人文湖南 | 慢品社区老房子 · 向梅寓所
永福路147弄33号（向梅寓所）
向梅寓所位于永福路147弄33号。
永福路147弄原是永福路（旧名古神父路）上的曹家巷，北临复兴西路。
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，但直至中华人民共和国成立后还夹杂着简屋和空地。
20世纪80年代为解决住宅困难，见缝插针建了33号一幢六层公房，配套有煤卫设施。
向梅简介
向梅 (1937-) ，祖籍河南巩县，生于北平，原名武相梅，电影表演艺术家。1957年，在天津大学建筑系求学时因参加影片《女篮5号》拍摄而获得观众好评，并由此改变了她的专业，同年进入上海天马电影制片厂任演员。1985年任上海电影演员剧团团长。她的表演质朴自然，戏路很宽，先后在《红色娘子军》《北国江南》《夜航》《保密局的枪声》《蓝色档案》《月随人归》《琴童》《永不调谢的花朵》《流逝的岁月》《丁香别墅》《西游记》等影视剧中饰演各类角色。因在《流亡大学》中饰演校长夫人，荣膺上海市文联首届文学艺术奖优秀电影表演奖、中国电影表演学会表演奖。
向梅
黑丝绒旗袍艳压群芳
在向梅参演的众多电影中，有两部最为著名，分别是《保密局的枪声》和《蓝色档案》。在这两部影片中，她所扮演的角色都是地下党工作者。1979年，向梅先是饰演了《保密局的枪声》中的史秀英。随后，在1980年又接演《蓝色档案》中的沈亚奇。
值得一提的是，《蓝色档案》中的沈亚奇同时具有地下党工作者、中统红人、银行经理三重身份。向梅知道，抓住身份特征是塑造人物银幕形象的关键。可解放时她才12岁，地下党工作者、中统红人、银行经理这三类人她在生活中都未曾接触。为此，她查阅文史资料， 走访地下党老干部，听他们讲述斗争经历，并向企业家与社会名流虚心求教当时的生活与社交实际情况。
向梅在《蓝色档案》饰演沈亚奇
在《蓝色档案》中有一场沈亚奇在大型舞会上首次露面的戏。当时，工作人员选了件红色的挑花丝绒旗袍作为戏服，向梅觉得要从举止风度、气质和服饰穿着上别出心裁、高人一着，才能凸显角色个性，但这又不能哗众取宠，因为沈亚奇有特殊政治身份。一方面，她从站坐姿势、说话神情等生活细节上入手展现当时上层社会女性高雅气质，同时“是否可以穿黑丝绒旗袍出席舞会”这个念头在她脑海中闪过。当她向剧组提出这个大胆的想法时，遭到主创人员的反对，理由有三：一是黑色服装在中国习俗中为丧服，不太吉利；二是彩色胶片最忌黑色，有技术难度；三是中国银幕上，还没出现过女性穿黑色服装出席交际场所的。向梅据理力争，并举出托尔斯泰名著《安娜·卡列尼娜》中女主人公穿黑色服装出席舞会的实例。为什么不能打破传统观念，树立新的审美观呢？向梅把大家说服了，她的建议得到认可，不少人反过来为之献计献策。
就这样，向梅穿着“安娜式”黑丝绒旗袍来到拍摄现场，她胸前挂着晶晶闪亮的项链，气度不凡地款款步入舞厅，顿时吸引了所有目光，赢得一片惊叹。她塑造的沈亚奇美而不媚、正气端庄，犹如鹤立鸡群，达到了预想的艺术效果。一时，那一袭“安娜式”黑丝绒旗袍成为女性话题。她那艳压群芳的形象至今仍被观众奉为经典。
向梅 （钱定华画）
Introduction of former
residence of XIANG Mei
The former residence of XIANG Mei is situated at No. 33 on Yongfu Road.
The Alley 147 on this road was formerly the CAO Alley on Yongfu Road (Gushenfu Road), with Fuxing Road in the north.
In the early 20th century, this place was sparsely populated and most parts were vegetable fields. After the French settlement crossed its border to construct roads, an independent courtyard-style villa was started, but until after the founding of the People’s Republic of China this place was still mixed with simple houses and open spaces.
During the 1980s, to solve the housing difficulty, every single empty space was used to build a 6-storey public apartment at No. 33 supported with facilities of gas and toilets.
XIANG Mei (1937-) has her ancestral family from Gongxian County in Henan province and was born in Beijing. She had a former name of WU Xiangmei and was known as a film performance artist. In 1957, she won the praise of audience for her participation in the film Woman Basketball Player No. 5 when she was studying in the department of architecture in Tianjin University. For this she changed her major. In the same year she entered Shanghai Tianma Film Studio and worked there as actress. In 1985 she served as head of Shanghai Film Actor Troupe. Her performance was natural and unpretending. In addition she was capable of a wide range of performance, playing various roles in films and television plays, including Red Detachment of Women, The Spring in Northern China, Night Flight, The Gunshots of Secrecy Bureau, The Blue File, Return With The Moon, Child Violinist, The Flower That Never Fades, The Passing Years, Lilac Villa, Journey to the West and others. Because of her role as the wife of the president in University in Exile, she won outstanding film performance award of the first literary and artistic award of Shanghai Federation of Literary and Artistic Circles as well as performance award of Performing Art of China Film Society.
Among the many films where XIANG Mei played roles, two were best known, which included The Gunshots of Secrecy Bureau and The Blue File. In these two films, the two persons she played were both underground party members, so it could be said that they were of the same type of role. In 1979, she played the role of SHI Xiuying in The Gunshots of Secrecy Bureau, and in 1980 she played the role SHEN Yaqi in The Blue File. The difference was that SHEN had a triple identity(underground member, favorite of the CISB and bank manager).
As far as she knew, the key to shape good characters was to catch hold of their characteristics. But at liberation, she was only 12 years old and did not see any of the three types of above-mentioned people. In this case she had to learn from life.
She began to get access to the historical and cultural documents, visited the veteran leaders of former underground organization and listened to them telling the experience of struggle. But real life and literary works were after all different. Consequently she came to the Association of Industry and Commerce in the city, looking for businesswomen to make discussion with them and ask them to introduce a variety of life details and style of women in high society, from which she benefited a lot. After careful analysis, digestion and absorption, she melted what she learned into the roles. On the screen she circled round the enemy and special agents in the dance hall, banquet hall, hotel and other communication sites, known as the “Oriental Beauty”.
So, when she first appeared in a large ball, how should she perform? As an actress, stature, shape and appearance were objective realities. Therefore she could only adopt an original approach and took a higher position in manners, temperament and dress in order to highlight her personality. But this was not grandstanding, because the character she played in the film had a special political identity.
To solve this problem, she paid close attention to the sitting position, expression of speaking and other life details in a view of reflecting the elegant temperament of the upper class women. On the other hand she was thinking about what clothes to choose and what kind of jewelry to wear. When the staff members selected a piece of red velvet cheongsam with cross-stitch work, she suddenly had a bold idea in her mind—whether it was possible to wear black velvet cheongsam when she was present at the dance ball? Unexpectedly, this idea was immediately denied by the production team.
There were three reasons. First, black clothes were for mourning in the Chinese customs, which was not auspicious; second, color roll films were most sensitive to black, which posed technical difficulty; third, on the Chinese screen, there had not been such a case that a beautiful woman wearing black clothes attended a communication site.
She argued on the basis of reason and cited as an example the heroine in Anna Karenina, a well-known novel by Tolstoy, who attended dance balls in black dress. Why not possible to break the traditional concept and establish a new aesthetic outlook? She persuaded and convinced everyone and her proposal was recognized. In addition quite a few persons offered advice and suggestions to her in turn.
In this way, she was in black velvet cheongsam to appear at the shooting scene. With a sparkling necklace on her chest, she walked gracefully into the ballroom, attracting all eyes all of a sudden and winning acclamation on the spot.
The role she shaped was beautiful, elegant, and outshining, having achieved the desired artistic effect. For a time, the “Anna style” black velvet cheongsam became a topic among females. Her beautiful image over all others is still regarded as classic by the audience up to today.
信息来源：《200031——一个历史街区的文化记忆》