雙語(yǔ)新聞：解讀搖滾教父崔健的導(dǎo)演處女作《藍(lán)色骨頭》

雙語(yǔ)新聞：解讀搖滾教父崔健的導(dǎo)演處女作《藍(lán)色骨頭》

10月17日，搖滾教父崔健的導(dǎo)演處女作《藍(lán)色骨頭》在全國(guó)上映。崔健表示自己并不期待一種短期的數(shù)字，而是“終極票房”，“文藝片要看很多次才能懂其中的味道。”

Cui Jian, China’s godfather of rock music, has two new titles: award-winning film director and screenwriter.

中國(guó)的搖滾教父崔健，最近又獲得了兩個(gè)新頭銜：“獲獎(jiǎng)”電影導(dǎo)演與編劇。

His directorial debut, Blue Sky Bones, which garnered international recognition in Rome International Film Festival in late 2013, is beautifully accomplished, especially compared to his last attempt as a filmmaker — the 30-minute segment of the 2009 two-part movie Chengdu, I Love You— which was a chaotic jumble of ideas.

在2013年末的羅馬國(guó)際電影節(jié)上，他的導(dǎo)演處女作《藍(lán)色骨頭》贏得了國(guó)際認(rèn)可（獲特別推薦獎(jiǎng)）。尤其與他雜亂無(wú)章的上一部電影—— 2009年拍攝的30分鐘短片《成都，我愛(ài)你（上、下）》相比，《藍(lán)色骨頭》是一部完成度很高的電影。

The premise of Blue Sky Bones, briefly speaking, is a story about the “cultural revolution” (1966-76) told by a young computer hacker. It has two storylines: one about the hero Zhong Hua (Yin Fang), an underground songwriter who makes a living creating computer viruses and then selling anti-viruses to neutralize them; the other one about the love triangle of Zhong’s parents during the “lost 10 years” of the “cultural revolution”.

電影《藍(lán)色骨頭》的背景簡(jiǎn)單而言，即以一位年輕黑客的視角，講述了1966至1976年“文革”期間的故事。全片有兩條主線，一條是主人公——地下作曲家鐘華(尹昉 飾)，他以販賣(mài)查殺自己寫(xiě)的電腦病毒的殺毒軟件為生。另一條線則圍繞鐘華父母 “迷茫十年文革”間的三角戀展開(kāi)。

 Through flashbacks to the past and a jungle of thoughts expressed by the central character in philosophical voiceovers, the movie has a strong emotional thread and observes the lost generation of the “cultural revolution” through the eyes of a young man who’s trying to make sense of his life in an age of the Internet, music downloading and forgetfulness of the past.

電影的思想豐富，情感主線突出，通過(guò)倒敘的手法以及核心角色哲人般的畫(huà)外音，向我們展示了一個(gè)生活在上網(wǎng)、下音樂(lè)、遺忘過(guò)去的時(shí)代里努力尋找生命意義的年輕人，和他眼中“文革”時(shí)迷茫的父輩們。

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Cui has described his role on the film as “orchestrating the actors, the music and the script” and leaving the rest of the production work to professionals in each field. Cui’s use of music binds together the whole structure of the film, giving it a genuine dramatic power that compliments the emotive voiceovers by the main character.

崔健說(shuō)自己在電影拍攝時(shí)的角色就是“協(xié)調(diào)演員、音樂(lè)和劇本”，至于其他制作工作，自有其領(lǐng)域的專業(yè)人員打理。但正是他用音樂(lè)串聯(lián)起了整個(gè)電影情節(jié)架構(gòu)，為主人公飽含深情的旁白賦予了戲劇化的張力。

Cui’s wisest choice, however, was hiring Australian cinematographer Christopher Doyle, who is known for his work on Wong Kar-wai films. Doyle’s photography brings atmosphere and shape to the story as it jumps between past and present.

崔導(dǎo)最明智的選擇莫過(guò)于請(qǐng)來(lái)了王家衛(wèi)的御用攝影師——來(lái)自澳大利亞的杜可風(fēng)。正是他的拍攝，讓故事在過(guò)去與當(dāng)下間完美穿梭。

The most noticeable weakness about the film is the script. Cui’s got so much ambition in storytelling that the two subplots don’t sit comfortably within the movie.

相比之下，電影劇本成了全片最明顯的軟肋。崔導(dǎo)想要講一個(gè)太過(guò)宏大的故事，以致電影的兩條副線顯得有些不協(xié)調(diào)。

But the movie does all come together in its final sequence, which creatively cross-cuts between scenes of a timeless China on the Yangtze River with Zhong performing the title song. Cui’s embracing of traditional values of love and forgiveness, in such a genuine way, is quite surprising. It reminds us of a fact that no one wants to accept: the bad-boy rocker, now 52, has finally hit middle age.

好在電影還有充滿創(chuàng)意的最后一鏡，當(dāng)揚(yáng)子江上的不老中國(guó)與唱著主題曲的鐘華交叉剪輯在一起，千頭萬(wàn)緒也終于匯聚一處。崔健能以如此真誠(chéng)的方式傳遞傳統(tǒng)價(jià)值觀中的愛(ài)與寬恕，著實(shí)令人驚訝。而這也提醒著我們一個(gè)難以接受的事實(shí)：這個(gè)現(xiàn)年52歲的搖滾“壞男孩”，已然人到中年。

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