【本文首發(fā)于《虹膜》公眾號】

Noir blooms in the rainy night

作者：Roger Ebert

譯者：覃天

校對：易二三

來源：rogerebert.com（2011年5月16日）

//www.rogerebert.com/reviews/great-movie-pale-flower-1964

At the center of "Pale Flower" stands a very quiet man, closed within himself, a professional killer. He works for a gang in the Yakuza, the Japanese Mafia, and as the film begins he has returned to Tokyo after serving a prison sentence for murder. He did the prison time as the price to be paid for committing a murder, but although we see his gang boss several times, even in a dentist's chair, there is no effort to make him seem worthy of such loyalty. He is an ordinary older man. Muraki (Ryo Ikebe), the yakuza, seems loyal more tothe ideal of loyalty, a version of the samurai code. It is his fate to be a soldier and follow orders, and he is the instrument of that destiny. He thinks his crime was "stupid," but he is observing, not complaining.

如果將筱田正浩的《干花》比作舞臺，那么在舞臺中央，站著一個沉默寡言的男人，他是一個封閉了自己內(nèi)心的職業(yè)殺手。他在日本黑道中的一個幫派里干活，電影一開始，在結(jié)束了自己的刑期后，他回到了東京。他之所以入獄，是為了償還自己殺人的血債，盡管我們在影片中見過他的幫派頭目幾次——他坐在牙醫(yī)的椅子上，看上去只不過是一個普通的老人罷了，根本配不上這個男人的魅力和忠誠。這個男人叫村木（池部良飾），他更忠于忠義的價值觀——這是武士一直以來的行事準(zhǔn)則。他的宿命是成為一名服從命令的武士，并且成為了命運的傀儡。他認(rèn)為自己的罪行是「愚蠢的」，但他在悄悄地觀察，而不是張口抱怨。

"Pale Flower" is one of the most haunting noirs I've seen, and something more; in 1964 it was an important work in an emerging Japanese New Wave of independent filmmakers, an exercise in existential cool. It involves a plot, but it is all about attitude. Muraki, elegantly dressed, his hair in a carefully stylized cut, his eyes often shielded by dark glasses, speaking rarely, revealing nothing, guards his emotions as if there may be no more where they came from. He glides through nights and an underworld of high-stakes gambling clubs and hooker bars, but lives in a rude and shabby room as if it is merely a cave for sleeping.

《干花》是我看過的，最令人難忘的黑色電影之一，1964年的這部影片是日本電影新浪潮中的一部重要作品，整部影片仿佛是一次存在主義的冷靜練習(xí)。它不僅有關(guān)影片的情節(jié)，還與電影的氣質(zhì)有關(guān)。村木衣著優(yōu)雅，精心打理著自己的頭發(fā)，習(xí)慣用墨鏡遮住雙眼，很少說話，從不展現(xiàn)自己，小心翼翼地守護著自己心中，似乎沒有來源的情感。他在黑夜、賭博俱樂部與妓女酒吧織成的地下世界之間穿梭，但自己住在一個破敗凌亂的房間里，那里看上去只是一個供他容身和睡覺的地方。

After his first night back in his familiar world, he goes to a clock shop where Shinko (Chisako Hara), his young lover, lives and works. She clings to him abjectly, and they have sex without ceremony. He betrays no affection. He advises her to find a husband and start a family. He returns to the customary life of the gang without ceremony, as if dwelling on the prison term would be unseemly.

在回到他熟悉的世界的第一晚，村木去了一家鐘表店，他年輕的情人新子（原知佐子飾）在那里生活和工作。她可憐地依偎著他，他們毫無節(jié)制地做愛。村木沒有流露出任何感情。他建議新子找個丈夫成家。他悄無聲息地回到了幫派慣常的墮落生活中，似乎沉浸在牢獄之災(zāi)中是一種不得體的行為。

He likes to gamble. The movie began with a gambling sequence, there are several more of them, and visually they're as elegantly composed as a scene by Ozu. The director of "Pale Flower" is Masahiro Shinoda, whose visual choice is widescreen black and white and whose characters move with the grace of Antonioni's at about the same time. That Shinoda worked a an assistant to Ozu may explain some of his precise framing. The gamblers play the Flower Card game involving thick cardboard chips that click when they touch; listen carefully to the sound track by Toru Takemitsu, the masterful composer who, Shinoda says, told him "record all the sounds and I will use them." He segues from the clicking of the cards to recorded tap-dancing and then to discordant chords, as if the rhythm of the game gives way to angular interior emotions.

他喜歡賭博。這部電影從一個賭博的場景開始，此后賭博的場景在影片中多次出現(xiàn)。從視覺上看，這些場景的構(gòu)圖就像小津電影里的場景一樣優(yōu)雅?！陡苫ā返膶?dǎo)演是筱田正浩，他賦予了這部影片寬銀幕黑白片的視覺基調(diào)，電影中角色的行動帶有一種優(yōu)雅的美感，幾乎與安東尼奧尼同時期作品一樣。筱田正浩還曾是小津安二郎的助手，這也許可以解釋他在《干花》中的一些精巧構(gòu)思：賭徒們玩著花牌游戲——花牌由厚厚的木片做成，洗牌時會發(fā)出咔噠聲；觀眾可以悉心聆聽武滿徹的配樂，筱田正浩說，他告訴武滿徹：「把所有的聲音都錄下來，我會在影片中用它們?！顾浿屏嘶ㄅ频倪菄}聲，踢踏舞的聲音，以及不和諧的弦樂聲，這場賭博游戲的節(jié)奏，開始讓位于主角棱角分明的內(nèi)心情感。

Seated across from Muraki is a beautiful women, very young, who gambles with the same recklessness she uses to meet his eyes. This is Saeko (Mariko Kaga). Like Muraki, she has no small talk and betrays no emotions. She seems equally indifferent if winning or losing. There is a man at the games who does not play. He is Yoh (Takashi Fujiki), said to be a new employee of the boss. He sits against the wall, regarding the room with aggressive objectivity. Shinoda uses a series of shots in which Muraki leans back to regard this man, who returns his gaze as if to say, "I would kill you or anyone else without a second thought."

坐在村木對面的是一位非常年輕的美麗女子。賭博時，她顯得隨意而草率，即便和村木的眼神相遇時，也是如此。她叫佐子（加賀麻理子飾），和村木一樣，她很少說話，也不輕易流露任何情感。無論輸贏，她似乎都同樣無動于衷。賭博游戲里，只有一個名為小朝（藤木隆飾）的人沒有參與其中，據(jù)說他是老大新招攬的幫派成員。他靠墻坐著，以咄咄逼人的眼光看著在座的人。筱田正浩使用了一系列鏡頭來拍攝角落里的這個男人，村木往后側(cè)了側(cè)身看著小朝，而小朝也回過頭來盯著村木，好像在說：「我會毫不猶豫地殺了你或其他任何人?！?/p>

Saeko asks Muraki if he knows of a game with bigger stakes. She seems addicted to excitement. She betrays emotion only twice, when after a high-speed drag race on empty city streets she begins to giggle almost orgasmically, and again when she giggles after they are almost caught in a police raid. She says that "Yoh," the malevolent newcomer, seems "exciting." Perhaps she finds it exciting, too, that Muraki is a murderer.

佐子問村木，他是否知道哪里有賭注更大的賭局。她這么做，似乎僅僅出于對刺激的沉迷。她只真實地流露過兩次情緒，一次是在午夜空蕩蕩的城市街道上進行了一場賽車變速賽后，她開始近乎高潮地大笑。另一次，他們幾乎被警察突襲后，佐子咯咯地笑了起來。她說，「小朝，」這個神秘、不懷好意的新來者，似乎「令人興奮」。對她來說，也許村木讓她感到興奮的關(guān)鍵點在于，他是個殺人犯。

Shinoda chose Ryo Ikebe as his star when the actor was at a low ebb, having been fired from a play for freezing onstage. In an interview included with the new Criterion edition of the film, the director recalls Ikebe, depressed, asking, "Why do you want me? I'm just a ham actor." But Shinoda had seen him in Ozu's "Early Spring" (1956) and other films, where he was sleekly handsome, and he says he wanted to feel the quality of a man down on his luck. In this film, Ikebe reminds me of the also handsomeAlain Delonin Jean-Pierre Melville's "Le Samourai" (1967), another film about a detached hit man. Here the performance depend on Ikebe's ability to maintain a Charles Bronson-like impassivity. It is the quality of a man wary of emotion, and the story depends on how he becomes helplessly becomes fascinated by Saeko because she seems even more distant and guarded than he is.

當(dāng)筱田正浩選擇池部良作為《干花》的主演時，池部良正處于事業(yè)的低谷，他因為在一部戲劇的演出中卡殼，而被解雇了。在《干花》標(biāo)準(zhǔn)收藏新版的采訪中，筱田正浩回憶起池部良失落，抑郁的樣子，問他：「你為什么選我？我不過是個蹩腳的業(yè)余演員罷了。」但是筱田正浩曾在小津的《早春》（1956）和其他電影中看到過他，在這些電影中，他非常英俊，池部良自己表示想要感受一個落魄男人的命運?！陡苫ā分械某夭苛甲屛蚁肫鹆嗣窢柧S爾《獨行殺手》中帥氣的阿蘭·德龍，這是另一部以疏離、獨立的殺手為主角的影片。池部良表演上的平衡，取決于他是否能保持一種查爾斯·布朗森式的冷漠。這是一個對情感持警惕態(tài)度的男人該有的品質(zhì)。另外，影片的故事取決于村木是如何被佐子一步步迷住的，因為她似乎比他更疏遠、謹(jǐn)慎。

He warns her against drugs. One night she tells him she has shot up. She says a friendly doctor gave her the shot. But Yoh has the skin and the aura of a drug addict. What does Muraki think? He never reveals. But when the boss asks for a volunteer to murder the boss of a rival gang, Muraki says he'll do it. He doesn't have to. The boss has already given him an exemption because he's just finished one prison term. If you meditate on why Muraki volunteers, I think you will close in on his motivation, and find the theme.

村木警告佐子，離毒品遠一點。一天晚上，她告訴他，自己剛剛「來了一針」。她說是一位醫(yī)生朋友給她打的。但小朝有著癮君子的氣質(zhì)。村木是怎么想的呢？他從不表露心思。但當(dāng)老板要求一名幫派成員去謀殺敵對幫派的頭目時，村木主動請纓。顯然，他不必這么做。老板也沒有考慮他，因為他剛服完刑。如果你思考一下村木為什么要主動站出來，我想你會更深入地了解他的行事動機，并能找到影片的主題。

In his interview, Shinoda shows himself familiar with avant garde art. He was chafing at working within the studio system, and even though "Pale Flower" was produced by the major studio Shochiku he considers it an independent film, and so, apparently, did the studio. "After the screening, the writer said it wasn't the film he had written," he recalls, "and that was the excuse the studio needed." At a loss for how to deal with it, Shochiku shelved it for months, although when it was finally released it was a great success, no doubt because it captured the sense of both film noir and the emerging European art films.

在采訪中，筱田正浩還聲稱，自己對先鋒派藝術(shù)十分熟悉。他對在制片廠系統(tǒng)內(nèi)工作感到惱火，盡管《干花》是由松竹制片廠制作的，但筱田正浩依然認(rèn)為這是一部獨立電影——顯然制片廠也是這么認(rèn)為的。「放映結(jié)束后，編劇馬場當(dāng)說這不是他寫的那部電影，」他回憶道，「這是制片廠需要的借口?！乖诓恢绾螒?yīng)對的情況下，松竹公司將《干花》的項目擱置了幾個月，盡管當(dāng)它最終上映時取得了巨大的成功，無疑是因為它顯現(xiàn)出了與黑色電影、新興的歐洲藝術(shù)電影相同的美學(xué)。

The writer, Masaru Baba, began with a novel by Shintaro Ishihara. His approach was apparently conventional, and he disagreed sharply with Shinoda about the gambling scenes. "We just write 'they gamble,'" he told the director. Shinoda nodded, kept his peace, and used the novel as a basis for shooting the extraordinary card games. The film makes no effort to explain how the game is played, but is visually acute about the details: The goading rhythm of the croupier, the ritual of a card withdrawn from concealment and folded within a cloth, the placing of bets. Shinoda gives great attention to the implacable faces of Muraki, Saeko and (at a greater distance) Yoh. The gambling scenes are not about the game but about the emotional signals being exchanged by these three; Shinoda has little interest in the other players.

馬場當(dāng)從石原慎太郎的一部小說開始改編，寫作劇本。他的做法顯然是老式的，他在賭博這一場景的呈現(xiàn)上與筱田正浩意見相左?！肝覀冎恍枰獙憽核麄冊谫€博』就好了?！顾嬖V導(dǎo)演。筱田正浩點了點頭，保持沉默，他用小說的素材，作為拍攝這些非同尋常的紙牌游戲的基礎(chǔ)。《干花》沒有努力解釋這個游戲是如何玩的，但在視覺上對細節(jié)很敏感：莊家的語言節(jié)奏，一張牌從隱藏、取出并折疊在布里的莊重儀式，以及下注時紙牌放置的位置。筱田正浩非常關(guān)注村木、佐子和在更遠處的小朝，這三人冷酷無情的面孔。事實上，賭博的場面不是關(guān)于游戲本身，而是關(guān)于這三個人之間互通的情感信號；筱田正浩對其他玩家?guī)缀鯖]有興趣。

Not many scenes take place in daytime. The film is shot mostly indoors, or outdoors on sometimes rainy streets. The opening establishes Tokyo, but Shinoda shot mostly in Yokohama, where an older look and many narrow lanes gave him a feeling he was looking for, of the night pressing down on Muraki. One cat-and-mouse foot chase through empty streets and shadows is particularly well done.

《干花》中幾乎沒有幾場戲是發(fā)生在白天的。這部電影大多場景都在室內(nèi)，有時也會在室外下雨的街道上拍攝。影片一開始，我們就能看到故事發(fā)生地——東京的城市景象，但筱田正浩主要在橫濱完成了拍攝，那里古老的外觀和許多狹窄的巷子，正是他長久以來一直想要的那種效果：夜晚的黑暗，深沉地壓在了村木身上。影片中，那場在空蕩的街道和陰影中的追逐戲尤其出色。

Although the tone of the film is set by Takemitsu Toru's discordant score, a late climactic killing is scored by an aria from Henry Purcell's opera, "Dido and Aeneas." It goes to slow motion, and is intercut with unexpected stained-glass windows. What is happening here, as you will understand when you see the film, is the equivalent of an orgasm created by Muraki for Saeko.

盡管武滿徹的配樂為《干花》定下了基調(diào)，但最后一場高潮殺戮戲的配樂來源于亨利·普賽爾的歌劇《狄朵與埃涅阿斯》中的詠嘆調(diào)。這場戲里人物的動作很慢，并且插入了令人意想不到的教堂彩色玻璃花窗的鏡頭。當(dāng)你看完這部電影時，你會明白，這里正在發(fā)生的事情，就像村木為佐子創(chuàng)造的一次性高潮。

Film noir is almost always about a central figure who is destroyed by his flaws. This figure often tries to live by a code, even a criminal code, but is defeated by some kind of moral weakness. In noir the fact that you've killed someone may not be a moral failing, but simply an expression of the duties of your milieu. Muraki has schooled himself to not feel, and to not care for Shinko, who cares for him. But by her very inapproachability, the mysterious Saeko defeats his defenses and sets in motion those decisions that cause him to kill again, and trap himself. At the end of the film, he discovers what his choices have left him with. It is an ending of bleak sadness and empty destiny.

黑色電影中的主角，通常總是被自己的缺點所毀滅。這個人常常試圖遵守某種準(zhǔn)則，甚至是法律準(zhǔn)則，但卻被自己身上的某種道德弱點所擊敗。在黑色電影中，殺人的事實可能不是道德上的失誤，而僅僅是對主角所處社會環(huán)境，一種帶有責(zé)任感的表達。村木告誡自己，不要對他人產(chǎn)生情感，也不要去在意關(guān)心著自己的情人新子。但由于神秘的佐子身上那種疏離的，拒人于千里之外的獨特感，她馬上擊穿了村木的心理防御，并讓他再次陷入了傷人傷己的殺戮游戲里。在電影的結(jié)尾，村木發(fā)現(xiàn)，他咽下的是自己選擇的苦果。這是一個充斥著黯淡的悲傷，以及空虛的命運的結(jié)局

開頭用乏味的語氣說了什么都乏味。 重返人世，形勢有些變化，但大體不變。頭目分分合合，無意義的殺人，無意義的賭博，唱經(jīng)似的荷官...從背后旁觀到入局，無非是看到女主為賭而賭的勁。 然后觀感急轉(zhuǎn)，日本人飄不起來，虛無得都很實在。與社會沒有共同點，卻維持它的步調(diào)，漫無目的踐行著既存的責(zé)任，做一個敬業(yè)可靠的黑道中層。這就是昭和式虛無嗎，笑死。兩個老大，由內(nèi)而外土氣尋常的小老頭，瓦解最后一絲傳奇感，淡漠的任俠淡漠地為歐吉桑打工。吃網(wǎng)兜提來的應(yīng)季西瓜。 最后，拖延幾天，依然找不到什么理由否決仇殺任務(wù)。找了找女主找不到，也就算了。就像牙痛懶得治，事不干己，己也不干己，沒有能力驅(qū)散與生活的疏離感。沒有說是的理由，也就沒有說否的理由。為了迎合女主找刺激的閾值，可以表演殺人，卻沒有理由干預(yù)對方滑向深淵，因為自己也是。 女主便無理由地滑向深淵。男主也不需要多問，自我這個堅固的密室再次關(guān)上大門。

電影《干花》開篇就提出了一個問題：人活著究竟是為了什么？這部一個普通黑幫人物故事的影片，因為導(dǎo)演筱田正浩預(yù)置的問題顯得略為與眾不同。

為什么我一下就抓住了導(dǎo)演怎么來講這個問題作為理解這部影片的關(guān)鍵，是因為同樣的問題也是我長久思考，懸而未決的問題。正是因為我長期思考，所以我知道這個問題本身不好回答。但是與其說回答不易，不如說提出這個問題更難。因為不是每個人都會去思考這樣的問題。我記得電視劇《士兵突擊》許三多有個經(jīng)典的回答：有意義就是好好活,好好活,就是做好多好多有意義的事。

如何跳出生活的樊籠就猶如柏拉圖洞穴里的人走出洞外。如果我們從生理角度去說，我餓了，有了饑餓感，有了各種感官刺激我才感覺到自己存在，我才從我的存在開始進行思考，考慮我應(yīng)該怎樣的生活?？蓡栴}是，我不思考這些問題，難道我就不活了？這驚人一跳要越過的是人生的深淵，要破的是難以破除的銅墻鐵壁。站在此岸跳向彼岸，這道覺悟隔著整整一個禪宗。站在自在成長為自為，這道覺醒隔著整整一個時代的啟蒙。更別說《資治通鑒》起手處居然是一個刺客復(fù)仇殺人的故事，只有在游離于外的這種對象化的審視和反省中，才能提煉出一點兒“無中生有”的價值。

在電影《干花》中其實這個如此這么般難的抽象的問題就變成了電影故事本身的一個問題，就是一個因為殺人坐牢的人，為什么在經(jīng)歷了“新生”時光之后，又因為殺人而重新進了監(jiān)獄。如果說導(dǎo)演有什么巧妙之處的話，我想就是這樣在一個“周而復(fù)始”的圓圈的結(jié)構(gòu)中產(chǎn)生了極強的反思效果。只要你認(rèn)真的看電影，就會因為不斷產(chǎn)生的疑問把自己拋出來。我想只有在這樣的境遇中，我們才能像魂魄離體一樣，脫離原有的“生活軌跡”，在浩瀚無窮的時空之中問一問路在何方。存在主義不就是要脫離原有的“體系”，重新找一找自己的時空坐標(biāo)嗎？

當(dāng)主人公發(fā)現(xiàn)了“偶然”“意外”的女主人公后，“沖突”“矛盾”風(fēng)生水起。一個苦苦等待他出獄并深愛他的女人，他為什么要拋棄她？一個為了復(fù)仇而跑過來暗殺他的人，他又為什么能輕易原諒他？一個如此欣賞而又充滿魅力的女人，他又為什么沒有能夠成全她？如果一切的情節(jié)都緊扣電影開篇的問題，那么我們不難發(fā)現(xiàn)，讓主人公偏離原來的生活軌道，這才是影片要反映的主題線索。

與其說是自由意志的產(chǎn)生，讓主人公偏離軌道，不如說正是因為偏離的軌道才產(chǎn)生了自由意志。從我到非我，完全可以夸張的想象女主人和躲在賭場角落的殺手構(gòu)成了他自我人格的某種二元化隱喻。在內(nèi)的人格沖突外化為了兩個和生命息息相關(guān)的人物，他們有棱有角才能讓觀眾看得真實。無論是在賭場上對女主的愛護與欣賞，還是對殺手的警惕和排斥。歷史在善與惡的打斗中向前，人生在白與黑的糾纏里虛度。

有人說無論是賭博，賽車還是殺人，不就是荷爾蒙分泌過多導(dǎo)致的嗎？我說如果你仔細審視一下主人公的感情世界，首先你要明白區(qū)分片中的兩個女角色，他一個是得而不愛，一個是愛而不得，為什么？因為要呈現(xiàn)的是看不見的隔閡，一個男人與一個女人之間愛彌合不了的隔閡。如果說“言外之意”大約是我們能夠理解的生活常識的話，那么在燭光的小屋里為什么我們會忽視黑暗？

“你不要吸毒嗎，我?guī)憧袋c更刺激的，去看我殺人！”電影的情節(jié)里明明男主人公因為殺人坐過一次牢房了，這次他完全可以開啟一段新的生活，然而他不僅要重新回到軌道上去，而且這次帶上了一個重要的“觀眾”。如果說有什么阻礙我們反思自己的話，就是我們并不是每一個人都愿意正視直面“灰色”的內(nèi)心世界。如果說有什么阻礙人與人之間的信任的話，就是我們并不是藏在心中什么東西都能拿出來分享而得到理解。

電影通過這種帶有極強的宗教儀式性的殺人場面，在恐懼和顫栗中宣告了故事的結(jié)束。殺人，出獄；出獄，殺人。這種生命意義的時間向度構(gòu)成了我們的人生的不可逆性，然而重復(fù)的空間向度又為我們產(chǎn)生了一個巨大的問號？人生難道就是這樣簡單重復(fù)什么都沒有的虛空？

所以，正如導(dǎo)演想的那樣都得問一問自己：人活著究竟是為了什么？