1942年,第二次世界大战如火如荼,此时的日本在亚洲各战场所向披靡,无往不利。在南洋爪哇岛的热带丛林中,一所日军战俘看守所伫立于此,陆军大尉世野井(坂本龙一 饰)和大原上士(北野武 饰)共同管理看守所。大原作风粗鲁,冷酷无情,他对待欧美战俘从来不留情面,而对于那些有同性恋倾向的人更残酷至极。相比之下,相貌俊美的世野则显得绅士许多。英国陆军少佐杰克(David Bowie 饰)潇洒俊朗。他的第一次出现便让世野心有所动。同性之风盛行的战俘营中,几多情感不能自已。在接下来的日子里,两个人徘徊在家国恩怨和个人情感之间,彼此心中进行着辛苦而残酷的角力……
本片根据英国人劳伦斯·包斯特的小说改编,并荣获1984年电影旬报观众选择奖最佳影片,1984年每日电影最佳导演、最佳影片、最佳配乐、最佳剧本以及最佳男配角(北野武)等5个奖项。
(原载于虹膜公众号)
具体而琐屑一些的表现是,在患癌之后,他希望能在所剩无几的时光里,跟敬爱的巴赫、德彪西那样,一直创作音乐,直至最后一刻。许鞍华去年公映的《第一炉香》,就有他为内地电影的首次配乐。
如今我们悼念坂本龙一,哪怕有再多铺垫,也还是难免恍惚。
写在前面:
1.我是刚结束高考的学生,坐标广东。本文中既有中文也有英文原版,选取内容主要围绕yonoi和celliers的互动展开。
因为水平有限翻译一定会有不足之处,望有心人/前辈指正!谢谢!!!!!
2.一个小小的说明:
原小说中,“我”是celliers生命的见证者,相当于电影中Lawrence先生的角色。
战后我与Lawrence先生重逢,阅读celliers在战争中写就的对于弟弟的忏悔和回忆;我所知的是yonoi和celliers间的暗涌,而Lawrence所知的仅仅只是战后yonoi拜托他去送头发。Celliers的自述和我的旁观占绝大多数篇幅。
A.【yonoi的外表】【正面描写】
就在此时,我确信无疑:yonoi的面影浮现在我们眼前。我们一致认为他令人印象深刻,说不定是我们见过的最英俊的日本人。他有一张祭司一样的脸,一种禁欲苦修的神情。尽管像他的族人那样稍有歪斜,他的眼睛形状优美,闪烁着不可抗拒的光芒。他高而笔挺。他是我见过最整洁的日本军官:制服裁剪合体,没有污迹;军靴仔细擦试过,熠熠闪光。他带着一种对自己与其他人之间差异了然于心的神情;这在以前我们归咎于虚荣,而现在,我对劳伦斯先生说,会不会是出于对某种荣耀的觉知——而那荣耀太过遥远,于我辈而言不可触摸?
Just then, I am certain we both had Yonoi’s face vividly before us. He was a striking person we both agreed, perhaps the most handsome Japanese we had ever seen. He had an ascetic, almost a priestlike face, round head and an aquiline nose. His eyes were well spaced and though slanted in the manner of his race, were brilliantly compelling. He was also taller than most, and straightly made. He was the tidiest Japanese officer I have ever known too, his uniform always well cut and spotless and his jackboots polished and shining. He carried himself with a conscious air of distinction which most of us put down to vanity but which, I now said to Lawrence, may have been concerned with some special notion of honour that was inaccessible to us?
B.【celliers的外表】【间接描写】
……审判他的五个法官之一,就是yonoi。
Yonoi的视线刚扫过他,celliers就注意到他英俊的脸庞上出现了感兴趣的神色,随即迅速转变为一种警觉。相似地——尽管并不如前者那样露骨——其他的法官也紧紧盯着他。Celliers几乎确信无疑他的出现打破了日本法官们对他形象的设想。鉴于kempeitai记录里他在雨林和牢狱里劣迹斑斑的行径,他们之前肯定在内心里已经宣判他为一个外国魔鬼,这般罪恶以致向日本皇军展现出如此顽固和反抗的意志。然而从一开始所有法官——yonoi最为明显——便陷入了不一致中,因为celliers的外表使他们无可救药地开始喜爱他。
“这并不使我感到惊讶,”Lawrence插话说,“语言不通的情景下,一个人的外表是第一位的。再说,日本人对各种各样的美有天生的敏感。我可以想象像straffer那样的外表会让他们如何浮想连翩。”
The moment Yonoi’s eyes fell on him, Celliers noticed a look of interest, quickly transformed into something akin to alarm, appearing on his handsome face. The other judges too, stared at him hard and long though not so strangely as Yonoi. Celliers was certain they had formed a picture of him in their minds which he contradicted. They had already condemned him in their minds from the Kempeitai record of his behaviour in jungle and prison as a foreign devil, evil enough to show a spirit of wilfulness and disobedience to the army of their Exalted Descendant of a Sun-goddess. But from the start Yonoi in particular and the judges in general were disconcerted because his appearance instantly predisposed them into liking him.
‘That doesn’t surprise me,’ Lawrence broke in here. ‘In dealing with peoples whose language one cannot speak one’s physical appearance can be all important. And the Japanese have a natural eye for beauty of all kinds. I can see clearly how a fellow of” Straffer’s” looks would have set their imaginations in motion.’
【yonoi的即兴发挥】
‘You!’ Yonoi said: ‘You – you say you ordered come by parachute Java. Who ordered?’
‘I received my orders from the Commander-in-Chief India,’ Celliers answered.
Pausing only to translate to his fellow judges Yonoi went on:
‘You not ordered by General in Java?’
‘How could I have been?’ Celliers asked. ‘I came from Cairo to Colombo and flew from Colombo to Java two months after the surrender. I’ve never even seen the Commander-in-Chief of Java or had any communication with his officers.’
As he spoke Celliers saw a flash of satisfaction in Yonoi’s brilliant eyes. Yonoi turned to his judges to suggest with tact and passion that the charge of’ wilfulness’ could not be held because Celliers had obeyed, as any soldier must, the orders of his own Commander-in-Chief in India, who was still fighting.
这里说明一下:这个wilfulness很难翻译出来,可以说是日本人心目中最重大的罪,类似于“在没有将官命令条件下作为个体的士兵依然负隅顽抗”。如果此士兵是因为有命令而战斗,他可以作为战俘而被接受;但如果他是孤军奋战,他会因为这种“邪恶的顽固”而被定罪处死。
C.【Lawrence一脸很懂的神情】【又甜又虐】
这段捡重点翻,我看得不能自已!!
……一个高个儿宽肩的孤独身影被推搡进门里。他穿着破烂的草绿军装,一头长发,和我们的光头相比过于繁茂以致于近乎色情(?)……他努力尝试着不用两个陪同士兵的帮助直立行走……
…… “yonoi干涉了!”Lawrence几乎难以置信地大叫起来。过了一会儿,他突然问了一个看起来最不相干的问题:“celliers……他的外表十分悦目,对吗?”
我回答“是”然后问:“为什么这么问?”
Lawrence大大地咧嘴笑起来。“时机成熟后我会解释,”他向我保证,“不过,我想你告诉了我个中关窍——那个谜一样的yonoi曾让我去做一件事。不错,最近我刚见过他。不过你不能就此停下——请继续讲吧!”
I went on to tell Lawrence that I’d been standing there at the gates on watch when suddenly they had opened. I’d half expected a company of infantry to come rushing in on one of their prison searches but it had been just a solitary, tall, broad-shouldered figure, which had been pushed in through the doors in a torn jungle-green uniform, with an untidy head of long hair which, after our cropped heads, looked lush to the point of obscenity. He carried an empty shoulder-pack dangling in one hand and a field flash on his hip, while he tried to walk upright without the help of two Kempeitai privates at his side. Even the sentries were surprised. They had seen comings and goings of secret police cars and concluded that something far bigger than the release of a prisoner from secret confinement was contemplated. And in a sense they had been right for I discovered afterwards that that day we were to have been summoned to attend Cellier’s execution but that largely due to Yonoi’s intervention he had been reprieved at the last moment.
‘Yonoi intervened!’ Lawrence exclaimed incredulously. He half-whistled and then asked what seemed the most inconsequent of questions: ‘Celliers was very fair in colouring, wasn’t he?’
‘I said “Yes” and then asked: “Why?”’
He smiled one of his grave smiles. ‘I’ll explain when the right moment comes,’ he assured me. ‘But I think you’ve given me the key to something that the enigmatic Yonoi once asked me to do. Yes. I saw Yonoi myself on a later occasion. But you’d left the island by then – Go on!’
Fair in colouuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuur!!!!!!!!!!!!!!!!我疯了
D.【yonoi骂人现场】
这个……怎么翻都丧失神韵……我要笑疯了
All this time Yonoi’s inquiries after Celliers became ever more impatient. It became no longer a tense question of: ‘Sick officer? Health, how?’ but more irritably: ‘Sick officer not well? Why? Why not well? Lakas! Quick! Lakas!’ One evening towards the end of Celliers’s hospital term he was so angry when I reported Celliers as still unfit for prison duty that I thought he was going to hit me. He stood in front of me with a quick intake of breath, hissing between his teeth and rocking his head from side to side. A strange ventriloquist’s growl began to rise in his stomach until he screamed: ‘Officer not well because your spirit bad! All prisoners spirits bad! Spirit so bad nothing grows in prison gardens! All, all, very, very bad.’
……yonoi对celliers病情的询问越发不耐烦起来。那不再是一个紧张的问题:‘Sick officer? Health, how?’却变得更加恼怒:‘Sick officer not well? Why? Why not well? Lakas! Quick! Lakas!’
……他站在我面前深深吸气,牙关嘶嘶作响,愤怒地摇头。那种奇怪的近乎腹语的怒吼又从他的胃里涌上来,他尖叫道:‘Officer not well because your spirit bad! All prisoners spirits bad! Spirit so bad nothing grows in prison gardens! All, all, very, very bad.’
插一句:这里让yonoi费这么大劲吼一句“nothing grows in prison gardens”是有用意在的,yonoi以为没有,但实际上celliers就是那个播种者。
E.【yonoi探监现场】【大家看黑体】【我不翻了】
I was increasingly confounded when the doctor reported to me that from time to time Yonoi would appear without warning in the open entrance of the hospital cantonment. He would stand there looking at the corner where Straffer lay, taking no notice of anyone else. He would just stand there staring at Straffer as if – as one Australian doctor put it to me – they were two of a kind. The doctor added: ‘Made me uncomfortable. Something not quite healthy about it.’
The strange thing was that Yonoi’s interest never brought him to speak to Straffer on any occasion. After standing there for some time he would summon the doctor in charge and say: ‘Officer there: make well!’ Finishing in that expressive Malay word: ‘Lakas! quick!’
大意就是,yonoi缦立远视,却从来不和celliers讲话。
F.【一些思考】
‘Hear what?’ I asked alarmed by the urgent tone of his question.
‘The music,’ he answered.
Puzzled, I listened more intently than ever. Apart from the normal electro-sonics of that tropical island and the throb of its volcanic heart beating at the temples of the thin-skinned earth of the island there was no sound to be heard.
I told him so but he insisted, saying: ‘There’s the most enchanting music in my ears. It’s all around us. It’s lovely and it’s everywhere.’
这段对话发生在——相当于电影结局的位置——战俘正列队站好,yonoi正在赶来的路上。在小说中,celliers的弟弟正死在此刻,死前他也听到了相同的音乐。
看电影时,音乐穿插交织在重要的情节;那晶莹空灵的旋律近乎无所不在,是否也在呼应小说里这句It’s all around us. It’s lovely and it’s everywhere.’呢?
与电影相较,小说把更多的篇幅和更大的比重给了celliers对于弟弟的回忆和讲述。小说突出了他作为赎罪者的身份,而电影,从日本人的视角出发,体现的却是celliers自由无畏,充满生命力的特点。两相比较,的确饶富深意。
Celliers囿于学院中众人的冷嘲热讽放弃了弟弟。Yonoi的背叛则可分为两个层面来解读:一者,是他自以为的,在二三六事变中背叛了同伴,从而背负了独活的耻辱;而真正的,也是他所未曾发觉的,是他困于军国主义背叛了爱与人性。这种耻感紧密连接着两者——电影中,celliers不羁地坐在床上说“我觉得我和他是一类人”换来Lawrence疑惑又了然的挑眉;小说里,celliers对我剖白:“我们像鸟,因为过于华美的羽衣而落入相同的网。”(仅凭记忆翻,准确表述见原著)。
他们都是曾经受到集体压抑而无法流露出人性(或言爱)的灵魂。而真正美丽的在于事情在于,前者通过自毁实现了赎罪和对后者的救赎。
(泪目)
G.【对于celliers的解读】
“在他的生命中,他感到最紧要的事情是让普适性变成针对性,让共性成为特性,让集体还原个体,同时让我们内心的无意识被意识。”
这段话可说是解读celliers的关键了,诚挚邀请大家贡献自己的翻译版本!
Here Lawrence pressed me hard to recall everything I could of the conversation, and I became rather embarrassed. At the time when Celliers was talking to me there was a lot that I hadn’t understood as I felt I did now. But to try and explain it all to Lawrence made me feel extremely uncomfortable. My whole upbringing and tradition were against so naked a conversation. I think, towards the end, Celliers himself had sensed something of my unspoken reservations, for he had concluded rather abruptly by saying that, as he saw it, he felt the first necessity in life was to make the universal specific, the general particular, the collective individual, and what was unconscious in us conscious.
H.【celliers之死】【这段不翻】
In my despair I turned openly to Celliers.
Before I could speak he spoke to me in a low and reassuring voice as if he were still hearing the music in his ear. He said: ‘I’m going to stop it now. It’ll be all right. But whatever happens do nothing about me. Remember, nothing. Goodbye.’
I did not have time or mind to take in the significance of that ‘good-bye’, nor recognize it then as a clear indication of his knowledge of what the end was going to be for him for as he spoke he stepped out of the ranks his new hat at a rakish angle on his head and the sun flashing on its mutilated badge. He walked, as Lawrence had already remarked, most beautifully. Without hurry he advanced on Yonoi as if he were going across a paddock at home to do no more than take a high-spirited stallion in hand.
The effect among our prison ranks was startling. No sound broke from us but the atmosphere became unlocked and flowing. I knew that without even looking round. Celliers’s reputation had already spread throughout the camp and hope flared up in our ranks again. Even I, though I had no idea what he could or would do, found a too-sweet excitement going through me as I watched his easy almost nonchalant approach. It was truly wonderful; perfectly timed and executed. Anything faster would have alarmed them. Anything slower given them time to recover. Anything before that moment would have failed for Yonoi and his men still would have been free to rush forward and stop him. But finding themselves abandoned by the conclusion they thought foregone they hesitated and just gaped at Celliers, waiting for Yonoi to give them the lead.
When Yonoi opened his eyes again after his short prayer to the spirit, the Maru of his sword, Celliers was barely fifteen yards away. Amazement like the shock of a head-long collision went through him. Going white in the process he stared in a blank unbelieving way at Celliers. For the first time in days he was compelled, because of the unfathomed identification between Celliers and himself, to see someone outside himself.
Amazement then gave way to consternation and he cried out a command in English that was also a plea: ‘You – officer – go – back, go back, go back!’
But Celliers went on to place himself between Hicksley-Ellis and Yonoi and said something quietly and unhurriedly to Yonoi.
Yonoi appeared not to have heard him. He shrieked again: ‘You – go back, back, back!’ like someone trying to scare a ghost.
Celliers shook his head quietly and went on staring at him steadily as a disarmed hunter might stare a growling lion straight in the face. Perhaps more in terror than in anger, Yonoi raised his sword and knocked Celliers down with the flat of it. The crack on his head rang out like a pistol-shot to be followed by another exhortation to Celliers to go back. Dazed, Celliers struggled to his feet, swayed and half-turned as if to obey – then swung around suddenly. He took a couple of paces back towards Yonoi, put his hands on Yonoi’s arms and embraced him on both cheeks rather like a French general embracing a soldier after a decoration for valour.
The shock of this strange action was unbelievable. I do not know who apart from Yonoi was shocked the most: the Japanese or ourselves.
“He walked, as Lawrence had already remarked, most beautifully.”
刻骨铭心只是一瞬间。
我并不知道他的再见意味着什么。
在场没有一个战俘,一个日本士兵知道在这个瘦削孤独的男人内心,无声的乐曲奏响
竟然没有一个人可以追上他的脚步,可以拉他一把,让他停下。
Celliers从不自知他致命的诱惑力。他已经惯于在放荡的孤独中闪光。
他的行走从容不迫,恰好完美地抵达了yonoi,他的罪以及他的死亡。
I.【关于结尾】
我最喜欢的结尾都有 “宕开”“褪去”的意味在,叙述得体地结束而余韵萦回不去,比如了不起的盖茨比,活着,西线无战事这三本。
Lawerence:“日本人无意识地选用沙刑,恰恰暴露出对celliers举动所埋下种子的认可。他们把他笔直的树立在沙中;后来他又被yonoi供养在群山之中的神庙里;而现在,这粒种子在你与我的心中仍然鲜活,茁壮生长。”
‘You see,’ Lawrence said to me now, his voice low with feeling: ‘the seed sown by brother in brother in that far-off homeland was planted in many places. It was planted that day in your prison in Java. Yes, even in the manner they killed Celliers his enemies acted out their unwitting recognition of the seed of his deed, for they did not only bury him alive but planted him upright like a new young growth in the earth. Even the manner of their denial of the deed was confirmation of what was rejected. He was planted again by Yonoi on the hills and spirit of his native country, and here again the seed is alive and growing in you and me.’
我相信如果不是我的妻子回家并用杂事打断我们,我们会继续谈下去。当我去检查屋顶最后一扇窗户时,我伫立了一会儿,凝视着窗外西沉的太阳。是的,圣诞节伟大庄严的灰色平静将要迅速消逝,西南方苍黄的天空里,破破烂烂的云团正朝我们涌来。多么喜悦,能够感知到自然中的事物如此自由狂野,处于动荡之中。我依旧站在那里,满心欢迎风暴的到来,就像celliers再次从他出生,成长,死亡,埋葬和供养的许多地方归来,重新生机勃勃地站在我身后;就像他的声音再度在我耳畔响起:“风与神,土地与生灵,雨水与万物,雷电与话语,种子与播种者,都相与为一;而于人而言唯一必要的事情,是选择他的种子并祈祷其内在的播种者以其举动和形迹去播撒它们,那以后的丰收将伟大丰饶。”
I believe he might have gone on had my wife not entered the room just then and asked me to see to the windows and doors because a wireless warning had come through that a great gale was bearing down on us fast. When I came to check on the last window at the top of the house I stood there for a while looking out at the dying day. Yes, the great grey calm of Christmas was breaking fast. In the south-west against the pale yellow sky the clouds, ragged and torn, were coming racing towards us. The elements were loose and wild with movement and how good it was to know them once more on the move. I stood there with a heart full of welcome for the storm and it was as if Celliers had come again from all those many places in which he had been born, lived, died, been buried and enshrined, to stand behind me renewed and reintegrated, saying clearly in my ear: ‘Wind and spirit, earth and being, rain and doing, lightning and awareness imperative, thunder and the word, seed and sower, all are one: and it is necessary only for man to ask for his seed to be chosen and to pray for the sower within to sow it through the deed and act of himself, and then the harvest for all will be golden and great.’
说明:celliers被监禁时遇到了爪哇岛上的风暴,他评价这是他“最喜欢的”。
感谢阅读!
《圣诞快乐,劳伦斯先生》可能是史上最有名的同性恋的电影了,但是我觉得这个片如果不当成同性恋看也完全可以,它其实讨论的是肉体和精神的问题,是大岛渚对日本文化的切腹式惨烈剖析。作为亚洲人我喜欢这个片远胜过类似探讨民族性的《桂河大桥》,很有兴趣知道西方的观众能不能看得懂大岛渚这个片,能看懂几成。
肉体和精神
东方民族强调精神,蔑视肉体。日本人更是其中翘楚,凭借万岁冲锋在日俄战争中击溃了俄军,也让美帝在太平洋吃了不少苦头。旧日本陆军看不起英美鬼畜,觉得他们精神力太弱,尤其看不起战俘,那不过是些贪生怕死的小人,不值得尊敬。我们日本人个头小,坦克也小,但是我们精神上比你们高大,这是日本人的哲学。
但是日本又是极端恋物的民族,刀是武士道的象征,军官都要练柔道和剑道,通过强健肉体来强健精神。武家出身的军官都要带着祖传军刀上战场,背着这么一个早已没有任何实际用处的铁疙瘩南征北战实在让人费解,这都是会用非积分算弹道的人啊!日本人自己也觉得这事儿不大对头,于是发明出一套说法,比如宫本武藏用船桨击败了用剑的宿敌佐佐木小次郎,以此证明剑道的最高境界就是手中无剑心中有剑云云,可这符合“Fair play”的西方骑士精神吗?日本武士们也还是以宝刀为荣,没见谁拎着个船桨走来走去的,可见并不能自圆其说。
电影一开始就是一场对同性恋朝鲜军人金本的审判,金本明明是因为强奸荷兰战俘让日军蒙羞而被勒令切腹的,原军曹却和世野井上尉说他是执行勤务中由于事故死去,这样金本就能进靖国神社,他在朝鲜受苦的遗族就能拿到抚恤金。后来上尉的勤务兵刺杀Celliers失败切腹,原军曹故技重施,为的也是一点抚恤金。两件事世野井都知情,都默许了。
那么问题来了,勤务兵实践还算有情可原,可如果日本人真的是这么注重荣誉和武士道精神,为什么选择撒谎让金本这样的耻辱也进靖国神社?这样做是不是为了金本遗族的肉体而牺牲了神圣的武士道精神?这是日本人充满矛盾的默契,也是日本人所谓的“和”的精神。
东方和西方对于肉体和精神的理解不同,日本人认为肉体是精神的累赘,肉体吃点苦对精神有好处,而西方人认为两者是一回事儿。日本人在切腹前要斋戒保持头脑清醒,而Celliers在行刑前假装喝茶吃早餐;原军曹在日本兵的葬礼上诵经祈求灵魂的超度,而劳伦斯在荷兰兵的葬礼上祈求上帝赐予面包;日本人用斋戒纪念亡魂,英国人在追思同袍时吃万寿糕….英军战俘似乎无时无刻不想着肉体的满足,而日本人则无时无刻不在强调精神,这是双方的不理解,也是双方的冲突所在。
世野井和Celliers初次见面是在法庭上。在日本人看来投降是不可忍受的耻辱,而对英国人来说这只是个人选择。Celliers只带着5个人就敢空降爪哇袭击日军运输部队且屡次得手,仿佛阿拉伯的劳伦斯在世,这是日本人觉得不可思议的壮举,但他在弹尽粮绝后却选择耻辱的投降,这是日本人不能承受的耻辱。世野井在炎热的热带也坚持穿禁欲的立领毛料军装,而Celliers却“寡廉鲜耻”的在法庭上脱掉上衣公然展示他伤痕累累的后背。世野井是法庭上唯一为Celliers辩护的日本军官,还引用了莎士比亚的“To be or not to be”。两人由此开始互相欣赏,对世野井来说,肉体上消灭Celliers是容易的,在精神上战胜他是困难的,精神上的胜利才是真正的胜利,两人的较量也由此开始,都想在精神上压倒对方。
Celliers被假意执行枪决,一轮齐射后毫发无伤,这是对他的精神执行枪决。世野井从Celliers背后洋洋得意的走出来,这是下马威,是两人的第一次较量。
剑道、切腹和斋戒——精神的较量
正如劳伦斯所说,在Celliers来到战俘营以后,世野井就“兽性大发”,练习剑术时的嚎叫吓坏了英国伤兵。从朝鲜兵金本那场戏中我们可以看到,以前世野井练剑是用木剑的,而Celliers来了以后就用真刀了,还割伤了对手。他的喊叫是一种精神更强的炫耀,Celliers和劳伦斯都觉得他心里有事。
“If he got something in his mind, Why don't he come out?”
“I think he is”
Come out 是双关语,出柜的意思。
世野井安排英国军官出席金本的切腹仪式,Celliers因为虚弱没到场,世野井有些失望。切腹是一种精神的炫耀,原军曹说没见过切腹就不算见过日本人,这是日本人最强的一面,也是最想展示给英国人的一面,我们大和民族可以忍受痛苦献出生命,而你们英国人却向敌人摇尾乞怜。而劳伦斯说“你想让我讨厌日本人吗?”这是英国人眼中日本人最丑陋的部分,即使蔑视生命,也是不敢直面命运的懦弱。
切腹仪式后,世野井命令英国人斋戒,自己也会和英国人一起斋戒,通过肉体的苦难消灭精神上的怠惰。这也是要在精神上压倒英国人,展示日本人更能忍受肉体的痛苦,日本人认为抗拒斋戒的上校不尊重死者。斋戒期间,Celliers公然违抗命令偷了万寿糕和花一起分给英军伤兵,他当众吃花,还把花献给闻声而来的世野井,坦荡的根本没想隐瞒什么。这场戏是全片的第一个高潮,Celliers的举动是作为军人对敌人的桀骜不驯,是作为军官对士兵的关怀,是作为基督徒对异教的蔑视。而他本人既违反了斋戒(吃东西)又没有违反斋戒(吃的是花,不是食物),无论从英国人的角度还是从日本人的角度看这个举动都是“Honorable”的,完全跳脱了日本人的价值体系,世野井气的一点办法没有,只能无力的骂一句
“Are you a evil spirit?!”
“One of yours I hope”
又是双关语,负数,是神道教的恶灵,而不是基督教的魔鬼。世野井真是处处被压制啊。
精神上的怠惰
在世野井看来,Celliers是一个”Honorable man”,他想用Celliers换掉老顽固英军上校。“You are all honorable men but I prefer another Honorable man.”从日本人的角度来看,上校是一个精神怠惰的人,他从不思考,只活在自己的世界里,无脑的恪守英国人的行为准则,认为只要把日本人当傻瓜混日子就好了。当劳伦斯告诫他日本人打败过俄国人的时候,上校第一反应是“你哪个学校的?”他坚信盟军会很快胜利,混混日子很快就能出去,那是1942年,英国人被马来虎山下奉文打的满地找牙,这种盲目乐观和日本人迷信天皇是神有什么区别?小心鬼子给你来个巴丹死亡行军专治各种不服。
而Celliers则更了解日本人,用日本人的方式和日本人斗。他和劳伦斯越狱以后被世野井撞见,世野井要求决斗,赢了就自由了,这当然不是肉体的自由,而是精神的自由。Celliers笑着放下了刺刀,他并不怕决斗,他选择用自己的方式证明英国人的精神更强大,在精神上压倒并征服了世野井。
与世野井一直想在精神上胜过英国人不同,英国人对精神上并不怎么关心,劳伦斯对其中的无力感有切肤之痛,所以他说“有的时候胜利是难以承受的”。原军曹可以平静的接受死亡,但是他不明白自己错在哪里,他只是做了和其他士兵一样的事,谁对谁错到死都没有一个定论,到影片结尾这口气也没吐出来憋在心里,所以社会我武哥一句“Merry Christmas!Mr,.Lawrence!”才有力量,看了多少次都觉得有力量。
从集体中救赎自我
集体和自我是军队永远要面临的问题。军队希望军人有主见,有判断力,能抓住转瞬即逝的机会,但是团结就是力量,军队要求个人服从集体,在发生冲突时个人要为集体牺牲。世野井和Celliers都有一段不堪回首的往事,这是他们一直想在精神上摆脱的,是作为个人对集体的依恋和憎恶
世野井和劳伦斯在雪白的教堂前有一段对话,劳伦斯喜欢日本的雪,雪可以掩盖很多不堪,体现日本人追求的精神纯净的美。世野井回顾了226那天,他本该是“撅起”的少壮派军官中的一员,朋友们在失败的兵变后被枪决,而他在兵变前三个月被派往满洲,成为集体中苟活的一个。从神道教的意义上来讲他应该成神而不得,在精神上已经死了,所以一直活在愧疚中,这是他对集体的执念。
Celliers和劳伦斯的一段对话,追忆了童年往事。弟弟有天使般的歌喉,也因此被其他小朋友捉弄,他一直护着弟弟。这里有一段兄弟俩在卧室的对话,弟弟一直在哭,而Celliers童年就表现出英雄气概,潜台词是弟弟太软弱了,哥哥想让弟弟变强。Celliers为了让自己融入集体而任由弟弟被霸凌。这段镜头构图非常美,集体和个人的对比,喧闹和孤独的对比。这本该是成为男子汉的仪式,却变成了弟弟天赋被阉割的仪式,也让劳伦斯开始厌恶集体。他变成了一个孤独的人,无论在利比亚还是在爪哇都是单干而且不要命的勇猛军人,由此获得了“Strafer Jack”的诨号。劳伦斯半开玩笑的说他应该加入法国外籍军团,和法庭上日本人反复问Celliers是否有假名字一样,外籍军团在服役那一天就会给你一个假名字,意味着和过去的自己告别,但那是社会意义上的告别,无法逃脱内心的魔鬼。Celliers之所以坚持用真名,因为他并不关心世俗意义上和自己的和解,更在乎内心的真正和解和平静。
表面相同的两个人,一个拥抱集体,一个要找回自我,完全相反的两个人又惺惺相惜,这也是东西方文化不同内核的碰撞。
基督教和神道教
和《桂河大桥》相比,我更喜欢《圣诞快乐,劳伦斯先生》,大岛渚的野心更大,更彻底,直接让西方人和日本人在文化根源上来一场碰撞。
本片的宗教元素简直数不胜数,如果把OST拿出来单独听,每一段音乐都非常诡异,仿佛一种奇怪的宗教体验,而主题曲《Forbidden colors》基本就是宗教歌曲了。
The wounds on your hands never seem to heal
I thought all I need was to believe
Here am I, a life time away from you
The blood of Christ, or the beat of my heart.
这是坂本龙一最有名的歌,也是世界上被翻唱的最多的歌之一,当然你可以把它理解成情歌,可是歌词又明明白白告诉你:The wounds on your hands,The blood of Christ,这是宗教歌曲啊!如果把Forbidden colors理解成基督教和神道教的惺惺相惜也未尝不可,钢琴配上那个类似木鱼的清脆响声也是两种宗教音乐的融合。如果从象征意义的角度来看,可以把Celliers理解成基督的化身,把世野井理解成神道教的“神明”,劳伦斯和原军曹就是神的意志在人间的体现。
作为一个钢铁直男,我眼中《圣诞快乐,劳伦斯先生》最后的一吻并没有爱情的意思。在我看来这是基督之吻,分别亲吻世野井的左脸和右脸正是耶稣说的:“有人打你的右脸,连左脸也转过来由他打”。基督徒的宽容为的是赢得最后精神上的胜利。而从神道教的角度看,这个人不怕死,用自己的死保护了同袍,暴力在软弱面前居然如此无力,这是日本人在精神层面的溃败,所以世野井晕了过去。
Celliers最后被活埋。这种活埋方式正是Celliers不愿加入的外籍军团的标志,意思是March or die,前进或者死亡。军团在北非行军时会把违反军法的士兵埋在沙漠里,漏一个脑袋,然后大部队继续行军,这是漫长而孤独的死法。有趣的是Celliers可死的一点也不孤独,有伤兵唱诗篇第23篇
耶和华是我的牧者,我必不致缺乏。
他使我躺卧在青草地上,领我在可安歇的水边。
他使我的灵魂苏醒,为自己的名引导我走义路。
我虽然行过死荫的幽谷,也不怕遭害,因为你与我同在,你的杖、你的竿都安慰我。
在我敌人面前,你为我摆设筵席,你用油膏了我的头,使我的福杯满溢。
我一生一世必有恩惠、慈爱随着我,我且要住在耶和华的殿中,直到永远。
这是送行的歌,当然也可以把耶和华理解成Celliers。世野井来切走了一缕头发,并庄重的敬了一个军礼,这缕头发被供奉在家乡的神社中。此刻Celliers头上爬过一只飞蛾,从神道教的角度,这是他的灵魂,是肉体消亡,是灵魂融入自然,是基督教和神道教的和解。
最后必须吐槽一下大卫鲍伊和坂本龙一两位摇滚巨星的演技,跟说相声的社会我武哥比差太远了。俩人从头作到尾啊,各种作啊,但是人家是摇滚巨星,摇滚巨星耍帅就足够了啊!而且人家演的是神,整体效果居然还不错!真是长得好看就可以为所欲为啊!
电影中的“物”
整体来说《圣诞快乐,劳伦斯先生》的镜头语言非常简单克制,镜头数量少,剪辑速度慢,很多镜头都非常稳,大岛渚非常擅长通过这种手法来营造仪式感。著名的主题曲《Forbidden color》就更不用说了,那基本就是一个宗教音乐。除此之外,电影里的道具布景也都是极其讲究的,每件都堪称“法器”。影片几场重要的戏都发生在世野井的办公室中,办公室装修极简,屋里的物件屈指可数。这种所谓的“性冷淡”风才是真正的恋物癖,真正恋物癖绝对是这种“家徒四壁”风,杂乱产生烟火气,极简营造仪式感。
《八纮一宇》条幅。这条横幅挂在世野办公室中最显眼的位置。这是旧日本国家神道教的概念,“九州外有八泽,方千里。八泽之外,有八纮,亦方千里,盖八索也。”意思是“天下大同”。二二六兵变军人的口号就有“使日本天赋之类,传遍八纮一宇”的口号。二战中“八纮一宇”一直是日本的国家格言。从这个横幅能看出世野井的民族优越感,要在精神上战胜英国人,实现天下大同,同时也代表他二二六事变中的过去,所有“错误”的决定都是在这块“八纮一宇”的横幅下做出的,不能不说是一种讽刺。
武士刀。刀是日本民族的象征,也是影片中最重要的道具。日本人所说的“刀”其实指的是刀条,其他刀鞘,刀柄,刀鐔等等都属于刀装,是刀的衣服。和人去不同场合穿不同的衣服一样,刀也有不同的刀装。平时武士会把刀换上朴木白鞘放在架子上,一是保护刀,二和人在家穿睡衣一样,是一个放松的状态,代表精神的放松。影片中世野井只有两个刀装,军刀装和刀条状态。世野井在办公室的几场戏中,刀都是仅仅一个刀条放在架子上的,而北野武在办公室时这把刀都是军刀装。如果刀象征日本人的精神,刀条就是世野井赤裸的精神面对Celliers,比身体的裸露更加香艳。
剑道馆。除办公室外,劳伦斯和世野井的对话大部分都发生在剑道馆,这个剑道馆是雪白的天主教堂改造的,日本兵的超度仪式也在这里举行,虽然没有“八纮一宇”的条幅但是也表达了天下大同的意思,也意味着日本人要在精神上战胜西方人的强烈意志。
烟和酒。烟和酒都代表肉体的享乐,世野井抽烟,原军曹喝酒,这是他俩为数不多的能称得上肉体享受的嗜好。世野井烟抽的克制,每次吸烟之前要拜一下天皇,而原军曹号称能一直“醉下去”,这是对享乐的克制和迷恋。在原军曹放了劳伦斯和Celliers以后,世野井关了他禁闭,嘱咐不要喝酒,但是递给他一根烟,一个特写镜头是香烟上印有菊花,这是天皇御赐的烟,可以理解成一种神道教意义上的奖赏。
军服。战争片中没有比军装更重要的道具了,军服的选择看似不多,但片中的讲究是非常多的。军事法庭上除世野井外的所有军官都穿热带常服,而且把衬衫领子翻出来,这是为了保护外衣领子免受磨损的常见做法,但并不符合军事条例。只有世野井穿了全套的毛呢98式军装,暗示只有他没有把这场审判当成儿戏。全片日本士兵的上衣就没干过,总是被汗水浸泡的湿淋淋的,而世野井的制服一直笔挺,这也是他精神强大的象征。英军着装则更为有趣,在战俘营衣衫褴褛有情可原。英军上校穿全套热带军服,上衣穿了两件,下半身却穿了短裤,也是唯一穿短裤的英国军官,和世野井锃亮的马靴形成鲜明对比,暗示他在精神上并不能够和世野井平起平坐。Celliers的着装虽然简单随意但也一丝不苟,所有的英军都穿卡其色,只有他穿橄榄绿,还穿了全营最好的一双ammo boots,永远系着围巾,戴一顶仪式感十足的澳大利亚圆边帽,外表丝毫不输给世野井。和世野井严肃的对待英国人一样,他也严肃的对待日本人。
波斯毯。世野井给了Celliers一条波斯毯,这玩意在什么年代都是好东西啊!Celliers用它打晕了来刺杀他的勤务兵,然后亲吻了一下毯子,在抱着劳伦斯逃跑的时候也没丢掉这条毯子。影片中的一切都是硬邦邦的,粗粝的沙地,灼热的烈日,英国人发霉的行军床垫,剑道馆里日本人赤脚踩在带刺的木地板上,这条毯子是唯一柔软有带有肉体享乐色彩的东西,象征了克制的肉欲。但是波斯毯也容易联想到穆斯林的祈祷,也是有宗教色彩的
佛珠和护腕。在我心目中这是人狠话不多的武哥表演最精彩的一部电影。社会武一手拿刀一手拿棍子,刀随时准备给日本人借错,棍子随时准备削英国人,尤其要狠狠地削劳伦斯,这不就是“法西斯”的化身吗!这么一个人却脖子上永远挂一串佛珠,在圣诞夜救了劳伦斯和Celliers,还号称圣诞老人。他既明白“救人一命胜造七级浮屠”也能给人借错,既拜菩萨也不排斥基督教,所以两次“圣诞快乐,劳伦斯先生”要从他口中说出,这才是“八纮一宇”,天下大同。
其他
其实还有很多可以说,比如劳伦斯和社会我武哥互相的看法,电影中的下剋上,佛教和神道教,世野井和三岛由纪夫之类的,实在是懒了,有机会聊吧
最后的最后,他只是在他爱人死去的那晚,拿军刀割下了这个蓝眼睛黄头发男人的一缕头发。他深爱着他,可是他逃不出他的深渊。 我此时坐在这里,回忆着两天前看的电影画面,它们缓慢地闪过,缓慢得仿佛走了许多个世纪。其实现在想来我也大抵只愿记起一些美好的,观影过程的紧张崩溃在了最后的绝望中,然而终究看过一遍以后,明白再深重的苦难也已画尾,才有胆量说我想写,把这后感写出来。 他那样美,那样美。一身青衣,挡住暴虐。世野井的气质,让人觉得安定,从一开始的紧张压抑里把人解救出来。然而,之后当他看到西里尔斯,这一潭深水便颤动了。 我想我大概永远都记得住,世野坐在高高的法庭上,目光下移安静地看着西里尔斯,那个深深的定格,那一瞬间坂本龙一的脸美极了,他的眉眼突然之间温柔起来,但又充满了宁静的宿命味道,我从来都无法抵御这种拥有仿若浮世绘中人物眉眼的男子,他端坐在那里,似乎身旁紧张的辩诉与他毫无关系,他只是定定的看着眼前的碧眼男人,然后,微微地把眼眯起来。那时候,我第一次看懂了什么叫一见钟情,那时候,我甚至觉得坂本龙一真的爱上了David Bowie。 他那样的坚决、勇敢、不可一世,像一个意外,像一只自由的鸟,有着锋利的喙,爪子上布满了象征荣誉与经验的伤痕,雄壮的翅膀挣扎出美丽夺目的羽毛,一双眼睛仿佛可以刺穿天云。他想网住他,世野第一次看到西里尔斯他就想网住他,他稚弱地用莎士比亚的台词来作为他和他的开场,笨拙地显示着自己与其他愚夫莽汉的不同,他操练着别扭的英语,走下审判席,走近那个男人,却把手插进了兜里,好像想要靠近他却又怯懦地在保护自己一样,世野在西里尔斯面前几乎一直都是弱势的,他的问题被他巧妙而轻蔑地回答着,他袒露的背脊让世野慌了手脚,那个喊着“快穿上衣服”从痴迷表情中回过神来的军官,可爱的就像是一个情窦初开的小小少年。 之后的他,便只知默默而又假装没有意识到自己行为反常地保护着西里尔斯。他毫不犹豫地在法庭上喊出“我相信他”,原本板上钉钉的审判也大抵在他的作用下发生了改变。有一点东西,暖暖地渗到了这充满哀伤着色凝重的影片里,渗到了它繁重拖沓的长镜头里。这点东西,也许,叫做爱情吧。也许吧。 之后的那一幕,西里尔斯在牢狱中虚拟梳洗的样子深深地打动了我,到那时我才真正明白为什么世野一眼便会爱上这个男人。他与他一样美,有着些微自恋倾向的世野被眼前这个与他那样相似而又相悖的男人迷住了,他狂野不羁,可却同时优雅,绅士。他微微扬起的下颔勾勒出一个完美的线条。他永远衣衫整洁,系着围巾,高脚靴上永远站立着一个挺拔的身影。他那样的与众不同,那样决绝地打破了世野的生活。 于是他便不许他去死,世野可能还没明白自己是怎么了,可是在他搞懂自己想法之前他必须得让西里尔斯活下来,于是在枪响过后,西里尔斯如同罹难的圣子一般被绑在刑台上,毫发无伤的喊出“好枪法”的时候,他身后的浓烟滚滚里走来的是一身戎装手提军刀的世野。他就像个英雄,拯救了自己的爱人。 西里尔斯被带回了世野所辖的俘虏营,一开始那个殴打劳伦斯的战士受到世野一反常态的猛烈鞭笞大概也是因为世野知晓了劳伦斯是西里尔斯相熟的战友。“好像你一来了,就激发了他的兽性”,劳伦斯的这句话让人忍俊不禁。世野站在百叶窗前,摘下手套,阳光一道一道地落在他忽明忽暗的脸上。这时候他的声音特别温柔,“what kind of man is he?”他回过头,然后他轻轻走近劳伦斯,认真安静地听劳伦斯讲西里尔斯的过去,极有耐心地看着劳伦斯解释什么叫“扫射机”。原上士进门,他一回头便是“医生怎么说”紧接着便对着劳伦斯“我需要他尽快恢复健康,这是命令!”然后的然后,他仿佛是故意避开了劳伦斯的问题“为什么你这样关心西里尔斯上校?” 最温暖的那个夜晚,原上士去找劳伦斯,两个拥有不同信仰的朋友在黑夜里安静地聊着天,然后世野来了,他让警卫员走进照了照西里尔斯的脸,但是自己却只是站得远远地看着那个熟睡的男人,那一瞬间,月色照在世野的脸上,特别的温柔,他就这么定定地看着西里尔斯,眼神那样美丽。那个画面后来被我用作了桌面,坂本龙一32岁的面庞年轻,俊美,而再没有一个画面美丽过他看着心爱之人的样子了。 次日便是所谓“兽性大发”的日子,世野的剑道练习惊扰到了战俘们,而世野在与劳伦斯交谈的时候却只是轻轻地问起,“那个生病的军官也感到不舒服了?”他几乎只想着他,他关心他的每一件事。他以为旁若无人地做着这些事,其实他只是在骗自己罢了。 吃花的男人那样迷人,他简直是灼烧着的死魂,“不要再这样对我了,不要再仗着我爱你就来挟持我了”,哪怕他站在高高的台阶上,全身戒备,哪怕他眼前的男人被四五个人束缚着,他依旧是处在了劣势里,西里尔斯颤颤巍巍地伸手拿那朵花对着世野,眼睛一眨不眨地望着他,瘦弱的脸庞依旧英俊,满身伤痕却还是那样美丽。 谁又能承受得住呢?!世野眼底满是委屈,他低沉的声音问出来“你以为你是谁?你是个恶灵吗?”然后下一秒西里尔斯便说出那句让人颤栗的话“是的,我希望我是你的邪念之一。” 被关禁闭的西里尔斯依然受到世野的关心,也许大家注意到了那个去刺杀西里尔斯的士兵曾经问过守卫“队长经常来吗?”得到的回答是“他每晚都来。”他每晚都来,他还为西里尔斯送来一条波斯毯子。西里尔斯背着劳伦斯逃跑的那晚,他也来了,他对着他,拔出刀,却看到西里尔斯把匕首丢到地上,他似乎是受了委屈地问道“为什么不和我决斗,如果你打败我你就自由了!”“为什么要禁锢我,为什么不能给我自由!”其实我觉得他想说的,也许是这一句。 他依旧只能保护着他,他看到原上士拔出手枪,几乎是没有犹豫地挡在了西里尔斯的面前,就像那个去刺杀西里尔斯的警卫员说的“他是个恶魔,他会摧毁你的灵魂!”此时的世野,他生命中的很多东西,很多罪恶的丑陋的犹如地底阴虱的不堪过去开始搅动起来,他被夹在这黑暗中挣扎。他发现吸引自己的,正是对他自己往生以来信仰的背弃。这段爱情,几乎是要把他自己从原有的灵魂里剥离出来。观影的时候我常常不知道是初触荧屏的坂本龙一的稚弱还是世野自身的稚弱,面对西里尔斯他总是显得那么不安易怒,惊慌失措,他的对白突然之间变得急促,溶解进了过多的感情。 最后的最后,世野身穿着象征这片土地最高权力的军装,昂首站在所有人面前,他要惩戒那些灵魂懒惰的人,他要用最残暴的方式证明他的正确。而西里尔斯依然戴着他的阔沿帽,系着围巾,蓬松的黄发下面是坚毅的一双眼睛,他只是看了看世野,轻念一句:It is beautiful. 指挥官将要被处死的时候,西里尔斯站定了,一直身处局外的他慢慢走出来,轻轻地把撸起的袖子放下去,把胸口的扣子扣起来,音乐舒缓美妙,却充满了宿命的哀伤味道。那个叉开双腿准备行刑的军人在他走近的时候竟然慌了手脚,好像西里尔斯的走来带起了一阵风一样,他只是徒然而又慌乱地喊着“go back”,伸出手按在西里尔斯脸上把他推倒在地的时候,我却觉得他其实更想抚摸这张让他着迷的脸。 然后西里尔斯从地上爬起来,从容不迫地走上前,他扳过西里尔斯的双肩,把这个比他矮小比他瘦弱的男子按进自己的怀里,笃定而又深情地亲吻了他的双颊,镜头里世野的双眼因为这极度的情感震撼而无法自制地饱含泪水,他完全地被惊吓到了,也完全地沉醉了,然后西里尔斯放开他,似乎是看最后一眼那样看了一下蓝天,最后定定地看进了世野的眼睛里。大概只过了3秒,世野就醒来了,他从迷醉喜悦和羞耻中醒来了,然后又把自己遁进了昏迷中。 西里尔斯被惩戒了,被埋进了黄沙里,只留出一个脑袋等待着死亡,只留着一双眼睛看着这世界。只是他终究没有看到,那个男人的走来,对着他敬的那个军礼。他的脚印微微地留在了他死去的黄沙上,仿佛他们的感情那样深刻而又浅薄不堪。 世野割下的那缕头发被带回了他家乡的神社供奉起来,就像劳伦斯所说的,西里尔斯的死在世野的心里种下了一颗种子,而我们,一起目睹了种子的成长。 看完电影之后,我在观看97年坂本龙一现场演奏《Merry Christmas Mr. Lawrence》的视频时泪流满面,那样的悲伤与绝望,白发苍苍的教授几乎是用整个生命和情感在演奏这首曲子,最后一个尾音结束的时候我在满眼的泪光中无法自持。 那是怎样绝望的爱情,怎样的绝望,我们总说着,“在那以后他们怎样怎样”,可是在这段感情里,每时每刻我都觉得它会被毫不费力地摧毁,生命的脆弱与情感的凝重在这样的时刻才有资格被提及。同性之爱的禁忌原本就充满哀伤,而在这样的境地,更加的脆弱不堪。西里尔斯对世野的救赎,甚至让他付出了整个生命。 可也许正是这无可预知的一往情深,才配叫做——爱情。
(标题引用自简媜《四月裂帛》,祝大家圣诞快乐。)
日本实在是一个焦虑的民族啊,动辄陷入集体疯狂,切腹就跟切西瓜一样。不同文化对尊严和价值的理解隔着千沟万壑。那一吻是否也是对童年的救赎?憨直可爱北野武...
让人渐入佳境的电影,后劲绵长,情感冲力极强。1.以东南亚战俘营为空间,经由跨国别、跨种族、跨敌我的同性情谊来表达反战主题,全片除劳伦斯的自白外,未涉及女性,却将男性的战争罪愆、暴力之恶与作茧自缚呈露得无以复加。东西方文化隔阂与交撞则似[桂河大桥]。2.角色有血有肉,令人难忘:善良温润、每每充当调和者的劳伦斯先生,为少时的懦弱背负一生情债、以自毁式的无畏来赎罪的杰克,既笃信武士道又情感丰厚、陷入内外挣扎之渊的世野井,还有粗野蛮横却也显露惜敬慈心的大原上士。3.坂本龙一的电子乐动人至极,空灵的[Ride, Ride, Ride]真若天籁。4.结尾北野武的问候与定格,是我听过的最悲怆而诚挚的“圣诞快乐”祝福。一如伽达默尔所言,节日让沉沦的人们重新体味本真时间与生命,让分离者重返原初共在。(9.0/10)【2021.6.20.SIFF天山重温】
“You!Go back!Go back!”“么么”
NND, 36岁穿上校服还是16岁样,偏心成什么样儿啊
坂本龙一的配乐超越时代的洋气,精灵纤细,但是太漂亮了反而跟电影不太搭。另外,整部电影英方蹩脚的日语和日方蹩脚的英语都让人烦到不行,明明在热带大家个个都跟伤风了似的鼻音奇重,著名的那对基美则美矣,演得不是很有感觉,倒是北野武和劳伦斯的演员表现出色,最后一幕莫名催泪,加一星
“远方有一堆篝火,在为久候之人燃烧”
版本龙一简直太禁欲了好么!禁欲系男主最容易被一点点擦边球的甜头撂趴下了好么!事实证明他也确实被撂趴下了好么!我靠这片儿实在拿人!
大岛渚的导演手段几乎可用“粗暴”来形容。虐待观众精神的手法已经登峰造极无人可比。
没有勇气说出自己是“协犯”的年轻士兵,在恋人死后咬舌自尽;没有勇气承认自己爱上敌人的军官,割下了一络爱人的头发;没有勇气捍卫残疾兄弟的男孩,最终站出来保护战友。战争之下两种文化观念的碰撞幽默又残酷。画着菊的香烟在内敛者的手中燃烧,刀一次又一次地挥向自己。
坂本龙一被David Bowie当众香了之后直直地晕了过去那里是我看过的最有趣的镜头。音乐起得毫无征兆,亲得也毫无征兆。真心喜欢坂本龙一的音乐,没想到他本人长得真好看,尤其是有北野武的陪衬orz。说到底,这是一群音乐人和导演玩票战争版莎乐美的故事吧?XDD
jack被埋在土里的镜头难道我小时候在大荧幕里看到过?总之坂本龙一太帅,太帅了!!
我始终不认为这片子想讲的是一个凄美的同志故事,我觉得在战争年代士兵基本都被迫成了gay,这是一个历史问题。片子讲的是东西方文化差异。劳伦斯说日本是一个焦虑的民族,自己没法做事,只能大家一起来。其实我觉得东方民族都很焦虑,这个问题不知如何解释。西方看待东方的那些“神”,十足荒诞。
鲍伊的吻,释放和复苏了Yonoi 囚禁的灵魂,也拯救了自己与诸人。日本民族普遍的焦虑的背面,是深重的压抑与克己,在他们的各种道与主义里,找不到“我”这个字,从而也看不到“人”。大岛渚非常敢下狠手挖病根。
David Bowie那一吻,我怎么看着想笑,哈哈哈
最后北野武坐在那里,剃了光头,笑着说:我想一直醉下去。圣诞快乐,劳伦斯先生。眼睛就红了。谁能想到看这部电影居然被北野武打动啊!
这部电影是摩羯座大集合,大卫·鲍伊,北野武,坂本龙一,都是摩羯座。
你说你们吧,搞音乐就搞音乐了还来演戏,演戏就演戏吧还长得这么美。
军国主义的冷酷与日本武士道精神的严苛也无法掩盖原始的真实爱欲,那恶灵的惊世一吻,扰乱了武士的心,瓦解了一切阻碍本我的伪饰之物。让亡人发丝伴随夜井的灵魂回归故土,让安放的思绪也随风而逝,来年开出的鲜花将不必再面对刺刀,而只需迎接所爱的人|若能使时光回溯,请再为鲍伊剃发一绺。
神曲啊这是T_T
主线是JACK在YONOI心里种下了一颗种子,并持续表现;副线是LAWRENCE在HARA心里种下了一颗种子,持续隐藏,在酒醉时和最后的会面时展现,并压倒一切。压抑的同性情感(爱情与友情)与不同背景的文化差异/思维方式交织在一个颓丧、隔绝、无望的背景之中,令人叹息。配乐无疑神来之笔,神秘、清澈、徘徊。