Director Ang Lee's Filmic Force(b)|电影的力量比人大

Director Ang Lee's Filmic Force

　　Lee's father, who was born into a wealthy family in mainland China's Jiangxi province, had a great influence on him. An educator, Lee's father was the principal of two renowned Tainan high schools and had high hopes for his son. Lee felt the burden of those expectations, but also saw his father as a role model in all things.

　　"If you look at the relationship from a Freudian perspective," Lee told his audience, "the father has to fall for the son to rise. But I didn't want my father to fall. Because I was afraid and I didn't want to fight with him, I hid myself by moving far, far away."

　　Following the completion of his Chinese-language "father knows best" trilogy (Pushing Hands, The Wedding Banquet, and Eat Drink Man Woman), Lee directed an adaptation of Jane Austen's Victorian classic, Sense and Sensibility, and then Brokeback Mountain, a gay love story set in the American West of the 1960s. Intrigued by this diversity, a member of the international media asked him why someone so steeped in the Confucian culture of East Asia would explore such a broad range of cultures in his films.

　　"It's easy to film other cultures because you are so far removed from them," answered Lee. "Lust, Caution was a killer because it pulled up and examined knotty cultural issues. It was an extremely uncomfortable film to make." Lee excels at blending Eastern and Western cultures, a skill he attributes to growing up in Taiwan, which has been subject to outside cultural influences for centuries. His childhood here, along with his early love of both Hollywood and Hong Kong movies, made cultural conflicts an integral part of his thinking. A born filmmaker and a true artist who never repeats himself, Lee has been embraced by Taiwan for his sincerity and genuineness. He is sure to respond with even greater achievements.

 

电影的力量比人大

　　李安的父亲出身中国大陆江西省的大户人家，对他有很深远的影响。李安的父亲是一位教育家，他是台南两所明星高中的校长，且对李安的期望很深。李安对这些期望备感负担，但凡事也都以父亲为榜样。

　　李安对观众说：『如果你从佛洛伊德的弒父理论来分析亲属关系，只有父亲倒下来，儿子才能站起来。但我不希望他倒下来。因为我害怕，而且我也不想和他起冲突，所以我只能躲得远远的。』

　　拍完华语片『父亲三部曲』（《推手》、《喜宴》及《饮食男女》）之后，李安执导了一部改编珍．奥斯汀的维多利亚时期经典文学名著《理性与感性》，后来又完成描述 1960 年代发生在美国西部同性恋情的《断背山》。有位国际媒体人对李安如此多样化的作品感到好奇，便问他为何深受东方儒家文化熏陶的他，能够在他的电影中开辟出如此广泛的文化。

　　李安答道：『拍别人的文化很容易，因为有距离感。拍《色，戒》就很要命，因为它要把纠结的文化议题拿出来检验。这是一部拍起来非常难受的影片。』李安善于融合东西文化，他将此技巧归功于成长在好几个世纪以来受到许多外来文化影响的台湾。他在这里度过的童年时光以及早期对好莱坞电影和香港电影的喜爱，使得文化冲突在他的思想里成了不可或缺的一部份。天生的电影人和真正的艺术家从不一再地重覆，李安因为他的真诚而受到台湾热情的拥抱。而他也肯定会以更大的成就来回应。

 

本社为尊重《台湾光华杂志》，中文原文登出，仅供参考，中英文如有不尽相符之处，敬请包涵。