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影评:导演陆川审视南京大屠杀的严酷视角

来源:搜狐娱乐
2011年06月20日16:45

  影评:《南京!南京!》

  导演陆川审视南京大屠杀的严酷视角,强大、震撼,不容错过。

  文:Kenneth Turan,《洛杉矶时报》影评人

  2011年6月17日

  悲痛,却不畏惧,野蛮的噩梦如此激荡人心,幽闭恐怖,迫使你想离去却又害怕离去。《南京!南京!》不同于你曾经历的任何电影体验,这是一部强大到足以改变你生活的影片,如果你能承受住心灵的震撼将其看完。

  中国杰出导演陆川的第三部影片《南京!南京!》取臭名昭著的南京大屠杀暴行为主题。这是1937年至1938年间日本占领了当时中国首都时的暴行,其暴行导致了大约30万平民的死亡,以及数以万计的性侵犯。

  但统计数据,如同文字,是虚弱的,完全无力传达那种情况下的野蛮恐怖,而这部影片能够捕捉和传达其非人性化的本质,使我们感受,正如《南京!南京!》痛苦的主角之一所言,“生不如死。”

  显然,陆川已完全沉浸在其主题中,(经过两年对于证人证言记录的研究,其撰写了剧本)其已将其情感强度注入到每一个电影画面,捕捉那些在恐慌和恐怖笼罩下心态扭曲的混乱和纯粹的疯狂感。

  陆川通过史诗般的但同时细腻的刻画达到这一效果。借助演员强有力的,令人信服的演技,他将细腻,真实的感触融入到大场面的场景中;整个过程不显丝毫的矫揉造作,将《可可西里》(2004)所展现的真实冷静的叙事方式转移到南京街头的停尸房。

  与一流摄影师曹郁合作,陆川选择了采用的黑白宽屏来拍摄《南京!南京!》,精巧地将各种画面,无论是战斗,暴行或眼泪定格在胶卷上。像导演在一次新闻发布会上说的:“我不得不使用一个大画面来彻底征服观众。”

  摄影技巧也是《南京!南京!》具有冲击力的因素之一。影片的大部分镜头使用近距离手持摄影,更真实、更有震撼力。有些场面是如此真实,似乎是一台遗忘的摄影机在某个角落记录了那段真实的历史。

  随着成堆尸体无处不在。妇女被无休止的强奸,男人被刺刀刺杀,有条不紊地活埋,焚烧。大片的尸体,电线上陈列的割离的头颅,停尸车上的待处理的裸体女人。仅仅列举一下就足以令人震惊,而实际观看则几近于难以承受。

  让我们驻足观看影片的原因,除了陆川的高超技巧外,是我们不断参与了片中冲突两方的主角们个人故事。《南京!南京!》在中国放映时引起巨大争议,在于陆川愿意探索侵略者的心理。 “日本人是正常人,是像我们一样的普通人,”导演说。 “是战争让人们变成了动物。”

  因此,我们花了大量的时间在角川(Hideo Nakaizumi)上,角川:一个年轻的日本士兵,他的多愁善感和对淳朴人类情感的不可抑止的冲动,包括他喜欢上一个“慰安妇”妓院的日本妓女。

  虽然刘烨,这部电影的最大的明星,扮演的是英雄式的中国官员, 然而《南京!南京!》侧重于(带有一定的讽刺意味)纳粹John Rabe身边的这些中国人。他们自认为为John Rabe工作就会享受被保护的特权,比如姜小姐、唐先生。

  被日本野蛮行为所骇然,拉贝利用他有限的权力,为平民建立了一个士兵不准进入的国际安全区,但它注定不会持久,而当它崩溃时,可怕的后果发生了。

  尽管观看这部影片会很痛苦,但我们也不敢将目光移向别处。对于那些我们因为太痛苦而不愿记忆而允许自己忘记的事件,《南京!南京!》是一个必要的提醒。如果我们有更多这样戏剧性经验,也许我们会更加努力地确保类似事件不会在现实中再度重演。

  Kenneth Turan's positive review which we will also service in print:

  https://www.latimes.com/entertainment/news/la-et-city-of-life-and-death-20110617,0,2355877.story

  Movie Review: 'City of Life and Death'

  Director Lu Chuan's brutal look at the rape of Nanking is powerful and not to be missed.

  A scene from "City of Life and Death." (Image.net)

  By Kenneth Turan, Los Angeles Times Film Critic

  June 17, 2011

  Harrowing and unflinching, a savage nightmare so consuming and claustrophobic you will want to leave but fear to go, "City of Life and Death" is a cinematic experience unlike any you've had before. It's a film strong enough to change your life, if you can bear to watch it at all.

  The third film by formidable Chinese director Lu Chuan, "City of Life and Death" takes as its subject the infamous atrocity known as the rape of Nanking. That was the 1937-38 Japanese takeover of China's then capital city that led to the deaths of an estimated 300,000 civilians as well as sexual assaults said to number in the tens of thousands.

  But statistics, like words, are weak things, all but powerless to convey the brutal horror of that situation or the ability of this film to capture and convey its dehumanizing essence, to make us feel, as one of "City's" agonized protagonists puts it, "Life is more difficult than death."

  As a portrait of the unspeakable things that can happen when soldiers are let loose on a civilian population, "City of Life and Death" is (as the opening section of "Saving Private Ryan" was for combat) in a class by itself as it cuts back and forth between the experiences of several individuals on both sides of the massacre.

  Clearly a man possessed by his subject, Lu (who also wrote the screenplay after two years of research that focused on recorded witness testimony) has infused an intensity of emotion into every frame of this film, capturing the sense of mind-warping chaos and pure bedlam that emerge when panic and terror rule the day.

  Lu has done this by managing to be both epic and intimate. Helped by powerful, convincing acting, he combines a delicate, empathetic touch with the ability to stage action on a large scale. He does it all without any sense of special pleading, by bringing the kind of cool matter-of-factness he showed in his compelling last feature, 2004's "Kekexili, Mountain Patrol," to the charnel house streets of Nanking.

  Working as he did on "Kekexili" with superb cinematographer Cao Yu, Lu has chosen to shoot "City" in stunning widescreen black and white, expertly filling the frame with arresting compositions, whether of combat, atrocities or tears, images that are never expected and never without maximum impact. As the director says in the press notes, "I have to use a big frame to totally conquer an audience."

  That camerawork is one of the keys to "City of Life and Death's" impact. Most of the film is shot using a peering, probing handheld camera that creates intimacy and intensifies emotion. Some scenes are so effectively re-created it's as if the film has somehow captured documentary reality with a long-forgotten hidden camera.

  With piles of dead bodies everywhere, in every possible position, it's impossible to overstate how crushing that reality turns out to be. Women raped repeatedly, men bayoneted, systematically buried alive, incinerated. Huge seas of corpses, severed heads displayed on wires, a massive pile of naked women carted off for disposal. Just listing what is done is appalling enough, actually watching it is almost unbearable.

  What keeps us watching, aside from Lu's surpassing skill, is our increasing involvement in the personal stories of the film's handful of protagonists on both sides of the conflict. For what made "City" controversial on its release in China, where the rape of Nanking is more infamous than Pearl Harbor is here, was his willingness to explore the psychology of the invaders. "The Japanese are normal, ordinary people like us," the director says. "War is the thing that makes people transform into animals."

  So we spend considerable time with Kadokawa (Hideo Nakaizumi), a young Japanese soldier whose impulses toward sensitivity and simple human feeling, including being attracted to a Japanese prostitute working in a "comfort woman" brothel, are impossible to sustain.

  Though Liu Ye, the film's biggest star, plays a heroic Chinese officer, most of "City of Life and Death" focuses, with a certain amount of irony, on the Chinese who thought they were privileged and protected because they worked for German businessman John Rabe (John Paisley), the Third Reich's official representative in Nanking. These include his assistant Miss Jiang (Gao Yuanyuan) and his complaisant male secretary Tang (Fan Wei).

  Aghast at the savagery of Japanese actions, Rabe uses his limited authority to establish an international safety zone for civilians where soldiers are not allowed, but it is a system not fated to last, with horrific results when it collapses.

  Hard as this is to watch, we dare not look away. "City of Life and Death" is a necessary reminder of what we've allowed ourselves to forget because memory is too painful to sustain. If we had more dramatic experiences like this one, perhaps we would work harder to see that they're never repeated for real.

(责任编辑:杨雪)
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