洪波Hong Bo

洪波Hong Bo 从影30多年，不仅能演，还能写和编、能言善道，但给人的印象却是大坏蛋。 本名王家骥，祖籍河北。14岁即凭着深刻自然的表演天赋活跃舞台，抗战时在重庆从事戏剧艺术工作，1945年进入电影圈，首部作品为〈还我河山〉（1945），1948年赴港，永华出品的国语历史巨片〈清宫秘史〉是他的成名作。 50年代前中为洪波最炙手可热的颠峰阶段，不仅受邀为「邵氏」、「电懋」及各独立制片公司拍片，歌唱悬疑文艺伦理甚至古装都能见到他的身影，亦执导〈欲魔〉（1952）、〈财迷传〉（1955）等。期间，洪波染上毒瘾，时常无故迟到、荒疏工作，影圈同仁也开始产生戒心，工作机会不复以往。 1959年，曾经红极一时的洪波已「混得十分潦倒」，未几与「邵氏」合约到期，又因欠税遭香港政府羁押数日，国语片圈已无他容身之处。为应付庞大的毒赌开支，只得转往粤语片发展，一开始还能依恃过往辉煌片约不断，但随着他故态复萌，时常放剧组鸽子，各公司也对他「敬而远之」。 1963年，非常欣赏洪波的导演李翰祥，力邀其来台加入「国联」阵容，参与〈西施〉（1966，饰奸臣伯嚭）、〈破晓时分〉（1968，饰愚昧昏官）之余，他也试图振作、重拾导筒，无奈过程波折重重、多灾多难，连力保他的李翰祥也一度兴起更换导演的念头；与此同时，「国联」财务危机越演越烈，洪波几成为压垮公司的最后一根稻草。 离开「国联」，洪波继续留在台湾，由于再无拍片工作上门，遂转往歌厅以讲相声为生，足迹踏遍南北各地。然而，觅得事业二春的他未能摆脱酗酒恶习，不准时、闹情绪等负面作风使歌厅忍痛割爱。60年代后期，健康欠佳、身无恒产，洪波不是借住朋友家就是窝在常去的饭馆内，大部分时间足不出户。洪波于1968年底跳桥自尽，被发现时身上仅有台币两元。 Hong Bo 洪波has been in the film industry for more than 30 years and has always been a most talented actor. He can not only act, but also write and edit, and is good at speaking, but he always gives people the impression of being a villain. His real name is Wang Jiaji, and his ancestral home is in Hebei. At the age of 14, he was active on the stage with his profound and natural acting talent. During the Anti-Japanese War, he worked in drama art in Chongqing. In 1945, he entered the film industry. His first work was "Return My Country" (1945). In 1948, he went to Hong Kong. The Mandarin historical blockbuster "The Secret History of the Qing Palace" produced by "Yonghua" was his masterpiece. The early and mid-1950s was the peak period of Hong Bo's popularity. He was not only invited to film for "Shaw Brothers", "Dianmao" and various independent production companies, but also in singing, suspense, literary ethics and even costume dramas. He also directed "The Devil" (1952) and "The Legend of the Money Man" (1955). During this period, Hung Bo became addicted to drugs, often being late for work without reason, and neglecting work. His colleagues in the film industry also began to be wary of him, and job opportunities were no longer available. In 1959, Hung Bo, who was once very popular, was "in a very bad situation". Soon after his contract with Shaw Brothers expired, he was detained for several days by the Hong Kong government for tax arrears. There was no place for him in the Mandarin film industry. In order to cope with the huge expenses of drugs and gambling, he had to turn to Cantonese films. At first, he could still rely on his past glory to keep filming, but as he relapsed into his old ways and often stood up the crew, various companies also "stayed away" from him. In 1963, director Li Hanxiang, who admired Hong Bo very much, invited him to come to Taiwan to join the "Guo Lian" lineup. In addition to participating in "Xi Shi" (1966, playing the treacherous minister Bo Pi) and "Dawn" (1968, playing the ignorant and corrupt official), he also tried to cheer up and take up the director's post again, but the process was full of twists and turns and disasters. Even Li Hanxiang, who tried to protect him, once had the idea of changing directors. At the same time, the financial crisis of "Guo Lian" became more and more serious, and Hong Bo almost became the last straw that broke the camel's back. After leaving "Guo Lian", Hong Bo continued to stay in Taiwan. Since there were no more filming jobs, he turned to singing crosstalk in karaoke bars for a living, and his footprints traveled all over the country. However, he was unable to get rid of his alcoholism after finding a second spring in his career. His negative style such as being unpunctual and moody made him reluctantly give up the karaoke bar. In the late 1960s, due to poor health and no permanent property, Hong Bo either stayed at friends' homes or stayed in restaurants he often visited, and spent most of his time at home. He committed suicide by jumping off a bridge in late 1968. When he was found, he had only two Taiwan dollars on him.