冷酷而宏大的《南京！南京！》

　　冷酷而宏大的《南京！南京！》

　　《华尔街日报》Joe Morgenstern的影评

　　2011年6月17日

　　Kino 国际发行

　　这部电影从某种意义上讲可以归为纪录片。《南京！南京！》再现了1937年日军攻陷南京屠杀30万无辜平民的事件。陆川的这部作品极具震撼力！每一个暴行、兽行都被活生生的从历史中挖掘出来，重新编织到这部叙事史诗当中。影片以平和安静的明信片开始，以日军张扬的舞蹈和鼓声结束。日军舞蹈的这段场景让人想到被希特勒称为“我的德国完美女人”的女导演莱尼•里芬斯塔尔镜头里纳粹的集结。

　　摄影师曹郁采用的黑白影像让画面极具张力，影片一开始就有一种遥远的历史感。 部队集结、前进、警报、坦克的马达声，让情节步步推进，但镜头并没定格在某个个体身上。音响师来啓箴制作的声音让人有置身其中的体验。随着影片的推进，一个个鲜活的个体逐步呈现在观众面前。纳粹John Rabe、 他那没有原则性的秘书唐先生、一个多愁善感的日本兵角川以及触动他的日本慰安妇。这绝对不是一部娱乐性的电影。但是，作为历史的回忆和见证，它绝对独树一帜。

　　Joe Morgenstern's positive review in bold below:

　　https://online.wsj.com/article/film_review.html

　　a grim, grand 'City of Life'

　　'City of Life and Death'

　　Kino Intl.

　　JUNE 17, 2011

　　Gao Yuanyuan as Miss Jiang in 'City of Life and Death.'

　　A drama that could pass for a documentary, "City of Life and Death" re-creates the Nanjing Massacre, when invading soldiers of the Japanese Imperial Army slaughtered some 300,000 citizens of what had been one of China's ancient capitals. Lu Chuan's epic film is harrowing in the extreme. Every atrocity, or so it would seem, every unspeakable moment of bestiality, has been culled from historical documents and woven into a narrative that begins with picture postcards of the period and ends with ritual dancing and drumming that could pass for a Japanese version of the Nazi rallies seen in Leni Riefenstahl's films.

　　The initial effect is both distanced and distancing, a remarkable simulation—with stunning black-and-white cinematography by Cao Yu—that chronicles the horrors without pausing to concentrate on individual victims or individual predators. Forces gather, sirens shriek, tank engines roar, troops march. (Lai Qizhen's sound design contributes strongly to the illusion of being in the midst of it all.) Little by little, though, the friezes of mortal anguish that resemble collectivist art—or the photo chronicles of Nazi concentration camps—give way to such vivid individual portraits as a Nazi proconsul aghast at the slaughter, his unprincipled Chinese secretary, a sensitive Japanese soldier and a prostitute who touches his soul without trying to. This is hardly a film to recommend as entertainment. As an act of remembrance, though, it is singular and, in its way, soaring.