《汾陽(yáng)小子賈樟柯》講述一個(gè)有創(chuàng)見的電影人

　　In a professional career of two decades, the director Jia Zhangke has distinguished himself as one of the most singular and stalwart talents in contemporary Chinese cinema. His movies, including “Platform” (2000), “The World” (2004) and “A Touch of Sin” (2013), combine humanist empathy with a sharp eye for how societal change affects personal relationships. They often encounter resistance from Chinese censors — “Platform,” which was banned from Chinese theaters, made Mr. Jia’s name there through pirated DVDs.

　　在20年的職業(yè)生涯里，賈樟柯令自己脫穎而出，成為中國(guó)當(dāng)代電影界最奇特和最堅(jiān)定的杰出導(dǎo)演之一。包括《站臺(tái)》(2000)、《世界》(2004)和《天注定》(2013)在內(nèi)，他的電影作品既飽含人道主義的同情，又敏銳地捕捉到社會(huì)變化對(duì)人際關(guān)系的影響。這些影片往往會(huì)遭遇來自中國(guó)審查機(jī)構(gòu)的阻力——《站臺(tái)》在中國(guó)被禁止上映，人們是通過看盜版DVD知道了賈樟柯。

　　The Brazilian director Walter Salles, whose work has somewhat similar themes to Mr. Jia’s, has produced an admiring documentary portrait of the filmmaker, “Jia Zhangke, a Guy From Fenyang,” shot a few years back when Mr. Jia was preparing “A Touch of Sin” for release in China, which was subsequently denied. It begins with Mr. Jia revisiting his hometown, Fenyang, in the Shanxi province of northern China, and looking at the now-ruined locations of his early films. He speaks with relatives and actors from the old days. A generous number of clips from Mr. Jia’s films accompany lengthy ruminations on their themes.

　　巴西導(dǎo)演瓦爾特·薩列斯(Walter Salles)的作品與賈樟柯的創(chuàng)作主題有些類似。他推出了一部充滿贊賞意味的人物紀(jì)錄片《汾陽(yáng)小子賈樟柯》(Jia Zhangke, a Guy From Fenyang)。影片拍攝于幾年前，當(dāng)時(shí)賈樟柯正在為《天注定》在中國(guó)上映做努力，不過后來還是被禁。在紀(jì)錄片的開頭，賈樟柯再次回到自己位于華北省份山西的家鄉(xiāng)汾陽(yáng)，正在注視著自己最早拍電影、如今卻已成廢墟的地方。他和親戚以及舊日的一些演員聊天。片中穿插著賈樟柯電影中的畫面，同時(shí)伴隨對(duì)這些影片主題的大段反思。

　　In certain great films about great filmmakers — Jacques Rivette’s “Jean Renoir, le Patron” or Chris Marker’s Tarkovsky portrait, “One Day in the Life of Andrei Arsenevich” — the presence of portrait-maker and subject can be felt equally. Mr. Salles keeps himself absent, and maintains a discreet distance from Mr. Jia’s private life — while Mr. Jia’s longtime lead actress, Zhao Tao, is interviewed, the film doesn’t disclose that she and Mr. Jia married in 2012. The movie’s most moving sequence is near the end, when Mr. Jia discusses his father, who faced awful hardships during the Cultural Revolution. In other respects, the movie is a decent and conscientious, though unremarkable, companion piece to Mr. Jia’s crucial films. Several of them will play at Anthology Film Archives during this documentary’s run, and all are recommended.

　　在一些以杰出電影人為主題的杰出影片中——雅克·里維特(Jacques Rivette)的《主事人讓·雷諾阿》(Jean Renoir, le Patron)或克里斯·馬克(Chris Marker)的《安德烈·塔科夫斯基的一天》(One Day in the Life of Andrei Arsenevich)——觀眾可以同等地感受到講述人和講述對(duì)象的存在。在這部紀(jì)錄片里，薩列斯選擇隱藏自己，并與賈樟柯的私人生活保持謹(jǐn)慎的距離——盡管長(zhǎng)期擔(dān)任賈樟柯影片女主角的趙濤在片中接受了采訪，但片中并沒有透露她和賈樟柯在2012年成婚。電影中最感人的段落出現(xiàn)在靠近片尾的地方，賈樟柯在談?wù)撍母赣H，后者在文革期間經(jīng)受了可怕的磨難。在其他方面，這部紀(jì)錄片中規(guī)中矩、一絲不茍，構(gòu)成了賈樟柯出色影片的注腳。盡管與它們相比，它顯得有些平庸。在這部紀(jì)錄片上映期間，賈樟柯的好幾部作品也將在經(jīng)典電影資料館(Anthology Film Archives)放映，它們都很值得推薦。