寫在前面：

1.我是剛結(jié)束高考的學(xué)生，坐標(biāo)廣東。本文中既有中文也有英文原版，選取內(nèi)容主要圍繞yonoi和celliers的互動展開。

因為水平有限翻譯一定會有不足之處，望有心人/前輩指正！謝謝?。。。?！

2.一個小小的說明：

原小說中，“我”是celliers生命的見證者，相當(dāng)于電影中Lawrence先生的角色。

戰(zhàn)后我與Lawrence先生重逢，閱讀celliers在戰(zhàn)爭中寫就的對于弟弟的懺悔和回憶；我所知的是yonoi和celliers間的暗涌，而Lawrence所知的僅僅只是戰(zhàn)后yonoi拜托他去送頭發(fā)。Celliers的自述和我的旁觀占絕大多數(shù)篇幅。

A．【yonoi的外表】【正面描寫】

就在此時，我確信無疑：yonoi的面影浮現(xiàn)在我們眼前。我們一致認(rèn)為他令人印象深刻，說不定是我們見過的最英俊的日本人。他有一張祭司一樣的臉，一種禁欲苦修的神情。盡管像他的族人那樣稍有歪斜，他的眼睛形狀優(yōu)美，閃爍著不可抗拒的光芒。他高而筆挺。他是我見過最整潔的日本軍官：制服裁剪合體，沒有污跡；軍靴仔細(xì)擦試過，熠熠閃光。他帶著一種對自己與其他人之間差異了然于心的神情；這在以前我們歸咎于虛榮，而現(xiàn)在，我對勞倫斯先生說，會不會是出于對某種榮耀的覺知——而那榮耀太過遙遠(yuǎn)，于我輩而言不可觸摸？

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】【間接描寫】

……審判他的五個法官之一，就是yonoi。

Yonoi的視線剛掃過他，celliers就注意到他英俊的臉龐上出現(xiàn)了感興趣的神色，隨即迅速轉(zhuǎn)變?yōu)橐环N警覺。相似地——盡管并不如前者那樣露骨——其他的法官也緊緊盯著他。Celliers幾乎確信無疑他的出現(xiàn)打破了日本法官們對他形象的設(shè)想。鑒于kempeitai記錄里他在雨林和牢獄里劣跡斑斑的行徑，他們之前肯定在內(nèi)心里已經(jīng)宣判他為一個外國魔鬼，這般罪惡以致向日本皇軍展現(xiàn)出如此頑固和反抗的意志。然而從一開始所有法官——yonoi最為明顯——便陷入了不一致中，因為celliers的外表使他們無可救藥地開始喜愛他。

“這并不使我感到驚訝，”Lawrence插話說，“語言不通的情景下，一個人的外表是第一位的。再說，日本人對各種各樣的美有天生的敏感。我可以想象像straffer那樣的外表會讓他們?nèi)绾胃∠脒B翩?！?/span>

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的即興發(fā)揮】

‘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.

這里說明一下：這個wilfulness很難翻譯出來，可以說是日本人心目中最重大的罪，類似于“在沒有將官命令條件下作為個體的士兵依然負(fù)隅頑抗”。如果此士兵是因為有命令而戰(zhàn)斗，他可以作為戰(zhàn)俘而被接受；但如果他是孤軍奮戰(zhàn)，他會因為這種“邪惡的頑固”而被定罪處死。

C．【Lawrence一臉很懂的神情】【又甜又虐】

這段撿重點翻，我看得不能自已?。?/p>

……一個高個兒寬肩的孤獨身影被推搡進門里。他穿著破爛的草綠軍裝，一頭長發(fā)，和我們的光頭相比過于繁茂以致于近乎色情（？）……他努力嘗試著不用兩個陪同士兵的幫助直立行走……

…… “yonoi干涉了！”Lawrence幾乎難以置信地大叫起來。過了一會兒，他突然問了一個看起來最不相干的問題：“celliers……他的外表十分悅目，對嗎？”

我回答“是”然后問：“為什么這么問？”

Lawrence大大地咧嘴笑起來。“時機成熟后我會解釋，”他向我保證，“不過，我想你告訴了我個中關(guān)竅——那個謎一樣的yonoi曾讓我去做一件事。不錯，最近我剛見過他。不過你不能就此停下——請繼續(xù)講吧！”

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!!!!!!!!!!!!!!!!我瘋了

D.【yonoi罵人現(xiàn)場】

這個……怎么翻都喪失神韻……我要笑瘋了

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對celliers病情的詢問越發(fā)不耐煩起來。那不再是一個緊張的問題：‘Sick officer? Health, how?’卻變得更加惱怒：‘Sick officer not well? Why? Why not well? Lakas! Quick! Lakas!’

……他站在我面前深深吸氣，牙關(guān)嘶嘶作響，憤怒地?fù)u頭。那種奇怪的近乎腹語的怒吼又從他的胃里涌上來，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.’

這……Bowie看了都沉默。

插一句：這里讓yonoi費這么大勁吼一句“nothing grows in prison gardens”是有用意在的，yonoi以為沒有，但實際上celliers就是那個播種者。

E．【yonoi探監(jiān)現(xiàn)場】【大家看黑體】【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縵立遠(yuǎn)視，卻從來不和celliers講話。

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.’

這段對話發(fā)生在——相當(dāng)于電影結(jié)局的位置——戰(zhàn)俘正列隊站好，yonoi正在趕來的路上。在小說中，celliers的弟弟正死在此刻，死前他也聽到了相同的音樂。

看電影時，音樂穿插交織在重要的情節(jié)；那晶瑩空靈的旋律近乎無所不在，是否也在呼應(yīng)小說里這句It’s all around us. It’s lovely and it’s everywhere.’呢？

與電影相較，小說把更多的篇幅和更大的比重給了celliers對于弟弟的回憶和講述。小說突出了他作為贖罪者的身份，而電影，從日本人的視角出發(fā)，體現(xiàn)的卻是celliers自由無畏，充滿生命力的特點。兩相比較，的確饒富深意。

Celliers囿于學(xué)院中眾人的冷嘲熱諷放棄了弟弟。Yonoi的背叛則可分為兩個層面來解讀：一者，是他自以為的，在二三六事變中背叛了同伴，從而背負(fù)了獨活的恥辱；而真正的，也是他所未曾發(fā)覺的，是他困于軍國主義背叛了愛與人性。這種恥感緊密連接著兩者——電影中，celliers不羈地坐在床上說“我覺得我和他是一類人”換來Lawrence疑惑又了然的挑眉；小說里，celliers對我剖白：“我們像鳥，因為過于華美的羽衣而落入相同的網(wǎng)?！保▋H憑記憶翻，準(zhǔn)確表述見原著）。

他們都是曾經(jīng)受到集體壓抑而無法流露出人性（或言愛）的靈魂。而真正美麗的在于事情在于，前者通過自毀實現(xiàn)了贖罪和對后者的救贖。

（淚目）

G．【對于celliers的解讀】

“在他的生命中，他感到最緊要的事情是讓普適性變成針對性，讓共性成為特性，讓集體還原個體，同時讓我們內(nèi)心的無意識被意識?！?/p>

這段話可說是解讀celliers的關(guān)鍵了，誠摯邀請大家貢獻自己的翻譯版本！

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】【這段不翻】

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.”

刻骨銘心只是一瞬間。

我并不知道他的再見意味著什么。

在場沒有一個戰(zhàn)俘，一個日本士兵知道在這個瘦削孤獨的男人內(nèi)心，無聲的樂曲奏響

竟然沒有一個人可以追上他的腳步，可以拉他一把，讓他停下。

Celliers從不自知他致命的誘惑力。他已經(jīng)慣于在放蕩的孤獨中閃光。

他的行走從容不迫，恰好完美地抵達了yonoi，他的罪以及他的死亡。

I．【關(guān)于結(jié)尾】

我最喜歡的結(jié)尾都有 “宕開”“褪去”的意味在，敘述得體地結(jié)束而余韻縈回不去，比如了不起的蓋茨比，活著，西線無戰(zhàn)事這三本。

Lawerence：“日本人無意識地選用沙刑，恰恰暴露出對celliers舉動所埋下種子的認(rèn)可。他們把他筆直的樹立在沙中；后來他又被yonoi供養(yǎng)在群山之中的神廟里；而現(xiàn)在，這粒種子在你與我的心中仍然鮮活，茁壯生長?！?/p>

‘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雜事打斷我們，我們會繼續(xù)談下去。當(dāng)我去檢查屋頂最后一扇窗戶時，我佇立了一會兒，凝視著窗外西沉的太陽。是的，圣誕節(jié)偉大莊嚴(yán)的灰色平靜將要迅速消逝，西南方蒼黃的天空里，破破爛爛的云團正朝我們涌來。多么喜悅，能夠感知到自然中的事物如此自由狂野，處于動蕩之中。我依舊站在那里，滿心歡迎風(fēng)暴的到來，就像celliers再次從他出生，成長，死亡，埋葬和供養(yǎng)的許多地方歸來，重新生機勃勃地站在我身后；就像他的聲音再度在我耳畔響起：“風(fēng)與神，土地與生靈，雨水與萬物，雷電與話語，種子與播種者，都相與為一；而于人而言唯一必要的事情，是選擇他的種子并祈禱其內(nèi)在的播種者以其舉動和形跡去播撒它們，那以后的豐收將偉大豐饒?！?/p>

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.’

說明：celliers被監(jiān)禁時遇到了爪哇島上的風(fēng)暴，他評價這是他“最喜歡的”。

感謝閱讀！

《圣誕快樂，勞倫斯先生》可能是史上最有名的同性戀的電影了，但是我覺得這個片如果不當(dāng)成同性戀看也完全可以，它其實討論的是肉體和精神的問題，是大島渚對日本文化的切腹式慘烈剖析。作為亞洲人我喜歡這個片遠(yuǎn)勝過類似探討民族性的《桂河大橋》，很有興趣知道西方的觀眾能不能看得懂大島渚這個片，能看懂幾成。

肉體和精神

東方民族強調(diào)精神，蔑視肉體。日本人更是其中翹楚，憑借萬歲沖鋒在日俄戰(zhàn)爭中擊潰了俄軍，也讓美帝在太平洋吃了不少苦頭。舊日本陸軍看不起英美鬼畜，覺得他們精神力太弱，尤其看不起戰(zhàn)俘，那不過是些貪生怕死的小人，不值得尊敬。我們?nèi)毡救藗€頭小，坦克也小，但是我們精神上比你們高大，這是日本人的哲學(xué)。

這海報牛炸了

但是日本又是極端戀物的民族，刀是武士道的象征，軍官都要練柔道和劍道，通過強健肉體來強健精神。武家出身的軍官都要帶著祖?zhèn)鬈姷渡蠎?zhàn)場，背著這么一個早已沒有任何實際用處的鐵疙瘩南征北戰(zhàn)實在讓人費解，這都是會用非積分算彈道的人??！日本人自己也覺得這事兒不大對頭，于是發(fā)明出一套說法，比如宮本武藏用船槳擊敗了用劍的宿敵佐佐木小次郎，以此證明劍道的最高境界就是手中無劍心中有劍云云，可這符合“Fair play”的西方騎士精神嗎？日本武士們也還是以寶刀為榮，沒見誰拎著個船槳走來走去的，可見并不能自圓其說。

電影一開始就是一場對同性戀朝鮮軍人金本的審判，金本明明是因為強奸荷蘭戰(zhàn)俘讓日軍蒙羞而被勒令切腹的，原軍曹卻和世野井上尉說他是執(zhí)行勤務(wù)中由于事故死去，這樣金本就能進靖國神社，他在朝鮮受苦的遺族就能拿到撫恤金。后來上尉的勤務(wù)兵刺殺Celliers失敗切腹，原軍曹故技重施，為的也是一點撫恤金。兩件事世野井都知情，都默許了。

為了撫恤金切腹

那么問題來了，勤務(wù)兵實踐還算有情可原，可如果日本人真的是這么注重榮譽和武士道精神，為什么選擇撒謊讓金本這樣的恥辱也進靖國神社？這樣做是不是為了金本遺族的肉體而犧牲了神圣的武士道精神？這是日本人充滿矛盾的默契，也是日本人所謂的“和”的精神。

行刑前假裝吃飯

東方和西方對于肉體和精神的理解不同，日本人認(rèn)為肉體是精神的累贅，肉體吃點苦對精神有好處，而西方人認(rèn)為兩者是一回事兒。日本人在切腹前要齋戒保持頭腦清醒，而Celliers在行刑前假裝喝茶吃早餐；原軍曹在日本兵的葬禮上誦經(jīng)祈求靈魂的超度，而勞倫斯在荷蘭兵的葬禮上祈求上帝賜予面包；日本人用齋戒紀(jì)念亡魂，英國人在追思同袍時吃萬壽糕….英軍戰(zhàn)俘似乎無時無刻不想著肉體的滿足，而日本人則無時無刻不在強調(diào)精神，這是雙方的不理解，也是雙方的沖突所在。

把衣服穿好！

世野井和Celliers初次見面是在法庭上。在日本人看來投降是不可忍受的恥辱，而對英國人來說這只是個人選擇。Celliers只帶著5個人就敢空降爪哇襲擊日軍運輸部隊且屢次得手，仿佛阿拉伯的勞倫斯在世，這是日本人覺得不可思議的壯舉，但他在彈盡糧絕后卻選擇恥辱的投降，這是日本人不能承受的恥辱。世野井在炎熱的熱帶也堅持穿禁欲的立領(lǐng)毛料軍裝，而Celliers卻“寡廉鮮恥”的在法庭上脫掉上衣公然展示他傷痕累累的后背。世野井是法庭上唯一為Celliers辯護的日本軍官，還引用了莎士比亞的“To be or not to be”。兩人由此開始互相欣賞，對世野井來說，肉體上消滅Celliers是容易的，在精神上戰(zhàn)勝他是困難的，精神上的勝利才是真正的勝利，兩人的較量也由此開始，都想在精神上壓倒對方。

精神槍決，像不像耶穌受難？

幕后黑手

Celliers被假意執(zhí)行槍決，一輪齊射后毫發(fā)無傷，這是對他的精神執(zhí)行槍決。世野井從Celliers背后洋洋得意的走出來，這是下馬威，是兩人的第一次較量。

劍道、切腹和齋戒——精神的較量

正如勞倫斯所說，在Celliers來到戰(zhàn)俘營以后，世野井就“獸性大發(fā)”，練習(xí)劍術(shù)時的嚎叫嚇壞了英國傷兵。從朝鮮兵金本那場戲中我們可以看到，以前世野井練劍是用木劍的，而Celliers來了以后就用真刀了，還割傷了對手。他的喊叫是一種精神更強的炫耀，Celliers和勞倫斯都覺得他心里有事。

“If he got something in his mind, Why don't he come out?”

“I think he is”

Come out 是雙關(guān)語，出柜的意思。

第一次出場，注意用木劍

第二次，用真劍，而且割傷了對手

世野井安排英國軍官出席金本的切腹儀式，Celliers因為虛弱沒到場，世野井有些失望。切腹是一種精神的炫耀，原軍曹說沒見過切腹就不算見過日本人，這是日本人最強的一面，也是最想展示給英國人的一面，我們大和民族可以忍受痛苦獻出生命，而你們英國人卻向敵人搖尾乞憐。而勞倫斯說“你想讓我討厭日本人嗎？”這是英國人眼中日本人最丑陋的部分，即使蔑視生命，也是不敢直面命運的懦弱。

吃花的惡靈

坂本龍一長得真是陽剛又陰柔

切腹儀式后，世野井命令英國人齋戒，自己也會和英國人一起齋戒，通過肉體的苦難消滅精神上的怠惰。這也是要在精神上壓倒英國人，展示日本人更能忍受肉體的痛苦，日本人認(rèn)為抗拒齋戒的上校不尊重死者。齋戒期間，Celliers公然違抗命令偷了萬壽糕和花一起分給英軍傷兵，他當(dāng)眾吃花，還把花獻給聞聲而來的世野井，坦蕩的根本沒想隱瞞什么。這場戲是全片的第一個高潮，Celliers的舉動是作為軍人對敵人的桀驁不馴，是作為軍官對士兵的關(guān)懷，是作為基督徒對異教的蔑視。而他本人既違反了齋戒（吃東西）又沒有違反齋戒（吃的是花，不是食物），無論從英國人的角度還是從日本人的角度看這個舉動都是“Honorable”的，完全跳脫了日本人的價值體系，世野井氣的一點辦法沒有，只能無力的罵一句

“Are you a evil spirit?!”

“One of yours I hope”

又是雙關(guān)語，負(fù)數(shù)，是神道教的惡靈，而不是基督教的魔鬼。世野井真是處處被壓制啊。

精神上的怠惰

在世野井看來，Celliers是一個”Honorable man”，他想用Celliers換掉老頑固英軍上校。“You are all honorable men but I prefer another Honorable man.”從日本人的角度來看，上校是一個精神怠惰的人，他從不思考，只活在自己的世界里，無腦的恪守英國人的行為準(zhǔn)則，認(rèn)為只要把日本人當(dāng)傻瓜混日子就好了。當(dāng)勞倫斯告誡他日本人打敗過俄國人的時候，上校第一反應(yīng)是“你哪個學(xué)校的？”他堅信盟軍會很快勝利，混混日子很快就能出去，那是1942年，英國人被馬來虎山下奉文打的滿地找牙，這種盲目樂觀和日本人迷信天皇是神有什么區(qū)別？小心鬼子給你來個巴丹死亡行軍專治各種不服。

笑著放下刀

而Celliers則更了解日本人，用日本人的方式和日本人斗。他和勞倫斯越獄以后被世野井撞見，世野井要求決斗，贏了就自由了，這當(dāng)然不是肉體的自由，而是精神的自由。Celliers笑著放下了刺刀，他并不怕決斗，他選擇用自己的方式證明英國人的精神更強大，在精神上壓倒并征服了世野井。

與世野井一直想在精神上勝過英國人不同，英國人對精神上并不怎么關(guān)心，勞倫斯對其中的無力感有切膚之痛，所以他說“有的時候勝利是難以承受的”。原軍曹可以平靜的接受死亡，但是他不明白自己錯在哪里，他只是做了和其他士兵一樣的事，誰對誰錯到死都沒有一個定論，到影片結(jié)尾這口氣也沒吐出來憋在心里，所以社會我武哥一句“Merry Christmas！Mr,.Lawrence！”才有力量，看了多少次都覺得有力量。

從集體中救贖自我

集體和自我是軍隊永遠(yuǎn)要面臨的問題。軍隊希望軍人有主見，有判斷力，能抓住轉(zhuǎn)瞬即逝的機會，但是團結(jié)就是力量，軍隊要求個人服從集體，在發(fā)生沖突時個人要為集體犧牲。世野井和Celliers都有一段不堪回首的往事，這是他們一直想在精神上擺脫的，是作為個人對集體的依戀和憎惡

白色教堂前追憶226

世野井和勞倫斯在雪白的教堂前有一段對話，勞倫斯喜歡日本的雪，雪可以掩蓋很多不堪，體現(xiàn)日本人追求的精神純凈的美。世野井回顧了226那天，他本該是“撅起”的少壯派軍官中的一員，朋友們在失敗的兵變后被槍決，而他在兵變前三個月被派往滿洲，成為集體中茍活的一個。從神道教的意義上來講他應(yīng)該成神而不得，在精神上已經(jīng)死了，所以一直活在愧疚中，這是他對集體的執(zhí)念。

集體和個人，男性成長的儀式。真的再也看不到這么美的鏡頭了

Celliers和勞倫斯的一段對話，追憶了童年往事。弟弟有天使般的歌喉，也因此被其他小朋友捉弄，他一直護著弟弟。這里有一段兄弟倆在臥室的對話，弟弟一直在哭，而Celliers童年就表現(xiàn)出英雄氣概，潛臺詞是弟弟太軟弱了，哥哥想讓弟弟變強。Celliers為了讓自己融入集體而任由弟弟被霸凌。這段鏡頭構(gòu)圖非常美，集體和個人的對比，喧鬧和孤獨的對比。這本該是成為男子漢的儀式，卻變成了弟弟天賦被閹割的儀式，也讓勞倫斯開始厭惡集體。他變成了一個孤獨的人，無論在利比亞還是在爪哇都是單干而且不要命的勇猛軍人，由此獲得了“Strafer Jack”的諢號。勞倫斯半開玩笑的說他應(yīng)該加入法國外籍軍團，和法庭上日本人反復(fù)問Celliers是否有假名字一樣，外籍軍團在服役那一天就會給你一個假名字，意味著和過去的自己告別，但那是社會意義上的告別，無法逃脫內(nèi)心的魔鬼。Celliers之所以堅持用真名，因為他并不關(guān)心世俗意義上和自己的和解，更在乎內(nèi)心的真正和解和平靜。

表面相同的兩個人，一個擁抱集體，一個要找回自我，完全相反的兩個人又惺惺相惜，這也是東西方文化不同內(nèi)核的碰撞。

基督教和神道教

和《桂河大橋》相比，我更喜歡《圣誕快樂，勞倫斯先生》，大島渚的野心更大，更徹底，直接讓西方人和日本人在文化根源上來一場碰撞。

超度，三根蠟燭是基督教的符號，機位在排位的位置，這是神的視角

本片的宗教元素簡直數(shù)不勝數(shù)，如果把OST拿出來單獨聽，每一段音樂都非常詭異，仿佛一種奇怪的宗教體驗，而主題曲《Forbidden colors》基本就是宗教歌曲了。

The wounds on your hands never seem to heal

I thought all I need was to believe

Here am I, a life time away from you

The blood of Christ, or the beat of my heart.

這是坂本龍一最有名的歌，也是世界上被翻唱的最多的歌之一，當(dāng)然你可以把它理解成情歌，可是歌詞又明明白白告訴你：The wounds on your hands，The blood of Christ，這是宗教歌曲??！如果把Forbidden colors理解成基督教和神道教的惺惺相惜也未嘗不可，鋼琴配上那個類似木魚的清脆響聲也是兩種宗教音樂的融合。如果從象征意義的角度來看，可以把Celliers理解成基督的化身，把世野井理解成神道教的“神明”，勞倫斯和原軍曹就是神的意志在人間的體現(xiàn)。

最后一吻。演的真是太差了！

作為一個鋼鐵直男，我眼中《圣誕快樂，勞倫斯先生》最后的一吻并沒有愛情的意思。在我看來這是基督之吻，分別親吻世野井的左臉和右臉正是耶穌說的：“有人打你的右臉，連左臉也轉(zhuǎn)過來由他打”?；酵降膶捜轂榈氖勤A得最后精神上的勝利。而從神道教的角度看，這個人不怕死，用自己的死保護了同袍，暴力在軟弱面前居然如此無力，這是日本人在精神層面的潰敗，所以世野井暈了過去。

大家向著Celliers唱詩，這是露天的教堂

Celliers最后被活埋。這種活埋方式正是Celliers不愿加入的外籍軍團的標(biāo)志，意思是March or die，前進或者死亡。軍團在北非行軍時會把違反軍法的士兵埋在沙漠里，漏一個腦袋，然后大部隊繼續(xù)行軍，這是漫長而孤獨的死法。有趣的是Celliers可死的一點也不孤獨，有傷兵唱詩篇第23篇

耶和華是我的牧者，我必不致缺乏。

他使我躺臥在青草地上，領(lǐng)我在可安歇的水邊。

他使我的靈魂蘇醒，為自己的名引導(dǎo)我走義路。

我雖然行過死蔭的幽谷，也不怕遭害，因為你與我同在，你的杖、你的竿都安慰我。

在我敵人面前，你為我擺設(shè)筵席，你用油膏了我的頭，使我的福杯滿溢。

我一生一世必有恩惠、慈愛隨著我，我且要住在耶和華的殿中，直到永遠(yuǎn)。

切下一縷頭發(fā)，供奉在家鄉(xiāng)的神社里

這是送行的歌，當(dāng)然也可以把耶和華理解成Celliers。世野井來切走了一縷頭發(fā)，并莊重的敬了一個軍禮，這縷頭發(fā)被供奉在家鄉(xiāng)的神社中。此刻Celliers頭上爬過一只飛蛾，從神道教的角度，這是他的靈魂，是肉體消亡，是靈魂融入自然，是基督教和神道教的和解。

莊嚴(yán)的軍禮

死亡，靈魂化成一只飛蛾

最后必須吐槽一下大衛(wèi)鮑伊和坂本龍一兩位搖滾巨星的演技，跟說相聲的社會我武哥比差太遠(yuǎn)了。倆人從頭作到尾啊，各種作啊，但是人家是搖滾巨星，搖滾巨星耍帥就足夠了啊！而且人家演的是神，整體效果居然還不錯！真是長得好看就可以為所欲為?。?/p>

教授的水蛇腰和社會我武哥的水桶腰，人和人的差距真是大過人和狗

電影中的“物”

整體來說《圣誕快樂，勞倫斯先生》的鏡頭語言非常簡單克制，鏡頭數(shù)量少，剪輯速度慢，很多鏡頭都非常穩(wěn)，大島渚非常擅長通過這種手法來營造儀式感。著名的主題曲《Forbidden color》就更不用說了，那基本就是一個宗教音樂。除此之外，電影里的道具布景也都是極其講究的，每件都堪稱“法器”。影片幾場重要的戲都發(fā)生在世野井的辦公室中，辦公室裝修極簡，屋里的物件屈指可數(shù)。這種所謂的“性冷淡”風(fēng)才是真正的戀物癖，真正戀物癖絕對是這種“家徒四壁”風(fēng)，雜亂產(chǎn)生煙火氣，極簡營造儀式感。

極簡風(fēng)辦公室，注意條幅和武士刀

《八纮一宇》條幅。這條橫幅掛在世野辦公室中最顯眼的位置。這是舊日本國家神道教的概念，“九州外有八澤，方千里。八澤之外，有八纮，亦方千里，蓋八索也?！币馑际恰疤煜麓笸薄６冘娙说目谔柧陀小笆谷毡咎熨x之類，傳遍八纮一宇”的口號。二戰(zhàn)中“八纮一宇”一直是日本的國家格言。從這個橫幅能看出世野井的民族優(yōu)越感，要在精神上戰(zhàn)勝英國人，實現(xiàn)天下大同，同時也代表他二二六事變中的過去，所有“錯誤”的決定都是在這塊“八纮一宇”的橫幅下做出的，不能不說是一種諷刺。

赤裸的軍刀，怕你看不見還整個反光，導(dǎo)演用心良苦啊

武士刀。刀是日本民族的象征，也是影片中最重要的道具。日本人所說的“刀”其實指的是刀條，其他刀鞘，刀柄，刀鐔等等都屬于刀裝，是刀的衣服。和人去不同場合穿不同的衣服一樣，刀也有不同的刀裝。平時武士會把刀換上樸木白鞘放在架子上，一是保護刀，二和人在家穿睡衣一樣，是一個放松的狀態(tài)，代表精神的放松。影片中世野井只有兩個刀裝，軍刀裝和刀條狀態(tài)。世野井在辦公室的幾場戲中，刀都是僅僅一個刀條放在架子上的，而北野武在辦公室時這把刀都是軍刀裝。如果刀象征日本人的精神，刀條就是世野井赤裸的精神面對Celliers，比身體的裸露更加香艷。

教堂改裝的，注意粗糙的地板，赤腳練劍這是精神的強

劍道館。除辦公室外，勞倫斯和世野井的對話大部分都發(fā)生在劍道館，這個劍道館是雪白的天主教堂改造的，日本兵的超度儀式也在這里舉行，雖然沒有“八纮一宇”的條幅但是也表達了天下大同的意思，也意味著日本人要在精神上戰(zhàn)勝西方人的強烈意志。

御賜香煙

煙和酒。煙和酒都代表肉體的享樂，世野井抽煙，原軍曹喝酒，這是他倆為數(shù)不多的能稱得上肉體享受的嗜好。世野井煙抽的克制，每次吸煙之前要拜一下天皇，而原軍曹號稱能一直“醉下去”，這是對享樂的克制和迷戀。在原軍曹放了勞倫斯和Celliers以后，世野井關(guān)了他禁閉，囑咐不要喝酒，但是遞給他一根煙，一個特寫鏡頭是香煙上印有菊花，這是天皇御賜的煙，可以理解成一種神道教意義上的獎賞。

注意唯一的立領(lǐng)軍裝。教授的發(fā)型是不是有點奇怪？

教授的發(fā)型在模仿武士的發(fā)型，月代

注意上校的短褲短袖和教授的呢服馬靴

軍服。戰(zhàn)爭片中沒有比軍裝更重要的道具了，軍服的選擇看似不多，但片中的講究是非常多的。軍事法庭上除世野井外的所有軍官都穿熱帶常服，而且把襯衫領(lǐng)子翻出來，這是為了保護外衣領(lǐng)子免受磨損的常見做法，但并不符合軍事條例。只有世野井穿了全套的毛呢98式軍裝，暗示只有他沒有把這場審判當(dāng)成兒戲。全片日本士兵的上衣就沒干過，總是被汗水浸泡的濕淋淋的，而世野井的制服一直筆挺，這也是他精神強大的象征。英軍著裝則更為有趣，在戰(zhàn)俘營衣衫襤褸有情可原。英軍上校穿全套熱帶軍服，上衣穿了兩件，下半身卻穿了短褲，也是唯一穿短褲的英國軍官，和世野井锃亮的馬靴形成鮮明對比，暗示他在精神上并不能夠和世野井平起平坐。Celliers的著裝雖然簡單隨意但也一絲不茍，所有的英軍都穿卡其色，只有他穿橄欖綠，還穿了全營最好的一雙ammo boots，永遠(yuǎn)系著圍巾，戴一頂儀式感十足的澳大利亞圓邊帽，外表絲毫不輸給世野井。和世野井嚴(yán)肅的對待英國人一樣，他也嚴(yán)肅的對待日本人。

親吻波斯毯，這是少數(shù)的肉體享受

波斯毯。世野井給了Celliers一條波斯毯，這玩意在什么年代都是好東西啊！Celliers用它打暈了來刺殺他的勤務(wù)兵，然后親吻了一下毯子，在抱著勞倫斯逃跑的時候也沒丟掉這條毯子。影片中的一切都是硬邦邦的，粗糲的沙地，灼熱的烈日，英國人發(fā)霉的行軍床墊，劍道館里日本人赤腳踩在帶刺的木地板上，這條毯子是唯一柔軟有帶有肉體享樂色彩的東西，象征了克制的肉欲。但是波斯毯也容易聯(lián)想到穆斯林的祈禱，也是有宗教色彩的

注意社會我武哥的佛珠和護腕

佛珠和護腕。在我心目中這是人狠話不多的武哥表演最精彩的一部電影。社會武一手拿刀一手拿棍子，刀隨時準(zhǔn)備給日本人借錯，棍子隨時準(zhǔn)備削英國人，尤其要狠狠地削勞倫斯，這不就是“法西斯”的化身嗎！這么一個人卻脖子上永遠(yuǎn)掛一串佛珠，在圣誕夜救了勞倫斯和Celliers，還號稱圣誕老人。他既明白“救人一命勝造七級浮屠”也能給人借錯，既拜菩薩也不排斥基督教，所以兩次“圣誕快樂，勞倫斯先生”要從他口中說出，這才是“八纮一宇”，天下大同。

其他

其實還有很多可以說，比如勞倫斯和社會我武哥互相的看法，電影中的下剋上，佛教和神道教，世野井和三島由紀(jì)夫之類的，實在是懶了，有機會聊吧