張伐曾居住于永福路147弄35號(hào)。

永福路147弄原是永福路（舊名古神父路）上的曹家巷，20世紀(jì)初這里人煙稀少，多為菜地，原法租界越界筑路后，開始建獨(dú)院式別墅。

35號(hào)為假三層老房子，類似三開間石庫(kù)門，兩廂一廳。

電影《紅日》根據(jù)吳強(qiáng)同名小說(shuō)改編，取材于1947年聞名中外的孟良崮之戰(zhàn)，拍攝于1961至1963年。張伐塑造的軍長(zhǎng)沈振新，脫胎于解放戰(zhàn)爭(zhēng)中的真實(shí)人物——華東野戰(zhàn)軍第六縱隊(duì)司令員王必成。

《紅日》劇組為再現(xiàn)孟良崮戰(zhàn)役激烈壯觀的場(chǎng)面，遠(yuǎn)赴孟良崮進(jìn)行實(shí)地拍攝。劇組住在一所破舊的小學(xué)校里，張伐平時(shí)休息用的“床”由高低不平的課桌拼接而成，張伐瘦削，躺在堅(jiān)硬的課桌上，可謂“骨頭碰木頭”，并且一翻身，就被課桌間的縫隙夾到皮肉，常常一覺醒來(lái)渾身都疼，但他沒有絲毫怨言。張伐非常能吃苦，因飾演主角，他比其他演員每天早起一到兩個(gè)小時(shí)，在細(xì)致化完妝后便潛心鉆研表演藝術(shù)。

張伐在話劇《大馬戲團(tuán)》中飾小銃

他對(duì)業(yè)務(wù)精益求精，在表演中，能根據(jù)沈振新的身份和特定環(huán)境，從行為動(dòng)作、語(yǔ)言節(jié)奏等細(xì)節(jié)入手豐富人物形象。在他的文學(xué)本和分鏡頭本里，寫滿了自己對(duì)人物、場(chǎng)景、情境的分析。正如曾受張伐悉心指導(dǎo)的仲星火所言：“他創(chuàng)作態(tài)度非常嚴(yán)肅認(rèn)真，很用功。劇本中的每句臺(tái)詞邊上都寫上自己的表演設(shè)計(jì)，寫得密密麻麻的，一點(diǎn)都不含糊?！?/p>

拍攝《紅日》時(shí)有一段時(shí)間恰逢酷暑，氣溫常高達(dá)40攝氏度，但由于拍攝的是冬季戲，張伐還得穿著厚厚的大棉衣、裹著綁腿布。并且，當(dāng)時(shí)《紅日》拍的是寬窄兩個(gè)銀幕，每個(gè)鏡頭都要拍兩次，氣溫高、拍攝時(shí)間長(zhǎng)，張伐衣服濕了又干，干了又濕。在這種拍攝條件下，張伐仍鎮(zhèn)定自若，他用精湛的演技和沉穩(wěn)、質(zhì)樸的表演風(fēng)格塑造出了沈振新沉著冷靜、有勇有謀的指揮員形象，展現(xiàn)了在敵強(qiáng)我弱的困境中，為贏得最后的勝利而廢寢忘食的解放軍指揮員謹(jǐn)慎果敢、正氣凜然的氣魄與風(fēng)采，成為銀幕中永恒的經(jīng)典。

張伐 （錢定華畫）

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.