卧虎藏龙 卧虎藏龙 8.0分

罗杰伊伯特评《卧虎藏龙》

黑白
2018-05-14 15:08:29
提示:这篇影评可能有剧透

最好的武侠电影不在于打斗,而在于个人的自我超越。真正的大侠摆脱了空间的限制,肉体的局限和内心的恐惧。西部电影中的打斗,常常建立在双方互相憎恨的前提上。而在武侠电影中,更多的是表现人们对力量的控制。

诚然,武侠电影里也会有人被杀,但他们要么是滥用了权力,要么是反派的走狗。当被卷入一系列反派事件的漩涡中心,大侠会出手一个接一个地解决他们。整个故事就是个人对集体主义的胜利,这种题材深受亚洲人民的喜爱。其中,女性英雄角色在父权社会的崛起也颇受欢迎。

李安的《卧虎藏龙》是我看过最棒的武侠电影。影片于去年五月份上午8点30分在戛纳首映,它甚至打动了那批口味最刁的观众。在影片的开场有一组追逐的镜头,角色们飞檐走壁,不可思议地从一个屋子跳到另一个屋子,评论家为之鼓掌,因为这样的镜头在其他电影中并不多见。我以为,这跟画面中舒展的形体动作有关。它是如此的轻盈,灵活和轻而易举。

武侠电影中的打斗部分就好比歌舞片中的歌舞部分:经过某一段对话的铺垫,接下来就要来一段相应的舞蹈。本片的动作指导是袁和平,代表作有《黑客帝国》系列,他主张形式大于实用。重要的不是谁赢了(除非情节需要),而是看起来谁更娴

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最好的武侠电影不在于打斗,而在于个人的自我超越。真正的大侠摆脱了空间的限制,肉体的局限和内心的恐惧。西部电影中的打斗,常常建立在双方互相憎恨的前提上。而在武侠电影中,更多的是表现人们对力量的控制。

诚然,武侠电影里也会有人被杀,但他们要么是滥用了权力,要么是反派的走狗。当被卷入一系列反派事件的漩涡中心,大侠会出手一个接一个地解决他们。整个故事就是个人对集体主义的胜利,这种题材深受亚洲人民的喜爱。其中,女性英雄角色在父权社会的崛起也颇受欢迎。

李安的《卧虎藏龙》是我看过最棒的武侠电影。影片于去年五月份上午8点30分在戛纳首映,它甚至打动了那批口味最刁的观众。在影片的开场有一组追逐的镜头,角色们飞檐走壁,不可思议地从一个屋子跳到另一个屋子,评论家为之鼓掌,因为这样的镜头在其他电影中并不多见。我以为,这跟画面中舒展的形体动作有关。它是如此的轻盈,灵活和轻而易举。

武侠电影中的打斗部分就好比歌舞片中的歌舞部分:经过某一段对话的铺垫,接下来就要来一段相应的舞蹈。本片的动作指导是袁和平,代表作有《黑客帝国》系列,他主张形式大于实用。重要的不是谁赢了(除非情节需要),而是看起来谁更娴熟。

武侠电影之间常常也会有竞争,追求一些颇具难度的场面。在最近重新发行的成龙电影《醉拳2》中,工厂里有一片燃烧着的煤悬浮在空中。为什么要如此设置?因为这样成龙便可以掉进去,大大增加了观赏性。在《卧虎藏龙》中,李安和袁和平向我们呈现了一个大胆而美丽的场景:两位主人公紧贴着树木的顶端,在刀光剑影中来回穿梭。

看着这一幕,我原以为这些都是用电脑特效合成的。我之所以这么认为,是因为我已经认定,演员们不可能在四十英尺高的树上如此自如。但是我错了。李安告诉过我,我们看到的一切都是真实的。电脑特效只被用来移除演员身上的威亚。“那么那些都是特技演员?“我问道,试图挽回我的猜想。“大部分都不是。”他说。“或许有些替身镜头,但是大部分时间你可以看到他们的脸。树上确实是他们本人。”以及屋顶上也是,他告诉我说。

影片由周润发和杨紫琼主演,两人都是优秀的武打明星,具有深厚的武术功底(正如成龙和其他优秀的类型片演员)。另外两位关键角色则由章子怡(饰玉娇龙)和郑佩佩(饰碧眼狐狸)扮演。长时间的排练获得的视觉效果是显而易见的,但是让《卧虎藏龙》变得与众不同的还是故事的深度和诗意,它不仅仅有华丽的动作场面,还兼具饱满的情绪,极致的浪漫以及精神的本质。

影片讲述李慕白(周润发)立誓为师报仇的故事。多年以来,他一直爱着俞秀莲,俞秀莲也始终对他不离不弃。但是他们不敢表露心迹,除非李慕白报得师仇,并且重新夺回青冥宝剑。此剑系其师所用,如今为铁贝勒收藏,不料被窃。此事让俞秀莲追查到玉府小姐玉娇龙(章子怡)头上,后者的生活虽然优渥却充满条条框框,同时她身上还有一个秘密,有待你们自己去发现。另一位主要角色是碧眼狐狸(郑佩佩),横亘在主角及其理想之间。

这个故事,就像所有其他的武侠故事一样,某种程度上来说显得傻乎乎的,但是李安(《冰风暴》,《理智与情感》)和詹姆斯·夏慕斯(在本片中和王蕙玲以及蔡国荣共同担纲编剧)在表达人的基本情感方面取得了非凡的成功,尤其是李慕白和俞秀莲之间未能实现的爱情。有那么几次,当他们在一起时,你甚至忘记了宝剑的事情,只是看着这个男人和这个女人,小心地呵护着他们的这份感情。章子怡的角色同样令人印象深刻,因为她的愤怒,对限制自己生活的条条框框的愤怒。

我知道有一些人会对武侠电影嗤之以鼻,正如有些人对西部片的厌恶。杰克.华纳(华纳兄弟影业公司老板)曾经告诉他的制片人,“别再让我看到那些用羽毛写的电影了。”但像所有雄心勃勃的电影一样,《卧虎藏龙》超越了类型片的限制,而自成一派。它是出色的,坦然逃避现实的,同时又是极其动人的。并且他们真的在那些树上。

原文:

The best martial arts movies have nothing to do with fighting and everything to do with personal excellence. Their heroes transcend space, gravity, the limitations of the body and the fears of the mind. In a fight scene in a Western movie, it is assumed the fighters hate each other. In a martial arts movie, it's more as if the fighters are joining in a celebration of their powers.

To be sure, people get killed, but they are either characters who have misused their powers or anonymous lackeys of the villain. When the hero stands in the center of a ring of interchangeable opponents and destroys them one after another, it's like a victory for the individual over collectivism--a message not lost in the Asian nations where these movies are most loved. The popularity of strong heroines is also interesting in those patriarchal societies.

Ang Lee's "Crouching Tiger, Hidden Dragon" is the most exhilarating martial arts movie I have seen. It stirred even the hardened audience at the 8:30 a.m. press screening at Cannes last May. There is a sequence near the beginning of the film involving a chase over rooftops, and as the characters run up the sides of walls and leap impossibly from one house to another, the critics applauded, something they rarely do during a film, and I think they were relating to the sheer physical grace of the scene. It is done so lightly, quickly, easily.

Fight scenes in a martial arts movie are like song-and-dance numbers in a musical: After a certain amount of dialogue, you're ready for one. The choreography of the action scenes in "Crouching Tiger" was designed by Yuen Wo-Ping, whose credits include "The Matrix," and who understands that form is more important than function. It's not who wins that matters (except to the plot, of course); it's who looks most masterful.

There's also a competition to find unlikely settings for martial arts scenes. In "Legend of Drunken Master," the recently re-released Jackie Chan movie, a bed of glowing coals is suspended in the air next to an elevated factory railway. Why? So Chan can fall into them. In "Crouching Tiger, Hidden Dragon," Lee and Wo-Ping give us a scene of startling daring and beauty, when two protagonists cling to the tops of tall, swaying trees and swing back and forth during a sword fight.

Watching this scene, I assumed it was being done with some kind of computer trickery. I "knew" this because I "knew" the actors were not really 40 feet in the air holding onto those trees. I was wrong. Everything we see is real, Lee told me. Computers were used only to remove the safety wires that held the actors. "So those were stunt people up there?" I asked, trying to hold onto some reserve of skepticism. "Not for the most part," he said. "Maybe a little stunt work, but most of the time you can see their faces. That's really them in the trees." And on the rooftops, too, he told me.

The film stars Chow Yun-Fat and Michelle Yeoh, veteran martial arts stars who have extraordinary athletic abilities (as Jackie Chan and many of the other stars of the genre also do). Two other key characters are played by Zhang Ziyi (as Jen Yu) and Cheng Pei Pei (as Jade Fox). Long rehearsal and training went into their scenes, but what's unusual about "Crouching Tiger, Hidden Dragon" is the depth and poetry of the connecting story, which is not just a clothesline for action scenes, but has a moody, romantic and even spiritual nature.

The story involves Li Mu Bai (Chow Yun-Fat) as a warrior who has vowed to avenge the death of his master. He has for many years been in love with Yu Shu Lien (Michelle Yeoh), and she with him, but their personal feelings wait upon vengeance and upon their attempts to recapture Green Destiny, a sword that once belonged to Li Mu Bai's master and has recently been sold to the wealthy district governor. That brings Yu Shu Lien into contact with the governor's sheltered daughter, Jen Yu (Zhang Ziyi), who leads a rigidly proscribed life, although she has a secret I will leave you to discover. The other major character, Jade Fox (Cheng Pei Pei), stands between the heroes and their dreams.

This story, like all martial arts stories, is at some level just plain silly, but Ang Lee ("The Ice Storm," "Sense and Sensibility") and his longtime collaborator James Schamus (who wrote the screenplay with Wang Hui Ling and Tsai Kuo Jung) are unusually successful in bringing out the human elements, especially the unrealized love between the Chow Yun-Fat and Michelle Yeoh characters. There are times when they're together that you forget about the swords, and are just watching a man and a woman, tenderly cherishing the unspoken bond between them. Zhang Ziyi's character, the governor's daughter, is also intriguing because she chafes at the rules that limit her and realizes a secret fantasy life.

There are those, I know, who will never go to a martial arts movie, just as some people hate Westerns; Jack Warner once told his producers, "Don't make me any more movies where the people write with feathers." But like all ambitious movies, "Crouching Tiger, Hidden Dragon" transcends its origins and becomes one of a kind. It's glorious, unashamed escapism and surprisingly touching at the same time. And they're really up there in those trees.

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