如果没有这个女人,中国电影就真的完了

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今的中国电影和电视剧,病了。

The Chinese movies and TV dramas of these days are sick.


这件事大家有目共睹。

This has become a common sense now.


不管情节多么弱智,不管设定多么狗血,只要是网络文学里的大 IP,就拍,拍的时候必定找流量小鲜肉。

No matter how ridiculous the plot is, no matter how absurd the background is, as long as it’s a major IP in net literature, there would always be people willing to film it. And they would undoubtedly film them with some young hype-celebrities.


这其中不乏大制作的电影,但他们绝大多数都栽了跟头。

Actually you can find a lot of big-budget productions among them, but usually they ended up really bad.


像《三生三世十里桃花》和《爵迹》这样的电影简直就是在挑战中国观众的底线。

Movies like Once Upon A Time and Legend of Ravaging Dynasties are almost provocation against the bottom line of the Chinese audience.



在这样一个病态的市场中,却有一个逆风而行的女人。

But right in such a morbid market, there is a woman striding against the storm.


她的小说都不算是大热的作品,而且还都是严肃的作品,但却频繁地被著名导演拿去翻拍,而且拍出来之后还都是既叫好又叫座。

Her novels are not really highly popular. And in fact they belong to serious literature. But famous directors keep recomposing her novels into movies and the movies usually became not only commercial triumphs but also creative masterpieces.


通常,反倒是电影火起来之后,回头带动了书的销量。

Most of the cases were that the movies got phenomenal and in return boasted the sales of the books.



点过她的导演有李安、张艺谋、陈凯歌、冯小刚、张艾嘉。

The directors who came to her include Li’an, Zhang Yimou, Chen Kaige, Feng Xiaogang and Zhang Aijia.


而冯小刚那部电影的原著,还是他专门找这位作家约的稿。

And the original book for the Feng Xiaogang movie was even a requirement from Feng himself right in the beginning.


那部电影就是即将上映的《芳华》。

That movie is the upcoming Youth.


而电影背后的那个女子,叫严歌苓。

And the name of that woman behind this movie is Yan Geling.



今,严歌苓已经有十几部作品被搬上了电影银幕。

So far, there have been more than 10 Yan Geling books which were recomposed onto the big-screen.


而这其中最出名的,可能得数《金陵十三钗》。

The most famous one among them all may be The Flowers of War.


再往前数,有《天浴》和《少女小渔》。

Before that, there were The Sent-Down Girl and Siao Yu.


《天浴》的主演是李小璐,而《少女小渔》的主演是刘若英,她们两人之后的辉煌生涯,多亏了这两部电影。

The Sent-Down Girl was starred by Li Xiaolu. Siao Yu was starred by Liu Ruoying. And their bright careers both started from the roles they played in Yan's movies.



后数,有《归来》。

After that, there was Coming Home.


在这部电影里,巩俐和陈道明的飙戏,可谓惊为天人。

The astonishing acting skills that Gong Li and Chen Daoming showed in it were really marvelous.



歌苓作品的改编频率之高,在严肃作家当中可谓是绝无仅有的。

The high frequency of having works recomposed into movies made Yan Geling quite unique among the serious writers.


如果没有她,那中国电影界可就相当灰暗了。

If not for her, the Chinese movie industry would be in unbearable darkness.



导演们如此青睐严歌苓,是因为她的小说很有特点。

The reason that all these major directors are so fond of Yan Geling is that her novels really have a signature touch.


她的文字不光是文字,而是带有画面的文字,非常适合被拍成电影。

Her words are not just words. They are words with images. And this makes them superbly suitable for recomposing into movies.


比如,请先看看《芳华》中的这段描写:

For example, these sentences are a description from Youth:


“丁丁回过头的一瞬,耳机掉在了地上。刘峰抢先一步替她捡起,直起身的时候突然觉得脖颈儿一凉。一颗水珠顺着他的涤纶白衬衫领子滴了进去。”

“Right at the moment that Ding Ding turned her head, her earphones dropped on the floor. Liu Feng eagerly bent down to pick them up for her, and when he tried to straight up again he suddenly felt a chill from the back of his neck. A drop of water sneaked in along the collar of his white polyester shirt.”



这就是她的风格:干净利落。

This is her style: sharp.


她不光是在用句子讲故事,而且是在用镜头讲故事。

When she tells a story, she does not just use sentences. She uses scenes.



歌苓能写出这样的文字,和她本人的经历不无关系。

Her personal life experience contributed a lot in her writing.


她本是剧作家出身。

Originally, she was a playwright.


早在1980年代,严歌苓就发表过自己的剧本,并且还有作品被拍成了电影。

In the 1980s, Yan Geling had published her own plays and some of them were even filmed.


当时20出头的严歌苓,已经作为一个剧作家变得小有名气。

Early in her twenties, she was already a playwright with some fame.


而随着时间的推移,她的这种镜头感内化成了一种本能,无时无刻地流露在她的文字之间。

And as time went by, this sense of scenes became an intuition for her. It became ubiquitous in the words she wrote.



过,她并不满足于做一个单纯的剧作家。

But she didn’t just wanted to be a playwright.


她给自己的定位是一名小说家。

The role she set for herself was a novelist.


而她自身的丰富阅历,则让这一切发生得无比自然。

And her rich experience made this so natural.


少年时期的她浸润在作家协会的大院里。

She spent her childhood as a little girl in the community of the writers’ association.


青年时期的她曾体验过军旅的生活。

She served in the army when she was a teenager.



年满30之后,她又踏上了赴美留学的道路,并在海外华人文学圈竖起了一面独特的旗帜。

After she turned 30 she set out on her journey to study in the USA and later became an outstanding icon among the overseas Chinese writers.


后来,她嫁给了美国的外交官劳伦斯,作为大使夫人在世界各国间游历。

After that she married to Laurence, a US diplomatist, and traveled the world as the wife of an ambassador.


现在,她同时还是好莱坞的一名编剧。

Now she is also a Hollywood scriptwriter.



的小说是动人的,这些小说改编出来的电影也是。

Her novels are touching, and so are the movies that they became.


如果你看过《金陵十三钗》,你就能体会到这其中的情感是多么细腻,同时又是多么微妙。

If you watch The Flowers of War, you’ll feel how exquisite and subtle the emotions in it are.


同时,贯穿在这诸多情感之间的,是各种人性之复杂。

And interwoven among these emotions is the complexity of humanity.



且,这些都是货真价实的情感,不是煽情。

What’s precious is that these are all real feelings, not some forged sentiments.


严歌苓自己曾经说过:“煽情是我最讨厌的东西。”

Yan Geling herself once said: “What I hate the most is forged sentiment.”


因此,她虽热爱电影,但却特别不喜欢电视剧。

And that’s why she loves movies but does not like TV dramas at all.


(《金陵十三钗》里的唱诗班少女)


用自己的作品告诉着这个国家:我们的观众是有耐心的,流行的作品也可以是严肃的。

She is trying to tell this country through her works: Our audience does have patience and what’s popular can also be serious at the same time.


只是,能将这种种要素紧紧把握的人实在太少了。

It’s just that the kind of people who know how to hold all these elements together are really rare.


而浮躁的人,太多了。

And too many other people are just fickle.



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