《山河故人》 賈樟柯鏡頭中那個(gè)變遷的中國(guó)

　　Three times in “Mountains May Depart,” the latestfrom the transformative Chinese director Jia Zhangke, people stand near a river that weavesthrough the landscape like a snake. In the first instance, three friends light fireworks that sendout modest sparks. In the second, only two return to the river, where they ignite a bundle ofdynamite. By the third trip, only one of the original three remains, everyone’s life havingchanged as profoundly as China, a cataclysm that’s expressed by a series of rapid explosionsin the river, suggesting a drowning world.

　　《山河故人》是革命性中國(guó)導(dǎo)演賈樟柯的新作，劇中出現(xiàn)了三次人們站在一條如長(zhǎng)蛇般蜿蜒而過(guò)的河流旁邊的情景。在第一幕戲里，三個(gè)朋友放起了煙火，不大不小的火花升起來(lái)。在第二幕里，只有兩個(gè)人回到河邊，點(diǎn)起了一捆炸藥。到了第三次，三人中只剩下一個(gè)人了。每個(gè)人的生活都經(jīng)歷了和中國(guó)一樣深刻復(fù)雜的變化，河上一連串快速的爆炸展現(xiàn)出一場(chǎng)災(zāi)難，暗示著一個(gè)被淹沒(méi)的世界。

　　Few filmmakers working today look as deeply at the changing world as Mr. Jia does, or makethe human stakes as vivid. The three sending out those sparks are Tao (Zhao Tao), and hertwo close male friends, Zhang Jinsheng (Zhang Yi) and Liangzi (Liang Jin Dong). An affable,easygoing drifter with an expansive smile, Tao works in a small store in the city of Fenyang (Mr.Jia’s birthplace). Mr. Jia likes a slow reveal and it isn’t initially obvious that Tao is themovie’s emotional organizing principle whose feelings run, surge and erupt. The storytracks Tao and her relations with both Liangzi, who works at a coal mine, and Jinsheng, abudding entrepreneur.

　　如今尚在工作的導(dǎo)演之中，很少有人能像賈樟柯這樣深入地審視變化中的世界，或是鮮明地呈現(xiàn)人類(lèi)的處境。三個(gè)燃放煙花的人是濤(趙濤飾)和她的兩個(gè)男性好友，張晉生(張譯飾)和梁子(梁景東飾)。濤是個(gè)善良隨和、笑容開(kāi)朗的女孩，在汾陽(yáng)市一家小商店工作(這里也是賈樟柯的故鄉(xiāng))。賈樟柯喜歡把故事慢慢呈現(xiàn)出來(lái)，所以一開(kāi)始不能清晰地看出，濤的情感的持續(xù)、洶涌與爆發(fā)其實(shí)是影片的感情線索。影片講述了她本人的故事，以及她與礦工梁子和新型企業(yè)家晉生之間的愛(ài)情故事。

　　Eventually, Tao chooses one man over the other, a decision that fractures the trio and sendsthe narrative spiraling in different directions. Mr. Jia’s approach means that you have to do acertain amount of interpretive work, though mostly you just have to pay attention and be alittle patient. If you do, you will notice that “Mountains May Depart” is a movie of threes: itsmain characters, moments in time, narrative sections, historical symbols and even aspectratio come in triplicate. This schematic quality isn’t necessarily obvious on first viewing, eventhough the story’s time frames — 1999, 2014 and 2025 — are announced on-screen andaccompanied by a corresponding increase in the size of the image, an enlargement that mirrorsthe character’s expanding universe.

　　最后，濤選擇了其中一人，打破了三角關(guān)系，令敘事向著不同方向發(fā)展。賈樟柯的方式意味著觀眾必須自行做出一定程度的解讀，盡管多數(shù)情況下，觀眾只需專(zhuān)心觀看并保持一點(diǎn)耐心就好了。如果你能做到，就會(huì)注意到《山河故人》其實(shí)是一部關(guān)于“三”的電影：三個(gè)角色、三個(gè)時(shí)間點(diǎn)、三個(gè)敘事單元、三個(gè)歷史符號(hào)、甚至還有三種畫(huà)面比例。第一次觀影時(shí)，這種特質(zhì)不一定明顯，不過(guò)，故事發(fā)生的三個(gè)時(shí)間點(diǎn)——1999、2014和2025年——都被標(biāo)明在銀幕上，并隨著畫(huà)幅的增大而增大，這種擴(kuò)大也反映出片中角色的世界在擴(kuò)張。

　　When the movie opens in 1999, for instance, Tao is right in middle of the action (and theframe), dancing with a large group to the Pet Shop Boys’ dementedly catchy 1993 cover of “GoWest,” an old Village People tune. The original music video for the Pet Shop Boys’ version, anexuberantly surreal pageant, includes shots of Red Square and Vladimir Lenin. Mr. Jia doesn’treference the video, but it’s likely he used the cover partly because of its post-Soviet blocresonance. Whatever the case, it’s a lovely, festive scene that suggests that everyone is in aparty (or Party) mood. When Tao and the others form a conga line it seems as if they havedecided to take the song literally.

　　比如，在影片一開(kāi)始的1999年，鏡頭正中，濤和一大群人一起跟著《向西》(Go West)的迷人音樂(lè)跳舞，這首歌是“寵物店男孩”(Pet Shop Boys)1993年翻唱“村民”(Village People)樂(lè)隊(duì)的老歌。“寵物店男孩”的音樂(lè)錄像充滿(mǎn)超現(xiàn)實(shí)主義的華麗場(chǎng)景，其中有紅場(chǎng)和列寧的鏡頭。賈樟柯并沒(méi)有影射那段錄像，他使用這個(gè)版本只是因?yàn)樗鼛в泻筇K聯(lián)陣營(yíng)的感覺(jué)。不管怎么說(shuō)，這是一個(gè)美好的節(jié)日?qǐng)鼍?，表現(xiàn)出每個(gè)人都處在派對(duì)(或者黨)的歡快情緒中。后來(lái)濤和其他人挑起了康加舞，好像他們真的要像歌詞里唱的那樣一起前行。

　　Mr. Jia never over-explains his work. The dance feels triumphant, at once choreographed andspontaneous, but there’s no immediate reason for it, even when the date 1999 appears on-screen. It isn’t until the next scene, when Tao is trading New Year’s greetings, that the dancefeels tethered to a rationale. By that point, though, you will have had time to think about thedance, to turn it around in your head, consider its possibilities and wonder whether the revelersare spontaneously dancing or celebrating the end of the millennium or the 50th anniversary ofthe People’s Republic. Or perhaps the scene has more to do with Tao, a woman who smiles andwho dances.

　　賈樟柯從不過(guò)度解釋自己的作品。那場(chǎng)舞蹈像是一種勝利，既像是精心編排的，也像是自發(fā)的，雖然“1999”字樣在銀幕上出現(xiàn)，也不能看出人們跳舞的直接原因。直到下一幕濤和他人互相拜年的時(shí)候，這場(chǎng)舞蹈才最終有了合理性。不過(guò)，到了這個(gè)時(shí)候，你就有了時(shí)間去思考這次舞蹈，在頭腦中回味它，考慮它的可能性，好奇這些狂歡者們究竟是在自發(fā)的舞蹈，抑或是慶祝千禧年的結(jié)束，又或是慶賀共和國(guó)成立50周年。又或者這一幕其實(shí)只和濤，這個(gè)面帶微笑，翩翩起舞的女人有關(guān)。

　　Ambiguity is a defining characteristic of the European art cinema; at its most clichéd,directorial solipsism is mistaken for mystery and empty images are turned into endlesslymasticated cud for cultists. Although Mr. Jia is obviously conversant with the European art film— and East Asian cinema and Hollywood and so forth — he has carved out his own ways ofmaking cinematic meaning, an approach that draws on different idioms and traditions. Heoccasionally folds an image into the mix that can feel enigmatic, but that over time makesense when considered in the context of the movie as a whole. A shot of an old-fashionedpagoda may not make ready sense, may even look like picture-postcard scenery, yet by theend of the movie it may make you weep.

　　模糊性是歐洲藝術(shù)電影的關(guān)鍵特征，在其最俗套的時(shí)刻，導(dǎo)演的唯我獨(dú)尊被誤解為神秘，空洞的畫(huà)面反而成了小眾擁躉們不斷反芻的糧食。盡管賈樟柯顯然熟悉歐洲藝術(shù)電影——當(dāng)然也熟悉東亞電影與好萊塢電影等等——他開(kāi)創(chuàng)自己表達(dá)影像意義的方式，與傳統(tǒng)和俗套都不盡相同。他偶爾會(huì)在影片中混入一幅謎一般的畫(huà)面，但隨著時(shí)間過(guò)去，就會(huì)在影片的整體語(yǔ)境中呈現(xiàn)出意義。一個(gè)老式宣傳口號(hào)的鏡頭乍看上去可能沒(méi)什么意義，甚至看上去有點(diǎn)像明信片上的風(fēng)景，但是到了影片最后，它可能會(huì)讓你潸然淚下。

　　Mr. Jia has characterized “Mountains May Depart” as his most emotional movie, which mayunderplay how deeply moving his work can be. While he invariably addresses larger cultural,social and political issues, sometimes openly, at other times obliquely, what makes his workmemorable is how those larger forces are etched in the faces and bodies of his characters, inthe coal dust that defines one man’s reality — and, by extension, one China — and the hardmask that defines another truth, another China. Here, when Tao first walks down a streetflanked by modest brick buildings, she is moving through a country that is rapidly being lost towhat’s optimistically called development. By the end, she is living in a new world even if, Mr. Jiasuggests, her soul remains in the old.

　　賈樟柯說(shuō)《山河故人》是自己最富情感的影片，他可能低估了自己的作品有多么深切感人。雖然他總在講述較大的文化、社會(huì)與政治問(wèn)題，有時(shí)是公開(kāi)的，有時(shí)是隱晦的，但是他的作品最令人難忘的，還要算是這些大的力量如何在片中人物的面孔與身體上蝕刻印記：煤礦的粉塵呈現(xiàn)出片中那個(gè)男人的真實(shí)處境，乃至整個(gè)中國(guó)的真實(shí)處境，他那堅(jiān)實(shí)的面具則呈現(xiàn)出另一種真相與另一個(gè)中國(guó)。片中，濤第一次走上兩邊都是低矮磚房的街道時(shí)，她走過(guò)的是一個(gè)正在樂(lè)觀者所謂的“發(fā)展”中迅速迷失的國(guó)家。而到影片結(jié)束時(shí)，雖然她生活在一個(gè)嶄新的世界，但正如賈樟柯所暗示的，她的靈魂還留在舊世界之中。

　　“Mountains May Depart” is unrated and is in Cantonese, Mandarin and English. Running time: 2hours, 11 minutes.

　　《山河故人》未分級(jí)，粵語(yǔ)、普通話(huà)與英語(yǔ)對(duì)白。2小時(shí)11分鐘。