繁體中文
張徹（1923–2002），原名張易揚，浙江杭州人，香港武俠片導演。他1940年代末由內地來港，先從事編劇與影評，1962年加入邵氏兄弟任首席編劇，1963年重拾導演筒，與袁秋楓合導黃梅調影片《蝴蝶盃》（1965）。1966年他獨立編導《虎俠殲仇》，被視為新派武俠片嘅開山之作。1967年他執導《獨臂刀》，由王羽主演，成為邵氏首部票房破百萬港元嘅電影，為他贏得「百萬大導」之名，也掀起新派武俠片風潮。他的作品以陽剛暴力與男性情誼為主題，先後捧紅王羽、姜大衛、狄龍、陳觀泰、傅聲、李修賢等武打明星，並與編劇倪匡、武指劉家良長期合作。他產量極高，喺邵氏十多年間執導數十部作品，1968年嘅《金燕子》、1970年嘅《十三太保》寫盡兄弟殉義，1971年嘅《新獨臂刀》，以至《報仇》、《馬永貞》、《刺馬》、《五毒》等片，把拳腳同陽剛美學推向極致。1970年他憑《報仇》獲第十六屆亞太影展最佳導演，1972年再憑《馬永貞》獲亞洲影展最佳導演，該片亦開創上海灘題材先河。1974年他赴台灣成立長弓電影公司，1976年重返邵氏。2002年他獲第二十一屆香港電影金像獎終身成就獎；同年6月22日在香港病逝，享年七十九歲。他早期的《邊城三俠》、《大刺客》已奠定其陽剛風格，他訓練武師嘅制度也為邵氏培養了一批動作班底。他亦曾為電影主題曲填詞，其「盤腸大戰」式結局成為日後動作片嘅常見場面，電影喺台灣同東南亞華人市場同樣叫座。他早年曾以筆名喺報章發表影評同武俠小說。其門下出過導演吳宇森，吳宇森早年為他擔任副導演，日後《英雄本色》嘅兄弟情義被視為延續佢嘅主題。他鏡頭下嘅姜大衛同狄龍並稱「雙生」，《大刺客》、《保鏢》等片以快意恩仇見稱。1974年後嘅長弓時期，佢拍攝《方世玉與洪熙官》等少林題材；1978年嘅《五毒》同《殘缺》被西方影迷奉為功夫片經典。1960年代末香港社會動盪，佢嘅武俠片以暴力同義氣回應時代情緒，票房屢創佳績。佢同武指唐佳、劉家良先後合作，設計出「盤腸大戰」式嘅最後對決。1980年代後佢產量減少，但其弟子同班底其後散落邵氏、嘉禾同台灣片廠。佢一生執導近百部電影，並栽培出狄龍、姜大衛、陳觀泰、傅聲等明星；1973年嘅《刺馬》由狄龍、姜大衛、陳觀泰主演，寫三兄弟反目成仇，被視為佢嘅代表作之一。1984年佢執導《上海灘十三太保》，延續幫派恩義嘅主題。1960年代末佢嘅《金燕子》由鄭佩佩主演，係當時少見以女俠為主角嘅武俠片；佢嘅電影喺1970年代嘅台灣同東南亞華人市場同樣叫座，並影響日後嘅動作片同武俠片創作。
English
Chang Cheh (1923–2002), born Zhang Yiyang in Hangzhou, Zhejiang, was a Hong Kong martial-arts film director. He came to Hong Kong from the mainland in the late 1940s and worked as a screenwriter and critic before joining Shaw Brothers in 1962 as chief screenwriter. He returned to directing in 1963, co-directing the huangmei musical The Butterfly Chalice (1965), and in 1966 he made Tiger Boy on his own, now regarded as the starting point of the new-style wuxia film. His 1967 The One-Armed Swordsman, starring Jimmy Wang Yu, was Shaws' first film to take over a million Hong Kong dollars, earned him the nickname the million-dollar director and launched a whole wave of martial-arts cinema. Centred on masculine violence and male bonding, his films made stars of Wang Yu, David Chiang, Ti Lung, Chen Kuan-tai, Alexander Fu Sheng and Danny Lee, and he worked closely with the writer Ni Kuang and the action director Lau Kar-leung. Extremely prolific, he directed dozens of films during his years at Shaws, from The Golden Swallow (1968) and The Heroic Ones (1970) to The New One-Armed Swordsman (1971) and such later landmarks as Vengeance!, The Boxer from Shantung, The Blood Brothers and The Five Venoms, pushing fist-and-leg choreography and a rugged masculinity to their limits. He won Best Director at the 16th Asian Film Festival in 1970 for Vengeance! and again in 1972 for The Boxer from Shantung, which also pioneered the Shanghai-underworld genre. He set up Chang's Film Company in Taiwan in 1974 and returned to Shaws in 1976. In 2002 he received the Lifetime Achievement Award at the 21st Hong Kong Film Awards and died in Hong Kong on 22 June that year, aged 79. His early films The Three Heroes of the Border Town and The Assassin had already defined his style, and the stunt-training system he built supplied Shaws with a pool of action talent. He also wrote lyrics for film songs, and his trademark scenes of bloody last stands became a staple of later action cinema; his films were equally popular in Taiwan and among Chinese audiences in Southeast Asia. In his early years he published film criticism and wuxia fiction under pen names, and the director John Woo, who once worked under him as an assistant director, carried on his themes of brotherhood in A Better Tomorrow. David Chiang and Ti Lung, his two leading men, were known as the twin stars, and films such as The Assassin were celebrated for their tales of revenge. During his Taiwan period he made Shaolin films such as The Shaolin Martial Arts, while The Five Venoms and Crippled Avengers (1978) became cult classics for Western fans. His violent wuxia films answered the mood of a turbulent 1960s Hong Kong and were box-office hits year after year; collaborating with action directors Tong Kai and Lau Kar-leung, he devised the trademark scenes of bloody final duels. In the 1990s he worked only occasionally, but his films were repeatedly re-shown and restored.
