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!
2019年的最后一个月,注定属于日本顶级音乐大师坂本龙一(下文简称“教授”)。 先是纪录片《坂本龙一:终曲》定档全国艺联专线上映, 再是教授本人开通微博账号,尝试着用生涩的中文与网友问好
随后,一部30余年前由他主演并作曲的经典电影,亦被广大影迷重新忆起。 那是一部凄美、动人的作品。 自从看过它,纵使时光飞逝,每当圣诞将至,回荡在我耳边的,都唯有情真意切的一句: Merry Christmas, Mr. Lawrence——
Merry Christmas Mr. Lawrence
导演:大岛渚 编剧:劳伦斯·凡·德·普司特/大岛渚 / 保罗·梅尔斯贝格 主演:大卫·鲍伊/ 汤姆·康蒂 /坂本龙一/ 北野武 上映日期:1983-05-28(日本) 片长:123分钟
影片由日本新浪潮代表人物大岛渚(《感官世界》《御法度》)执导。 豆瓣评分8.8,超过50%的观众给出了五星好评。 影片不仅入围第36届戛纳电影节主竞赛单元,还被《电影旬报》评为日本电影1983年度十佳第二名。
相比起在海内外收获的诸多奖项和不俗口碑,这部影片最为人称道的,还属其在多重意义上实现的层层“突破”。 无论是以当年的眼光还是今天的视野来看,它都宛如一场大胆的实验,具有划时代的价值。 首先,就阵容而言,本片堪称名副其实的“有生之年”系列。 它既是大岛渚首次接受海外投资、在海外实地拍摄,并起用非日本籍演员及工作人员的影片。 也是教授和北野武的电影首秀,还是教授谱写电影配乐的处女作。
更难得的是,除了玉树临风的教授和初出茅庐的北野武,就连当时已成国际摇滚巨星的大卫·鲍伊(下文简称“宝爷”)也加盟了本片,担纲重要角色。 才华与颜值齐飞的教授和宝爷双剑合璧,本片的话题度自是不在话下。
不过,选定坂本龙一和大卫·鲍伊饰演主角绝非金石之计。 相反地,这是大岛渚在两人身上下的注—— 一场成则事半功倍,败则满盘皆输的赌注。 显然,身为音乐人,他们的演技是硬伤,无法和职业演员相媲美。 宝爷此前有过出演电影的经验,在本片中的表现,倒算是可圈可点。
但教授就不一样了。 初次“触电”的他,甚至不知道演员是要背台词的,还天真地以为会有人站在一旁举着牌子提示。 由于功课做得不到位,他在片场动不动就把大岛渚气得够呛。 演起戏来也“做作”得很,瞪眼、嘟嘴、瞎使劲儿是常有的事,可爱、可笑又可气。
某种程度上,他就是整个剧组最“危险”的不确定因子。 但大岛渚最“敢”的,还不是邀请毫无表演天赋的坂本龙一出演主角。 而是选择把英国作家劳伦斯·包斯特的小说《种子与播种者》(又名《俘虏》)改编成电影。 这本书将二战背景、同性之恋与文化反思杂糅在一起,具备着层次丰富的意涵,触碰着深不见底的禁忌。 拾取这个“危险”的题材,更加需要勇气。 这是一个荡气回肠、哀婉悲凉的故事,发生在1942年圣诞节前后、位于印尼爪哇岛的日军战俘集中营。
集中营由陆军大尉世野井(坂本龙一饰)和原上士(北野武饰)协同管理。 尽管同为日本军官,两人的性情和涵养却大相径庭。 这从正片的第一场戏便可以见得。 影片始于一件丑闻。 朝鲜警卫金本在夜晚巡逻时,溜进荷兰士兵德荣的牢房,被抓了个正着。
在恐同情绪弥漫的集中营,断袖之癖乃是大忌。 为此,原上士擅自决定处死金本。 但仅仅是处死,远不够表达他的鄙夷,他还要用最下流的言辞,反复地羞辱金本。 更有甚者,他命令金本当众“演示”,情景重现。
眼看着金本就要屈服于原上士的淫威,向颤颤巍巍、惊魂未定的德荣爬去。 精通日语的英军俘虏劳伦斯(汤姆·康蒂饰)适时地站了出来,阻止了眼前的闹剧,也喊来了不远处的世野井。
世野井的出场,无疑是惊艳的。 当他身着武士服从容走来,那身姿挺拔、步履坚实的样子会让你觉得他是个天生的军人。 领袖气质无与伦比,男子气概毋庸置疑。
但在景别切至特写后,这份印象多半会有所转变—— 剑眉星目虽不乏英武、霸气,但也着实比想象中的来得俊俏得多,称之为“俊美”亦不过分。 反正,不管怎么看,世野井都和粗暴、强悍,吊儿郎当、喜欢挑衅,笑里还透着一股子狡猾跟猥琐的原上士不同。 他理性、精干,不苟言笑,不怒自威,是青年才俊,更是谦谦君子。
这场戏是个引子,勾勒出原上士和世野井的形象,描摹出军营里同性恋盛行的风气,也为后续的主线情节埋下了至关重要的伏笔。 但真正的好戏还在后头。 迅速处理完金本一事后,世野井赶赴巴达维亚参加军事会议。 在那里,猝不及防地,他对被俘的英国陆军少校杰克·希利亚斯(大卫·鲍伊饰)一见钟情了。
在军事法庭上,我们得以知晓,原来孤军奋战的杰克是为保全无辜的村民才主动投降的。 审判的全程他都坚称自己无罪,没有一丝畏惧或让步。
杰克英俊的样貌第一眼就将世野井吸引,其后表现出的非凡胆识更叫他着迷。 于是,他当机立断,救下了杰克,并把他带回了战俘营。
在战俘营,世野井对杰克关怀备至,爱慕之情溢于言表。 当劳伦斯试图扶起倒在地上的杰克,反被金本教训。 他所做的是立刻冲上前去,愤怒地鞭打金本。 为了杰克,他可以暂时抛掉理智。
当他深夜跑去看望熟睡的杰克,也只是远远地站在一边,不愿惊扰。 手下走近些,照照杰克的脸,确认无事,他就安心了。 看着杰克,他的目光可以变得温柔至极。
当劳伦斯说,他练习剑道时发出的叫喊声,让俘虏们感到不安了,他率先关心杰克有没有受到影响。 不论何时,他的心都在杰克那里。
此外,他还向劳伦斯“请教”了许多有关杰克的事。 从劳伦斯的口中,他了解到,杰克是真正的战士,一名战士中的战士。 然而,集中营逼仄、压抑的环境和根植于世野井内心深处的军国主义思想,绝不允许任何真挚、自由、个人化的情愫生长。 所以,即便没人敢对他指手画脚,但悲哀的是,他仍会下意识地自我规训。 自我规训的手段说来荒谬,却是对武士道精神最忠实的贯彻—— 让金本在众人的注视下切腹自尽。
可令人意想不到的是,就在金本被介错人一刀斩首的同时,德荣也咬舌自杀了。 此后,剧情急转直下。 如果说杰克的出现,是在世野井死水般的心头掀起了微澜,种下了一颗象征着人性、私欲,以及一切美好杂念的种子。 那么,德荣的死亡就是把结局推向万劫不复的关键。
世野井此举引起了杰克的不满,他开始公然反抗世野井。 又是给被禁食的俘虏偷带馒头,又是采花、点蜡烛悼念德荣,又是大张旗鼓地带领大家高唱圣歌。 他竭尽所能,挑战日军的底线。 一气之下,世野井把杰克关了禁闭,也给劳伦斯判了死刑。
故事进展到这里还不算完,但已经足够“出格”了。 这部带有“同性”标签的战争片是如此地野心勃勃,以至于它的每一道讲述都孤注一掷、视死如归地冲撞着那根深蒂固,几乎是坚不可摧的禁忌。 (*前方剧透预警)
摆在明面上的,首先是世野井对杰克的爱恋。 这再明显不过了,就连他的勤务兵也看得一清二楚。 把杰克关起来后,世野井每晚依然会假借巡逻之名前去探望他,还送给他贴身的毛毯。
世野井的心思早已被他搅乱了。 所以,为了恢复原有的秩序,勤务兵带着必死的觉悟突袭了杰克。 但杰克没有死,世野井又救了他一命。 茫茫夜色下,当世野井挡在杰克的身前,让原上士的枪口对准自己的胸膛,无异于将这份此前所有人都心照不宣的爱意正式地昭告天下。 这也许无关勇气,只是本能,但本能是不会说谎的东西。
我相信,那一刻,世野井一定也在杰克的心里种下了一颗种子,一颗原谅与救赎的种子。 果不其然,影片的最后,这颗种子结出了果实。 那是全片最震慑人心的那一幕。 是当心烦意乱、气急败坏、彻底失控、濒临崩溃的世野井即将处决拒绝交出武器专家名单的英军指挥官时,杰克走到他的近前,在他双颊烙下的惊世骇俗的吻。 这吻既包含着安抚的意味,也实现了对其失落灵魂的救赎。
世野井当然可以赤裸裸地憧憬杰克,不受旁人责难,只遭信仰折磨。 因为他是统领战俘营的军官。 但德荣不行。 他是俘虏,他是小兵。 他喜欢同性,可面对原上士的质问,却也只能拼命地否认。 不然,他必将成为众矢之的。
种种细节都暗示着,他对金本是有感情的。 金本帮他包扎伤口,他说金本人好。 世野井鞭打金本,他试图阻拦。 看到介错人挥起长剑,他便跪倒在地,陪金本上了黄泉路。 但他至死也没能把心意说出来,他至死都不肯承认自己是同性恋。
在当时的日本军营,同性恋确实是一大禁忌。 军国主义极度崇尚武力,战士们往往把同性恋倾向视为某种会削减男性气魄的事物。 在他们看来,诸如阳刚、神勇一类的特质都与同性恋统统无关。 所以,军队用强权压制同性恋,用酷刑惩罚同性恋。 在制度的惩戒下,同性恋群体自身也被强烈的羞耻感所困扰。
片中,世野井正是被那股道德上强烈的自我厌弃感,所挟持的可怜人。 让他惊慌失措、痛不欲生的并非感情的难以启齿,也非他人的冷眼相待,而是从心底滋生,又不断回流的厌恶和憎恨。 他的克制和伪装每秒钟都伤害着自己。 当这种痛苦实在无法承受,无以排解,他才转向外界,企图用无端的杀戮将体内的“淤血”倾泻而出。
如前文所言,在这千钧一发之际,帮他悬崖勒马的是杰克的吻。 被亲吻的瞬间,他是喜悦的,也是羞愤的。 那两个吻,一个融化了他结冰的心,一个击碎了他笃定的信念。 他的身躯变得轻盈而柔弱,无力地向后倒去。 尽管有失体面,但好在得救了。 杰克压下了他蓄势待发的“恶”,用自身的毁灭给了他启示和解脱。
但如果你以为战俘营扼杀的只有爱情,就大错特错了。 一个残酷的事实是,在立场的敌对和观念的冲突面前,任何发自真心的情感都难以维系。 友情,亦如是。 片中,原上士和劳伦斯在目睹世野井与杰克的禁忌之爱从萌芽走向凋零的过程中,也结下了深厚而复杂的情谊。 这虽是一条暗线,却直指原著的核心。
不同于世野井的默默无闻、眉目含情,这二人的交往相当直截了当,是通过几次闲谈呈现给观众的。 每一次闲谈的话题虽不尽相同,但总围绕着“羞耻”二字打转。 人类学家鲁思·本尼迪克特在《菊与刀》一书中,详细解说了日本民族性格的矛盾性或曰两重性,并将日本的文化类型定义为“耻感文化”。 换言之,他们的高度自律、彬彬有礼、谨言慎行和不卑不亢的原始动力皆在于一个“耻”字。 但催生耻感的并非内心的准则,而是外界的规制。
其实,东方国家的社会大多由耻感文化主导,中国也不例外。 在意他人的评价,害怕自尊心受到侵犯,怀有极强的集体荣誉感是其主要特征。 在日本,尤其是二战时期的日本,战争对人的异化更使得以上诸种显露 无遗,以致病态。 正因如此,言谈中,原上士才总是不由自主地把话题扯到“羞耻”上去。 喜欢男人,羞耻;求人帮忙,羞耻; 甘做战俘,卧薪尝胆,简直是奇耻大辱。
关于被俘后的做法,他们有着截然不同的观点。 原上士觉得,自我了断是唯一正确、值得敬佩的抉择。 军事法庭上,陪审官也说过,日本军人宁肯牺牲也不愿投降。 所谓忍辱负重,不过是贪生怕死的借口。
但劳伦斯认为,寻死才是懦夫的行为。 只要活着,就有翻盘的可能。 对于战争而言,赢家永远是笑到最后的那方。 这场氛围异常轻柔、温馨的深夜交心点出了影片的题眼之所在。 至此,我们终于明白,原著作者真正想要探讨的是东、西方文化的巨大差异。
而可贵的是,在此基础上,作为日本人,导演大岛渚还深刻地反思了日本民族的劣根性。 原上士说,自打17岁参拜了神社,他就把生命献给天皇了。 几乎每一个日本士兵都是这样。 在军队,所有人效忠天皇,严格遵循指令行事。 只有“集体”这个空泛而富于威慑力的概念,鲜活的“个体”并无生存空间。
正因极端强调和推崇“集体”的优先级,日本才为军国主义提供了温床。 集体的迷狂如同泥沼,把人淹没,没法逃脱。 哪怕是世野井这种接受过良好的教育,对西方文化颇有见地的英才也插翅难飞。
但和别人不一样,自始至终,他至少都在苦苦挣扎。 杰克到来前,他本就人性未泯。 他坚持以公正、平和的态度对待战俘,从不像原上士那样动用武力。
杰克到来后,他的欲念也被唤醒了。 每一次看望,每一回破例,还有被杰克牵动的每一丝心绪都成为其个体性凌驾于集体意识之上的表征,弥足珍贵。 他还畅想着,若能邀请战俘营的大家到他故乡的樱花树下赏花、饮酒,该是何等的美事。 此刻,他放下警觉,展露笑颜,放松的姿态是那么无邪。
在此意义上,教授稚嫩、别扭的表演倒是和角色的塑造相得益彰。 透出一股子浑然天成的灵气,也使影片看来棱角分明、毫无匠气。 大岛渚的这招险棋真可谓剑走偏锋、出奇制胜了。 总之,杰克大概也看出了世野井是值得拯救的人,才以吻献祭了自己,化解了僵局,赐给他新生。
唯独可惜,直到最后,世野井和杰克都没能得到一次好好对话的契机。 而让教授在电影配乐界大放异彩的《Merry Christmas Mr. Lawrence》也不是他们两个的主题曲。 这首哀伤、灵动,绝世出尘,充满日式古典风韵的电子乐最后一次响起时,二位主人公已然不在人世。 一切残忍便只好由叙述者接管,劳伦斯还得忍痛把故事讲完。
原上士说得没错,胜利又何尝不是一件沉重的事呢? 四年前的圣诞夜,他醉醺醺地赦免了翌日将被处死的劳伦斯。
一转眼,两人处境对调。 此朝别过,登上行刑台的就是他了。 只是这次,没人能给他退路。
影片的最后一帧就此定格在原上士眼泛泪光的面庞。 质朴、纯真,全然不见当初的油滑、暴躁。 想必,杰克的吻也在他的心里种下了一颗种子。 那么,愿上帝保佑你。 愿种子随风,播散到更远的地方去。
*本文作者:kiwi
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。)
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。
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
“You!Go back!Go back!”“么么”
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。
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。
NND, 36岁穿上校服还是16岁样,偏心成什么样儿啊
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。
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!
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!!
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。
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】
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!
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...
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。
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。
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
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。
神曲啊这是T_T
David Bowie那一吻,我怎么看着想笑,哈哈哈
“远方有一堆篝火,在为久候之人燃烧”