“少年派”一个人的奥德赛
少年、老虎、船、海——这些元素可能源自《荷马史诗》的某一章节，可能是《一千零一夜》的一个桥段，也可能只是洞穴壁画的一部分。而现在，他们一同出现在李安的最新电影中——《少年派的奇幻漂流》。
(以下内容含剧透)
这是一个关于生存的故事。
派从小在印度长大，是个充满无限好奇心和想象力的男孩。突然有一天父母告诉他，因为当地紧张的政治和宗教局势，全家打算迁往加拿大谋生。派被迫背井离乡。
Pi grows up in India. He is a boy of boundless curiosity and imagination. One day, though, he is uprooted as his family decides to move to Canada to escape political and religious tensions and to find better opportunities.
连同父亲拥有的动物园的所有动物们，他们搭上了一艘货轮。船在海上被风暴击沉，只有派一人幸存。他与另外4只动物——土狼、斑马、猩猩和孟加拉虎——同在一艘救生艇上。经过多天的磨难，最终只有派与名为理查德·帕克的老虎战胜伤痛和饥饿，活了下来。
They book a passage on a freighter and take along the zoo animals his father owns. At sea, a storm scuttles the ship, and Pi finds himself in a lifeboat with a hyena, a zebra, an orangutan and a Bengal tiger. Many days of hardship pass. Those who manage to survive battle injuries and hunger until just Pi and the tiger, named Richard Parker, remain.
派试图驯服老虎帕克，只求对方不要吃了自己。渐渐地，人与虎达成了某种”默契”。在强大的自然面前，他们”携手”互助求生。
Pi attempts to build a relationship with Richard Parker that won’t include the animal eating him for lunch. Over time, the human and the carnivore come to an understanding. They forge a bond as they help each other survive against the forces of nature.
这是一个关于信仰的故事。
影片之初，中年派形容自己是印度教徒、天主教徒和穆斯林的综合体。从小时候起，他就开始不断寻找心中的那个”神”。派的故事在影片中被形容成是一个能让人相信上帝的故事。
At the beginning of the story, the adult Pi describes himself as a Hindu-Catholic-Muslim. As a boy, he was continuously searching for God. The story of Pi is described in the film as “a story that will make you believe in God”.
派一直追问上帝：为什么活下来的是他，而他最亲的人都离他而去？生与死之间，派在信仰的悖论中挣扎。227天的海上之旅使他经历了精神考验，但他的信仰从未动摇过。在海上与猛兽帕克为伍的经历，使他找到了一个至高无上的存在。
Pi continually questions God as to why he was chosen to survive, while those closest to him were lost. He grapples with the paradox of faith as he navigates between life and death during his 227-day spiritual trial. And his faith never wavers. His experience at sea with his ferocious friend, Richard Parker, helps him to discover a supreme being.
这是一个恢弘壮观的故事。
片中3D的运用非常精到，能让观众直观感受到强大的自然力，以及主人公对这种力量的异常艰苦的忍耐和斗争。
Its use of 3-D is masterful, as the technology helps you sense the might of the natural world and the titanic struggle to endure its power.
尽管主人公被困在海上一个有限空间内，但影片呈现在观众面前的却是一幅巨大的自然画卷——星星、天空和海洋浑然一体。影片带给观众一系列令人目眩神迷的视觉体验——广阔中的孤独，疯狂中的理性，以及搏斗中的思索。
Though they are trapped at sea in a confined space, a giant canvas of stars, skies and ocean is opened up in the film. “Pi” settles into a series of dazzling visual variations – on ocean and aloneness, reason and wildness, mind and sinew.
片中有很多惊艳镜头：暴风骤雨般从一侧袭来的飞鱼；午夜磷光中腾空而起的巨鲸；还有惊心动魄的二次风暴。而当一个神秘诡异的岛屿出现时，剧情仿佛一下子将我们暂时带入了另一个世界。
There are sequences to astonish: a sideways storm of flying fish, a whale heaving up from a phosphorescent midnight sea, a titanic second gale. By the time the story beaches us temporarily on an island with eerie secrets, it’s as though we’ve sailed right off the map.
这是一个引人深思的故事。
剥开所有关于海难、3D奇观以及虎啸的喧嚣外衣，影片本质上是一个极其静谧且寓意深刻的探讨人性的故事，也是一个关于我们和我们的信仰怎样经受最痛苦考验的故事。
For all the shipwrecks, 3D wonders and snarling tigers, this is a surprisingly quiet and reflective film about human nature and how we (and our faith) can endure even the most harrowing tests.
影片的寓意在于，这个世界上，只要人活着、醒着，人性的阴暗面就有无限堕落的可能。在影片快结束的时候，关于救生艇上的漂流之旅，派给年轻作家讲了故事的另一个版本。这个版本，片中人物是直面镜头进行讲述的，影片没有进行情景再现。主人公同时还引导观众做出选择，问我们更喜欢哪个版本。注意，不是”相信”哪个版本，而是”更喜欢”哪个版本。这一区别很重要。
The moral of “Life of Pi” is that the monsters of our waking world can be infinitely worse. Toward the end of the movie, Pi tells the young writer an alternate version of what may have unfolded on the lifeboat – this one delivered by the character directly to the camera, without the fancy pixels – and we’re invited to ask ourselves which version we prefer. Not “believe,” but “prefer,” and the distinction is critical.
影片《少年派的奇幻漂流》改编自扬·马特尔的同名畅销小说。小说原本被认为是无法被拍成电影的。导演李安接下重任，历时近4年，将这部荡气回肠的小说搬上大银幕。
[拍摄花絮:人与虎]
李安面试了3000多名少年，最终选择了17岁的苏拉·沙玛——一个毫无演艺经验的印度学生——担纲男主角。
Lee cast Suraj Sharma, 17, an Indian student and newcomer as the agonist, after auditioning more than 3,000 boys.
观众可能会惊异于沙玛与老虎的互动表演。有一个场景，老虎帕克将头躺在派的腿上睡去。当被问及怎样驯服一只老虎进行这样精彩的表演时，李安笑着说：”影片中只有23个镜头是真老虎，其余都是电脑合成图像(CGI)。”也就是说，大部分与老虎互动的镜头，沙玛其实都是在与CGI”过招”。
Viewers may be astonished by Sharma’s interaction with the tiger. In one scene, Richard Parker sleeps with his head on Pi’s lap. Lee laughed when asked how the filmmakers trained a tiger to manage such feats. “We have only 23 shots of a real tiger,” he said. “The rest is CGI.” That is computer-generated imagery. In other words, Sharma has to share most of his screen time with only a CGI tiger as his co-star.
[拍摄花絮:'海洋']
至于海洋镜头，李安指导剧组设计建造了一座水槽，位于其家乡台中，容量170万加仑(约合643万升)，堪称电影拍摄迄今用到的最大的可以自造波浪的水槽。
For the water shots, Lee oversaw the production of the largest self-generating wave tank ever designed and built for a movie. Built in his hometown of Taichung, Taiwan, the tank had a capacity of 1.7m gallons.
[影评分享]
–”我一共看了4遍。视觉美轮美奂；技术毫无瑕疵；电影内容非常忠实原著。”——《少年派》小说作者扬·马特尔。
“I’ve seen it 4 times. Visually it is ravishing. Technically, it is absolutely flawless. It is very faithful to the book.” – Yann Martel, the novelist who wrote the “Life of Pi”.
–”《少年派》打破了3D电影传统的动作、奇幻、超级英雄等大片模式…3D原来也可以成为文艺片的一部分。”——《阿凡达》导演詹姆斯·卡梅隆
“‘Life of Pi’ breaks the paradigm that 3-D has to be some big, action fantasy spectacle, superhero movie…the 3-D is an integrated part of the art form…” – James Cameron, the director of “Avatar”.
–”《少年派》是我今年看过的最美电影，很可能也是本世纪看过的最美电影。那种令人目眩神迷的美可以用来校准电视显示屏了。”——《纽约邮报》卢·拉姆尼克
“‘Life of Pi’ is the best-looking film I’ve seen this year, and possibly so far this century. It’s so hypnotically beautiful that people will be using it to calibrate their new TV monitors.” – Lou Lumenick in the New York Post.
四年磨一剑的李安没有让人失望。影片宣传会上，看着李安憔悴的面容、斑白的两鬓，也许有人会恍悟：《少年派》岂止是派的生存冒险之旅，它更是导演本人的奥德赛。
[李安擅长取景]
出生于台湾的美籍华人李安现年58岁，在捕捉田园山水方面，可以说没有其他导演能出其右。《理智与情感》中的英伦山雾，《卧虎藏龙》里的竹林美景，还有《断背山》上的萧索岩壁，李安在取景方面从未失手过。
Taiwan-born American Ang Lee, 58, is an unrivaled master in capturing the beauty of landscape. From the fog soaked hills of England in “Sense and Sensibility” to the bamboo forests of China in “Crouching Tiger, Hidden Dragon” to the spare and lonely crags of “Brokeback Mountain”, Lee’s sense of place has always been infallible.
《卧虎藏龙》摘得奥斯卡最佳外语片奖。《断背山》为他拿下奥斯卡最具分量的最佳导演奖，李安因此成为获此殊荣的首位亚裔导演。
“Crouching Tiger, Hidden Dragon” won the Academy Award for Best Foreign Language Film. “Brokeback Mountain” gave him the most influential Best Director Oscar. He was the first person of Asian descent to win the Oscar.
[李安的人文情怀]
《少年派》经常被拿来与卡梅隆的《阿凡达》或《泰坦尼克号》作比较。但其实与这两部片子不同的是，李安的电影从来不会只追求视觉效果而忽略人文内涵。不论是大船倾覆、星海翻腾，还是发光巨鲸现身，镜头中总少不了可怜的派，他纤小脆弱的身躯一定会出现在某个角落。所有的惊心动魄，不过是为了衬托他的挣扎与孤寂。
“Life of Pi” has drawn comparisons to James Cameron’s “Avatar” or “Titanic”. But Lee’s film, unlike either of Mr Cameron’s, never loses sight of the human story in favor of spectacle. Shots of the capsizing hull, star-blacking waves or bioluminescent whales almost always include poor Pi, a small, fragile human somewhere in the frame. The vastness of the terrors and wonders only emphasize his struggle and solitude.
“我把电影当做认识世界、认识自己的方式，通过电影还可以了解我与人以及与艺术的关系。”——李安
“I see a movie as a way of learning about the world, about myself, and learning about my relationship with people and art.” – Ang Lee
[看电影学潮词]
《少年派》经典台词欣赏：
–All of life is an act of letting go, but what hurts the most is not taking a moment to say goodbye.
人生也许就是不断地放下，但最令人痛心的是，我还没来得及与他们道别。
–Religion is a house with many rooms.
信仰就像一座房屋，可以有很多房间。
–I must say a word about fear. It is life’s only true opponent. Only fear can defeat life.
关于恐惧我想说，它是生活惟一真正的对手。只有恐惧能打败生活。
–The most important thing is not to despair.
最重要的是不要绝望。
–I’m grateful. It’s the plain truth: without Richard Parker, I wouldn’t be alive today to tell you my story.
我很感激帕克。说实话，如果没有帕克，我不可能活到今天跟你讲述我的故事。
–It was a time filled with wonder that I’ll always remember.
那是一段充满奇幻的经历，我会永生铭记。
china daily
2012-12-04
china daily
502次
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