[原创][翻译]《红猪》评论

tower2

《红猪》评论

作者：Daniel thomas

2005年2月25日

翻译：Tower2

每当我向一个从来没有听说过GHIBLI工作室的人去推荐一部宫崎骏的电影时，我几乎总是选择《红猪》。因为在GHIBLI的电影中，这部电影是把他们电影的特质和风格体现得最好的。它拥有冒险的经历，拥有奇妙的想象，拥有众多的笑料，但是它同时也是安静和平滑的，带有淡淡忧愁的浪漫主义。

《红猪》讲述的故事是发生在1929年的亚得里亚海，那个时候是大萧条的早期，也是意大利法西斯主义兴起的时候。主角是一个叫做Marco的飞行员，曾经在第一次世界大战中是一个传奇般的空军飞行员，而现在则成为一个赏金猎人，一个人生活在一个小岛上。Marco还偶然地成为了一只猪。

也就是说，我的意思是他又粗鲁又懒惰。他在中年又发福了。他很愚钝，是一个男性至上主义者。换句话说，他真是头该死的猪。

你总是能说你正在处理一个你无法理解的一个缺乏想象力的灵魂，为什么这个家伙看起来像只猪？好象他们从来没有发现作品中这个隐喻的概念。这个图标，就如Scott McCloud这样称呼一样。他在著名的《Understanding Comics》（译者注：这本书提供了对简洁性概念和在视觉沟通中如何发挥作用的提出了非凡的洞察力。）里面讲述过，所有的视觉艺术都是抽象和具有象征意义的。图标仅仅是象征，我们很容易认同这种观点。这不是一架飞机，这不是一头猪。

看宫崎骏电影的最大乐趣之一是看他如何把一个画家的本能带入到电影里去。如果《红猪》是一部真人电影，Marco的扮演者就会是一个中年的，比如在《卡萨布兰卡》里的汉弗莱·博加特。但是动漫并不就是现实，它有抽象感和象征性。作为一头猪的Marco就是漫画像巨大的感触。

在DISNEY的作品里，这点就会被停留在字面的意义，然后就出现比如魔法诅咒和神仙教母的陈腔滥调。宫崎骏明智地把它直接把它演绎出来，它完全取决于Marco个人的真情实感。在作品里也有一个最好的旁注：“我宁愿当一头猪也不要当法西斯。”

这不是一部关于意大利飞机空战的电影，而是讲述各种各样的人以及他们的关系的电影。它着重于宫崎骏刻画的一个看破红尘和愤世嫉俗的个人化的自画像。在他这些年创造的角色中，Marco是他最为相象的。就像《龙猫》是关于宫崎骏童年的个人电影，《红猪》则是宫崎骏中年的自画像。

生活在西方的我们这些人，当第一次发现宫崎骏时，都被他电影中的彻底的浪漫主义和善良的心灵所吸引。但是如果你花一定的时间去研究他的作品，特别是《风之谷》漫画版，你将发现宫崎骏是一个身处矛盾之中的艺术家。一方面，我们看到他对自然的爱，他的理想主义，而另外一方面，我们也看到怀疑和犬儒主义，他的厌世主义和现实主义。

这些特征常常出现在两个女性主角身上，我把她们称为宫崎骏的“两姐妹“。年轻的“妹妹”是理想主义者，年长的“姐姐”是现实主义者。每部电影中都会有一些变化，但是总是存在相同的模式。

我想这就是为什么在宫崎骏的电影里少女和女人们总是占着巨大的戏分，她们被详细地描绘并且非常真挚。在《红猪》里，“年长的姐姐”是一个叫做Gina的女人，她有一家餐厅，而且从童年时代就和Marco相识。她非常有主见，是一个很独立的人，但是同样也对世间的事情的处理非常老到，同时也许有些忧愁。

“年轻的妹妹”是一个17岁的红发女孩，叫做Fio，是Maro的飞机受损之后然后求助修理的一个机械师的孙女。很真实地形容，她是一个火把，同时也是一个熟练的机械师，在重做飞机时，反击了Marco的俏皮话。最后，她和Marco一起离开，两人发生了一种特别的联系。

我觉得《红猪》里最给人强烈感受的是在于Marco和Gina之家的关系如果被逐渐地，偶然地呈现出来。绝大多数人都会说作品中最棒的场景是Marco讲述他在战争中的那次故事（从某种意义上说，这说明了为什么他不再相信人性），它来源于Roald Dahl的短篇小说《他们不会变老》。这确实是一个非常好的时刻，但是还有一个更棒的场景。

在这个场景里，Gina坐在她的花园里，拒绝了Curtis的求婚, 他是个装模做样的人，是Marco的对手。她谨慎地打断了他的谈话，就像旧式的好莱坞的女明星那样所能做的那样。她说了很多话，来讲述她爱上了这只肥猪，而且一直在等待他的表示。在那个时刻，她听到了飞机的声音，然后跑出来就看到了熟悉的Marco的那架红色飞机。当他驾驶飞机作出各种空翻时，Gina突然回想起童年时那个遥远的一天：她第一次和Marco驾驶飞机。

这真是太精彩了！它是电影中最浪漫的情境之一。如果你看到这里没有流泪的话，那么你真的应该去看医生。你绝对有严重的毛病。

我觉得美国是不可能做出《红猪》这样的作品。诱惑如此之强以至于我们仅仅会堆砌一张又一张的追逐画面，;而牺牲了角色们。我们每个星期都会看到船只遇难的事情。比起爱森斯坦（译者注：1898-1948,前苏联电影导演及制片家）, 弗朗西斯·福特·科波拉, 和黑泽明来，宫崎骏当然是情节的大师，但是他同样也对简单的音乐剧没有耐心，也经常把暴力描绘成天真和愚蠢的行为。空中盗贼的奇特组合其实并不邪恶,他们的滑稽表演都是为喜剧效果而服务的。

在Marco和Curtis之间的那场空中战斗，它非常棒，那是因为在整部电影中它是唯一主要的情节内容。整个故事都是要等待那个时刻，而且它确实非常值得观看。接下来宫崎骏做了一件任何美国的导演都不敢做的事情：他把疲倦一抛而光，然后把整个事情变成了一场闹剧。这两个飞行员都“沦落”到在空中互相投掷扳手。

电影最后让人惊叹的是另外一个打动人心的情感时刻，这次是Marco和Fio之间。这是一个对滑向法西斯主义的世界和即将疯狂的世界的浪漫告别。我们知道的那个世界也许结束了，但是至少我们还有另外一个。它是电影大师的宏大主题。

[此贴子已经被桃夭于2006-5-10 18:23:42编辑过]

tower2

附原文：

February 25, 2005

Whenever I want to show a Hayao Miyazaki movie to someone who has never heard of Studio Ghibli, I'll almost always go for Porco Rosso. Of all their great movies, it's this one that best embodies all the great traits and characterists of the great film studio. It has adventure, imagination, and great humor; but it's also quiet and often reflective, a nostalgic romanticism.

Porco Rosso is a story set in the Adriatic in 1929, during the early days of the Great Depression and the rise of Italian fascism. The main character is a pilot named Marco, who was a legendary fighter pilot in the Great War and now works as a bounty hunter and lives alone on an island. Marco also happens to be a pig.

By that, I mean he's crude and lazy. He's put on pounds in middle-age. He can be rather blunt and he carries some sexist attitudes towards women. In other words, he's a damned pig.

You can always tell you're dealing with an unimaginative soul when he or she can't figure out, good glavin, why does this guy look like a pig? It's as if they never discovered the novel concept of the metaphor. The icon, as Scott McCloud calls it. As his great polemic Understanding Comics puts it, all visual art is abstract and symbolic. Icons are merely the symbols, the language, that we have commonly agreed upon. This is not an airplane. This is not a pig.

One of the great joys of watching a Miyazaki film is seeing how he brings a painter's instinct to movies. If Porco Rosso were a live-action movie, Marco would be played by some middle-aged actor channelling Humphrey Bogart in Casablanca. But animation doesn't deal in reality; it deals in abstraction and symbolism. Marco as a pig is a great touch of cariciture.

In a Disney picture, this point would be literalised and drowned in cliches like magic spells and fairy godmothers. Miyazaki wisely prefers to play it straight, depending on his emotional honesty. This also has the benefit of setting up the best line in the picture: "Id rather be a pig than a fascist."

This isn't a movie about Italian airplanes and firefights, but about people and relationships. Its focus on Marco as dis**ed and cynical is a personal self-portrait by Miyazaki. Of all the characters he has created over the years, it's Marco that he most closely identifies with. As My Neighbor Totoro was a personal film about his childhood, Porco Rosso is Miyazaki's self-portrait of midlife.

Those of us in the West, when discovering Miyazaki, draw upon his sweeping romanticism and sense of kindness. But if you invest enough time with his work, particularly his Nausicaa graphic novel, you discover an artist always in conflict. On one side, we have his love of nature, his idealism. On the other side, we see the doubt and cynicism, his world-weariness and realism.

Very often, these traits are embodied in the two female leads, what I'd call Miyazaki's "two sisters." The younger "sister" is the idealist, the older "sister" the realist. There are minor variations from film to film, but the same pattern is always present.

I think this is why girls and women are so strongly developed in his movies, so fully portrayed and emotionally honest. In Porco Rosso, the "older sister" is a woman named Gina who owns a restaurant and has known Marco since childhood. She's a wonderfully self-assured, independant person, but also wise to the ways of the world, and maybe a little sad.

The "younger sister" is a 17-year-old redhead named Fio, the granddaughter of a mechanic Marco turns to when his plane is damaged in an ambush. True to form, she is a firebrand, and also a skilled mechanic who rebuilds the plane while withstanding Marco's wisecracks. Eventually, she leaves with Marco, and the two develop a special bond together.

I think the greatest strength of Porco Rosso lies in how gradually, how casually, the extent of Gina and Marco's relationship is revealed. Most people will say the picture's best scene is Marco's story of what happened to him in the war (revealing, in a sense, why he lost faith in humanity), which is taken from a Roald Dahl short story called They Shall Not Grow Old. It's a great moment, there's a better scene.

In this scene, Gina is sitting in her garden, weathering marriage proposals from Donald Curtis, a bumbling Errol Flynn-ish rival to Marco. She's discreetly cutting him off at the knees, in that way old Hollywood starlets could do. She reveals, in so many words, that she's in love with the fat pig, and is waiting for him to show up and do something about it. At that moment, she hears a sound, and rushes out to see Marco in his familiar red plane. As he performs a series of loops, Gina suddenly recalls an old memory from childhood: the first time she flew in a plane with Marco.

It's all so wonderful, one of the great romantic moments in the movies. If you're not moved to tears, then you should probably go to a doctor. There's something seriously wrong with you.

I don't think Porco Rosso could be made in America. The temptation would be too strong to merely pile on one chase scene after another, at the expense of the characters; we see the wreckage at the multiplexes nearly every week. Miyazaki certainly is a master of action comparable to Eisenstein, Ford, and Kurosawa, but he also has little patience for simple melodrama and often depicts boys' violence as childish and silly. The odd collection of air pirates are more rivals than villans, and their screwball antics are played for comedy.

The reason the climactic air duel between Marco and Curtis is so good is because it's the only major action set-piece in the entire movie. The whole story is building up to this moment, and it's a terrific payoff. Then Miyazaki does something no American director would dare: he takes all the air out of the tires and turns the whole thing into a farce. These two pilots are reduced to hurling wrenches in mid-air and throwing punches.

The movie's final exclamation mark is another touching moment of affection, this time between Marco and Fio. It's a farewell romantic gesture for a passing era, of a world sliding towards fascism and the hell it will unleash. The world as we know it may be ending, but at least we have one another. It's the grand theme of one of cinema's great masters.

红色警戒

我也十分喜欢看“红猪”

木精

看了评论，我要再多看一遍“红猪”！

唯爱雪落

“如果你看到这里没有流泪的话，那么你真的应该去看医生。你绝对有严重的毛病。”
我是有毛病的人。

lixiaoya

06年的帖子，难怪我没发现，好文啊

imomo

看看老外的感想