《汾陽小子賈樟柯》講述一個有創見的電影人

In a professional career of two decades, the director Jia Zhangke has distinguished himself as one of the most singular and stalwart talents in contemporary Chinese cinema. His movies, including “Platform” (2000), “The World” (2004) and “A Touch of Sin” (2013), combine humanist empathy with a sharp eye for how societal change affects personal relationships. They often encounter resistance from Chinese censors — “Platform,” which was banned from Chinese theaters, made Mr. Jia’s name there through pirated DVDs.

在20年的職業生涯裏，賈樟柯令自己脫穎而出，成爲中國當代電影界最奇特和最堅定的傑出導演之一。包括《站臺》(2000)、《世界》(2004)和《天註定》(2013)在內，他的電影作品既飽含人道主義的同情，又敏銳地捕捉到社會變化對人際關係的影響。這些影片往往會遭遇來自中國審查機構的阻力——《站臺》在中國被禁止上映，人們是通過看盜版DVD知道了賈樟柯。

The Brazilian director Walter Salles, whose work has somewhat similar themes to Mr. Jia’s, has produced an admiring documentary portrait of the filmmaker, “Jia Zhangke, a Guy From Fenyang,” shot a few years back when Mr. Jia was preparing “A Touch of Sin” for release in China, which was subsequently denied. It begins with Mr. Jia revisiting his hometown, Fenyang, in the Shanxi province of northern China, and looking at the now-ruined locations of his early films. He speaks with relatives and actors from the old days. A generous number of clips from Mr. Jia’s films accompany lengthy ruminations on their themes.

巴西導演瓦爾特·薩列斯(Walter Salles)的作品與賈樟柯的創作主題有些類似。他推出了一部充滿讚賞意味的人物紀錄片《汾陽小子賈樟柯》(Jia Zhangke, a Guy From Fenyang)。影片拍攝於幾年前，當時賈樟柯正在爲《天註定》在中國上映做努力，不過後來還是被禁。在紀錄片的開頭，賈樟柯再次回到自己位於華北省份山西的家鄉汾陽，正在注視着自己最早拍電影、如今卻已成廢墟的地方。他和親戚以及舊日的一些演員聊天。片中穿插着賈樟柯電影中的畫面，同時伴隨對這些影片主題的大段反思。

In certain great films about great filmmakers — Jacques Rivette’s “Jean Renoir, le Patron” or Chris Marker’s Tarkovsky portrait, “One Day in the Life of Andrei Arsenevich” — the presence of portrait-maker and subject can be felt equally. Mr. Salles keeps himself absent, and maintains a discreet distance from Mr. Jia’s private life — while Mr. Jia’s longtime lead actress, Zhao Tao, is interviewed, the film doesn’t disclose that she and Mr. Jia married in 2012. The movie’s most moving sequence is near the end, when Mr. Jia discusses his father, who faced awful hardships during the Cultural Revolution. In other respects, the movie is a decent and conscientious, though unremarkable, companion piece to Mr. Jia’s crucial films. Several of them will play at Anthology Film Archives during this documentary’s run, and all are recommended.

在一些以傑出電影人爲主題的傑出影片中——雅克·裏維特(Jacques Rivette)的《主事人讓·雷諾阿》(Jean Renoir, le Patron)或克里斯·馬克(Chris Marker)的《安德烈·塔科夫斯基的一天》(One Day in the Life of Andrei Arsenevich)——觀衆可以同等地感受到講述人和講述對象的存在。在這部紀錄片裏，薩列斯選擇隱藏自己，並與賈樟柯的私人生活保持謹慎的距離——儘管長期擔任賈樟柯影片女主角的趙濤在片中接受了採訪，但片中並沒有透露她和賈樟柯在2012年成婚。電影中最感人的段落出現在靠近片尾的地方，賈樟柯在談論他的父親，後者在文革期間經受了可怕的磨難。在其他方面，這部紀錄片中規中矩、一絲不苟，構成了賈樟柯出色影片的註腳。儘管與它們相比，它顯得有些平庸。在這部紀錄片上映期間，賈樟柯的好幾部作品也將在經典電影資料館(Anthology Film Archives)放映，它們都很值得推薦。