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[各类评论解读] [原创][翻译]《红猪》上映时的新闻和评论

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画馆特别贡献奖 画馆创作大师奖

发表于 2007-1-24 00:50:21 |显示全部楼层

“日本航空”和“全日航空”的动画角力

《朝日新闻晚报》

1992年7月24日

来源:nausicaa.net

翻译:Laputa

所有翻译均为动画爱好者交流所用

版权归原作者及所属媒体所有

翻译部分未经允许,请勿转载

“日本航空公司”在其国际航线上放映的热门动画《红猪》取得的巨大成功轰动一时。“全日本航空公司”从8月1日将在它们的国际航班上放映刚刚上映同样是一部动画作品的《Meros快跑》

动画电影的竞争是两家航空公司为了改善经营状况,招募新的员工,开辟新的国际航班惨烈的商业竞争的延续。

“日本航空”放映的“红猪”十分受乘客的欢迎直接刺激“全日航空”决定这个月初在其国际航班上放映《Meros快跑》

决定放映的《Meros快跑》是由“朝日新闻”和其它几家公司制作的,提供给暑假坐飞机的乘客观看。鉴于“日本航空”参与制作了《红猪》,并且在电影上映之前就在其国际航班上播放,“全日航空”将在《Meros快跑》上映后一个星期再将其拿到航班上播放。

宫崎骏导演负责《红猪》的原作和脚本,关于一个变成一只猪的中年空军飞行员驾驶着一架红色飞机与空中海盗搏斗的故事。

据发行方Toho公司透露,从7月18日放映《红猪》开始,电影院场场爆满,头三天有超过220,000名观众走进电影观赏这部电影。

大隅正秋导演(译者注:大隅正秋:日本著名儿童剧导演,曾经和高田勋,宫崎骏合作制作鲁邦三世)撰写了《Meros快跑》的脚本,依据太宰治的原著改编。(译者注:太宰治(1909—1948),日本战后新戏作派代表作家)

因为“日本航空”和“全日航空”,这是第一次一部电影在航班上的放映早于其在电影院上映,也是第一次一部在电影院放映的电影同时也将在航班上放映。

“日本航空”估计到8月底为止,共有360,000名乘客将会观看《红猪》,同时“全日航空”估计到9月底为止,共有120,000将会享受《Meros快跑》这部电影带来的乐趣。

这两部动画虽然风格迥异,但是它们的导演和制作团队都是动画界非常杰出的。很难说谁会赢得这个夏天在天空中的竞争。

.

奔向拯救的红猪

《日本时报》

1992年7月28日

作者:MARK SCHILLING

来源:nausicaa.net

翻译:Laputa

所有翻译均为动画爱好者交流所用

版权归原作者及所属媒体所有

翻译部分未经允许,请勿转载

就像我们大多数人所知道的那样,日本有着深厚的动漫文化传统,各个年龄段都有铁杆的动漫迷。不止是儿童,爸爸也会坐在榻榻米上喝着麒麟牌啤酒(日本的老牌啤酒),吃着下酒的青豆菜看漫画。

根据最近一份AC尼尔森的调查,年龄在35到49岁的男性最高收视率的节目是"Sazae-san."(译者注:一个在日本非常流行的动画,讲述一家人的日常闲琐趣事,这一家子人都以海鲜来命名. 故事的构成和《樱桃小丸子》类似,从1969放映至今一共5400话,平均收视率18%以上)“樱桃小丸子”排在第7的位置,在“Pro Baseball Sunday Nighter”之前。(译者注:大概是一种棒球节目)

所以当日本最著名的动画导演的宫崎骏完成《红猪》这部电影时,导演在他的备忘录中表示这是关于“疲倦的中年人”的电影――这并不令人感到意外,《红猪》的主角波鲁克·罗素是一个一战中的意大利空军飞行员,一个长的像猪的人类。

尽管人到中年,波鲁克几乎不知疲倦,相反,他开着他那拉风的红色水上飞机,与空中海盗搏斗。电影的年代设置在20世纪20年代,一群群空贼经常出没在亚得里亚海的上空,他们抢劫游轮上乘客的财物,波鲁克靠搭救这些游轮上的乘客,然后领取赏金为生。

的确,宫崎骏的世界像米老鼠的世界一样,在那里,对过去和现实有着某种偏爱。虽然英雄也许是一只猪,但那和一只肥胖的猪没有任何联系。

有多少儿童动画的角色会像一个欧洲人般漫不经心地抽烟?并且暗恋一个死过三个丈夫的女歌手,带着某种醒悟,一个人隐居在荒岛的帐篷里。

又有多少动画讲述的是一个风度翩翩,潇洒的男人爱上一个年轻漂亮的女孩(女歌手),然后,因为某种未知的魔法,他的嘴变成了猪嘴,耳朵变成三角形了?

换句话说,这不是一部普通意义上的动画,宫崎骏也不是一位普通意义上的动画导演,像见诸媒体的其它大师一样,沃尔特·迪斯尼,宫崎骏都是天才,同时又是怪才,――有时候很难说清楚到底是哪个。难道天才或者怪才会放弃他取得过巨大成功的儿童动画,如《龙猫》,转而投向更多“成人化”、“个人化”的主题?

商业上,这次的改变无疑是天才的一次尝试,《岁月的童话》,他第一部以成年人为对象的动画,在去年大热,然而在艺术上我不得不为之惊叹。(译者注:作者没有意识到《岁月的童话》是高畑勳导演的作品)

剥去电影中那精彩的动画,那么《红猪》就是一部带着海明威式的自负,其中波鲁克是个超级老爸似的男人,30年代的低成本无聊电影,似乎暗示着《巴顿芬克》(译者注:1992年戛纳电影节最佳影片金棕榈奖,最佳导演,最佳男主角奖电影得主)的故事也许就是从一部“冒险故事”的漫画偷来的。

电影的情节围绕着波鲁克和一个来自美国的飞行员卡奇斯的竞赛展开,在一次空中混战中,波鲁克被他的对手打败,波鲁克带着他被打坏的飞机去了米兰。当他到了飞机的维修仓库时,受到了瘦小的老板和他漂亮孙女菲奥的欢迎。

菲奥是一个出色的飞机设计师,我们知道波鲁克是一个大男子主义的猪,他会拒绝她来维修,然而,最后菲奥会说服他。

但是我们不知道,爷爷将雇佣当地的女人来维修飞机,(所有的男人都出外在远方的城市打工),然后波鲁克一边安心的坐着看着她们,一边心不在焉的摇着摇篮。

这里我们可以看见宫崎骏让一个场景变得新奇的诀窍,充满活力的生活――并让他的动画英雄们变的人性化。

飞机起飞,菲奥也在上面,我们也回到动画的世界,海盗们埋伏在了岛的隐避处,菲奥勇敢的指责了海盗头目(他怎么敢破坏她们好不容易才造好的飞机!)然后向美国人提出和波鲁克来一场空中决斗的建议。

这个场景既杂乱又原始,绝对的充满儿童式的幻想。冲突的结局显得非常滑稽,充满狂欢的气氛,还有结局中出现的两个“奖品”,美国人的菲奥,波鲁克的一袋钱――都直接从电视-漫画的土壤而来。

但是我们也有关于波鲁克神秘过去的“严肃”的故事(为什么他变成一只猪),他和女歌手暧昧的关系(她会爱他像爱着一个人一样爱着一只猪吗?)同时他的内心与人类正在进行斗争(他会拒绝或者再度融合?)

不幸地是,这个故事更加强调气氛的渲染,而非实质的描述,我们开始渴望波鲁克继续坚持自己,再次飞上蓝天,因为飞行是“红猪”的荣耀。

一个坚定的飞行器狂热迷,宫崎骏非常喜爱老式飞机,他和他的动画团队也让这些飞机变得非常有生命力。正像他们的两个英雄在空中冒着一切风险,他们将动画的艺术提升到一个新高度。结局美丽的超出了纯粹的现实主义。我们“应该”去观看和感受飞行的,宫崎骏的那些令人惊异的飞机让我们有一个极好的理由去观看这个令人愉悦的幻想故事。在蓝天之上,不会有任何担心。

.


[此贴子已经被桃夭于2007-1-27 22:25:26编辑过]

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画馆特别贡献奖 画馆创作大师奖

发表于 2007-1-24 01:18:19 |显示全部楼层

附《Meros快跑》图片一张


[此贴子已经被作者于2007-1-24 1:19:56编辑过]

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画馆特别贡献奖 画馆创作大师奖

发表于 2007-1-24 00:50:59 |显示全部楼层

原文:

Asahi Evening News, July 24, 1992.

JAL, ANA Compete With Animation

(This article is from Asahi Evening News, July 24, 1992. It is a slightly abbreviated translation of an article which appeared on Asahi Shimbun evening edition, July 23, 1992. Enjoy!)

Stirred by the huge success enjoyed by Japan Airlines in screening the popular animated cartoon "Kurenai no Buta" (Crimson Pig), on its international flights, All Nippon Airways is to feature the just-released "Hashire Merosu" (Run, Meros), also a work of animation, on its international flights from Aug 1.

The competition in animated films is an extension of the fierce competition between the two airlines over improving business performance, recruiting new employees and expanding international flights.

ANA decided in the beginning of this month to screen "Hashire Merosu" on its international flights, instigated by the fact that JAL's "Kurenai no Buta" has proved very popular before and after release.

It decided on "Hashire Merosu," which was made by the Asahi Shimbun and other companies, for in-flight viewing during summer vacation. Whereas JAL participated in the production of "Kurenai no Buta" and screened it on its international flights prior to its release in theaters---a first, ANA will show "Hashire Merosu" one week after it hits the theaters.

Director Hayao Miyazaki wrote the original story and script for "Kurenai no Buta," which is an action romance about a middle-aged air force pilot who turns into a pig and fights air pirates while flying a crimson plane.

According to distributor Toho Co., the theaters showing "Kurenai no Buta" from July 18 have been full, with about 220,000 people seeing it in the first three days.

Director Masaaki Ohsumi wrote the script for "Hashire Merosu" on the basis of an original story by Osamu Dazai. As music director, Kazumasa Oda wrote the theme song. Singer Akina Nakamori recorded the voice of the heroine.

According to JAL and ANA, this is the first time that a movie has been available for viewing on flights prior to theater release and also the first time that a movie playing in theaters will be concurrently screened aboard airliners.

JAL estimates that 360,000 passengers will see "Kurenai no Buta" by the end of August, while ANA calculates that 120,000 passengers will enjoy "Hashire Merosu" up to the end of September.

According to those connected with movies, the two animated cartoons have big differences in style, but on the basis of their directors and staffs, they are both masterpieces dividing the animation world in two. It is hard to tell which will emerge victorious in the battle of the summer skies.

原文:

The Japan Times, July 28, 1992.

RED PIG RUSHES TO THE RESCUE

By MARK SCHILLING

Japan, as most of us know, has a deep-rooted cartoon culture and legions of devoted cartoon fans of all ages. Not only the kids, but Dad stretched out on the tatami with his Kirin and edamame watch manga on the tube.

According to a recent survey by A.C. Nielson, the highest-rated program for men aged 35 to 49 is "Sazae-san." "Chibi Maruko-chan" follows in seventh place, ahead of "Pro Baseball Sunday Nighter."

So it should come as no surprise that top anime director Hayao Miyazaki ("Tonari no Totoro," "Majo no Takkyubin," "Omoide Poroporo") has made a film aimed, as the director said in a memo to his animators, at "tired, middle-aged men." His film, "Kurenai no Buta (The Crimson Pig)," stars Porco Rosso, an Italian World War I flying ace of the porcine persuasion.

Though approaching middle age, Porco is hardly tired; instead, he flies his snazzy red hydroplane, scouring the skies for air pirates. The year is 1920 and the air space over the Adriatic Sea is infested with gangs of cashiered fliers who prey on cruise-ship passengers. Porco makes his living by saving the pirates' victims and collecting rewards.

Yes, Miyazaki's is a Mickey Mouse world, where history and reality take a partial vacation. But though the hero may be a pig, he is no cousin to Porky.

How many kiddie cartoon characters smoke cigarettes with a Continental insouciance, carry a torch for a thrice-widowed chanteuse, and live alone in a tent on a desert island, in a disillusioned retreat from the world?

And how many start life as a dashingly handsome man, in love with a pretty young girl (the chanteuse), and later decide, by means of unspecified magic, to grow a snout and triangular ears?

This, in other words, is no ordinary anime and Miyazaki is no ordinary anime director. Like that other master of the medium, Walt Disney, Miyazaki is something of a genius and something of a flake -- and sometimes it is hard to tell which is which. Was it the genius or the flake who decided to abandon his hugely successful chidren's anime, including "Totoro," for more "adult," "personal" themes?

Commercially, this move was an undoubted stroke of genius. "Omoide Poroporo," his first anime targeted squarely at adults, was a monster hit last year. Artistically, however, I have to wonder.

Stripped of its wonderfully realized animation, "Kurenai no Buta" is mock-Hemmingway pretentious, with Porco as a mucho macho Papa figure, and '30s B-picture silly, with a story that Barton Fink may have stolen from an "Action Stories" comic book.

The plot, such as it is, revolves around a rivalry between Porco and an Errol Flynnish American pilot who flies with the pirates. Defeated by his rival in a dogfight, Porco takes his battered plane to Milan. When he arrives at the repair hangar, he is greeted by the wizened proprietor and his saucy young grandaughter, Fio.

Fio, as it turns out, is an aircraft designer, and a good one. We know that Porco, the chauvinist pig, will refuse her services and that Fio will win him over at the end.

We don't know, however, that Grandpa will hire local women to rebuild the plane (all the men are away, working in distant cities) -- and that Porco will sit contentedly watching them, while absentmindedly rocking a cradle.

Here we see Miyazaki's knack for bringing a scene to fresh, vibrant life -- and for humanizing his cartoon heroes.

Then the plane takes off, with Fio aboard, and we head back to comic-book country. After the pirates ambush them at the island hideaway, Fio spunkily dresses down their leader (How dare he destroy the the plane they worked so hard to build!) and dares the American to fight Porco in an air duel.

This scene is both pulpy and primal; the very stuff of kids' fantasies and cartoons. And the showdown itself, with its clownish carnival atmosphere and its two "prizes" -- Fio for the American, a bag of loot for Porco -- is straight from TV-manga land.

But we also have the "serious" story of Porco's mysterious past (Why did he become a pig?), his ambiguous relationship with the chanteuse (Can she love him as a pig as much as she did as a man?) and his ongoing argument with the human race (Will he reject it or rejoin it?)

Unfortunately, this story is more atmospherics than substance. We begin to long for Porco to get on with it and take to the air again, for flight sequences are "Kurenai's" glory.

A confirmed aviation nut, Miyazaki has a true love of old planes and he and his team of animators have brought them to exhilarating life. Just as their hero risks everything in the air, they take the art of animation to new limits. The result is a beauty beyond mere realism. This is the way flying *ought* to look and feel. Miyazaki's amazing flying machines are an excellent reason to see this wildly swinging mood fantasy. There is no angst above the clouds.

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发表于 2007-2-18 13:38:08 |显示全部楼层

恩...<红猪>太精彩了!!实在喜欢!!

太富深意了~~

我渴望真实的回归...
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发表于 2007-2-19 14:15:30 |显示全部楼层
Meros快跑...使我想起了小鸡快跑...
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发表于 2009-5-30 20:24:00 |显示全部楼层
红猪很棒,快跑还没看过,呵呵
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发表于 2011-12-31 22:17:18 |显示全部楼层
太喜欢红猪,也喜欢久石让的作曲浪漫到骨子里。宫崎骏喜欢怀旧的东西
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