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[交流]
【我的原创英语影评】
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各位虫友，大家发现了没有，外语版有那么多的学习资料，我们都快成资料的奴隶了，其实学英文最主要还是要练，我们在国内，学英语一个是看文献，一个是写论文，可是论文写得好坏，功夫在圈外。所以，我们还是有时间练练英文的综合写作吧，这是我的切身感受，下面贴个我刚刚写的电影《南京，南京》评论，不为别的，主要是练习英语写作能力。 贴出来和大家一起交流，共同进步。 The film Nanjing, Nanjing directed by 陆川 has now been screened in Yangzhou. And the positive reviews on it can be easily found on the Internet. Even over here, to my knowledge, three articles related to the hit have been dished out. Though going back to the horrible history of Nanjing Massacre is not a pleasant experience, I still can’t control viewing the movie. In my innermost retreat, I actually aspire for such a galvanizing feeling to eschew the present troublesome living and working pressures, even for just a couple of hours. I sincerely invited my wife to go to the movie together many times, but she kindly refused me using the excuse that bloody slaughter and extremely explicit scenes of rape should make her uneasy. On the other hand, going to the theatre solitarily and having my fragile soul wringled alone otherwise cause me uneasy. The compromising solution is to watch the bootleg copy of the film at home. At least, it saved 50 yuan at the cost of the HiFi sound effect and larger-than-life clear figures. Anyway, the scaled down video left me with a damped punching taste of the well-acclaimed product. In my opinion, I have to admit, the long-awaited film seems not as striking as it is horrible. I am not a movie-goer let alone a film-reviewing high-brow, but I am still able to point out the analogies of both presenting technique and plots arrangements to some classical pictures of worldwide fame, e.g., The Pianis t(钢琴家), Schindler’s List (辛德勒的名单) and the Valter brani Sarajevo(瓦尔特保卫萨拉热窝). Let me show you one by one and see if I have come to the point. (1) Scenario one: In Nanjingn,Nanjing, there is an incident where the Japanese invaders threw a boy who was the son of Mr. Tang (唐) out of the window that caused Mrs. Tang’s stupor and Mr. Tang’s crazy. Such a scene was reminiscent of the same wicked deed done by Nazi Gestapo in The Pianis t(钢琴家). In that film, a crippled old Jewish man crouching in a wheelchair was thrust out of the window of a tall building. The only difference between such two plots lies here: in The Pianist(钢琴家), we saw the horrible free dropping movement in the picture and heard the heart-breaking cries of the old man’s children. But in Nanjing, Nanjing only the desperate crying of the boy’s dad was depicted. Despite Fan Wei (范伟)’s excellent performance, which indeed left us a long-lasting impression, such a scenario laid it open to suspicion of copying what The Pianis t(钢琴家) did previously. (2) Scenario two: In Nanjing, Nanjing, we saw a scene where hundreds of unarmed and tied up Chinese soldiers were sitting on the ground besieged by full-armed Japanese soldiers with shiny bayonets in hands. The Japanese soldiers called the POWs to stand up and went ahead but no one responded such an order. Then the Japanese soldiers fired at the Chinese soldiers and killed tens of them. At this critical moment, we saw the soldier performed by 刘烨 first stood up and marched ahead single-handedly with his two arms in bondage to his back. When he walked forward about ten meters, a boy soldier followed up, then others stood up and moved ahead in succession. Well, such a scene also could bring us to the similar situation that appeared in the former Yugoslavian war classical, Valter brani Sarajevo(瓦尔特保卫萨拉热窝). In the latter film, the fake Valter designed a trick to trap the young guerilla warriors and shot them dead. The Gestapo then ordered the citizens of Sarajevo gather in the ground and claim the dead corpuses. Not far away, German soldiers hidden in the truck were preparing to fire at them. After several calls of marching ahead to claim the dead, the veteran guerilla, a clock repairman, couldn’t see her daughter lying dead there but to start to move ahead to claim his beloved girl. To safeguard the security, real Valter began to move in tandem with him, then followed up by others. Finally we saw crowds of people march together slowly while composedly, disregarding the danger facing them. This classical scenario had ever encouraged many of us with the brave spirits and touching affections between the daughter and her father. It was really unforgettable. Now you can judge by yourself, the director of Nanjing, Nanjing had been subtly influenced by this moment and skillfully used it in his film for reference. Though it was a good arrangement in Nanjing, Nanjing, such plot otherwise betrayed hint of clumsy imitation to the foreign classics. (3) Scenario three: The film Nanjin Nanjing was pictured in a black-and-white footage throughout the story, which was expected to form a visual shocking wave and contributed to the miserable background as well. It achieved as it wanted. But, as we all know, such a descriptive method had already been used by Spielberg in his Oscar Laureate Schindler’s List (辛德勒的名单). Moreover, in the end of that film, Spielberg designed a gradual evolution of the background color from the across-the-board monochrome to splendid multicolor, which indicating a hard-earned peace and bright future of human beings and sublimed the main theme of the anti-war subject. Spielberg’s creative talents of such tailorship had won him global applauses. Also in the latter part of that Oscar winner, we saw a scene of Schindler’s farewell to his Jewish workers before the Soviet Red Army liberated that place. I remembered hundreds of Jewish workers gathered in the workshop silently when Schindler waved to them. After moments, an old Jewish worker started to melt his silverwares and minted a commemorating ring for Schindler. Such a scenario deeply moved many of us. Now back to the Nanjing Nanjing, when Rabe said with trembling voice: I am really sorry, his eyes full of tears, we once again smelt the copycat trait of presentation but this time the touching effect was dashed to some extent. Now let’s say something about the significance of this Nanjing Nanjing. As we can fathom, Nanjing Massacre is so sensitive a subject that any director from China has to deal with from an overall perspective. That is why all the films produced by mainland artists have to contain some plots pertaining to the Japanese people’s anti-war sentiments. In other words, they have to distinguish the ordinary populace from the militarists of Japan for political and/or economical causes. For example, both in the old film 屠城血证 and the Nanjing Nanjing at hand, we could see the positive figures of Japan invaders, usually small roles but with meaningful significance. But the filmmakers did not put the ordinary Chinese people’s feeling as the priority and reflecting such kind of lofty human thoughts in the extremely brutal backdrop of slaughters inevitably disgusted us Chinese people especially the younger generation and would be a sacrilege to the 300,000 victims buried there. Compared to the films with similar background such as 黑太阳731 by Hong Kong moviemakers, our mainland counterparts failed to give us as strong shaking power. Finally, within my expectation, the film described far too much rape scenes though in the west, the Nanjing Massacre was also titled “Nanjing Rape Incident”. But, the moviemakers should have kept in mind that the victims were our compatriots, they should not have highlighted such explicit scenes, rather, they should have figured out more figurative or artistic ways to expose the inhumane nature of Japanese invaders. In the end, I would like to stress once again, the film Nanjing, Nanjing, deserves its acclamation. Overall, it merits our admiration for Mr. 陆川, though mixed with an iota of disappointments. All in all, movie is an art of regrets. What I had pointed out above, if any, are just a fly in the ointment. |
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2楼2009-05-03 22:30:39