剧照
详细剧情
长篇影评
1 ) I love it
最开始，原上士是虚弱的，虽然他的脸上泛着油光，他的手上时时握着军刀。他是残暴的日本精神代表。暴力，是因为恐惧的存在。在一个镇定自若的眼神之下，小日本只能用枪、用皮靴、用五个人全身的力量来抵挡一个正气的眼神。与其说，他们是在齐心协力痛扁不“尊重”他们的战俘，不如说，他们企图用拳脚掩盖灵魂上的污垢。劳伦斯说：“日本是个焦虑的民族，他们必须在一起才能做事，所以他们都疯了。”。他真是个日本通。
David Bowie扮演的沙林斯上校头一次见到他时说：“好滑稽的一张脸，眼睛挺漂亮。”。圣诞夜，这个长相猥琐的家伙却笑着将劳伦斯和沙林斯两人的自由当作圣诞礼物送给了他们。他说：“Merry Christmas，劳伦斯。Merry Christmas。”影片的结尾处，他戴着佛珠，踩着布鞋，脸上不再有油。在他将被处死的前夜，他竟然笑得如此祥和。他说：“Merry Christmas，劳伦斯。Merry Christmas。”画面定格在他腰果般的小眼睛和有些发黄的牙上，脸上每一条皱纹里似乎都透出明亮的圣光。阪本龙一的音乐响起，那一瞬，我差点哭了。
从字幕上看，David Bowie似乎是主角。从电影里看，他不是。沙林斯少校的存在，只是为了激发夜井上尉的欲望，一份Fobbiden Love。
夜井上尉原本貌似很有人性。他总在他力所能及的范围内与战俘和平相处，并不刁难。但他毕竟是个日本人，深受日本礼数影响。小日本僵硬呆板的敬礼之下，是无数压抑着的欲望。老子说的“无为”、“无欲”，并非压抑，而是真正的释放。所谓虚怀若谷的“空谷”，便也是这个意思了。若强行克制，便给了“魔”以滋生的机会。在圣歌与军刀之下应当如何选择？当黑色与蓝色的眼珠同样泛着坚定不屈的光芒时，应当如何选择？夜井心中的魔不断壮大，终于让他偏执地做出一系列了非人性的举动。走火入魔的夜井在深爱的沙林斯少校出格的吻中达到顶点。当沙林斯少校被埋在土中只露出一个脑袋的时候，魔消褪了——夜井割下了心爱的蓝眼睛男人一撮金黄的头发，并向他行了军礼。但他毕竟是个日本人，深受日本礼数影响。所以多年以后，他在临死前将这撮头发交给了劳伦斯，要他将此献给神社。那时候，他与劳伦斯的角色已经互换。
劳伦斯说：“是你们的神，是你们那些该死的神。你们才会变成这个样子。愿他们在地狱中腐烂！那些该死的神！”我想，这句话当是对日本所谓的精神、信仰最好的阐释。
我不得不说，大岛渚是有勇气的。他敢于正视自己民族的劣根性。他将所谓大和民族曾经犯下的罪、至今仍有的残暴，暴露给全世界的人看，好叫大家晓得，日本，这个令（中国）人鄙视的国家，并非全然都是一群畜生。
片中东西方文化的冲突十分强烈，关于人性、关于死亡、关于信仰都有很好的处理。正如阪本龙一用日本的民族乐器，谱写了西方味十足的忧郁配乐。
2 ) 谢谢教授，来过这戏里戏外的孤独世界
（原载于虹膜公众号）
具体而琐屑一些的表现是，在患癌之后，他希望能在所剩无几的时光里，跟敬爱的巴赫、德彪西那样，一直创作音乐，直至最后一刻。许鞍华去年公映的《第一炉香》，就有他为内地电影的首次配乐。
如今我们悼念坂本龙一，哪怕有再多铺垫，也还是难免恍惚。
3 ) “八纮一宇”下的悲哀
话回来，
yonoi其实心里很钦佩celliers.（他和劳伦斯谈到他的时候说到俘虏团长不配合，劳伦斯解释说请yonoi理解团长的不合作是因为他作为一个集一身荣耀的人，所以无法泄露相关信息，这时候yonoi说他理解“你们都是荣耀的”，但是yonoi说自己作为一个军人他觉得”有另外一个（杰克·塞林斯）人比更了不起“）但是军国精神（片中最明显错误和自我最纠结的镜头都是在“八纮一宇”下做出的）在他意识中挤占了他作为人性的那一部分空间。（比如226政变后他认为同伴死了，他是人世间在苟延残喘，实际上他三个月前就被派往满洲里，政变和失败和同伴的死和他有半毛钱关系。）让他无法正视自己，也让他对自己无法克制的正常的人性流露感到困惑和愤怒（或自我的恐惧）他要靠残暴和没人性的表现来维护他的自我逻辑“其实是军国主义强加的逻辑”
他怕他像一个人，而不是一个时刻准备牺牲的皇国军人（这一点上原也是，详见原和劳伦斯就荷兰兵的那次谈话和半夜拿个手电来探望杰克的谈话）
所以最后那一吻，让他奔溃。他内心的残暴军国被【杰克人性中的勇敢】和【自己内心真实的感情——对杰克的钦佩】击倒了。越是脆弱的往往外表越是狰狞
【我要说的重点】
其实，这和我们每一个人很想。其实内心来说，倘若我们假象一下，我们不知道”同性恋情“这个东西，脑子里没有这种先入为主的意识。你看了这部片你会觉得这部片好嘛？战争对每个人的蚕食，对双方的毁灭。战争中（男）人们之间的友谊和人性中敢为别人抗争，敢为别人牺牲（yonoi审判时争取塞林斯的俘虏待遇，劳伦斯帮和他有误会的团长说好话，原释放劳伦斯，塞林斯救劳伦斯和团长……） 的这些种种，难道不值得我们感动钦佩
影片强行去除了女性，纯男性的片中少了传说中的爱情套路（男女龙套），去除爱情渲染情节赚眼泪的可能。用纯人性说话。
去除你脑中的潜意识（比如：我是来看同性恋情情节的）你还觉得这是部好片子嘛。
我觉得是！他们让我觉得可悲又可爱。
yonoi最后被作为战犯处死，你难过么？问问自己为什么？因为其实你也觉得他其实是个好人。那为什么这些人在各自的家乡都是亲年才俊好少年，到了战争中就会变成这个样子？
或者说我们是不是也缺乏面对自己的勇气，不能果敢的承认人性的美好使我们感动。我们也没有勇气去面对自己的真性情。要假以”同性恋情节“才能在”吻情节”“活埋jake的（其实是饿死缺水虚脱致死）情节”和听说yonoi已经被处死和明天原也要被处死（劳伦斯却不能在这个圣诞如四年前一样释放他，） 感到遗憾痛心。
你的痛心是他们被残酷的碾碎还是基佬镜头没看够的遗憾？你期待的是他们战后的相聚言欢还是一幕GV镜头，都是前者吧。你为什么一遍遍的看这部片子而不是玩味一部GV，因为驱动你的不是同性恋情节，而是人性的美好的闪现。这也是为什么劳伦斯在片中是个传统意义上的“好人”，但是却没有yonoi和celliers那么抢眼。那为什么一定苦苦追索“同性”理由，看不通了还要上网来求证。你应该明白自己的内心
生活中也一样，为什么真心的呐喊却不能说出来，为什么伤害的是自己的真心和最爱我们的人。为什么活在人世间却一定要故作高深和城府，一定要厚黑学才能算作个成功的成年人。
我们也生活在我们的皇国毒害中，一点点被蚕食人性，直到杀死自己的真心活埋别人也最终害死自己，除了留下一束头发和内心一辈子的遗憾，在人世间什么也没有的离开……
扯什么扯,你就是怂 就是不愿意付出,别自我感动了
4 ) 小说与电影
看过小说，会为电影里很多不明白的地方找到答案。比如说最后的那个吻到底代表了什么，前面原的撕书就已经埋下了伏笔。以前看某篇影评，说到与野井为什么会喜欢塞林斯，并且救他，笔者认为是因为与野井爱塞林斯的勇敢，爱你等于爱自己塞林斯是与野井理想中的自己，我不同意这位笔者前部分的想法，但赞同他后部分的说法，小说中Lawrence否定了是因为塞林斯的勇敢和男子气概与野井才救他，尽管这是与野井救他的口头理由，但Lawrence肯定这只是借口。还有最后与野井的结局，电影里他被处决，但小说里他并没有死，而是战后回了日本，Lawrence在战俘营见到他，他以为自己回不了日本，就托Lawrence帮他带东西回日本，一开始他不愿意讲是什么，后来Lawrence说他不讲是什么东西是不会帮忙的，与野井只好告诉他是塞林斯的头发，但求他帮自己隐瞒这件事情。后来与野井回到日本，Lawrence如约将头发寄给了他，不久与野井写信来表示感谢，告诉他自己把塞林斯的头发放在了什么地方，还附带了一首小诗
In the spring,
Obeying the August spirits
I went to fight the enemy
In the Fall,
Returning I beg spirits,
To receive also the enemy
这个或许可以看做电影的主旨的体现
5 ) 这爱身穿着被禁止的颜色……
提起大岛渚，这位最具争议和才华的“新浪潮导演”，我们可能马上会想到他1976年的那部惊世骇俗的作品《感官王国》。在这部电影中，大岛渚为追求真实感而要求演员做真正的性交，而且对各种生理、心理的变态性行为也不加避讳地直接表现出来，使这部有着唯美颓靡风格的电影成为了情色电影中的经典。
很多导演经常因为自己的某部作品过于引人注目，而导致自己的其它作品被人忽略，就像提起黑泽明一些人就只会想起《罗生门》一样。
大岛渚同样遭遇了这种情况，实际上从他在1959年执导自己的处女作《爱与希望的街》开始，直至2000年执导《御法度》为止。在这40多年的时间里导演了诸多优秀的电影，而这部《圣诞快乐，劳伦斯先生》，就是其中的一部杰出作品。
首先这是一部世界各地的乐迷们不能错过的电影，因为英国著名摇滚歌手戴维•鲍伊（David Bowie）是其中的主演之一，而与他演对手戏的则是日本著名音乐家坂本龙一（Ryuichi Sakamoto）。鲍伊本人的舞台形象正像他多年以来的音乐风格一样华丽善变，而这时的坂本龙一更是年轻俊美且才华横溢。影片中两人共同演绎的暧昧晦涩的同性之爱，自然让他们遍布世界各地的乐迷充满了好奇与想象。
而且在影片中，那时还很年轻的北野武也饰演了一个主要角色。北野武在影片中虽饰演一个时常凶神恶煞的日本军官，但还是掩饰不住他稍显稚嫩的青春本色，尤其当他喊出那句“Merry Christmas，Mr. Lawrence.”时——联想到他中年之后执导或主演的那些有着残酷冷峻风格的电影，让人真的不禁怀疑在时间的背后，究竟隐藏着怎样可怕的东西……
同样让人兴奋，或者甚至可以说比影片本身更令人沉迷的是这部电影的原声音乐。其中的一曲，由坂本龙一和原“日本”（Japan）乐队主唱戴维•西尔维恩（David Sylvian）合作的那首《禁色》（Forbidden Colours），更是有着夺人心魄的销魂魅力。
由戴维•西尔维恩创作的《禁色》的歌词，如古老的圣经诗篇般优雅凝重，其中弥漫着天荒地老的永恒意味，更是倾泻出巨大的美感。
而坂本龙一的编曲则是唯美低婉、催人泪下的深情之作。但这竟是《圣诞快乐，劳伦斯先生》这部几乎没有女人出现的电影的配乐。而音乐中的那种过于奢侈的深沉情感，让人不禁对影片中坂本龙一和戴维•鲍伊共同演绎的同性之爱产生难解的魅惑……
这部电影是根据英国作家劳伦斯•范（Laurens van der Post）的小说《种子与播种者》（The Seed and the Sower）改编的，有的版本也将它译成《俘虏》。
这部电影也是在前文提到的三位主演的某种意义上的“处女作”：它是戴维•鲍伊和北野武的电影处女作；也是坂本龙一的电影处女作和电影音乐处女作。
戴维•鲍伊这个自认为在很久很久以前，就应死于孤寂的出卖世界的男人，在1983年已经是获得巨大个人成功的艺术家。而在他出道最初，由于自己的歌曲不受欢迎，他曾退出音乐界两年之久。在此期间，他积极参与佛教活动，几乎要削发为僧。还好他没有将这个想法付诸实施，否则这世界将只多了一位金发碧眼的英国僧人，而却少了一位魅力四射的双性太空人——这个自“披头士”乐队解散后英国最具影响力的摇滚歌手。鲍伊在1970年推出了使他成名的专辑《出卖世界的男人》（The Man Who Sold The World），专辑同名歌曲有着鲍伊冷酷的典型唱腔和阴暗的吉他旋律，表现了一位活在世界边缘的男人，在求死意志的阴影中的晦暗心境。在这张专辑面世23年后的1993年的冬天，Nirvana的柯特•科本在纽约的那次著名的“不插电”演出中翻唱了鲍伊的这首成名曲，某种意义上，科本应该是另一个出卖世界的男人。
北野武则正是由于这部《圣诞快乐，劳伦斯先生》而走向了影坛，并在日后成为又一位大师级的日本导演——应该说大岛渚就是北野武的领路恩师。在17年后的2000年大岛渚执导的另一部作品《御法度》中，北野武与他的老师再度合作。在年迈的恩师面前，已经功成名就的北野武，有时竟帮忙搬运着片场需要的道具——在这小小举动中，无疑反映了北野武对恩师发自内心的崇敬之情。
同时担任主演及电影配乐创作的坂本龙一，在1983年刚刚步入而立之年。这位和张国荣一样拥有着一双美目的男人，据说在现实生活中，有着和他在这部电影中饰演的角色相同的性取向——当然这是他的个人隐私，可或许正因为有着类似的情感体验，他才能创作出《禁色》这样感人的唯美之作。作为坂本龙一电影音乐的处女作，《禁色》显得过于完美了。甚至连坂本龙一本人日后的创作，也难以超越自己的这次创作。虽然若干年后他为《末代皇帝》（The Last Emperor）创作的电影配乐为他赢得了奥斯卡最佳配乐奖，并登上了他个人事业的巅峰。因为对于他来说成功可能只是别人眼中的事，而他自己的艺术以及蕴含于其中的个人的情感体验才是最为珍贵的。或许也正是因为这样的情感体验，在大岛渚的那部同样以同性之爱为题材的《御法度》之中，他也和北野武一样，再次与之合作，为影片创作了同样动人心魄的电影配乐。
故事发生在1942年印度尼西亚的爪哇岛上的日军战俘集中营，这个集中营由所长夜井上尉和原上士主持事务。
由坂本龙一饰演的夜井上尉，是一位有着理想主义心理倾向且年轻有为的日本军官。而由北野武饰演的原上士则是个一味强调武士道精神的强悍之徒，他对待俘虏和自己的士兵都非常残酷严厉，但对朋友又不乏恻隐之心。
英军俘虏劳伦斯虽然不是俘虏队长，但因为熟悉日语和日本文化而成功地斡旋于日本军人和战俘之间，成了东西方文化矛盾的缓冲剂和协调者。
戴维•鲍伊饰演的英国军官杰克，则是一个自信且有着神秘感的英俊男人，在片中他某种意义上就是自由和信念的象征。杰克的出现让有些自恋的夜井上尉为之迷惑，并对之有了模模糊糊的且充满了自我厌恶的同性之爱，从而慢慢走向了自毁的命运。
实际上，这时他们所在的战俘集中营里盛行着同性恋，虽然原上士也说作为一个日本武士不会害怕同性恋。可是道德上的自我厌恶的禁忌感，以及认为同性恋情会削弱他们自身男子气概的潜意识，让这种同性之爱变成了不敢说出其名字的“禁色”。
而夜井上尉和原上士对集中营中有同性恋行为的士兵都进行着严酷的惩罚——这其中他们更是疯狂地命令其中的一些人剖腹自杀谢罪……
影片中除了勾勒出男人之间这种隐秘的同性之爱外，也刻画了男人之间的另一种情感，那便是男人之间的友谊。例如劳伦斯和原上士之间的友谊，以及劳伦斯和杰克之间的友谊。但由于在那样一个特殊的战争年代，无论是同性之爱还是友谊，都交织着巨大的冲突，尤其是西方的价值观、宗教观及其人文传统，与军国主义这种日本传统武士道精神的现代变体之间的冲突，这种冲突贯穿了整部影片。
而冲突的极致爆发是夜井上尉准备处死英军俘虏的队长的举动，而这一举动也引发了这部电影的华美高潮。在夜井上尉举刀默语准备行刑时，杰克静静走到了夜井的面前，在被夜井推翻在地后，杰克慢慢从地上爬起来，然后再次走到夜井的面前。这是杰克扳住了夜井的双肩，在所有日军及战俘的注视下，轻轻地亲吻了夜井的左右面颊。而夜井也在这出人意料的举动所带来的极度情感震撼之下，整个身躯摇摇欲坠，终于在一声羞愧的呼喊之后瘫倒昏迷在地。
队长虽因此获救了，杰克却受到了惩罚，他的身体被缚后被埋在土中，只露头在地面呼吸等死。就在杰克死去的那晚，夜井来到了他的身后，用剃刀仔细地割下一缕杰克的头发。在将那缕头发小心地收藏起来后，夜井走到杰克的身前向他行了一次庄重的军礼，然后转身离去。而此时一只白色的飞蛾，落到了在月光下已沉入死之迷乱的杰克的面颊上……
战争结束后，在夜井作为战犯被处死之前，他委托劳伦斯将杰克的那缕头发，祭在自己故乡的神社之中。他终于到死都无法忘记他深爱过的却被自己下令处死的那个男人，他要让神来见证他至死不渝的爱，虽然这爱身穿着被禁止的颜色……
在影片结束前，劳伦斯去探望了原上士，这时他成为了战胜国的军官，而原上士则和已被处死的夜井上尉一样成为了战犯，虽然此时两人的身份已经互换，可他们还是像老友重逢那样喜悦。
两人又重新提起了夜井和杰克，并共同回忆了四年前的那个圣诞节。在劳伦斯准备推门离去之时，原上士再次忘情喊出那句：“Merry Christmas，Mr. Lawrence.”……
6 ) 他在放荡的孤独里闪光——《种子与播种者》原著片段和翻译
写在前面：
1.我是刚结束高考的学生，坐标广东。本文中既有中文也有英文原版，选取内容主要围绕yonoi和celliers的互动展开。
因为水平有限翻译一定会有不足之处，望有心人/前辈指正！谢谢！！！！！
2.一个小小的说明：
原小说中，“我”是celliers生命的见证者，相当于电影中Lawrence先生的角色。
战后我与Lawrence先生重逢，阅读celliers在战争中写就的对于弟弟的忏悔和回忆；我所知的是yonoi和celliers间的暗涌，而Lawrence所知的仅仅只是战后yonoi拜托他去送头发。Celliers的自述和我的旁观占绝大多数篇幅。
A．【yonoi的外表】【正面描写】
就在此时，我确信无疑：yonoi的面影浮现在我们眼前。我们一致认为他令人印象深刻，说不定是我们见过的最英俊的日本人。他有一张祭司一样的脸，一种禁欲苦修的神情。尽管像他的族人那样稍有歪斜，他的眼睛形状优美，闪烁着不可抗拒的光芒。他高而笔挺。他是我见过最整洁的日本军官：制服裁剪合体，没有污迹；军靴仔细擦试过，熠熠闪光。他带着一种对自己与其他人之间差异了然于心的神情；这在以前我们归咎于虚荣，而现在，我对劳伦斯先生说，会不会是出于对某种荣耀的觉知——而那荣耀太过遥远，于我辈而言不可触摸？
Just then, I am certain we both had Yonoi’s face vividly before us. He was a striking person we both agreed, perhaps the most handsome Japanese we had ever seen. He had an ascetic, almost a priestlike face, round head and an aquiline nose. His eyes were well spaced and though slanted in the manner of his race, were brilliantly compelling. He was also taller than most, and straightly made. He was the tidiest Japanese officer I have ever known too, his uniform always well cut and spotless and his jackboots polished and shining. He carried himself with a conscious air of distinction which most of us put down to vanity but which, I now said to Lawrence, may have been concerned with some special notion of honour that was inaccessible to us?
B．【celliers的外表】【间接描写】
……审判他的五个法官之一，就是yonoi。
Yonoi的视线刚扫过他，celliers就注意到他英俊的脸庞上出现了感兴趣的神色，随即迅速转变为一种警觉。相似地——尽管并不如前者那样露骨——其他的法官也紧紧盯着他。Celliers几乎确信无疑他的出现打破了日本法官们对他形象的设想。鉴于kempeitai记录里他在雨林和牢狱里劣迹斑斑的行径，他们之前肯定在内心里已经宣判他为一个外国魔鬼，这般罪恶以致向日本皇军展现出如此顽固和反抗的意志。然而从一开始所有法官——yonoi最为明显——便陷入了不一致中，因为celliers的外表使他们无可救药地开始喜爱他。
“这并不使我感到惊讶，”Lawrence插话说，“语言不通的情景下，一个人的外表是第一位的。再说，日本人对各种各样的美有天生的敏感。我可以想象像straffer那样的外表会让他们如何浮想连翩。”
The moment Yonoi’s eyes fell on him, Celliers noticed a look of interest, quickly transformed into something akin to alarm, appearing on his handsome face. The other judges too, stared at him hard and long though not so strangely as Yonoi. Celliers was certain they had formed a picture of him in their minds which he contradicted. They had already condemned him in their minds from the Kempeitai record of his behaviour in jungle and prison as a foreign devil, evil enough to show a spirit of wilfulness and disobedience to the army of their Exalted Descendant of a Sun-goddess. But from the start Yonoi in particular and the judges in general were disconcerted because his appearance instantly predisposed them into liking him.
‘That doesn’t surprise me,’ Lawrence broke in here. ‘In dealing with peoples whose language one cannot speak one’s physical appearance can be all important. And the Japanese have a natural eye for beauty of all kinds. I can see clearly how a fellow of” Straffer’s” looks would have set their imaginations in motion.’
【yonoi的即兴发挥】
‘You!’ Yonoi said: ‘You – you say you ordered come by parachute Java. Who ordered?’
‘I received my orders from the Commander-in-Chief India,’ Celliers answered.
Pausing only to translate to his fellow judges Yonoi went on:
‘You not ordered by General in Java?’
‘How could I have been?’ Celliers asked. ‘I came from Cairo to Colombo and flew from Colombo to Java two months after the surrender. I’ve never even seen the Commander-in-Chief of Java or had any communication with his officers.’
As he spoke Celliers saw a flash of satisfaction in Yonoi’s brilliant eyes. Yonoi turned to his judges to suggest with tact and passion that the charge of’ wilfulness’ could not be held because Celliers had obeyed, as any soldier must, the orders of his own Commander-in-Chief in India, who was still fighting.
这里说明一下：这个wilfulness很难翻译出来，可以说是日本人心目中最重大的罪，类似于“在没有将官命令条件下作为个体的士兵依然负隅顽抗”。如果此士兵是因为有命令而战斗，他可以作为战俘而被接受；但如果他是孤军奋战，他会因为这种“邪恶的顽固”而被定罪处死。
C．【Lawrence一脸很懂的神情】【又甜又虐】
这段捡重点翻，我看得不能自已！！
……一个高个儿宽肩的孤独身影被推搡进门里。他穿着破烂的草绿军装，一头长发，和我们的光头相比过于繁茂以致于近乎色情（？）……他努力尝试着不用两个陪同士兵的帮助直立行走……
…… “yonoi干涉了！”Lawrence几乎难以置信地大叫起来。过了一会儿，他突然问了一个看起来最不相干的问题：“celliers……他的外表十分悦目，对吗？”
我回答“是”然后问：“为什么这么问？”
Lawrence大大地咧嘴笑起来。“时机成熟后我会解释，”他向我保证，“不过，我想你告诉了我个中关窍——那个谜一样的yonoi曾让我去做一件事。不错，最近我刚见过他。不过你不能就此停下——请继续讲吧！”
I went on to tell Lawrence that I’d been standing there at the gates on watch when suddenly they had opened. I’d half expected a company of infantry to come rushing in on one of their prison searches but it had been just a solitary, tall, broad-shouldered figure, which had been pushed in through the doors in a torn jungle-green uniform, with an untidy head of long hair which, after our cropped heads, looked lush to the point of obscenity. He carried an empty shoulder-pack dangling in one hand and a field flash on his hip, while he tried to walk upright without the help of two Kempeitai privates at his side. Even the sentries were surprised. They had seen comings and goings of secret police cars and concluded that something far bigger than the release of a prisoner from secret confinement was contemplated. And in a sense they had been right for I discovered afterwards that that day we were to have been summoned to attend Cellier’s execution but that largely due to Yonoi’s intervention he had been reprieved at the last moment.
‘Yonoi intervened!’ Lawrence exclaimed incredulously. He half-whistled and then asked what seemed the most inconsequent of questions: ‘Celliers was very fair in colouring, wasn’t he?’
‘I said “Yes” and then asked: “Why?”’
He smiled one of his grave smiles. ‘I’ll explain when the right moment comes,’ he assured me. ‘But I think you’ve given me the key to something that the enigmatic Yonoi once asked me to do. Yes. I saw Yonoi myself on a later occasion. But you’d left the island by then – Go on!’
Fair in colouuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuur!!!!!!!!!!!!!!!!我疯了
D.【yonoi骂人现场】
这个……怎么翻都丧失神韵……我要笑疯了
All this time Yonoi’s inquiries after Celliers became ever more impatient. It became no longer a tense question of: ‘Sick officer? Health, how?’ but more irritably: ‘Sick officer not well? Why? Why not well? Lakas! Quick! Lakas!’ One evening towards the end of Celliers’s hospital term he was so angry when I reported Celliers as still unfit for prison duty that I thought he was going to hit me. He stood in front of me with a quick intake of breath, hissing between his teeth and rocking his head from side to side. A strange ventriloquist’s growl began to rise in his stomach until he screamed: ‘Officer not well because your spirit bad! All prisoners spirits bad! Spirit so bad nothing grows in prison gardens! All, all, very, very bad.’
……yonoi对celliers病情的询问越发不耐烦起来。那不再是一个紧张的问题：‘Sick officer? Health, how?’却变得更加恼怒：‘Sick officer not well? Why? Why not well? Lakas! Quick! Lakas!’
……他站在我面前深深吸气，牙关嘶嘶作响，愤怒地摇头。那种奇怪的近乎腹语的怒吼又从他的胃里涌上来，他尖叫道：‘Officer not well because your spirit bad! All prisoners spirits bad! Spirit so bad nothing grows in prison gardens! All, all, very, very bad.’
插一句：这里让yonoi费这么大劲吼一句“nothing grows in prison gardens”是有用意在的，yonoi以为没有，但实际上celliers就是那个播种者。
E．【yonoi探监现场】【大家看黑体】【我不翻了】
I was increasingly confounded when the doctor reported to me that from time to time Yonoi would appear without warning in the open entrance of the hospital cantonment. He would stand there looking at the corner where Straffer lay, taking no notice of anyone else. He would just stand there staring at Straffer as if – as one Australian doctor put it to me – they were two of a kind. The doctor added: ‘Made me uncomfortable. Something not quite healthy about it.’
The strange thing was that Yonoi’s interest never brought him to speak to Straffer on any occasion. After standing there for some time he would summon the doctor in charge and say: ‘Officer there: make well!’ Finishing in that expressive Malay word: ‘Lakas! quick!’
大意就是，yonoi缦立远视，却从来不和celliers讲话。
F．【一些思考】
‘Hear what?’ I asked alarmed by the urgent tone of his question.
‘The music,’ he answered.
Puzzled, I listened more intently than ever. Apart from the normal electro-sonics of that tropical island and the throb of its volcanic heart beating at the temples of the thin-skinned earth of the island there was no sound to be heard.
I told him so but he insisted, saying: ‘There’s the most enchanting music in my ears. It’s all around us. It’s lovely and it’s everywhere.’
这段对话发生在——相当于电影结局的位置——战俘正列队站好，yonoi正在赶来的路上。在小说中，celliers的弟弟正死在此刻，死前他也听到了相同的音乐。
看电影时，音乐穿插交织在重要的情节；那晶莹空灵的旋律近乎无所不在，是否也在呼应小说里这句It’s all around us. It’s lovely and it’s everywhere.’呢？
与电影相较，小说把更多的篇幅和更大的比重给了celliers对于弟弟的回忆和讲述。小说突出了他作为赎罪者的身份，而电影，从日本人的视角出发，体现的却是celliers自由无畏，充满生命力的特点。两相比较，的确饶富深意。
Celliers囿于学院中众人的冷嘲热讽放弃了弟弟。Yonoi的背叛则可分为两个层面来解读：一者，是他自以为的，在二三六事变中背叛了同伴，从而背负了独活的耻辱；而真正的，也是他所未曾发觉的，是他困于军国主义背叛了爱与人性。这种耻感紧密连接着两者——电影中，celliers不羁地坐在床上说“我觉得我和他是一类人”换来Lawrence疑惑又了然的挑眉；小说里，celliers对我剖白：“我们像鸟，因为过于华美的羽衣而落入相同的网。”（仅凭记忆翻，准确表述见原著）。
他们都是曾经受到集体压抑而无法流露出人性（或言爱）的灵魂。而真正美丽的在于事情在于，前者通过自毁实现了赎罪和对后者的救赎。
（泪目）
G．【对于celliers的解读】
“在他的生命中，他感到最紧要的事情是让普适性变成针对性，让共性成为特性，让集体还原个体，同时让我们内心的无意识被意识。”
这段话可说是解读celliers的关键了，诚挚邀请大家贡献自己的翻译版本！
Here Lawrence pressed me hard to recall everything I could of the conversation, and I became rather embarrassed. At the time when Celliers was talking to me there was a lot that I hadn’t understood as I felt I did now. But to try and explain it all to Lawrence made me feel extremely uncomfortable. My whole upbringing and tradition were against so naked a conversation. I think, towards the end, Celliers himself had sensed something of my unspoken reservations, for he had concluded rather abruptly by saying that, as he saw it, he felt the first necessity in life was to make the universal specific, the general particular, the collective individual, and what was unconscious in us conscious.
H．【celliers之死】【这段不翻】
In my despair I turned openly to Celliers.
Before I could speak he spoke to me in a low and reassuring voice as if he were still hearing the music in his ear. He said: ‘I’m going to stop it now. It’ll be all right. But whatever happens do nothing about me. Remember, nothing. Goodbye.’
I did not have time or mind to take in the significance of that ‘good-bye’, nor recognize it then as a clear indication of his knowledge of what the end was going to be for him for as he spoke he stepped out of the ranks his new hat at a rakish angle on his head and the sun flashing on its mutilated badge. He walked, as Lawrence had already remarked, most beautifully. Without hurry he advanced on Yonoi as if he were going across a paddock at home to do no more than take a high-spirited stallion in hand.
The effect among our prison ranks was startling. No sound broke from us but the atmosphere became unlocked and flowing. I knew that without even looking round. Celliers’s reputation had already spread throughout the camp and hope flared up in our ranks again. Even I, though I had no idea what he could or would do, found a too-sweet excitement going through me as I watched his easy almost nonchalant approach. It was truly wonderful; perfectly timed and executed. Anything faster would have alarmed them. Anything slower given them time to recover. Anything before that moment would have failed for Yonoi and his men still would have been free to rush forward and stop him. But finding themselves abandoned by the conclusion they thought foregone they hesitated and just gaped at Celliers, waiting for Yonoi to give them the lead.
When Yonoi opened his eyes again after his short prayer to the spirit, the Maru of his sword, Celliers was barely fifteen yards away. Amazement like the shock of a head-long collision went through him. Going white in the process he stared in a blank unbelieving way at Celliers. For the first time in days he was compelled, because of the unfathomed identification between Celliers and himself, to see someone outside himself.
Amazement then gave way to consternation and he cried out a command in English that was also a plea: ‘You – officer – go – back, go back, go back!’
But Celliers went on to place himself between Hicksley-Ellis and Yonoi and said something quietly and unhurriedly to Yonoi.
Yonoi appeared not to have heard him. He shrieked again: ‘You – go back, back, back!’ like someone trying to scare a ghost.
Celliers shook his head quietly and went on staring at him steadily as a disarmed hunter might stare a growling lion straight in the face. Perhaps more in terror than in anger, Yonoi raised his sword and knocked Celliers down with the flat of it. The crack on his head rang out like a pistol-shot to be followed by another exhortation to Celliers to go back. Dazed, Celliers struggled to his feet, swayed and half-turned as if to obey – then swung around suddenly. He took a couple of paces back towards Yonoi, put his hands on Yonoi’s arms and embraced him on both cheeks rather like a French general embracing a soldier after a decoration for valour.
The shock of this strange action was unbelievable. I do not know who apart from Yonoi was shocked the most: the Japanese or ourselves.
“He walked, as Lawrence had already remarked, most beautifully.”
刻骨铭心只是一瞬间。
我并不知道他的再见意味着什么。
在场没有一个战俘，一个日本士兵知道在这个瘦削孤独的男人内心，无声的乐曲奏响
竟然没有一个人可以追上他的脚步，可以拉他一把，让他停下。
Celliers从不自知他致命的诱惑力。他已经惯于在放荡的孤独中闪光。
他的行走从容不迫，恰好完美地抵达了yonoi，他的罪以及他的死亡。
I．【关于结尾】
我最喜欢的结尾都有 “宕开”“褪去”的意味在，叙述得体地结束而余韵萦回不去，比如了不起的盖茨比，活着，西线无战事这三本。
Lawerence：“日本人无意识地选用沙刑，恰恰暴露出对celliers举动所埋下种子的认可。他们把他笔直的树立在沙中；后来他又被yonoi供养在群山之中的神庙里；而现在，这粒种子在你与我的心中仍然鲜活，茁壮生长。”
‘You see,’ Lawrence said to me now, his voice low with feeling: ‘the seed sown by brother in brother in that far-off homeland was planted in many places. It was planted that day in your prison in Java. Yes, even in the manner they killed Celliers his enemies acted out their unwitting recognition of the seed of his deed, for they did not only bury him alive but planted him upright like a new young growth in the earth. Even the manner of their denial of the deed was confirmation of what was rejected. He was planted again by Yonoi on the hills and spirit of his native country, and here again the seed is alive and growing in you and me.’
我相信如果不是我的妻子回家并用杂事打断我们，我们会继续谈下去。当我去检查屋顶最后一扇窗户时，我伫立了一会儿，凝视着窗外西沉的太阳。是的，圣诞节伟大庄严的灰色平静将要迅速消逝，西南方苍黄的天空里，破破烂烂的云团正朝我们涌来。多么喜悦，能够感知到自然中的事物如此自由狂野，处于动荡之中。我依旧站在那里，满心欢迎风暴的到来，就像celliers再次从他出生，成长，死亡，埋葬和供养的许多地方归来，重新生机勃勃地站在我身后；就像他的声音再度在我耳畔响起：“风与神，土地与生灵，雨水与万物，雷电与话语，种子与播种者，都相与为一；而于人而言唯一必要的事情，是选择他的种子并祈祷其内在的播种者以其举动和形迹去播撒它们，那以后的丰收将伟大丰饶。”
I believe he might have gone on had my wife not entered the room just then and asked me to see to the windows and doors because a wireless warning had come through that a great gale was bearing down on us fast. When I came to check on the last window at the top of the house I stood there for a while looking out at the dying day. Yes, the great grey calm of Christmas was breaking fast. In the south-west against the pale yellow sky the clouds, ragged and torn, were coming racing towards us. The elements were loose and wild with movement and how good it was to know them once more on the move. I stood there with a heart full of welcome for the storm and it was as if Celliers had come again from all those many places in which he had been born, lived, died, been buried and enshrined, to stand behind me renewed and reintegrated, saying clearly in my ear: ‘Wind and spirit, earth and being, rain and doing, lightning and awareness imperative, thunder and the word, seed and sower, all are one: and it is necessary only for man to ask for his seed to be chosen and to pray for the sower within to sow it through the deed and act of himself, and then the harvest for all will be golden and great.’
说明：celliers被监禁时遇到了爪哇岛上的风暴，他评价这是他“最喜欢的”。
感谢阅读！
军国主义的冷酷与日本武士道精神的严苛也无法掩盖原始的真实爱欲，那恶灵的惊世一吻，扰乱了武士的心，瓦解了一切阻碍本我的伪饰之物。让亡人发丝伴随夜井的灵魂回归故土，让安放的思绪也随风而逝，来年开出的鲜花将不必再面对刺刀，而只需迎接所爱的人|若能使时光回溯，请再为鲍伊剃发一绺。
这部电影是摩羯座大集合，大卫·鲍伊，北野武，坂本龙一，都是摩羯座。
让人渐入佳境的电影，后劲绵长，情感冲力极强。1.以东南亚战俘营为空间，经由跨国别、跨种族、跨敌我的同性情谊来表达反战主题，全片除劳伦斯的自白外，未涉及女性，却将男性的战争罪愆、暴力之恶与作茧自缚呈露得无以复加。东西方文化隔阂与交撞则似[桂河大桥]。2.角色有血有肉，令人难忘：善良温润、每每充当调和者的劳伦斯先生，为少时的懦弱背负一生情债、以自毁式的无畏来赎罪的杰克，既笃信武士道又情感丰厚、陷入内外挣扎之渊的世野井，还有粗野蛮横却也显露惜敬慈心的大原上士。3.坂本龙一的电子乐动人至极，空灵的[Ride, Ride, Ride]真若天籁。4.结尾北野武的问候与定格，是我听过的最悲怆而诚挚的“圣诞快乐”祝福。一如伽达默尔所言，节日让沉沦的人们重新体味本真时间与生命，让分离者重返原初共在。（9.0/10）【2021.6.20.SIFF天山重温】
jack被埋在土里的镜头难道我小时候在大荧幕里看到过？总之坂本龙一太帅，太帅了！！
“You！Go back！Go back！”“么么”
坂本龙一的配乐超越时代的洋气，精灵纤细，但是太漂亮了反而跟电影不太搭。另外，整部电影英方蹩脚的日语和日方蹩脚的英语都让人烦到不行，明明在热带大家个个都跟伤风了似的鼻音奇重，著名的那对基美则美矣，演得不是很有感觉，倒是北野武和劳伦斯的演员表现出色，最后一幕莫名催泪，加一星
版本龙一简直太禁欲了好么！禁欲系男主最容易被一点点擦边球的甜头撂趴下了好么！事实证明他也确实被撂趴下了好么！我靠这片儿实在拿人！
日本实在是一个焦虑的民族啊，动辄陷入集体疯狂，切腹就跟切西瓜一样。不同文化对尊严和价值的理解隔着千沟万壑。那一吻是否也是对童年的救赎？憨直可爱北野武...
坂本龙一被David Bowie当众香了之后直直地晕了过去那里是我看过的最有趣的镜头。音乐起得毫无征兆，亲得也毫无征兆。真心喜欢坂本龙一的音乐，没想到他本人长得真好看，尤其是有北野武的陪衬orz。说到底，这是一群音乐人和导演玩票战争版莎乐美的故事吧？XDD
我始终不认为这片子想讲的是一个凄美的同志故事，我觉得在战争年代士兵基本都被迫成了gay，这是一个历史问题。片子讲的是东西方文化差异。劳伦斯说日本是一个焦虑的民族，自己没法做事，只能大家一起来。其实我觉得东方民族都很焦虑，这个问题不知如何解释。西方看待东方的那些“神”，十足荒诞。
NND, 36岁穿上校服还是16岁样，偏心成什么样儿啊
最后北野武坐在那里，剃了光头，笑着说：我想一直醉下去。圣诞快乐，劳伦斯先生。眼睛就红了。谁能想到看这部电影居然被北野武打动啊！
你说你们吧，搞音乐就搞音乐了还来演戏，演戏就演戏吧还长得这么美。
“远方有一堆篝火，在为久候之人燃烧”
大岛渚的导演手段几乎可用“粗暴”来形容。虐待观众精神的手法已经登峰造极无人可比。
主线是JACK在YONOI心里种下了一颗种子，并持续表现；副线是LAWRENCE在HARA心里种下了一颗种子，持续隐藏，在酒醉时和最后的会面时展现，并压倒一切。压抑的同性情感（爱情与友情）与不同背景的文化差异/思维方式交织在一个颓丧、隔绝、无望的背景之中，令人叹息。配乐无疑神来之笔，神秘、清澈、徘徊。
神曲啊这是T_T
鲍伊的吻，释放和复苏了Yonoi 囚禁的灵魂，也拯救了自己与诸人。日本民族普遍的焦虑的背面，是深重的压抑与克己，在他们的各种道与主义里，找不到“我”这个字，从而也看不到“人”。大岛渚非常敢下狠手挖病根。
David Bowie那一吻，我怎么看着想笑，哈哈哈
没有勇气说出自己是“协犯”的年轻士兵，在恋人死后咬舌自尽；没有勇气承认自己爱上敌人的军官，割下了一络爱人的头发；没有勇气捍卫残疾兄弟的男孩，最终站出来保护战友。战争之下两种文化观念的碰撞幽默又残酷。画着菊的香烟在内敛者的手中燃烧，刀一次又一次地挥向自己。