日本 “电影天皇” 黑泽明 | 经济学人讣告

2022-10-29 03:10

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Akira Kurosawa

黑泽明

英文部分选自经济学人19980910期讣告

Akira Kurosawa

黑泽明

Akira Kurosawa, emperor of Japanese films, died on September 6th, aged 88

日本 “电影天皇” 黑泽明于9月6日去世，享年88岁。

WATCHING a film made by Akira Kurosawa is not always fun. “Rashomon” is set in medieval Japan. A murder has taken place, and probably a rape. Four witnesses to the events describe what they have seen. Their accounts are contradictory. The message of the film appears to be that truth is elusive.

黑泽明电影给观众的观感不一定是有趣的。电影《罗生门》讲述了日本中世纪时期的一起谋杀案（可能还涉及强奸），四位目击者描述了自己看到的情况，但他们的叙述却相互矛盾。这部电影传达的信息似乎是：真相难以捉摸。

The film had an indifferent reception when first shown in Japan. Reviewers judged, no doubt correctly, that Japanese moviegoers were not keen on messages. Soft porn and simple stories are what pack the cinemas of Tokyo. The critics at the Venice film festival in 1951 were made of sterner stuff. “Rashomon” gained their top award. They had taken their seats expecting to see a cliché Japan of geishas and cherry blossom. They emerged in the grip of a subtle mind. The film has gained a kind of immortality in the phrase “Rashomon-like”, meaning uncertainty. For the first time a Japanese director won international recognition. The Japanese became proud of their worldbeater. Mr Kurosawa was awarded the Order of the Sacred Treasure, the first film director to receive it. But, for choice, most Japanese have continued to feel there is nothing to beat a spicy boy-meets-girl story.

这部电影在日本首映时不温不火。影评人无疑做出了正确的判断：日本电影观众对电影传达的信息并没有多大热情。东京电影院里满是软色情和简单故事。但在1951年威尼斯电影节上，影评家更为严肃，给《罗生门》颁发了最高奖项。这些影评家就座观影时，本以为又会看到一则老套的日本故事，不是艺妓，就是樱花，结果影片却让他们觉得深奥而不可捉摸。从这部电影衍生出了一个短语，“罗生门式的”（Rashomon-like，意为不确定性），而电影本身也因此短语获得了不朽的地位。这是日本导演首次赢得国际认可，日本人开始为他们这部斩获国际殊荣的电影而自豪。黑泽明先生被授予“瑞宝大绶章”，成为首位获此殊荣的电影导演。但是，选电影的时候，大多数日本人还是觉得没有什么电影能比得上围绕热辣恋情展开的老套故事。

For all the critical praise heaped upon him, Mr Kurosawa never found it easy to raise money for his films. In 1971, when he was 61, his spirits were so low that he attempted suicide; presumably a cry for help as Japanese suicide attempts tend to be final. At other times he tried to make films with an obvious popular appeal, which are best forgotten. Orson Welles had a similar experience. “Citizen Kane”, made when he was young, is considered by some to be the best film ever, but for the rest of his career he only scraped a living as a director.

尽管备受业界好评，但黑泽明为自己的电影筹集资金时，一直相当艰难。1971年，61岁的他情绪一度低落到尝试自杀；这可能是他在呼救，因为日本人自杀往往都会成功。其他时候，他拍了几部明显是在迎合大众的电影，不过这些电影与其被人铭记，不如被人遗忘。奥森·威尔斯（Orson Welles）也有过类似的经历。在一些人看来，威尔斯年轻时拍摄的《公民凯恩》是有史以来最好的电影，但他之后的导演生涯却仅能勉强维持生计。

The samurai

武士

Akira Kurosawa and Orson Welles were innovators in an industry that mostly prefers tried and tested formulae. There are of course other directors whose talents are argued over by the minority who see film as an art as well as mass entertainment. But the list is fairly small, and belongs to no one country. In the 1920s, the most critically admired films were German and Russian, in the 1930s they were French, in the 1940s British and Italian. As in a great painting, there is always something new to see in, say, “The Bicycle Thieves” (Vittorio De Sica, 1948) or “La Grande Illusion” (Jean Renoir, 1937). Mr Kurosawa saw these and many other films made in the West. As a child he had had a free pass to a cinema where his brother was a narrator of silent movies. At a time when Japan was authoritarian and fiercely nationalistic, Mr Kurosawa became an admirer of western ideas. Shakespeare was an obvious master, but so was John Ford, the maker of American westerns of pace and atmosphere. “The Seven Samurai”, perhaps Mr Kurosawa's best-known film, is a sort of Japanese western, in which poor villagers hire a group of unemployed warriors to protect them from bandits. Hollywood remade it as “The Magnificent Seven”, which has some of the shine of the original. “Yojimbo” was remade as “A Fistful of Dollars”, starring Clint Eastwood. Hollywood was grateful. It awarded Mr Kurosawa three Oscars.

黑泽明和奥森·威尔斯都是电影行业的创新者，而在这一行，人们更喜欢一些屡试不爽的老套模式。当然，一小部分观众也会为一些导演的才华争论，认为电影既是一种大众娱乐、也是一种艺术。但这样的电影数量不多，且不局限在某一个国家。20世纪20年代，最受评论界推崇的电影是德国和俄罗斯的电影，30年代变成了法国电影，40年代又变成了英国和意大利电影。就像欣赏一幅伟大的画作一样，每每观看这些电影，例如《偷自行车的人》（Vittorio De Sica，1948年）和《大幻影》（Jean Renoir，1937年），都能给人新的启发。黑泽明看过这两部电影，也看过许多其他的西方电影。小时候，他可以自由进出电影院，因为他哥哥是电影院的默片解说员。在日本实行专制、民族主义高涨的时候，黑泽明成了西方思想的崇拜者。显然，莎士比亚是他的师父，但约翰·福特（John Ford）也是，他拍摄的美国西部片在节奏和气氛把控方面无人能及。《七武士》（The Seven Samurai）或许是黑泽明最广为人知的作品，某种程度上算是一部日式西部片。电影中贫穷的村民雇佣一群失业的武士，帮助他们抵御强盗的侵袭。好莱坞将其翻拍为《豪勇七蛟龙》（The Magnificent Seven），还原了一些原作的闪光点。另一部黑泽明电影《用心棒》（Yojimbo）被翻拍成《荒野大镖客》（A Fistful of Dollars），由克林特·伊斯特伍德（Clint Eastwood）主演。好莱坞对这些作品深怀感激，给黑泽明颁发了三项奥斯卡奖。

When in 1970 Hollywood decided to make “Tora! Tora! Tora”, an epic about the attack on Pearl Harbour which brought America into the second world war, Mr Kurosawa seemed just the man to direct the Japanese scenes. He was enthusiastic, but pulled out long before the film was completed. One story told at the time was that he wanted the Japanese in the cast to have military training to ensure authenticity. Whether that is true or not is unclear; it doesn't seem a bad idea. What is clear is that Mr Kurosawa insisted on absolute control of the Japanese scenes.

1970年，好莱坞决定拍摄《虎！虎！虎！》（Tora! Tora! Tora，又名《偷袭珍珠港》）；这是一部关于偷袭珍珠港将美国卷入二战的史诗级影片，而黑泽明似乎是导演日本场景的最佳人选。他起初热情满满，却在影片完成很久之前就退出了。当时有这样一种说法，称黑泽明希望剧组里的日本人能接受军事训练，以此确保电影的真实性。这种说法的真实性尚未可知，但想法本身似乎不是一个坏主意。可以确定的是，黑泽明坚持自己对日本场景的绝对控制。

This was his way. He was tenno, the emperor, of his world. One of his actors recalled that he would scream, “The rain isn't falling like I want it to.” He was a perfectionist, but necessarily a frugal one. His most expensive film was “Ran”, made in 1985, and based on the story of “King Lear”. It cost $10m, a lot of money for a Japanese film but trifling by Hollywood standards. He kept costs down by working fast. In many of his films he used the same team of reliable actors, headed by Toshiro Mifune, who died last year. Each scene was filmed by three cameras in different positions. Each night Mr Kurosawa would edit the day's filming, so that when the filming was finally finished he had a rough draft of the movie.

这就是他的行为方式。在他的世界里，他就是日本天皇。据与他合作过的一名演员回忆，黑泽明会大叫：“这雨下的样子不是我想要的。”他凡事力求完美，但也必行节约。他拍摄成本最贵的电影是1985年改编自《李尔王》的《乱》，共耗资1千万美金，对日本电影来说不是个小数目，但对好莱坞电影来说却显得微不足道。他通过加快拍摄进度来控制开支，在多部影片中启用同一批可靠的演员，其中的头牌就是去年去世的三船敏郎（Toshiro Mifune）。他会将三台摄影机布置在不同机位，拍摄每一个场景。他会在每天晚上剪辑白天的样片，如此一来，影片拍摄完毕时，成片就已初见雏形。

He left an oeuvre of 30 films produced over a period of about 50 years, the final one, “Madadayo”, about an elderly academic, as recently as 1993. Although no one questioned that he was world class as an artist, some Japanese, still among the most nationalistic of people, wondered whether he was too fond of western ideas. Mr Kurosawa would point to his collection of antiques. Alongside Japanese lacquerware was French glass. Both were beautiful. Japan and the West, he said, lived side by side in his mind.

黑泽明的电影生涯横跨近50年，共留下了30部作品，最后一部是1993年的《一代鲜师》（Madadayo），讲述一位老教授身上发生的故事。纵然没有人质疑他是电影界的一代宗师，但是日本的那些极端民族主义者对他颇有微词，认为他太热衷于西方的想法。黑泽明这时便会以他收藏的古董为例。这些古董既有日本精美的漆器，也有法国漂亮的琉璃制品。他说，无论是日本的、还是西方的，他都兼收并蓄。

翻译组：

Lee，爱骑行的妇女之友+Timberland粉

Benjiamin，MTIto be, 初学翻译的翻译小学生

Cassie，准MTI，一心想吃口译面，早日坐进小黑屋

校对组：

Luc，男，在北京，喜欢睡觉

Francis，达人观之，生死一耳；何必生之为乐，死之为悲

Nikolae，新手人民教师，声优探索者，乃木坂47与AKB49

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