有谋的指挥员形象，展现了在敌强我弱的困境中，为赢得最后的胜利而废寝忘食的解放军指挥员谨慎果敢、正气凛然的气魄与风采，成为银幕中永恒的经典。
张伐 （钱定华画）
Introduction of former
residence of ZHANG Fa
ZHANG Fa once lived at No. 35 in Alley 147 on Yongfu Road, which was originally CAO Alley on Yongfu Road (old name of Ancient Priest Road). It was sparsely populated in the early 20th century and most parts were fields of vegetable. After the French settlement crossed border to build roads, the building of an independent villa was initiated.
No. 35 in the alley is a nominally three-storied old house, which is similar to the three-bay Stone Warehouse Gate and enjoys two rooms and one hall.
ZHANG Fa (1919-2001) has his ancestral family from Shandong, and he had a former name of ZHANG Damin, an actor at the national level.
In 1936 he arrived at Shanghai and entered into Junyi High School. Later he studied in Shanghai Huaguang Drama School. In 1940, he entered Shanghai Drama Art Society and worked as a performer. Later he joined troupes one after another, including Shanghai Professional Troupe, Working Hard Troupe and Shanghai Art Troupe to work as an actor and successively participated in drama performance such as Transformation, Ah Q, WEN Tianxiang, Nightclub and Thunderstorm and performance in the film Gone with the Wind. Since 1947, he had worked in Wenhua Film Company, Qiming Film Company, the Second Factory of China Film Studio and participated in the performance of the films such as Mother and Son, Long Live the Wife, Nightclub, Imagination, Looking at Weather When Rooster Crows, Our Neighbor, Happy to Greet Spring and others. After the founding of the People’s Republic of China, he worked as actor in Shanghai Film Studio and performed leading or important roles in over 20 films which include Red Flag on the Cuigang Mountain, The Great Beginning, Happiness, The Dragon Canal, Withered Trees Revive, The Story of the Huangpu River, Along the Jinsha River, Family Problems, Midnight and The Sunset.
He was director of the third and fourth sessions of China Film Association. Also he won individual award of outstanding film creation of the Ministry of Culture as well as special honor award of Golden Phoenix Award of the fourth session of China Film Performance Art Academy. In addition, he was awarded the honorary title of “film work for 50 years-China Film Artist”.
The film The Red Sun was adapted according to the novel of the same title by WU Qiang, which drew the materials from the famous battle at Menglianggu in 1947, and was produced from 1961 to 1963. The leading role of SHEN Zhenxin, commander performed by ZHANG Fa, was born out of a real person in the War of Liberation-WANG Bicheng, commander of the sixth column of East China Field Army.
In order to reproduce the fierce and spectacular scenes of the battle, the crew members of the film covered a long distance to go to Menglianggu for field shooting. They lived in a dilapidated primary school, making use of the uneven desks to make “beds”. When they slept on them, the skin and flesh could be easily caught in the rifts, leaving strips of bloodstain. ZHANG was rawboned. When he lay on the hard desks, “his bones touched the wood.” After waking up, he was all pains, but he did not complain at all. As the leading role, he had more scenes than others. Accordingly he had to get up one or two hours earlier. After finishing meticulous makeup, he used to do painstaking researches on performance art.
He always endeavored to do still better in performing creation and designed movements, details, speech and rhythm according to the identity and specific environment of the role of SHEN Zhenxin, representing the basic characteristics of the role through behavior, action, eye expression, gestures and psychological activities. He filled the lines of the literary text and shooting script with his own analysis of the characters, scenes and situation. As ZHONG Xinghuo, to whom ZHANG Fa had given careful guidance, once put it, “His creation attitude is very serious and he is also hard-working. Beside each line of the script are densely written his own performance designs. Nothing is unclear.”
The production of The Red Sun coincided with a period of hot season and the temperature was often as high as 40 degrees. But the time in the story of the film was winter so that ZHANG Fa had to wear a thick coat and wrapped leggings and sweat often soaked his clothes. In addition, The Red Sun was produced in two versions: wide screen and narrow screen. In this case each motion picture must be shot twice, which meant that actors had to suffer time and again. His clothes changed from wet to dry, and back from dry to wet. Still he kept composed and wholeheartedly devoted himself to the shaping of the image of a commander, who was calm, courageous and conscientious in his development of tactics. His performance was calm, modest and natural. Moreover his sonorous and powerful voice rang with force and clarity with each word. All this vividly exhibited the cautious and courageous, upright and awe-inspiring boldness and style of the PLA commander who lost sleep and forgot to have food in order to win the final victory in the predicament that the enemy was strong while the PLA army was weak. Consequently the film had become an eternal classic on the screen.
来源：慢品上海湖南社区、《200031——一个历史街区的文化记忆》
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