很好的題材，很好的表達(dá)，它的表達(dá)內(nèi)核是一個(gè)永恒的議題，就是任何一個(gè)時(shí)代和家庭都會(huì)存在這樣顯得多余的父母和逃避贍養(yǎng)父母責(zé)任不孝的子女，對(duì)老年人的情感關(guān)懷缺失既是一個(gè)社會(huì)問(wèn)題，也是一個(gè)親情議題，但這個(gè)問(wèn)題實(shí)際上沒(méi)有任何方案去解決，所有的出口都在于老人們的內(nèi)心，像電影里的兩位老人他們是傳統(tǒng)和保守的代表，但是我們當(dāng)代也會(huì)有更現(xiàn)代化的代表，他們不依附于子女生存，活得更通透，歸根結(jié)底，我們終歸需要意識(shí)到，能夠撫慰個(gè)體的永遠(yuǎn)是個(gè)體本身，個(gè)體既是問(wèn)題的成因也是問(wèn)題的結(jié)果。 此外，也不得不用更現(xiàn)代化的眼光更嚴(yán)謹(jǐn)?shù)娜タ措娪暗膯?wèn)題，劇本的表達(dá)還有表演的表達(dá)都會(huì)有一些比較過(guò)的地方，它們加重了電影表達(dá)的某些力度，但也存在某些相對(duì)的不合理性，它是一種很戲劇并很個(gè)體化表達(dá)的融合，二者之間的平衡性我覺(jué)得還是不夠的，它使得每一場(chǎng)戲之間都會(huì)有斷續(xù)，最終拼連起來(lái)多少有些不圓融，當(dāng)然電影最大的優(yōu)點(diǎn)在于，每一場(chǎng)戲的表達(dá)我認(rèn)為導(dǎo)演都非常充分的理透了他想要實(shí)現(xiàn)的效果，盡管當(dāng)下來(lái)看，電影的思維邏輯以及技術(shù)層面都會(huì)有些不足，但是看看電影創(chuàng)作的時(shí)代，又不得不說(shuō)，它很不可思議，它的創(chuàng)作非常傳統(tǒng)但是議題非常超前！

Tomorrow is fancy, tomorrow is grand. The world wants to take you on a bullet-train ride and you can become the next legacy. Gazing back with tenderness and respect amidst the roaring tomorrows--to where your story begins--can never be easy. Safeguarding parents' fraying outlines and writing love and dignity into our pasts. I'll say that's a meaningful life.

Quotes from the title sequence:

Life flies past us so swiftly that few of us pause to consider those who have lost the tempo of today. Their laughter and their tears we do not even understand for there is no magic that will draw together in perfect understanding the aged and the young. There is a canyon between us, and the painful gap is only bridged by the ancient words of a very wise man — “Honor thy Father and thy Mother.”

【本文首發(fā)于《虹膜》公眾號(hào)】

作者：貝特朗·塔維涅

譯者：覃天

校對(duì)：易二三

來(lái)源：Criterion（2010年2月23日）

Like many other French cinephiles, I discoveredMake Way for Tomorrowrelatively late, although we had been interested in Leo McCarey for years. We had hunted down his Laurel and Hardy pictures, adoredDuck Soup,the best of the Marx Brothers films, consideredThe Awful Trutha classic, and stood up forAnAffair to Rememberin the face of the critical establishment. (I do wonder if we were right to defendRally ’Round the Flag, Boys!,in which Joan Collins whispers, I believe, “Pink peignoir, pink boudoir, pink me.” It’s a film I saw five times in a row and haven’t dared to look at again in three decades.)

和其他許多法國(guó)影迷一樣，我發(fā)現(xiàn)《明日之歌》這部電影的時(shí)間相對(duì)較晚，盡管我們多年來(lái)一直對(duì)萊奧·麥卡雷感興趣。我們喜愛(ài)他執(zhí)導(dǎo)的、勞萊與哈臺(tái)兄弟主演的一系列影片；欣賞他拍的《鴨羹》，人們通常認(rèn)為它是馬克思兄弟最好的一部電影；或?qū)ⅰ洞洪|風(fēng)月》奉為圭臬，并反對(duì)那些針對(duì)《金玉盟》的批評(píng)聲。（但我確實(shí)在想，我們?yōu)椤都系絿?guó)旗下的男兒們》這部電影辯護(hù)是否是正確的，在電影里，集會(huì)上的瓊·柯琳斯低聲說(shuō)，我相信，「粉色的床墊，粉色的閨房，粉色的我?！惯@是一部我連續(xù)看了五次，但三十年來(lái)都不敢再看的電影。）

Delmar Daves was the first person I knew of to warmly praiseMake Way for Tomorrow,in the early sixties, leading us to the discovery of a film that had not yet been released in France. Daves had served as McCarey’s cowriter onLove Affairand its remake,An Affair to Remember,which included those sequences from the first version that had been cut or never filmed. Daves consideredMake Way for Tomorrowone of McCarey’s masterpieces, one of the greatest American films ever made, and one of the most egregiously overlooked. He had no end of praise for it, passionately telling us about the film’s emotional intensity and, particularly, its last thirty minutes. He compared its emotional impact to that of the silent films of Frank Borzage.

導(dǎo)演德?tīng)柲ご鞣蛩故俏易钕戎涝谏鲜兰o(jì)60年代初，公開(kāi)稱贊《明日之歌》這部電影的人，他讓我們發(fā)現(xiàn)了這部還沒(méi)有在法國(guó)上映的電影。戴夫斯曾在萊奧·麥卡雷的《愛(ài)情事件》及其翻拍片《金玉盟》擔(dān)任聯(lián)合編劇，《金玉盟》收錄了《愛(ài)情事件》中那些被刪減或從未拍攝過(guò)的片段。戴夫斯認(rèn)為《明日之歌》不僅是麥卡雷的杰作之一，也是有史以來(lái)最偉大、最被忽視的美國(guó)電影之一。他對(duì)這部電影贊不絕口，興奮地告訴我們這部電影，特別是它的最后30分鐘中飽含的情感強(qiáng)度。他將《明日之歌》中的這種情感強(qiáng)度與弗蘭克·鮑沙其的一系列無(wú)聲電影相提并論。

A few years later, producer and screenwriter Sidney Buchman told meMake Way for Tomorrowwas McCarey’s favorite of his films—and the one that led him to take his revenge on Columbia Pictures president Harry Cohn. Whenever McCarey went over budget or fell behind schedule while shootingTheAwful Truth,Cohn relentlessly reminded him ofMake Way’s commercial failure. AfterThe Awful Truth’s triumphant release, McCarey led Cohn to believe he would renew his contract with Columbia. But the day before they had agreed to sign, McCarey published an ad in Variety announcing he had just signed with RKO forGoing My Way.

幾年后，制片人兼編劇西德尼·巴克曼告訴我，《明日之歌》是麥卡雷本人最喜歡的電影——它也是麥卡雷對(duì)哥倫比亞電影公司總裁哈里·考恩進(jìn)行的報(bào)復(fù)。每當(dāng)麥卡雷在拍攝《春閨風(fēng)月》的過(guò)程中超出預(yù)算或落后于拍攝計(jì)劃時(shí)，哈里·考恩都會(huì)無(wú)情地提醒他《明日之歌》在商業(yè)上的失敗?！洞洪|風(fēng)月》的成功上映，讓考恩相信麥卡雷會(huì)和哥倫比亞續(xù)簽合同。但就在他們同意簽約的前一天，麥卡雷在《綜藝》雜志上刊登了一則廣告，宣布他剛剛和雷電華公司簽署了《與我同行》的拍攝合同。

John Ford and Jean Renoir were equally fervent in their admiration forMake Way for Tomorrow.When Pierre Rissient finally distributed it in France in the midsixties (along withRuggles of Red Gap,which was just as hard to find and equally overlooked), and I worked with him on the release, Renoir wrote a few enthusiastic lines to be added to earlier praise from Ford, Ernst Lubitsch, and Daves.

除了德?tīng)柲ご鞣蛩?，約翰·福特和讓·雷諾阿也很喜歡《明日之歌》。制片人皮埃爾·里斯安在60年代中期最終在法國(guó)發(fā)行了這部電影（以及同樣很難找到、麥卡雷同樣被忽視的另外一部電影《紅谷英仆》），我與他合作發(fā)行了這部電影，讓·雷諾阿為《明日之歌》寫(xiě)了幾句熱情洋溢的祝詞，補(bǔ)充了約翰·福特、恩斯特·劉別謙和戴維斯早先的贊揚(yáng)。

My former wife, Colo O’Hagan, prepared the subtitles with historian Bernard Eisenschitz. I remember that she was in tears as she typed them up. She was still overwhelmed by the profound emotion the film had stirred up in her.

我的前妻科洛·塔維涅和歷史學(xué)家伯納德·艾森斯基茲一起給《明日之歌》配上了法語(yǔ)字幕。我記得她打字時(shí)淚流滿面。她被這部電影在她身上激起的深刻情感所淹沒(méi)。

Despite a warm critical reception, the film did not do well at the box office. We had implored the critics not to summarize its plot, to find a literary way of describing the film’s emotional tone without revealing it was about a couple of old people sent off to separate retirement homes by their children, but our pleas often fell on deaf ears. And once the film’s plotline was disclosed, the positive effect of the critics’ praise was wiped out.

盡管《明日之歌》受到了評(píng)論界的熱烈好評(píng)，但它的票房表現(xiàn)并不理想。我們希望影評(píng)人不要總結(jié)電影的故事情節(jié)，而是可以用文學(xué)的語(yǔ)言來(lái)描述它的情感基調(diào)，同時(shí)又不透露它講述的是一對(duì)老人被他們的孩子送到不同的養(yǎng)老院的故事，但我們的懇求經(jīng)常被置若罔聞。一旦這部電影的情節(jié)被披露，評(píng)論家們的稱贊所產(chǎn)生的的積極作用就消失了。

I will never forget my amazement when I saw the print Rissient received from the United States, which he showed me right away. That screening remains one of the most powerful moments of the decade for me. The nearly miraculous way in which McCarey manages to avoid the bathos inherent in such a subject, steering clear of sticky pity, of condescension and moralizing sermons—it all transfixed me. It was as though an arrow had struck me and stayed vibrating in my heart.

我永遠(yuǎn)不會(huì)忘記，當(dāng)我看到皮埃爾·里斯安從美國(guó)寄來(lái)膠片時(shí)的情景，我感到非常驚訝，他立即給我看了這部影片。對(duì)我來(lái)說(shuō)，那次放映仍然是我近十年中最令人印象深刻的時(shí)刻之一。麥卡雷幾乎奇跡般地設(shè)法避免了這樣一個(gè)話題固有的矯揉造作感，避開(kāi)了矯情的憐憫、居高臨下的態(tài)度和說(shuō)教的意味——這一切都讓我目瞪口呆?！睹魅罩琛肪拖褚恢渲辛宋业募?，在我的心里不停地顫動(dòng)。

I’ve experienced the same feeling every time I’ve seen the film in the forty years since. It’s the same feeling I get when I see Borzage’s7th Heavenor Yasujiro Ozu’sTokyo Story.As in both those films, McCarey immediately finds the exact distance he must be from his characters. We’re always in among them, in their places, feeling everything they experience—yet at the same time, McCarey keeps us just far enough away that we can be witness to their flaws and blunders, both comical and poignant. Like Borzage, he uses humor, the comedy of certain unexpected reactions, to defuse the traps of melodrama. He is assisted in his achievement by the magnificent performancesof Victor Moore and Beulah Bondi, probably in the best roles of their careers.

從那以后的四十年里，我每次看這部電影都有同樣的感覺(jué)。它帶給我一種與弗蘭克·鮑沙其的《第七天堂》和小津安二郎的《東京物語(yǔ)》相近的感覺(jué)。就像在這兩部電影中一樣，麥卡雷立刻找到了他與角色之間的確切距離。我們作為觀眾被置放于他們中間，從他們的視角來(lái)感受他們所經(jīng)歷的一切——但與此同時(shí)，麥卡雷也讓我們和他們保持了一定的距離，使我們可以見(jiàn)證這些角色的缺點(diǎn)和錯(cuò)誤，這既滑稽又令人心酸。像鮑沙其一樣，麥卡雷用幽默——這種帶有意想不到的反應(yīng)的喜劇方式化解了情節(jié)劇的窠臼和陷阱。維克多·摩爾和比尤拉·邦蒂的精彩表演促成了這部電影的成功，這可能也是他們職業(yè)生涯中扮演的最好的角色。

And our laughter—for we often laugh duringMake Way for Tomorrow—increases the emotional impact tenfold. We laugh, and our hearts ache . . . McCarey remains the great specialist of these shifts in tone and mood, as seen in certain sequences ofLove Affairand, of course, in the Gettysburg Address scene inRuggles of Red Gap.This is a laughter that grips your heart and “rattles the cage,” as they say in Quebec. Like certain scenes in Chekhov, where we move from laughter to tears without warning, with a sudden, painfully smooth fluidity. Like life, when we know how to observe it and faithfully put it on the screen.

而我們的笑聲——因?yàn)槲覀兘?jīng)常在看《明日之歌》的過(guò)程中大笑——將電影的情感力量增加了十倍。我們既會(huì)歡笑，我們也會(huì)心碎。如同我們?cè)凇稅?ài)情事件》的某些鏡頭以及《紅谷英仆》的葛底斯堡演講場(chǎng)景中可以看到的那樣，麥卡雷仍然是轉(zhuǎn)變觀眾情緒的能工巧匠。正如魁北克諺語(yǔ)經(jīng)常說(shuō)到的那樣，這樣的笑聲扣人心弦，也「讓人感到痛苦」。它也令人想起了契訶夫戲劇中的某些場(chǎng)景，我們的笑聲毫無(wú)征兆地變成了淚水，突然間痛苦的感受滑入了我們的思緒。就像生活本身這件事一樣，當(dāng)我們知道如何觀察它，并忠實(shí)地把它展現(xiàn)在屏幕上時(shí)，它帶給我們的感受和它本身一樣歡樂(lè)而痛苦。

第29屆法羅島電影節(jié)第5個(gè)放映日為大家?guī)?lái)主競(jìng)賽單元的《明日之歌》，下面請(qǐng)看場(chǎng)刊影評(píng)人的評(píng)價(jià)了！

松野空松

6.0 總覺(jué)得這樣的故事在東亞場(chǎng)景會(huì)吸引人很多，除了主角外的角色太美國(guó)化，并不普世。

消亡之人

與東京物語(yǔ)相比，一切的矛盾都那么刻意，感覺(jué)劇作不敢直面一個(gè)真相：子女不想與父母同佳，這件事不需要任何導(dǎo)火索，不需要任何代溝和觀念差異，不需要年邁的父母惹出任何麻煩，這件事其實(shí)是天然成立的，是寫(xiě)就在人類天性之中的，無(wú)論這種天性指的是渴望自由還是懶惰、冷漠、趨利避害等等。

不肯藍(lán)

美國(guó)人將家庭間本更微妙的情緒沖突表現(xiàn)得太直白，又過(guò)分強(qiáng)調(diào)沖突，失去了「家庭」敘事的復(fù)雜性，親情紐帶與現(xiàn)實(shí)沖突之間的互動(dòng)中往往是遮蔽住不堪的微笑與沉默。