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1、Review:‘Dunkirk’IsaTourdeForceWarMovie,BothSweepingandIntimateBy MANOHLADARGISSeptember6,2017《敦刻尔克》:生死一线间的苦难、生存和抵抗影评MANOHLADARGIS2017年9月6日Oneofthemostindelibleimagesin“Dunkirk,”ChristopherNolan’sbrilliantnewfilm,isofaBritishplaneinflames.Themovierecountsanearly,harrow
2、ingcampaigninWorldWarIIthattookplacemonthsafterGermanyinvaded Poland andweeksafterHitler’s forces startedrollingintotheNetherlands,Belgium,LuxembourgandFrance.Theplane,havingglidedtoastop,hasbeendefiantlysetablazebythepilottoavoiditsbeingcaptured.It’sanimageofunambigu
3、ousdefeatbutalsoanemblemofresistanceandaportentoftheghastlyconflagrationsstilltocome.在克里斯托弗·诺兰(ChristopherNolan)的精彩新片《敦刻尔克》(Dunkirk)中,一架燃烧的英国飞机是最令人难忘的画面之一。电影讲述了二战初期的一场惨烈的战役,时间是在德国入侵波兰数月后,几周前希特勒的部队刚刚开始进入荷兰、比利时、卢森堡和法国。滑翔的飞机停了下来,为了避免沦为敌人的战利品,飞行员毅然放火烧毁了它。这幅画面标志着毫无异议的失败,但也
4、象征着抵抗,预示着即将到来的惨烈大战。It’sacharacteristicallycomplexandcondensedvisionofwarinamoviethatisinsistentlyhumanizingdespiteitsmonumentality,abalancethatisasmuchapoliticalchoiceasanaestheticone.And“Dunkirk”isbig—insubject,reach,emotionandimage.Mr.Nolanshotandmostlyfinisheditonl
5、arge-format film (unusualinourdigitalera),whichallowsdetailstoemergeingreatscale.Overheadshotsofsoldiersscatteredacrossabeachconveyanunnervingisolation—asifthesewerethelastsoulsonearth,terminallyalone,deserted.(Seenonatelevision,theywouldlooklikeants.)Filmalsoenriches
6、thetextureoftheimage;itdrawsyoutoit,whichiscrucialgiventheminimalistdialogue.在虽然宏大却坚持人性视角的《敦刻尔克》里,这是典型的复杂而又洗练的战争场景,这种平衡既是出于美学考虑,也是一种政治选择。而且,无论就主题、影响力、情感还是场面而言,《敦刻尔克》都是一部“大”片。诺兰拍片时主要用的是大画幅胶片(在我们的数字时代显得非比寻常),从而得以呈现大量细节。散布在海滩上的士兵的俯拍镜头,传递着一种令人不安的孤绝——这些人仿佛是地球上最后的生灵,极度孤单,完全
7、被遗弃。(如果放在电视屏幕上,他们看起来会像蚂蚁一样。)大画幅胶片还让画面显得更有质感;你会被画面深深吸引,鉴于对话少得可怜,这一点非常重要。ThemovieisbasedonacampaignthatbeganinlateMay1940intheFrenchportcityofDunkirk,wheresome400,000Alliedsoldiers—includingmorethan200,000membersoftheBritishExpeditionaryForce,theBritisharmyinWesternEuro
8、pe—werepennedinbytheGermans.TheBritish,facedwiththecaptureorpossibleannihilationoftheirtroops,initiatedaseeminglyimpossibler