《智取威虎山》：更好的徐克和更年輕的你

As a leading director of action films who’s adept at creating spellbinding visual effects, Tsui Hark surprises us with his latest blockbuster, The Taking of Tiger Mountain, which is his first attempt at adapting a revolutionary classic.

中國(guó)動(dòng)作片領(lǐng)軍人物、以引人入勝的視覺(jué)效果見(jiàn)長(zhǎng)的徐克導(dǎo)演，這一次又在自己的最新大片中帶給我們無(wú)限驚喜。這部《智取威虎山》也是他首次嘗試翻拍紅色經(jīng)典。

The 3-D movie is based on Qu Bo’s best-selling novel Tracks in the Snowy Forest. In the 1940s, captain Shao Jianbo (Lin Gengxin) leads a squad of around 30 People’s Liberation Army soldiers to wipe out bandits in northeastern China. Seasoned investigator Yang Zirong (Zhang Hanyu) volunteered to goundercover in the bandits’ lair.

這部3D電影以曲波的暢銷(xiāo)小說(shuō)《林海雪原》為藍(lán)本改編而成，講述了二十世紀(jì)四十年代，隊(duì)長(zhǎng)少劍波(林更新 飾)帶領(lǐng)30多個(gè)人民解放軍戰(zhàn)士組成的小分隊(duì)在中國(guó)東北剿匪的故事。其中，經(jīng)驗(yàn)豐富的偵查員楊子榮(張涵予 飾)主動(dòng)請(qǐng)纓去土匪窩中擔(dān)任臥底。

As a fan of his martial arts films, I am pleased to see the movie still features Tsui’s familiar mythicalworld of chivalrous men. The protagonist is both a courageous and resourceful man who places himself at risk in order to protect the local villagers. Every time viewers worry about challenges he faces, he ends up defending himself with ease.

作為徐克武俠片的粉絲一枚，在這部電影中依舊能看到熟悉的徐氏俠客的形象，令我很是開(kāi)心。電影主角(楊子榮)是一個(gè)有勇有謀、經(jīng)驗(yàn)豐富的偵查員，為了保護(hù)當(dāng)?shù)卮迕竦陌踩?，他不惜將自己置于險(xiǎn)境。但每一次都能輕易地化險(xiǎn)為夷，應(yīng)對(duì)令人揪心的挑戰(zhàn)。

However Yang is by no means a flawless stereotyped hero. In the beginning, his indiscipline and conceitraised the antipathy of Captain Shao. How the two become tacit partners fighting alongside one another is one of the movie’s highlights.

但是，楊子榮也絕非神人。在影片伊始，他的無(wú)組織無(wú)紀(jì)律和驕傲自負(fù)曾一度引起少隊(duì)長(zhǎng)的反感。他們二人從水火不容變成默契搭檔也是該片的亮點(diǎn)之一。

It’s hard to deny that the 3-D in many films in the market is just a selling point. But obviously Tsui has gone much further in using different techniques to make more vivid visual effects than most Chinese directors. In this movie, the slow motion flying bullets and snowflakes all create an immersiveexperience for the audience.

不可否認(rèn)，對(duì)大多數(shù)影片而言3D技術(shù)只是一個(gè)賣(mài)點(diǎn)，很少有中國(guó)導(dǎo)演能像徐克一樣熟練應(yīng)用各種技術(shù)，為觀眾帶來(lái)生動(dòng)的視覺(jué)效果。在影片中，子彈飛行和雪花飛舞的慢鏡頭都給觀眾帶來(lái)身臨其境之感。

One of the most thrilling scenes occurs when Yang fights a tiger. When the fierce animal jumps on the man with its jaw wide open, the theater lit up with gasps.

影片中最扣人心弦的一幕莫過(guò)于“楊子榮斗虎”，只見(jiàn)一只兇悍的老虎四爪張開(kāi)、撲向楊子榮，整個(gè)電影院都屏住了呼吸。

The opening of the film, which shows an overseas graduate seeing video of the Peking Opera’s adaptation of Tracks in the Snowy Forest, is considered unnecessary by some critics. But the character is actually a bit of the director himself. Also, Tsui intends to approach young audiences through this role and to express the idea that though older generations may be gone, what they did is not forgotten.

一些批評(píng)者認(rèn)為，影片開(kāi)頭一個(gè)留學(xué)生觀看京劇版的《智取威虎山》顯得多余，其實(shí)，在這個(gè)留學(xué)生身上可以看見(jiàn)導(dǎo)演本人的影子。這一角色也是徐克接近年輕觀眾的一座橋梁;借此也表達(dá)出老一代也許已不再，但他們的故事卻不能忘記。

I don’t know how much audiences my parents and grandparents’ ages will accept this movie, as they have a deeper emotional connection with Yang Zirong’s story. But without any doubt, Tsui has successfully encouraged a younger generation to watch this modern adaptation of a red classic.

對(duì)故事本身有著深厚情感羈絆的父母輩、奶奶爺爺輩接受該片的程度雖尚未可知，但毫無(wú)疑問(wèn)，徐克已經(jīng)成功地讓年輕一代走進(jìn)電影院，觀看這部改編的紅色經(jīng)典。