繁體中文
石慧原名孫慧麗，祖籍浙江吳縣，1934年出生於南京，1947年隨家人移居香港並在港完成中學。她自小喜愛戲劇與電影，多才多藝，擅長聲樂、鋼琴、芭蕾舞與繪畫。1951年，她加入影壇，在泰山影片公司出品、卜萬蒼執導的《淑女圖》（1952）初登銀幕。同年她轉投長城電影製片有限公司成為基本演員，憑陶秦編導的《一家春》（1952）初露頭角，後以《蜜月》（1952）與《兒女經》（1953）走紅，成為長城當家花旦之一，與夏夢、陳思思合稱「長城三公主」，三個名旦之中她排行第二，故亦有「二公主」之稱。六十年代香港國語片以長城票房最盛，三大名旦聯同男角傅奇撐起公司半邊天。石慧從影近三十年，1951年至1979年間分別為長城電影製片有限公司及鳳凰影業公司主演超過四十部電影，尤以活潑可愛、性格天真的小家碧玉角色令觀眾印象深刻。長城時期作品包括《寸草心》（1953）、《小舞孃》（1956）、《蘭花花》（1958）、《笑笑笑》（1960）、與白燕合演的《滄海遺珠》（1965）、《小忽雷》（1966）、《屋》（1970）等；鳳凰時期包括《婦唱夫隨》（1957）、《真假千金》（1959）、《雷雨》（1961）、《生死牌》（1961）、《泥孩子》（1976）等。1979年上映的《冤家》是她最後一部電影。她亦曾在長城出品《鴛夢重溫》（1961）中任副導演。石慧與傅奇在拍攝《蘭花花》期間相戀，1954年結婚；傅奇1952年以《蜜月》一片與她初次合作，二人其後成為長城最為人熟知的銀幕夫婦。在長城一眾花旦中，她以能演、能唱、能舞見稱，與氣質雍容的夏夢、活潑俏麗的陳思思風格各異，三人卻同樣叫座。其丈夫傅奇1929年生於上海，1950年獲長城導演沈天蔭引薦入行，此後夫婦合作無間，傅奇至1970年代末亦兼事導演。她既能演刁蠻任性的少女，也能演溫婉賢淑的婦人，多齣影片的主題曲由她親自演唱，令她成為少數兼顧演技與歌唱的國語片女星。五、六十年代香港國語片市場蓬勃，她與一眾長城演員參演大量社會寫實與文藝題材作品，成為戰後香港市民生活的縮影。1980年以後，她先後出任長城演員室主任、華南電影工作者聯合會理事長等職，並在由長城、鳳凰與新聯三家左派公司合併而成的銀都機構有限公司出任僑發貿易部總經理。八十年代她曾在北京、上海、福州等地舉行音樂會，錄製個人唱片並開個人畫展。1991年她與丈夫傅奇移居加拿大。她清雅而富活力的演出氣質，令她成為五、六十年代香港國語片中辨識度極高的女演員。
English
Shek Hwei was born Suen Wai-lai in Nanjing in 1934 to a family from Wuxian, Zhejiang, and moved to Hong Kong with her family in 1947, finishing her secondary schooling there. Fond of drama and film from childhood and gifted in singing, piano, ballet and painting, she entered the industry in 1951, making her screen debut in Three Smart Girls (1952), a Taishan production directed by Bu Wancang. That same year she joined Great Wall Movie Enterprises as a contract player, came to notice in Tao Qin's Father Marries Again (1952) and rose to fame in Honeymoon (1952) and Aren't the Kids Lovely? (1953), becoming one of Great Wall's leading stars. With Hsia Moon and Chen Si-si she was known as one of the 'Three Princesses of Great Wall'; in that trio she ranked second and was nicknamed the 'Second Princess'. In the 1960s Great Wall was the top-grossing Mandarin studio in Hong Kong, and the three actresses, together with the leading man Fu Kei, anchored its output. Over some thirty years, from 1951 to 1979, she carried more than forty films for Great Wall and its sister studio Feng Huang, best loved for lively, innocent 'girl-next-door' roles. Her Great Wall pictures include A Mother's Heart (1953), Little Dancer (1956), Magnolia (1958), Xiaoxiao Xiao (1960), Pearl Lost in the Sea (1965, opposite Bai Yan), Xiao Hulei (1966) and The House (1970); for Feng Huang she made Song of a Wife (1957), The True and False Daughter (1959), Thunderstorm (1961), The Life-and-Death Pawn (1961) and Mud Child (1976). Her last film was released in 1979. She was also assistant director on a 1961 Great Wall production. She and Fu Kei fell in love while making Magnolia, married in 1954, and became one of Great Wall's best-known screen couples. After 1980 she served as head of Great Wall's actors' unit and chairwoman of the South China Film Workers' Union, and as general manager of the Qiaofa trading department of Sil-Metropole, the body formed by the merger of Great Wall, Feng Huang and Sun Luen. In the 1980s she gave concerts in Beijing, Shanghai and Fuzhou, recorded an album and held painting exhibitions. In 1991 she and her husband emigrated to Canada, where she has long been settled. Her bright yet refined screen presence made her one of the most recognisable actresses in Hong Kong's Mandarin cinema of the 1950s and 60s.
