德國電影節上,姜文會知音

Last Sunday, in a movie theater in central Beijing, a reunion took place of three men who had made possible one of the defining works of Chinese cinema.

上週日，在北京市中心的一家電影院，讓中國電影史上一部具有標誌性意義的作品成爲可能的三個男人再度重逢。

Two of them, the Chinese actor and director Jiang Wen and the German filmmaker Volker Schl?ndorff, sat on stage in a conversation on the opening weekend of the Festival of German Cinema. The festival, from Oct. 12 to 26, travels to four Chinese cities. The third man, Jean-Louis Piel, a veteran French producer and resident of Beijing, watched from one of the front rows.

其中的兩個人是中國演員兼導演姜文和德國電影製作人沃克·施隆多夫(Volker Schl ndorff)，在德國電影節(Festival of German Cinema)開幕的週末，他們坐在臺上進行了對話。本屆德國電影節從10月12日持續到26日，在中國四個城市舉辦活動。第三個人是現居北京的資深法國電影製作人讓·路易·派(Jean Louis Piel)，他就坐在前排看着他們。

Mr. Piel had just escorted Mr. Schl?ndorff, 74, an old friend, and Mr. Schl?ndorff's wife, Angelika, through a throng of Chinese film students who had mobbed the German director outside the theater, at Broadway Cinematheque. They had thrust at Mr. Schl?ndorff pens and copies of his memoir, "Light, Shadows and Movement: My Life and My Films."

派剛剛陪同他的老朋友、74歲的施隆多夫及其夫人安格莉卡(Angelika)從一羣電影專業的學生中走了進來，這羣學生在百老匯電影中心(Broadway Cinematheque)的影院外把這名德國導演團團圍住，爭着把筆和施隆多夫的回憶錄《光·影·移動：我的電影人生》(Light, Shadows and Movement: My Life and My Films)塞到他手裏。

"I'm so proud of the book being translated into Chinese," Mr. Schl?ndorff had said in English as he signed the tomes. It was his first time in China.

施隆多夫在厚厚的書上簽名時用英語說，“我爲這本書被翻譯成中文感到驕傲。”這是他第一次來到中國。

The three men had each played a part in the making of "In the Heat of the Sun," a 1994 film about Beijing youth during the Cultural Revolution that had been the directing debut of Mr. Jiang, now 50. The film unfolds as a dream of childhood remembered. It brims with nostalgia and longing and sexual tension. Foreign critics often judge it one of the best works of Chinese cinema of the past two decades.

這三個男人在《陽光燦爛的日子》的製作過程中都扮演了一定角色。《陽光燦爛的日子》拍攝於1994年，講的是文革中一羣北京青年人的故事。這部電影是現年50歲的姜文的導演處女作。這部電影從一個童年記憶的夢境展開。片中充滿了懷舊、渴望和性張力。外國的影評人士常常認爲它是中國過去20年最優秀的電影作品之一。

The German film festival, largely organized by the Goethe-Institut China, had as its centerpiece a retrospective of Mr. Schl?ndorff's films.

德國電影節基本上由中國的歌德學院(Goethe-Institut China)主辦，施隆多夫作品的回顧展是本屆電影節的重頭戲。

"The Tin Drum," a 1979 adaptation of the Günter Grass novel, is arguably the most famous, and it had just been shown earlier on Sunday. Now Mr. Schl?ndorff was ready to discuss his work with students in the theater. For this event, Mr. Jiang had taken a break from shooting his latest film to pay his respects to Mr. Schl?ndorff and to tell the audience of their history together.

拍攝於1979年、根據君特·格拉斯(Günter Grass)的小說改編的《鐵皮鼓》大概是他最出名的作品。電影節在週日早些時候放映了這部電影。現在，施隆多夫準備好了與電影系的學生討論他的作品。爲了這次活動，姜文中斷了其最新電影的拍攝，爲的是向施隆多夫致敬，並向觀衆講述他們合作的經歷。

"I used to be an actor," said Mr. Jiang, dressed in jeans, a black sports jacket and a black hat. "Then I became a director. In between there was a very big predicament. If it hadn't been for Schl?ndorff reaching out to me, then I would still be an actor. I would not have realized my dream of becoming a director. He and Jean-Louis gave me a hand."

姜文身穿牛仔褲和黑色休閒西服，戴着一頂黑帽子。他說，“我曾經是個演員。後來我成爲了導演。這中間有一個非常大的障礙。如果不是施隆多夫主動幫助我，我現在仍然是演員。我不會實現成爲導演的夢想。他和讓·路易幫助了我。”

As told by Mr. Jiang, the story went like this:

根據姜文的講述，事情是這樣的：

When Mr. Jiang was trying to edit "In the Heat of the Sun" in the early 1990s, he was strapped for cash, and the Beijing hotel where he was working evicted him. The hotel seized his editing equipment as collateral for overdue rent payments. The novelist Wang Shuo, who was co-writing the film with Mr. Jiang, introduced Mr. Jiang to Mr. Piel, the French producer. Mr. Piel had been working with Zhang Yimou, then a favorite of the European art house cinema circuit.

上世紀90年代初，姜文在剪輯《陽光燦爛的日子》的時候沒錢了，他當時的工作室所在的一家北京酒店把他趕了出來。酒店還拿走了他的剪輯器材來抵拖欠的房租。與姜文共同撰寫這部電影劇本的小說家王朔把姜文介紹給了法國製作人派。派之前一直在與張藝謀合作，後者當時是歐洲藝術劇院電影圈中一個廣受歡迎的人物。

Mr. Piel advised Mr. Jiang to talk to Mr. Schl?ndorff, who had become a pillar of the film establishment in Germany. At the time, he was in charge of the venerable Studio Babelsberg, outside Berlin. The two met in Berlin. Mr. Schl?ndorff decided to give Mr. Wang the chance to finish editing his film at the German studio, with the studio's full financial support. Mr. Schl?ndorff also helped to get the film selected for the Venice Film Festival. There, the young lead actor, Xia Yu, won the best actor award.

派建議姜文與施隆多夫談談。施隆多夫當時已經是德國電影體制的一個支柱。那時，他是歷史悠久的巴貝爾斯堡電影製片廠(Studio Babelsberg)的負責人，該廠坐落在柏林附近。兩人在柏林見了面。施隆多夫決定讓姜文在這個電影廠完成電影剪輯，由他們提供全部資金支持。施隆多夫還幫助這部電影參選了威尼斯電影節。在威尼斯電影節上，年輕的男主角夏雨獲得了最佳男主角獎。

"When I saw the rough cut of the film without sound, it was obvious to me I had found a brother, and I wanted to help," Mr. Schl?ndorff said. "That was all, because I knew there was a good picture in there."

施隆多夫說，“我看到這部電影無聲的粗剪時就知道，我找到了一個兄弟，我要幫他。就是這樣，因爲我知道這是部好電影。”

Mr. Schl?ndorff said he could still recall scenes from the film — for instance, one where the hero hides beneath a bed as the teenage girl on whom he has a crush, played by Ning Jing, walks into her bedroom. The scene was shot entirely from beneath the bed, with a view of Ms. Ning's ankles as she took off her shoes.

施隆多夫說，他仍然能記得這部電影的一些場景——比如，當男主角迷戀的女孩子（由寧靜飾演）走進臥室的時候，男主角躲到了牀底下。這個鏡頭完全是從牀下拍的，在寧靜脫下鞋子的時候，電影給了她的腳踝一個特寫。

"That was nice filmmaking," Mr. Schl?ndorff said.

施隆多夫說，“那部分拍得很棒。”

He and Mr. Jiang talked about "The Tin Drum," which has influenced many Chinese filmmakers and which, like "In the Heat of the Sun," has a boy protagonist. It shared the Palme d'Or at the 1979 Cannes Film Festival with "Apocalypse Now."

他和姜文談論了《鐵皮鼓》，這部電影影響了很多中國電影製作人，就像《陽光燦爛的日子》一樣，男主角也是一個男孩。在1979年的戛納電影節上，《鐵皮鼓》和《現代啓示錄》(Apocalypse Now)共同獲得了金棕櫚獎。

"It really is unparalleled," Mr. Jiang said. "People asked me why I keep coming back to this. It's really a masterpiece."

姜文說，“它真的是無與倫比。人們問我爲什麼我總是提起這部電影。它是一部真正的傑作。”

The film was a commercial success in Germany, but it became known in North America more for its sex scenes and battles with censors in the United States and Canada. It is the kind of problem that Mr. Jiang and other Chinese filmmakers are all too familiar with in their own country.

這部電影在德國還獲得了商業上的成功，但在北美，它的名氣更多來自電影中的性愛鏡頭以及該片與美國和加拿大審查機構的博弈。在中國，姜文和其他的中國電影製作人對這種問題再熟悉不過了。

"There's no sex in ‘The Tin Drum,'" Mr. Schl?ndorff said, to laughter from the Chinese audience.

施隆多夫說，“《鐵皮鼓》中沒有性愛。”在場的中國觀衆笑了起來。

"There's sex and sexy," Mr. Jiang said in English.

姜文用英語說，“性”和“性感”不是一回事。

After 10 minutes, Mr. Jiang stood up and hugged Mr. Schl?ndorff. He had to return to the set of his film, a gangster movie set in old Shanghai that was being shot in a Beijing suburb. There were high expectations for it because Mr. Jiang's last film, "Let the Bullets Fly," earned more than 650 million renminbi, or $106 million, in domestic box office revenue in 2010, setting a record for a Chinese-made movie. Mr. Jiang's first three films had not been commercial hits. His second one, "Devils on the Doorstep," a black comedy about the Japanese invasion, had so angered officials that they put him on an industry blacklist of directors for five years.

10分鐘後，姜文站起來，並擁抱了施隆多夫。他要回到片場了。他正在北京郊區執導一部以舊上海爲背景的黑幫電影。人們對這部電影有着較高的期許，因爲姜文的上一部電影《讓子彈飛》在2010年獲得了超過人民幣6.5億元（即1.06億美元）的票房收入，創下了中國國產電影的票房紀錄。姜文的前三部電影在商業上都沒有大獲成功。他的第二部電影、關於日軍侵華的黑色喜劇《鬼子來了》惹惱了中國官員，以至於他們把姜文列入禁導的黑名單長達五年。

As Mr. Jiang walked off the stage, Mr. Schl?ndorff grinned. "He invited me to come to his shooting later this week," he said, "and then I will show him how to make a movie."

姜文走下臺的時候，施隆多夫咧着嘴笑了一下。他說，“他邀請我本週晚些時候去他的拍攝現場，到時我會教他怎麼拍電影。”