時(shí)報(bào)影評(píng)：愛(ài)情與戰(zhàn)爭(zhēng)綻放的《芳華》

The Chinese director Feng Xiaogang is not quite the Asian Steven Spielberg, but like the American director, he’s achieved blockbuster successes in a variety of genres. His 2006 film, “Legend of the Black Scorpion,” was a sumptuous, “Hamlet”-derived, martial arts period piece. “If You Are the One” from 2008 was a romantic comedy set against the backdrop of entrepreneurial wealth. And last year’s “I Am Not Madame Bovary” was a not-quite-successful formal experiment in adapting a best-selling novel.

中國(guó)導(dǎo)演馮小剛并不能算是亞洲的史蒂芬·斯皮爾伯格(Steven Spielberg)，然而同這位美國(guó)導(dǎo)演一樣，他涉獵的多種類型片都成了流行大片。2006年的《夜宴》是一部源自哈姆雷特的華麗武俠古裝片。2008年的《非誠(chéng)勿擾》是一個(gè)以企業(yè)家財(cái)富為背景的浪漫喜劇。而去年的《我不是潘金蓮》則是一次改編暢銷小說(shuō)的正式試驗(yàn)，但不太成功。

His new film, “Youth,” based on a Yan Geling novel, is about a People’s Liberation Army dance troupe in the early 1970s. Western viewers will detect resonances of “Stage Door” and “The Way We Were” in the story, which largely focuses on the disdainful treatment received by the newcomer He Xiaoping (Miao Miao), a girl from a poor background who’s been recruited by the heroic, idealistic Liu Feng (Huang Xuan). During the Sino-Vietnamese war, the entertainers are forced to become warriors and medics.

他的新片《芳華》根據(jù)嚴(yán)歌苓的小說(shuō)改編，講述1970年代初一個(gè)部隊(duì)文工團(tuán)的故事。西方觀眾會(huì)在故事情節(jié)中發(fā)現(xiàn)與《摘星夢(mèng)難圓》(Stage Door)和《往日情懷》(The Way We Were)的相似之處，舞團(tuán)新人何小萍(苗苗飾)出身貧苦，被充滿英雄氣概與理想主義的劉峰(黃軒飾)選入舞團(tuán)，影片很大程度上集中在她所遭受的歧視和排斥上。在中越戰(zhàn)爭(zhēng)期間，這些文工團(tuán)成員又被迫成為了戰(zhàn)士和醫(yī)務(wù)人員。

The movie’s depiction of cultural change is tidy to the point of being facile, which isn’t to say it’s ineffective. (It seems to have ruffled some feathers in its native country, where its release, intended for September, was held up until recently.) One shot late in the film, after Mao’s death, shows a soldier in profile stepping in front of a bright red billboard — one that advertises Coca-Cola rather than the glories of Communist rule.

影片對(duì)文化變遷的描繪非常簡(jiǎn)潔，到了輕率的程度，然而并非沒(méi)有效果。(該片似乎在自己的祖國(guó)惹惱了一些人，它原本計(jì)劃九月上映，結(jié)果直到近期才推出。)電影快結(jié)束時(shí)有這樣一個(gè)場(chǎng)面：毛澤東去世后，一個(gè)鏡頭從側(cè)面顯示一名士兵走過(guò)一個(gè)鮮紅色的廣告牌——那不是宣揚(yáng)共產(chǎn)黨統(tǒng)治榮耀的標(biāo)語(yǔ)，而是一個(gè)可口可樂(lè)廣告牌。

As a straight, sentimental melodrama, “Youth” works well. While there are a lot of conventional tropes, the cast enacts them with such fresh, tenderhearted sincerity that they regain some power.

作為一部直率感傷的情節(jié)劇，《芳華》還不錯(cuò)。雖然有很多老套的比喻手法，演員們卻以清新溫柔的真誠(chéng)態(tài)度讓它們重新煥發(fā)出一些力量。