干花

【本文首发于《虹膜》公众号】

Noir blooms in the rainy night

作者：Roger Ebert

译者：覃天

校对：易二三

来源：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.

如果将筱田正浩的《干花》比作舞台，那么在舞台中央，站着一个沉默寡言的男人，他是一个封闭了自己内心的职业杀手。他在日本黑道中的一个帮派里干活，电影一开始，在结束了自己的刑期后，他回到了东京。他之所以入狱，是为了偿还自己杀人的血债，尽管我们在影片中见过他的帮派头目几次——他坐在牙医的椅子上，看上去只不过是一个普通的老人罢了，根本配不上这个男人的魅力和忠诚。这个男人叫村木（池部良饰），他更忠于忠义的价值观——这是武士一直以来的行事准则。他的宿命是成为一名服从命令的武士，并且成为了命运的傀儡。他认为自己的罪行是「愚蠢的」，但他在悄悄地观察，而不是张口抱怨。

"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》是我看过的，最令人难忘的黑色电影之一，1964年的这部影片是日本电影新浪潮中的一部重要作品，整部影片仿佛是一次存在主义的冷静练习。它不仅有关影片的情节，还与电影的气质有关。村木衣着优雅，精心打理着自己的头发，习惯用墨镜遮住双眼，很少说话，从不展现自己，小心翼翼地守护着自己心中，似乎没有来源的情感。他在黑夜、赌博俱乐部与妓女酒吧织成的地下世界之间穿梭，但自己住在一个破败凌乱的房间里，那里看上去只是一个供他容身和睡觉的地方。

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，村木去了一家钟表店，他年轻的情人新子（原知佐子饰）在那里生活和工作。她可怜地依偎着他，他们毫无节制地做爱。村木没有流露出任何感情。他建议新子找个丈夫成家。他悄无声息地回到了帮派惯常的堕落生活中，似乎沉浸在牢狱之灾中是一种不得体的行为。

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.

他喜欢赌博。这部电影从一个赌博的场景开始，此后赌博的场景在影片中多次出现。从视觉上看，这些场景的构图就像小津电影里的场景一样优雅。《干花》的导演是筱田正浩，他赋予了这部影片宽银幕黑白片的视觉基调，电影中角色的行动带有一种优雅的美感，几乎与安东尼奥尼同时期作品一样。筱田正浩还曾是小津安二郎的助手，这也许可以解释他在《干花》中的一些精巧构思：赌徒们玩着花牌游戏——花牌由厚厚的木片做成，洗牌时会发出咔哒声；观众可以悉心聆听武满彻的配乐，筱田正浩说，他告诉武满彻：「把所有的声音都录下来，我会在影片中用它们。」他录制了花牌的咔哒声，踢踏舞的声音，以及不和谐的弦乐声，这场赌博游戏的节奏，开始让位于主角棱角分明的内心情感。

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."

坐在村木对面的是一位非常年轻的美丽女子。赌博时，她显得随意而草率，即便和村木的眼神相遇时，也是如此。她叫佐子（加贺麻理子饰），和村木一样，她很少说话，也不轻易流露任何情感。无论输赢，她似乎都同样无动于衷。赌博游戏里，只有一个名为小朝（藤木隆饰）的人没有参与其中，据说他是老大新招揽的帮派成员。他靠墙坐着，以咄咄逼人的眼光看着在座的人。筱田正浩使用了一系列镜头来拍摄角落里的这个男人，村木往后侧了侧身看着小朝，而小朝也回过头来盯着村木，好像在说：「我会毫不犹豫地杀了你或其他任何人。」

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.

佐子问村木，他是否知道哪里有赌注更大的赌局。她这么做，似乎仅仅出于对刺激的沉迷。她只真实地流露过两次情绪，一次是在午夜空荡荡的城市街道上进行了一场赛车变速赛后，她开始近乎高潮地大笑。另一次，他们几乎被警察突袭后，佐子咯咯地笑了起来。她说，「小朝，」这个神秘、不怀好意的新来者，似乎「令人兴奋」。对她来说，也许村木让她感到兴奋的关键点在于，他是个杀人犯。

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.

当筱田正浩选择池部良作为《干花》的主演时，池部良正处于事业的低谷，他因为在一部戏剧的演出中卡壳，而被解雇了。在《干花》标准收藏新版的采访中，筱田正浩回忆起池部良失落，抑郁的样子，问他：「你为什么选我？我不过是个蹩脚的业余演员罢了。」但是筱田正浩曾在小津的《早春》（1956）和其他电影中看到过他，在这些电影中，他非常英俊，池部良自己表示想要感受一个落魄男人的命运。《干花》中的池部良让我想起了梅尔维尔《独行杀手》中帅气的阿兰·德龙，这是另一部以疏离、独立的杀手为主角的影片。池部良表演上的平衡，取决于他是否能保持一种查尔斯·布朗森式的冷漠。这是一个对情感持警惕态度的男人该有的品质。另外，影片的故事取决于村木是如何被佐子一步步迷住的，因为她似乎比他更疏远、谨慎。

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，离毒品远一点。一天晚上，她告诉他，自己刚刚「来了一针」。她说是一位医生朋友给她打的。但小朝有着瘾君子的气质。村木是怎么想的呢？他从不表露心思。但当老板要求一名帮派成员去谋杀敌对帮派的头目时，村木主动请缨。显然，他不必这么做。老板也没有考虑他，因为他刚服完刑。如果你思考一下村木为什么要主动站出来，我想你会更深入地了解他的行事动机，并能找到影片的主题。

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.

在采访中，筱田正浩还声称，自己对先锋派艺术十分熟悉。他对在制片厂系统内工作感到恼火，尽管《干花》是由松竹制片厂制作的，但筱田正浩依然认为这是一部独立电影——显然制片厂也是这么认为的。「放映结束后，编剧马场当说这不是他写的那部电影，」他回忆道，「这是制片厂需要的借口。」在不知如何应对的情况下，松竹公司将《干花》的项目搁置了几个月，尽管当它最终上映时取得了巨大的成功，无疑是因为它显现出了与黑色电影、新兴的欧洲艺术电影相同的美学。

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.

马场当从石原慎太郎的一部小说开始改编，写作剧本。他的做法显然是老式的，他在赌博这一场景的呈现上与筱田正浩意见相左。「我们只需要写『他们在赌博』就好了。」他告诉导演。筱田正浩点了点头，保持沉默，他用小说的素材，作为拍摄这些非同寻常的纸牌游戏的基础。《干花》没有努力解释这个游戏是如何玩的，但在视觉上对细节很敏感：庄家的语言节奏，一张牌从隐藏、取出并折叠在布里的庄重仪式，以及下注时纸牌放置的位置。筱田正浩非常关注村木、佐子和在更远处的小朝，这三人冷酷无情的面孔。事实上，赌博的场面不是关于游戏本身，而是关于这三个人之间互通的情感信号；筱田正浩对其他玩家几乎没有兴趣。

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》中几乎没有几场戏是发生在白天的。这部电影大多场景都在室内，有时也会在室外下雨的街道上拍摄。影片一开始，我们就能看到故事发生地——东京的城市景象，但筱田正浩主要在横滨完成了拍摄，那里古老的外观和许多狭窄的巷子，正是他长久以来一直想要的那种效果：夜晚的黑暗，深沉地压在了村木身上。影片中，那场在空荡的街道和阴影中的追逐戏尤其出色。

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.

尽管武满彻的配乐为《干花》定下了基调，但最后一场高潮杀戮戏的配乐来源于亨利·普赛尔的歌剧《狄朵与埃涅阿斯》中的咏叹调。这场戏里人物的动作很慢，并且插入了令人意想不到的教堂彩色玻璃花窗的镜头。当你看完这部电影时，你会明白，这里正在发生的事情，就像村木为佐子创造的一次性高潮。

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.

黑色电影中的主角，通常总是被自己的缺点所毁灭。这个人常常试图遵守某种准则，甚至是法律准则，但却被自己身上的某种道德弱点所击败。在黑色电影中，杀人的事实可能不是道德上的失误，而仅仅是对主角所处社会环境，一种带有责任感的表达。村木告诫自己，不要对他人产生情感，也不要去在意关心着自己的情人新子。但由于神秘的佐子身上那种疏离的，拒人于千里之外的独特感，她马上击穿了村木的心理防御，并让他再次陷入了伤人伤己的杀戮游戏里。在电影的结尾，村木发现，他咽下的是自己选择的苦果。这是一个充斥着黯淡的悲伤，以及空虚的命运的结局

开头用乏味的语气说了什么都乏味。 重返人世，形势有些变化，但大体不变。头目分分合合，无意义的杀人，无意义的赌博，唱经似的荷官...从背后旁观到入局，无非是看到女主为赌而赌的劲。 然后观感急转，日本人飘不起来，虚无得都很实在。与社会没有共同点，却维持它的步调，漫无目的践行着既存的责任，做一个敬业可靠的黑道中层。这就是昭和式虚无吗，笑死。两个老大，由内而外土气寻常的小老头，瓦解最后一丝传奇感，淡漠的任侠淡漠地为欧吉桑打工。吃网兜提来的应季西瓜。 最后，拖延几天，依然找不到什么理由否决仇杀任务。找了找女主找不到，也就算了。就像牙痛懒得治，事不干己，己也不干己，没有能力驱散与生活的疏离感。没有说是的理由，也就没有说否的理由。为了迎合女主找刺激的阈值，可以表演杀人，却没有理由干预对方滑向深渊，因为自己也是。 女主便无理由地滑向深渊。男主也不需要多问，自我这个坚固的密室再次关上大门。

电影《干花》开篇就提出了一个问题：人活着究竟是为了什么？这部一个普通黑帮人物故事的影片，因为导演筱田正浩预置的问题显得略为与众不同。

为什么我一下就抓住了导演怎么来讲这个问题作为理解这部影片的关键，是因为同样的问题也是我长久思考，悬而未决的问题。正是因为我长期思考，所以我知道这个问题本身不好回答。但是与其说回答不易，不如说提出这个问题更难。因为不是每个人都会去思考这样的问题。我记得电视剧《士兵突击》许三多有个经典的回答：有意义就是好好活,好好活,就是做好多好多有意义的事。

如何跳出生活的樊笼就犹如柏拉图洞穴里的人走出洞外。如果我们从生理角度去说，我饿了，有了饥饿感，有了各种感官刺激我才感觉到自己存在，我才从我的存在开始进行思考，考虑我应该怎样的生活。可问题是，我不思考这些问题，难道我就不活了？这惊人一跳要越过的是人生的深渊，要破的是难以破除的铜墙铁壁。站在此岸跳向彼岸，这道觉悟隔着整整一个禅宗。站在自在成长为自为，这道觉醒隔着整整一个时代的启蒙。更别说《资治通鉴》起手处居然是一个刺客复仇杀人的故事，只有在游离于外的这种对象化的审视和反省中，才能提炼出一点儿“无中生有”的价值。

在电影《干花》中其实这个如此这么般难的抽象的问题就变成了电影故事本身的一个问题，就是一个因为杀人坐牢的人，为什么在经历了“新生”时光之后，又因为杀人而重新进了监狱。如果说导演有什么巧妙之处的话，我想就是这样在一个“周而复始”的圆圈的结构中产生了极强的反思效果。只要你认真的看电影，就会因为不断产生的疑问把自己抛出来。我想只有在这样的境遇中，我们才能像魂魄离体一样，脱离原有的“生活轨迹”，在浩瀚无穷的时空之中问一问路在何方。存在主义不就是要脱离原有的“体系”，重新找一找自己的时空坐标吗？

当主人公发现了“偶然”“意外”的女主人公后，“冲突”“矛盾”风生水起。一个苦苦等待他出狱并深爱他的女人，他为什么要抛弃她？一个为了复仇而跑过来暗杀他的人，他又为什么能轻易原谅他？一个如此欣赏而又充满魅力的女人，他又为什么没有能够成全她？如果一切的情节都紧扣电影开篇的问题，那么我们不难发现，让主人公偏离原来的生活轨道，这才是影片要反映的主题线索。

与其说是自由意志的产生，让主人公偏离轨道，不如说正是因为偏离的轨道才产生了自由意志。从我到非我，完全可以夸张的想象女主人和躲在赌场角落的杀手构成了他自我人格的某种二元化隐喻。在内的人格冲突外化为了两个和生命息息相关的人物，他们有棱有角才能让观众看得真实。无论是在赌场上对女主的爱护与欣赏，还是对杀手的警惕和排斥。历史在善与恶的打斗中向前，人生在白与黑的纠缠里虚度。

有人说无论是赌博，赛车还是杀人，不就是荷尔蒙分泌过多导致的吗？我说如果你仔细审视一下主人公的感情世界，首先你要明白区分片中的两个女角色，他一个是得而不爱，一个是爱而不得，为什么？因为要呈现的是看不见的隔阂，一个男人与一个女人之间爱弥合不了的隔阂。如果说“言外之意”大约是我们能够理解的生活常识的话，那么在烛光的小屋里为什么我们会忽视黑暗？

“你不要吸毒吗，我带你看点更刺激的，去看我杀人！”电影的情节里明明男主人公因为杀人坐过一次牢房了，这次他完全可以开启一段新的生活，然而他不仅要重新回到轨道上去，而且这次带上了一个重要的“观众”。如果说有什么阻碍我们反思自己的话，就是我们并不是每一个人都愿意正视直面“灰色”的内心世界。如果说有什么阻碍人与人之间的信任的话，就是我们并不是藏在心中什么东西都能拿出来分享而得到理解。

电影通过这种带有极强的宗教仪式性的杀人场面，在恐惧和颤栗中宣告了故事的结束。杀人，出狱；出狱，杀人。这种生命意义的时间向度构成了我们的人生的不可逆性，然而重复的空间向度又为我们产生了一个巨大的问号？人生难道就是这样简单重复什么都没有的虚空？

所以，正如导演想的那样都得问一问自己：人活着究竟是为了什么？