《江湖兒女》:賈樟柯眼中的“江湖”
Brotherhood, glittering swords and knives, drinking bowls of liquor and eating chunks of meat … these are the things that are likely to enter your mind when it comes to jianghu, a word referring to the community of martial artists in stories such as Heroes of the Marshes (《水滸傳》).
兄弟之情、刀光劍影、大口喝酒、大塊吃肉……提到“江湖”，你的腦海中或許會浮現出這些。“江湖”一詞，指的是《水滸傳》等故事中武林高手的世界。But in the eyes of the famous Chinese independent filmmaker Jia Zhangke, jianghu now has a different meaning. It is “an integral part of Chinese culture, for people living on the margin”, Jia told the UK-based news website The Upcoming. “They need to form a brotherhood because they can’t survive on their own. They have their own values, their own rituals, their own ways of living.”
但在中國著名獨立電影製作人賈樟柯看來，如今的“江湖”有着不同的含義。“對於邊緣人羣而言，它是中華文化的必要一環”，賈樟柯在接受英國新聞網站The Upcoming 採訪時表示。“他們需要兄弟情，因爲這些人無法獨自生存下去。他們有着自己的價值觀、自己的慣例、自己的生活方式。”His latest movie Ash Is Purest White, whose Chinese name translates to “Sons and Daughters of Jianghu” (《江湖兒女》), hit Chinese mainland cinemas on Sept 21. In the movie, jianghu refers to “a group of ordinary people living in the margin who uphold a sense of righteousness despite coming from a shady or poor background,” as the director put it.
他的新電影《江湖兒女》於9月21日登陸中國院線。正如導演所言，影片中的“江湖”指的是“一羣生活在社會邊緣的普通人，儘管出身不好，但他們仍堅守着正義感”。
Apart from shedding light on people living in the margins, Jia’s movies also focus on changes. As the title of his famous work Mountains May Depart (《山河故人》, 2005) suggests, time may change rivers and mountains, but our hearts stay the same. The film depicts a town beauty named Tao, and her growth and love over 25 years.
除了展現邊緣羣體之外，賈樟柯的電影也關注了變遷的主題。正如其代表作《山河故人》的片名所展現的那樣，時間或許能讓山河變了樣，但人心不變。電影講述了小鎮姑娘沈濤25年間的成長與愛情。
“It reflects the triviality of human connections and relationships,” Jia told London-based news Financial Times. “We’re apart for whatever reason: a job, a prospect ... When I think back on school friends, we spent almost all our young lives together. Then we lose touch. Some friends reappear, some not. The film is very much like that.”
“這部電影展現了人際關係中的瑣事，”賈樟柯在接受倫敦新聞媒體《金融時報》採訪時表示。“我們因爲工作、前程又或者別的什麼原因而分離……我想起學校裏的同窗好友，我們幾乎共度了整個青春時光。後來大家就失去了聯繫。有的人回來了，有的人從此再沒出現。這部電影就類似這種情況。”Although his movies always have a sense of nostalgia, they also reflect reality. Some directors in the 1980s managed to break Chinese cinema out of its closed mould and try something new, but Jiang thinks they may have actually gone too far. “They’ve changed a lot: in their current films, you’re no longer seeing the experience of life in China. While my way of filming allows me to describe Chinese reality without distortion,” Jia told Australia-based film magazine Senses of Cinema.
儘管賈樟柯的電影總有一種懷舊之情，但它們也反映了現實。上世紀80年代的一些導演試着去打破中國電影的固有模式，嘗試創新，但賈樟柯卻認爲他們或許做的太過了。“他們改得太多了：在現在的這些電影中，你再也看不到中國的百態人生。”賈樟柯在接受澳大利亞電影雜誌《電影感》採訪時表示。
