《南京南京》荣获电影无界限网十年最佳影片奖

　　《南京！南京！》荣获“电影无界限”网站十年最佳影片奖

　　电影无界限网站（Cinema Without Borders）Robin Menken的影评

　　文： Robin Menken

　　06/16/2011 14:11:00

　　“电影无界限”网站公布陆川的《南京！南京！》为“跨越界限”奖得主之一。“跨越界限”奖颁发给为促进世界不同文化相互交流而做出贡献的电影作品。我们认为《南京！南京！》是这10年来涌现出来的一部非常重要的作品，强力推荐我们的观众去观看，尤其是在影院观看。

　　由于中日两国之间的敏感关系，陆川这部作品尽管非常优秀却未能参加许多国际电影节。有多部电影曾以南京大屠杀为题材，但这部作品最有争议。在日本，保守派还在继续否认或淡化南京大屠杀的事实。

　　在中国大陆，2009年《南京！南京！》5天的票房就为7千万人民币，仅次于吴宇森的《赤壁》。有人批评电影中对于角川这个角色过于“同情”的刻画，要求电影禁映。中国的强硬派并不欢迎这部影片，因此导致影片无法角逐当年的华表奖。在颁奖前一个星期，影片被取消所有提名。此部电影也未被列入庆祝中国建国的爱国题材影片，未能代表中国角逐09年的奥斯卡。

　　这部扣人心弦的作品，展现了南京大屠杀的暴行。影片中的人物既有真实的历史原型，也有虚构的。真实的德国纳粹Johan Rabe，他建立的安全区拯救了无数的难民。他的秘书唐先生为了拯救自己的家人而被迫出卖同胞；姜老师、陆建雄、小豆子、残暴的日本军官以及有些理想主义的角川，他厌恶屠杀，但却不敢反抗。角川对战争充满厌倦的脸部特写使他从一个侵略者变成了观众的代言。我们也许会和他一样，听从命令进入一场历史的噩梦，从此一去不返。

　　陆川的作品，视觉上充满了动感与张力。他能在转瞬之间从亲密轻柔的场景转换成宏大的战争场面，从温暖感人的细节转换成残暴的屠杀。他的剧本在很多地方借鉴了张纯如《南京大屠杀》的内容。

　　日军攻城、难民尖叫逃离、国民党的残余部队与日军的较量，情节步步紧逼。影片充满了震撼力的画面：挂在树上的血腥的头颅、妓女的尸体像水果一样堆成一打、一个女人的身体像个废旧的瓶子被仍在地上。日军活埋中国战俘时，像种庄稼一样在上面踩踏。陆川是一位叙事大师。像黑泽明或马丁斯科塞斯，他善于在混乱的场景中凸显个体人物。没有任何一部电影能如此有冲击力和震撼性地展示女性在战争中所经历的折磨与煎熬。强奸、牺牲、柔情（角川和他的慰安妇女友）或抗争（为就同胞而做慰安妇）。

　　曹郁的宽屏及手持摄影风格让人不禁联想起《雁南飞》这部作品，将战争大场面处理的细腻柔和。郝艺的美术设计让人联想起Rossellini的《德意志零年》和Vadja的战争三部曲。刘彤的音乐完美地衬托了电影场景，曲中的间歇更加重了电影的紧张感：教堂里的投降、战争场面、屠杀、女人们自愿做慰安妇，所有这些场景与音乐完全融为一体。日军祭祀舞蹈的场景充满了残暴，但也不乏黑色喜剧的元素。《南京！南京！》是一部一定要在影院欣赏的经典之作！陆川将观众带入了战争疯狂的无以言说的恐惧当中，真实地刻画了战争的复杂性及英雄主义。6月17号在洛杉矶的Nuart 影院上映。

　　https://cinemawithoutborders.com/news-issues/2660-city-of-life-and-death-wins-cwb-s-bridging-the-borders-award.html

　　City Of Life And Death wins CWB's Bridging The Borders Award as one of the best films of the decade

　　By Robin Menken 06/16/2011 14:11:00

　　Cinema Without Borders announces Lu Chuan's "City Of Life And Death" as one of the winners of the Bridging the Borders Award, 2011. Cinema Without Borders’s Bridging The Borders Award is awarded to films which foster understanding between different cultures and across international borders. We consider the film one of the most important films of the decade and urge our readers to see it, hopefully on the big screen.。

　　Due to ongoing friction between governments in the region, Lu Chuan's brilliant war film was pulled from various International Film Festivals. This is not the first recent Chinese film about the Rape of Nanking, but it is one of the most controversial. In Japan, many influential conservatives continue to deny or attempt to minimize the massacre.

　　In Mainland China, "City of Life and Death" or "Nanjing! Nanjing!" was a box office hit (earning $10.2m (RMB70m) in its first five days. It was 2009's second biggest opener (after John Woo's Red Cliff Part II.) Some criticized the sympathetic portrayal of Kadokawa (the Japanese soldier) and demanded the film be pulled from theatres. Chinese hardliners, opposed to the policies of the liberal humanist wing of the CCP (and Premier Wen Jiabao) orchestrated a backlash, which had the effect of blocking the film from the official Chinese Huabiao Awards. The film's many nominations were pulled from the contest a week before the awards ceremony. It was shut out from the official list of films celebrating the founding of the PRC, and from a 2009 Oscar run.

　　Lu Chuan's "City Of Life And Death", a gripping black and white war movie shows Japan's brutal "Rape of Nanking". This even handed ensemble piece mixes real and fictional characters: real life Nazi businessman John Rabe (John Paisley), whose “safety zone” saved countless refugees until he was recalled to Germany, his secretary Tang (comic Fan Wei) who turns traitor in a vain attempt to save his family, teacher Miss Jiang (Gao Yuanyuan) devoted to saving the safety zone refugees, the Chinese resistance fighter Lu Jianxiong (Ye Liu), a band of rebels, the war-wise child soldier Xiaodouzi (Bin Liu), the monstrous Japanese Commander (Kohata) and an idealistic Japanese soldier Kadokawa (Hideo Nakaizumi) in love with a "pleasure woman", whose repelled by the atrocities, but too indoctrinated to resist. Close-ups of Kadokawa's shell-shocked face turn him from an invader into the audience's proxy. We might be him, following orders into a historic nightmare, stumbling from one horrific moment to the next.

　　Lu Chuan (“Mountain Patrol: Kekexili,”) is a director of muscular visual gifts, able to telescope from the intimate to the epic, from the human to the inhuman in one camera move. His eloquent, near silent script drew many details from Iris Chang’s 1997 “Rape of Nanking: The Forgotten Holocaust of World War II,” filled with accounts from survivors. Lu Chuan uses tourist postcards sent home by Japanese soldiers, to bridge the series of massacres that that left 250,000 dead in six weeks.

　　The Japanese breach Nanking's historic walls. Refugees stream through the streets. Rag tag groups of Chinese defenders snipe at the invading troops in the half leveled city. Lu Chuan' cuts from one episode of the bloody massacre to next with operatic intensity. Images, as visceral as wartime German expressionist art, pepper the larger set pieces. Severed heads swing upside down from a tree, bodies of naked prostitutes are stacked like fruit, one woman's body is tossed on the ground like an empty bottle. Victorious Japanese soldiers, ordered to bury some Chinese soldiers alive, stamp down the earth around the victims heads like peasants planting seeds. Lu Chuan's a master at choreographing action sequences. Like Kurosawa or Scorsese, he manages to personalize characters in the midst of the most chaotic violence. Scenes of the brutal use of women during wartime have never been more graphic or revelatory than in this film. Rape, sacrifice, even tender moments, (as between Kadokawa and his Japanese pleasure woman) or the poignant sacrifice of a rebellious young prostitute Xiao Jiang (Yiyan Jiang) to save others in the Zone

　　Cao Yu's supple widescreen hand-held camerawork recalls "The Cranes Are Flying" in its capacity to render epic scenes intimate. Hao Yi’s sets of destruction recall Rossellini's "Germany Year Zero " or Vadja's war trilogy. Liu Tong’s dynamic music, incorporating unnerving silent stretches, underscores brilliant set-pieces: the group surrender in the church, an epic battle sequence, a mass execution, safety zone refugees volunteering as "Pleasure-women" to save the rest, all mixed with the banal. As the Japanese troops practice a dance for their victory ceremony, It's barbarism and black comedy at once. An indelible masterpiece of emotional and technical bravura that MUST be seen on the big screen, Lu Chuan's existential portrait of complicity and heroism forged in the realm of unspeakable fear, draws the audience into the madness of war. Opens NUART June 17