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三十年后，已经成为一名舞蹈家的杰罗恩，因一张旧照片而回想起幼年时那段难忘的同性爱情。1944年，杰罗恩（马腾·斯密特 Maarten Smit 饰）被母亲从阿姆斯特丹送回乡下小镇生活。翌年战争结束，一队加拿大官兵在这个荷兰小镇驻扎，杰罗恩邂逅了其中一名俊朗潇洒的军官。与其他军官不同，这名军官对杰罗恩特别眷顾。随后他们度过了一段美好的时光，奇妙的爱情在二人之间发生了。然而，当杰罗恩还沉浸在爱情的浪漫与喜悦中时，军队却撤走了，昔日他们朝夕相处的小屋，已经变得空荡荡……三十年后的他，借着曾经的旧照片，寄托了自己对那名军官最深刻的情思…… 本片根据著名舞蹈家鲁迪方丹斯的自传小说改编，获1996年度荷兰影展最佳影片提名。魔女归来悦纳新自我亿万富翁的有钱人生厕所默多家族谋杀案：美国司法世家丑闻一世好命脆弱金丝笼巫人神传说生人勿近之邪花花钱月下幻想快乐第一季美眉校探第三季紧张大师向北我不是女巫我的朋友圈牛排外星也难民第四季交易室小小安妮第二季胖婶进城交换记忆女士的法则都铎王朝第二季灿烂的遗产恋爱世纪预谋猎杀世界上最伟大的战舰 第一季全院满座粤语青春奇侠 漫画奇侠购物惊魂记魔法总动员玛奇丝飞天小女警第一季模范家庭好雨知时节暗夜浮魅2：大象坟场烽火抗大战鼓擂全世界都在等你离婚虹色萤火虫，永远的暑假精灵宝可梦：时拉比梅艳芳导演剪辑版
三十年后，已经成为一名舞蹈家的杰罗恩，因一张旧照片而回想起幼年时那段难忘的同性爱情。1944年，杰罗恩（马腾·斯密特 Maarten Smit 饰）被母亲从阿姆斯特丹送回乡下小镇生活。翌年战争结束，一队加拿大官兵在这个荷兰小镇驻扎，杰罗恩邂逅了其中一名俊朗潇洒的军官。与其他军官不同，这名军官对杰罗恩特别眷顾。随后他们度过了一段美好的时光，奇妙的爱情在二人之间发生了。然而，当杰罗恩还沉浸在爱情的浪漫与喜悦中时，军队却撤走了，昔日他们朝夕相处的小屋，已经变得空荡荡……三十年后的他，借着曾经的旧照片，寄托了自己对那名军官最深刻的情思…… 本片根据著名舞蹈家鲁迪方丹斯的自传小说改编，获1996年度荷兰影展最佳影片提名。魔女归来悦纳新自我亿万富翁的有钱人生厕所默多家族谋杀案：美国司法世家丑闻一世好命脆弱金丝笼巫人神传说生人勿近之邪花花钱月下幻想快乐第一季美眉校探第三季紧张大师向北我不是女巫我的朋友圈牛排外星也难民第四季交易室小小安妮第二季胖婶进城交换记忆女士的法则都铎王朝第二季灿烂的遗产恋爱世纪预谋猎杀世界上最伟大的战舰 第一季全院满座粤语青春奇侠 漫画奇侠购物惊魂记魔法总动员玛奇丝飞天小女警第一季模范家庭好雨知时节暗夜浮魅2：大象坟场烽火抗大战鼓擂全世界都在等你离婚虹色萤火虫，永远的暑假精灵宝可梦：时拉比梅艳芳导演剪辑版
长篇影评
1 ) I love you, my prince.
他摩挲着他的头发，喃喃道：
I love you.
My prince.
You are mine.
然后，他伸出一根手指，放到他的齿间，任他在疼痛时狠狠咬住。
他们合二为一。
I love you.
My prince.
You are mine.
然后，他伸出一根手指，放到他的齿间，任他在疼痛时狠狠咬住。
他们合二为一。
2 ) 看起来很美
看过了电影，特别是那么多温情的影评。我急迫的想要知道，军官最后的结局。在网上找到了英文版本的原著，for a lost soldier，顿时所有关于这部电影的美好，荡然无存。
这是我引用的书评，和我的看法基本相同，男孩是被rape了，至少是molested，而军官，则是暴力和冷漠，绝不是电影中的美好。
Jeroen is 12 and a long way from home. Because of the Nazi occupation of Amsterdam, Jeroen’s mother has sent him to a remote area of the country to await liberation. Alone, frightened, and feeling less than welcome by his hosts, Jeroen explores the countryside, and after a while begins to make friends. Jan, his hosts’ older son, stirs emotions in Jeroen that he is unable to explain. He enjoys watching the older boy swim and play, but becomes frightened when Jan wants to show him how he has matured lately.
Just as Jeroen is starting to fit-in, a most remarkable event occurs. Allied forces roll into town and the Germans are on the run. Everyone, including Jeroen, is fascinated by the soldiers and crowd around to get a better look. One of the soldiers, however, has his eye on Jeroen. Walt attempts to develop a friendship with young Jeroen, but the boy is very frightened. Through a series of encounters, the two become tentative friends. Each time they meet, Walt takes their relationship a little further, until finally on one such meeting, he has sex with Jeroen. Jeroen, a little squeamish to begin with, is terrified.
Eventually, the relationship becomes a full-fledged affair, with Walt and Jeroen meeting frequently for sex. Each of the encounters, though, is physically and emotionally painful for Jeroen. Walt is abusive in his treatment of the young boy. Nevertheless, Jeroen becomes infatuated with the soldier and is shocked one morning to find that the army has pulled-out of the little town and disappeared. Emotionally devastated, Jeroen can not understand why Walt left without saying anything. His only proof of the relationship is emotional and physical scares, and a small photograph of the young soldier.
Upon returning to Amsterdam, Jeroen searches in vain for Walt, but with no success. Once there, he begins the process of healing but he never forgets Walt. A
This is a autobiography of Rudi Van Dantzig’s early life. Rudi was a dancer in Europe and became quite popular. He looks back at this part of his life partly with a longing and partly with relief.
My Notes
Clearly this book is not for everyone. Young Jeroen is such a moving character that reading the story, and understanding his emotional state at the time, becomes draining. Of course, Jeroen was sexually molested, but he looks back at the events, not with hatred or spite, but with tenderness. I found it easy to understand his motivations, emotions, and actions during those years, but I find it difficult to understand his treatment of these events now, as an adult.
If you have seen the film, you will be shocked at the character of Walt in the book. In the film, the relationship is touching and moving despite the eight or nine years age difference. There is a loving relationship nevertheless. In the book, Walt is clearly a predator and Jeroen is his victim. I highly recommend reading this book, but I warn you it will get to you and you will want to reach through the pages and strangle Walt.
（http://www.oocities.org/soho/den/8979/vandantzig_rudi.html）
看书吧，会有个不同的视角。
再给大家发个原著作者，也就是小男孩原型的背景故事吧，我想说，他过得应该很幸福。现实生活中，他事业有成，是荷兰最著名、也是贡献卓著的编舞家。他也真的是同志，有着一个life partner，也是志同道合舞蹈界人士。现在原型人物的小男孩，已经在2012年过世，我很庆幸，他，真正存在过，活过。
Rudi van Dantzig
Rudi van Dantzig, the choreographer, who has died aged 78, was a pivotal figure in the rise to world renown of Dutch ballet in the past half century.
Van Dantzig described himself as “a sort of bastard between classical ballet and modern”, and his works could be more interesting for their intentions than their results. However, his boldness in evoking the anguished isolation of a homosexual boy in a ballet in 1965 won him a global profile and the key support of Rudolf Nureyev. This led to commissions from the Royal Ballet and other leading international companies.
His work captured the mood of the 1960s and became a template for modern ballet that offered a powerful European alternative to the abstract modernists of New York dance. Today, the assumption that the Dutch led mainland Europe in ballet and dance is largely due to van Dantzig.
Rudi van Dantzig was born in Amsterdam on August 4 1933 . It was not until he saw The Red Shoes on its release in 1948 that he knew his vocation (he later claimed to have watched the film nearly 50 times). He started dance lessons at 16, and approached Sonia Gaskell, a Lithuanian-Dutch dancer who was working to generate a Dutch ballet tradition by establishing professional companies and schools.
In 1952, because she was short of boys, she took the raw 18-year old into Ballet Recital, a company from which she would establish the Dutch National Ballet within a decade. With Gaskell’s encouragement, in 1955 van Dantzig choreographed the first of his 51 ballets, Night Island, using music by Debussy .
As a homosexual with an active political sensibility (both his parents were dedicated socialists), he felt acutely the intolerance of the times, and this became a major theme in his ballets and writings.（作为一名拥有政治敏感性的同志（他的妇女都是坚定的社会主义者），他认识到这个时代的狭隘和缺乏宽容，这成为他编舞和写作的主题之一。）
In 1965 he made his breakthrough with Monument for a Dead Boy, showing an adolescent destroyed by his unacceptable sexuality. It was inspired by the brief life of the influential Dutch homosexual poet Hans Lodeizen. The work, set to experimental electronic music by Jan Boerman, was so powerful that Nureyev asked to perform it with Dutch National Ballet.
Nureyev, who was then feeling underappreciated at the Royal Ballet, was searching to cross over into a modern idiom, but he had considerable difficulty understanding van Dantzig’s modern movement and convoluted narrative. At the same time, he found the choreographer’s blunt amiability refreshing compared with the sycophancy which he usually encountered, and he mastered the idiom sufficiently to impress the Dutch.
The Royal Ballet’s director, the classical choreographer Sir Frederick Ashton, then commissioned van Dantzig to create The Ropes of Time for Nureyev and Monica Mason (the Royal Ballet’s present director). The piece had Nureyev as an existential traveller writhing in pas de deux with Death and Life (Mason and Diana Vere). Originally the Life figure was intended to be the Royal Ballet’s star ballerina Antoinette Sibley, but she fell into depression as she tried to master the different plastique and withdrew.
Though the work received ovations from Nureyev’s adoring public on its premiere in 1970, it was found too self-consciously tortured by critics ; and on the company’s subsequent tour to the United States it was panned. Van Dantzig himself was unhappy with Nureyev’s attempts at his choreographic style, saying: “It is like somebody who speaks a different language and you can always hear the mother tongue underneath.” But he still made two further ballets for Nureyev in the late 1970s, Blown in a Gentle Wind and About a Dark House — the second a psychosexual melodrama in which Nureyev intruded unwisely upon a dinner party and was stripped by the guests.
In 1969 van Dantzig had succeeded Gaskell as artistic director of the Dutch National Ballet, first as co-director, then, from 1971, as sole director. For the next 20 years he refined the large and somewhat chaotic mission of the DNB by focusing on 20th-century classicists, primarily George Balanchine and Frederick Ashton, and also on new contemporary ballets created by himself, Hans van Manen and Toer van Schayk .
This trio made The Netherlands a new powerhouse of modern ballet choreography to the European taste, but there was no great enthusiasm for it in Britain. Attempts to open British eyes to the much-talked-about Dutch dawn by both Ashton and his successor, Kenneth MacMillan, fell flat, largely because the British preferred MacMillan and Ashton.
For many of his ballets, van Dantzig collaborated with van Schayk, an outstanding dancer and competent designer, who was also his partner.（很多的芭蕾舞作品，他都是和van Schayk合作完成的。后者是一名杰出的舞者、设计师，也是前者的生活伴侣） Though he created modern versions of Romeo and Juliet (1967) and Swan Lake (1988), van Dantzig was particularly interested in one-act creations to a wide range of 20th-century composers, among them Richard Strauss for Four Last Songs (1977); Debussy for Night Island (1955); Schoenberg for Gesang der Jünglinge (1977); and Webern for Moments (1988) .
Retiring as director in 1991 after 20 years, van Dantzig continued as the company’s resident choreographer for a further three years, finally bowing out with his 50th creation in 1994 (though he returned to Dutch National Ballet in 2002 to create Lommer). He was succeeded as director at the DNB by the former Royal Ballet star Wayne Eagling, now English National Ballet’s director.
An accomplished writer, van Dantzig was acclaimed for his debut novel To a Lost Soldier (1986), which dealt with his awakening to his homosexuality as a child evacuated in the war, and a sexual relationship with a passing soldier. In 1993 it was made into a film in Holland, and it was translated into English in 1996. He also wrote books about Nureyev (Remembering Nureyev: the Trail of a Comet), and the homosexual Dutch artist and anti-Nazi resistance fighter Willem Arondéus.
Rudi van Dantzig, born August 4 1933, died January 19 2012
这是我引用的书评，和我的看法基本相同，男孩是被rape了，至少是molested，而军官，则是暴力和冷漠，绝不是电影中的美好。
Jeroen is 12 and a long way from home. Because of the Nazi occupation of Amsterdam, Jeroen’s mother has sent him to a remote area of the country to await liberation. Alone, frightened, and feeling less than welcome by his hosts, Jeroen explores the countryside, and after a while begins to make friends. Jan, his hosts’ older son, stirs emotions in Jeroen that he is unable to explain. He enjoys watching the older boy swim and play, but becomes frightened when Jan wants to show him how he has matured lately.
Just as Jeroen is starting to fit-in, a most remarkable event occurs. Allied forces roll into town and the Germans are on the run. Everyone, including Jeroen, is fascinated by the soldiers and crowd around to get a better look. One of the soldiers, however, has his eye on Jeroen. Walt attempts to develop a friendship with young Jeroen, but the boy is very frightened. Through a series of encounters, the two become tentative friends. Each time they meet, Walt takes their relationship a little further, until finally on one such meeting, he has sex with Jeroen. Jeroen, a little squeamish to begin with, is terrified.
Eventually, the relationship becomes a full-fledged affair, with Walt and Jeroen meeting frequently for sex. Each of the encounters, though, is physically and emotionally painful for Jeroen. Walt is abusive in his treatment of the young boy. Nevertheless, Jeroen becomes infatuated with the soldier and is shocked one morning to find that the army has pulled-out of the little town and disappeared. Emotionally devastated, Jeroen can not understand why Walt left without saying anything. His only proof of the relationship is emotional and physical scares, and a small photograph of the young soldier.
Upon returning to Amsterdam, Jeroen searches in vain for Walt, but with no success. Once there, he begins the process of healing but he never forgets Walt. A
This is a autobiography of Rudi Van Dantzig’s early life. Rudi was a dancer in Europe and became quite popular. He looks back at this part of his life partly with a longing and partly with relief.
My Notes
Clearly this book is not for everyone. Young Jeroen is such a moving character that reading the story, and understanding his emotional state at the time, becomes draining. Of course, Jeroen was sexually molested, but he looks back at the events, not with hatred or spite, but with tenderness. I found it easy to understand his motivations, emotions, and actions during those years, but I find it difficult to understand his treatment of these events now, as an adult.
If you have seen the film, you will be shocked at the character of Walt in the book. In the film, the relationship is touching and moving despite the eight or nine years age difference. There is a loving relationship nevertheless. In the book, Walt is clearly a predator and Jeroen is his victim. I highly recommend reading this book, but I warn you it will get to you and you will want to reach through the pages and strangle Walt.
（http://www.oocities.org/soho/den/8979/vandantzig_rudi.html）
看书吧，会有个不同的视角。
再给大家发个原著作者，也就是小男孩原型的背景故事吧，我想说，他过得应该很幸福。现实生活中，他事业有成，是荷兰最著名、也是贡献卓著的编舞家。他也真的是同志，有着一个life partner，也是志同道合舞蹈界人士。现在原型人物的小男孩，已经在2012年过世，我很庆幸，他，真正存在过，活过。
Rudi van Dantzig
Rudi van Dantzig, the choreographer, who has died aged 78, was a pivotal figure in the rise to world renown of Dutch ballet in the past half century.
Van Dantzig described himself as “a sort of bastard between classical ballet and modern”, and his works could be more interesting for their intentions than their results. However, his boldness in evoking the anguished isolation of a homosexual boy in a ballet in 1965 won him a global profile and the key support of Rudolf Nureyev. This led to commissions from the Royal Ballet and other leading international companies.
His work captured the mood of the 1960s and became a template for modern ballet that offered a powerful European alternative to the abstract modernists of New York dance. Today, the assumption that the Dutch led mainland Europe in ballet and dance is largely due to van Dantzig.
Rudi van Dantzig was born in Amsterdam on August 4 1933 . It was not until he saw The Red Shoes on its release in 1948 that he knew his vocation (he later claimed to have watched the film nearly 50 times). He started dance lessons at 16, and approached Sonia Gaskell, a Lithuanian-Dutch dancer who was working to generate a Dutch ballet tradition by establishing professional companies and schools.
In 1952, because she was short of boys, she took the raw 18-year old into Ballet Recital, a company from which she would establish the Dutch National Ballet within a decade. With Gaskell’s encouragement, in 1955 van Dantzig choreographed the first of his 51 ballets, Night Island, using music by Debussy .
As a homosexual with an active political sensibility (both his parents were dedicated socialists), he felt acutely the intolerance of the times, and this became a major theme in his ballets and writings.（作为一名拥有政治敏感性的同志（他的妇女都是坚定的社会主义者），他认识到这个时代的狭隘和缺乏宽容，这成为他编舞和写作的主题之一。）
In 1965 he made his breakthrough with Monument for a Dead Boy, showing an adolescent destroyed by his unacceptable sexuality. It was inspired by the brief life of the influential Dutch homosexual poet Hans Lodeizen. The work, set to experimental electronic music by Jan Boerman, was so powerful that Nureyev asked to perform it with Dutch National Ballet.
Nureyev, who was then feeling underappreciated at the Royal Ballet, was searching to cross over into a modern idiom, but he had considerable difficulty understanding van Dantzig’s modern movement and convoluted narrative. At the same time, he found the choreographer’s blunt amiability refreshing compared with the sycophancy which he usually encountered, and he mastered the idiom sufficiently to impress the Dutch.
The Royal Ballet’s director, the classical choreographer Sir Frederick Ashton, then commissioned van Dantzig to create The Ropes of Time for Nureyev and Monica Mason (the Royal Ballet’s present director). The piece had Nureyev as an existential traveller writhing in pas de deux with Death and Life (Mason and Diana Vere). Originally the Life figure was intended to be the Royal Ballet’s star ballerina Antoinette Sibley, but she fell into depression as she tried to master the different plastique and withdrew.
Though the work received ovations from Nureyev’s adoring public on its premiere in 1970, it was found too self-consciously tortured by critics ; and on the company’s subsequent tour to the United States it was panned. Van Dantzig himself was unhappy with Nureyev’s attempts at his choreographic style, saying: “It is like somebody who speaks a different language and you can always hear the mother tongue underneath.” But he still made two further ballets for Nureyev in the late 1970s, Blown in a Gentle Wind and About a Dark House — the second a psychosexual melodrama in which Nureyev intruded unwisely upon a dinner party and was stripped by the guests.
In 1969 van Dantzig had succeeded Gaskell as artistic director of the Dutch National Ballet, first as co-director, then, from 1971, as sole director. For the next 20 years he refined the large and somewhat chaotic mission of the DNB by focusing on 20th-century classicists, primarily George Balanchine and Frederick Ashton, and also on new contemporary ballets created by himself, Hans van Manen and Toer van Schayk .
This trio made The Netherlands a new powerhouse of modern ballet choreography to the European taste, but there was no great enthusiasm for it in Britain. Attempts to open British eyes to the much-talked-about Dutch dawn by both Ashton and his successor, Kenneth MacMillan, fell flat, largely because the British preferred MacMillan and Ashton.
For many of his ballets, van Dantzig collaborated with van Schayk, an outstanding dancer and competent designer, who was also his partner.（很多的芭蕾舞作品，他都是和van Schayk合作完成的。后者是一名杰出的舞者、设计师，也是前者的生活伴侣） Though he created modern versions of Romeo and Juliet (1967) and Swan Lake (1988), van Dantzig was particularly interested in one-act creations to a wide range of 20th-century composers, among them Richard Strauss for Four Last Songs (1977); Debussy for Night Island (1955); Schoenberg for Gesang der Jünglinge (1977); and Webern for Moments (1988) .
Retiring as director in 1991 after 20 years, van Dantzig continued as the company’s resident choreographer for a further three years, finally bowing out with his 50th creation in 1994 (though he returned to Dutch National Ballet in 2002 to create Lommer). He was succeeded as director at the DNB by the former Royal Ballet star Wayne Eagling, now English National Ballet’s director.
An accomplished writer, van Dantzig was acclaimed for his debut novel To a Lost Soldier (1986), which dealt with his awakening to his homosexuality as a child evacuated in the war, and a sexual relationship with a passing soldier. In 1993 it was made into a film in Holland, and it was translated into English in 1996. He also wrote books about Nureyev (Remembering Nureyev: the Trail of a Comet), and the homosexual Dutch artist and anti-Nazi resistance fighter Willem Arondéus.
Rudi van Dantzig, born August 4 1933, died January 19 2012
3 ) 舞蹈家已逝
维基百科发现Rudi van Dantzig已经在2012年1月19日去世了，走好。影片因为时间久远画面不怎么样了，这是一部少有的正太被人压了但是没什么人骂的片子。改编自Rudi的自传小说，但是到底自传叫啥名字没搜出来，只有一部改编的电影同名小说。
4 ) 出淤泥而不染的性灵——荷兰电影《军官与男孩》
出淤泥而不染的性灵——荷兰电影《军官与男孩》（英文名《for a lost soldier》）
这部上世纪90年代初出品的电影根据荷兰著名舞蹈男星鲁迪·方丹斯的自传小说改编，通过他缅怀二战时期一段难忘的“忘年之恋”，勾划出人与人之间的感情关系可以是怎样的刻骨铭心，在舞蹈家少年时的小镇上，一支加拿大军队来到他的家乡，其中一位俊朗潇洒的士兵意外地走进了他纯真的心灵，而男孩眉宇间那与生俱来的“灵”的光彩也让士兵也怦然心动。情欲在二人之间唯妙地发生了，一种从未有过的，莫名的激动和兴奋在他幼小的心灵中烙下终生难忘的印记。直到30年后，他仍深深地怀念着令他痴狂的军官。
很多观众无法接受一个成年男子和一个年仅13岁男孩之间的恋情。毋庸讳言，这样的事情如果发生在荷兰之外的其他国家，比如美国，这个军官是免不了要为他的行为付出严酷的代价——不管男孩是否自愿，与未成年人发生性爱是很多国家法律严惩的行为。
一个人能直面黑暗，是因为他内心充溢着阳光。对于这个敏感早慧的男孩来讲，给他带来人生初恋体验的士兵已经成为心中一个神圣的爱的图腾，所以每每他回忆起来，尽管那年的天空常常布满乌云雷雨轰鸣，尽管人们还无法从战争的噩梦中苏醒过来，尽管这是一段被世人所不堪的“罪孽”之恋，但回忆的焦点一旦落在士兵的身上，三十年前的天空，树木，草丛，流水，牛羊，都在他高大英俊的身影下变得生机勃勃，有了他，梦中的光芒永远是那样新鲜明亮，在士兵的怀抱中，他感觉自己如一朵破土而出的新芽，充满了萌动和生长的激情，而士兵嘴角洒脱明朗的微笑带给他稚嫩孤独的心灵以长久的温暖。
据说古希腊时代有这样一个“同性爱教育”的传统，“当一个十五六岁的少年接受完传统的基本教育之后，即被置于一个年长男子的羽翼之下，这成人被称为“爱者（erastes）”；少年被称为被爱者（eromenos，接受爱和保护的“弟弟”）”。这个成年人通常负责少年的道德与心智发展教育，以仁慈、理解、温暖及纯粹的爱对待少年，唯一的目的是为了培养这少年道德上的完美。在战争中，他们并肩作战；如果少年犯错，这成人要替少年受罚。少年长大成人后，或者结婚，或者成为另一个少年的保护人即“爱者”。在古希腊的壁画和彩陶瓶画中对同性恋的描绘也有很多这样的模式：男青年向少年求欢，而后者则总是表现出被动而矜持。意大利南部的贝斯图姆曾是希腊人的殖民地，1968年在这里发现的彩陶瓶画上也多有这样的描绘，最典型的是学者所谓的“上下姿势”（up and down position），成年男子一手抚摩少年的脸颊，一手伸向其身体……”（以上转引自《“天国之爱”在人间的绽放——古希腊的男子同性恋》）
《士兵与男孩》这部以战争为背景的荷兰电影完全将人们从对战争的恐惧转移到人类的感情可能深入到什么样境界的探索之上，并且突破了语言、文化、年龄、国度以及信仰之间的差异——直到男孩长大成人，那个铭刻在他心间的士兵大哥，已经成为了他面对艰难人生时无尽的勇气来源，士兵大哥的温暖让他能在这个 “万物皆在污秽中成长”的世间始终怀抱一份感恩和悲悯的情怀……
影片的最后是在士兵随驻军离去，男孩在暴风骤雨中对爱人的呼唤声中结束。只有一颗纯真无瑕的心灵才能发出这样真切而震撼人心的呼喊，只有一颗没有受到任何世俗熏染的心灵才能从这种“犯罪“中体会到世人无法感受到的深刻的爱。男孩那双纯净的双眸中一点清灵的光让他的美恍若一棵出污泥而不染的青荷，“万物皆在污秽中生长”是这部电影让人记忆深刻的台词，我想，也只有男孩的爱，在这个污浊的世间能保持永久纯净而清洁的芬芳吧。
这部上世纪90年代初出品的电影根据荷兰著名舞蹈男星鲁迪·方丹斯的自传小说改编，通过他缅怀二战时期一段难忘的“忘年之恋”，勾划出人与人之间的感情关系可以是怎样的刻骨铭心，在舞蹈家少年时的小镇上，一支加拿大军队来到他的家乡，其中一位俊朗潇洒的士兵意外地走进了他纯真的心灵，而男孩眉宇间那与生俱来的“灵”的光彩也让士兵也怦然心动。情欲在二人之间唯妙地发生了，一种从未有过的，莫名的激动和兴奋在他幼小的心灵中烙下终生难忘的印记。直到30年后，他仍深深地怀念着令他痴狂的军官。
很多观众无法接受一个成年男子和一个年仅13岁男孩之间的恋情。毋庸讳言，这样的事情如果发生在荷兰之外的其他国家，比如美国，这个军官是免不了要为他的行为付出严酷的代价——不管男孩是否自愿，与未成年人发生性爱是很多国家法律严惩的行为。
一个人能直面黑暗，是因为他内心充溢着阳光。对于这个敏感早慧的男孩来讲，给他带来人生初恋体验的士兵已经成为心中一个神圣的爱的图腾，所以每每他回忆起来，尽管那年的天空常常布满乌云雷雨轰鸣，尽管人们还无法从战争的噩梦中苏醒过来，尽管这是一段被世人所不堪的“罪孽”之恋，但回忆的焦点一旦落在士兵的身上，三十年前的天空，树木，草丛，流水，牛羊，都在他高大英俊的身影下变得生机勃勃，有了他，梦中的光芒永远是那样新鲜明亮，在士兵的怀抱中，他感觉自己如一朵破土而出的新芽，充满了萌动和生长的激情，而士兵嘴角洒脱明朗的微笑带给他稚嫩孤独的心灵以长久的温暖。
据说古希腊时代有这样一个“同性爱教育”的传统，“当一个十五六岁的少年接受完传统的基本教育之后，即被置于一个年长男子的羽翼之下，这成人被称为“爱者（erastes）”；少年被称为被爱者（eromenos，接受爱和保护的“弟弟”）”。这个成年人通常负责少年的道德与心智发展教育，以仁慈、理解、温暖及纯粹的爱对待少年，唯一的目的是为了培养这少年道德上的完美。在战争中，他们并肩作战；如果少年犯错，这成人要替少年受罚。少年长大成人后，或者结婚，或者成为另一个少年的保护人即“爱者”。在古希腊的壁画和彩陶瓶画中对同性恋的描绘也有很多这样的模式：男青年向少年求欢，而后者则总是表现出被动而矜持。意大利南部的贝斯图姆曾是希腊人的殖民地，1968年在这里发现的彩陶瓶画上也多有这样的描绘，最典型的是学者所谓的“上下姿势”（up and down position），成年男子一手抚摩少年的脸颊，一手伸向其身体……”（以上转引自《“天国之爱”在人间的绽放——古希腊的男子同性恋》）
《士兵与男孩》这部以战争为背景的荷兰电影完全将人们从对战争的恐惧转移到人类的感情可能深入到什么样境界的探索之上，并且突破了语言、文化、年龄、国度以及信仰之间的差异——直到男孩长大成人，那个铭刻在他心间的士兵大哥，已经成为了他面对艰难人生时无尽的勇气来源，士兵大哥的温暖让他能在这个 “万物皆在污秽中成长”的世间始终怀抱一份感恩和悲悯的情怀……
影片的最后是在士兵随驻军离去，男孩在暴风骤雨中对爱人的呼唤声中结束。只有一颗纯真无瑕的心灵才能发出这样真切而震撼人心的呼喊，只有一颗没有受到任何世俗熏染的心灵才能从这种“犯罪“中体会到世人无法感受到的深刻的爱。男孩那双纯净的双眸中一点清灵的光让他的美恍若一棵出污泥而不染的青荷，“万物皆在污秽中生长”是这部电影让人记忆深刻的台词，我想，也只有男孩的爱，在这个污浊的世间能保持永久纯净而清洁的芬芳吧。
5 ) 我已经完成这本书一半的翻译
这本书我已经翻译了一半了，每一章都发在豆瓣里，有兴趣的可以关注我。随着翻译的不断深入，我对这个故事的态度也一直发生着变化，由于语言的原因，以及小说和电影的巨大差异，很多人对于这个故事有很多错误的理解，但依然，每个人心中都有自己的哈姆雷特，我希望我的翻译能让你更加准备的了解作者想要表达的东西。
6 ) My soldier never lost
《For a lost soldier》/《军官与男孩》, 根据荷兰著名舞蹈家鲁迪·方丹斯的自传小说改编。影片以二战为背景，却丝毫不沾染战火的气息。荷兰导演Roeland Kerbosch用欧式独特的慢镜头长镜头将影片以一种慵懒的、散漫的调调向前推进，像荷兰常年缓缓旋转的风车，漫不经心，却将什么轻轻划破，毫无防备的，那些散乱的意象便柔柔的扩散进心底。
Jeep
1945年5月的某一天，那天正是加拿大军队赶走德国纳粹，解放荷兰的日子。军用吉普载着英雄的士兵来到这座荷兰的小渔村，那个年轻帅气的军官也是其中一名，他戴着墨镜，眼神却定格在了男孩灿烂的笑脸上，那是怎样天使般的笑颜，让所有万物都失了颜色。那个男孩永远不会知道，是这一刻，他的笑容打动了那个影响了他一生的英雄般的男人。
隔着欢呼的人群，他站在吉普车上望着另一辆吉普车上的他，世界仿佛只剩下这凝望，命运的风车开始缓缓的旋转。
后来，他开着吉普，耍着把妹的烂俗手段，追在男孩回家的路上。男孩向前他向前，男孩转身他跟着后退，结果退过了头，看到男孩狡黠的笑，然后转身继续向前。这样追逐的游戏，像极了恋人间状似无意却小心翼翼的试探与摸索。男孩上了车，他告诉男孩他叫Walt,男孩听不懂英语，但知道这是他的名字，男孩便告诉他，Jeroen是他的名字。
没有冲突，没有丝毫扭捏，一切就这么顺其自然却又觉得是天经地义。
再后来他几乎每天开着吉普载着他在路上行驶，甚至教他开吉普，虽然最后差点撞上他的队友。彼此就是这么自然而然的信任，将生命的方向盘交付与你，你又教会我自己把握，在以后没有你的岁月里，让我渐渐长成像你一样的男子汉，乐观、心胸宽阔、有责任有担当以及学会怎样去爱。
Chocolate
在最初的试探时期，Walt就不断的像Jeroen抛出巧克力，是爱的暗示，看似漫不经心其实却在意的很。你可不能不要，这可是我对你满腔的爱。到了后来，变成甜蜜的习惯，你一半我一半。因为语言的隔阂，这似乎成了Walt对Jerorn传递爱意的特有方式，也或许巧克力让Walt觉得自己像个男孩，缩短了他们年龄上的差距。
我们分吃巧克力，你喂我吃下那一半，一脸的幸福与宠溺。
我们含着巧克力接吻，疯狂热烈，弄花彼此的脸。
我们在游戏的最后，明明说好是说“OK”的，但都不约而同的喊出“chocolate”。
就是这样像巧克力般浓得化不开的甜蜜爱意，男孩啊，你能明白吗？你弱弱的身躯能否承受这般的深情？
Walt搂着Jerorn轻轻的哼唱着“baby~baby~”，Jerorn问Walt“You know ‘baby’？”Walt看着Jerorn笑得一脸温柔“No，I just know you are my baby.”
是的，Jerorn听不懂Walt的语言，但那又怎样？我就是要向我的爱人一遍一遍诉说着我的爱意，我要亲吻着他的耳朵，告诉他：“I love you ,you are my prince,I love you.”我知道他一定能明白，因为我的爱已经满溢，像巧克力融化在他的心间。
那是最最甜蜜的巧克力，而我们像贪恋甜食的孩童，一遍一遍的品尝，直到甜腻的发苦。
Dance&Gun
影片一开头是已经中年的成为著名舞蹈家的Jerorn在为他的舞蹈演员编排一出关于1945年荷兰解放的舞蹈剧，于是记忆的线就从这点扩散蔓延开去。
说起Walt与Jerorn的相遇，应该从那场舞蹈开始，那是整部影片的转折点，亦可以说是Jerorn人生的转折点。舞会散场，热闹的气氛被宁静安适所取代，一束淡淡的蓝光下，Walt拉着Jerorn在此刻只属于他们的舞台上一圈一圈的旋转。在这旋转中，Jerorn似乎找到了那原本应该属于这个他年纪的游戏与欢乐，他肆无忌惮的笑着，任Walt一次又一次的将他抛向半空而后又紧紧接住，一种有力的安全感刹那充斥他的全身。
而Jerorn之所以后来成为一名舞蹈家，很大程度是受到Walt的影响。
那天Jerorn坐在Walt的床上玩弄着他的步枪，Walt看着他的手，对他说他的手很漂亮，应该成为一名艺术家，Walt还絮絮的说了很多，关于他，关于他。Jerorn许是听不太懂有些烦了，对他说了一句“shut up”，以孩子般天真的认为告诉他，我们会永远在一起的，不是吗？Walt愣了一下，苦涩的点头，眼睛里很复杂，嘴角却漾出了笑容。
小孩子从不考虑长久的问题，或许晚一点知道真相就会幸福的比较久一点。只是我还来不及和你道别，还没学会在茫茫人海中寻找到你的身影，你就从我的世界消失了。我的爱人，我已经成为你想象的模样，我多么希望你能看见。
舞蹈和枪，还意味着“解放”。第一次的那场见面舞，不仅解放了Jerorn的肢体，同样的也解放了他的心。所以，在老师要求他们以“解放”为题写一篇作文时，Jerorn脑海里浮现的就是那次与Walt的共舞。而枪则是更为有力而直接的，Walt用枪击碎了河边竖立的警示牌，坦然的牵引着Jerorn走向“异地”，第一次向Jerorn倾吐出他的爱慕之心。这就是他们，冲破了种族、年龄与性别，无畏无惧，他们的爱是跨越禁地的爱。
For a lost soldier，是真的失去了吗？如此重要的一个人，明明还坚定的相信能永远在一起的人，明明昨天还在一起喂我巧克力亲吻着我的人，为什么就在这天清晨消失了？我骑着单车疯狂的驶过田园、原野、树林，去每一个我们曾经到过的角落苦苦追寻你的影子，我对着清凌凌的大海呼唤你的名字“Walt”，潮水涌动，沉默的回答就像你未留只言片语的离别。我们的合照因为我的粗心而曝光，唯一留下的你的照片也因为雨水化成一团纸糊。那么，关于你，我还有什么？
其实有啊，用军队的线缝制好的扣子，不小心落在篱笆上的墨镜，挂在稻草人身上的牌子。以及，留在手上永久的伤痕，第一次跳舞第一次吃巧克力第一次爱的记忆，还有最终因着那无心的一句话而选择舞蹈作为职业的人生。
对于Jerorn来说这是一次成长的洗礼，看似懵懂，却仿佛浸染了一整条的人生轨迹。有人曾说过，如果有一个人曾在生命里出现过，那么他就永远不会消失，即使后来不见了，你的生命却也因着这个人的出现，悄悄地向他的方向，偏离了一厘米，又一厘米……My solaier,never lost。
Jeep
1945年5月的某一天，那天正是加拿大军队赶走德国纳粹，解放荷兰的日子。军用吉普载着英雄的士兵来到这座荷兰的小渔村，那个年轻帅气的军官也是其中一名，他戴着墨镜，眼神却定格在了男孩灿烂的笑脸上，那是怎样天使般的笑颜，让所有万物都失了颜色。那个男孩永远不会知道，是这一刻，他的笑容打动了那个影响了他一生的英雄般的男人。
隔着欢呼的人群，他站在吉普车上望着另一辆吉普车上的他，世界仿佛只剩下这凝望，命运的风车开始缓缓的旋转。
后来，他开着吉普，耍着把妹的烂俗手段，追在男孩回家的路上。男孩向前他向前，男孩转身他跟着后退，结果退过了头，看到男孩狡黠的笑，然后转身继续向前。这样追逐的游戏，像极了恋人间状似无意却小心翼翼的试探与摸索。男孩上了车，他告诉男孩他叫Walt,男孩听不懂英语，但知道这是他的名字，男孩便告诉他，Jeroen是他的名字。
没有冲突，没有丝毫扭捏，一切就这么顺其自然却又觉得是天经地义。
再后来他几乎每天开着吉普载着他在路上行驶，甚至教他开吉普，虽然最后差点撞上他的队友。彼此就是这么自然而然的信任，将生命的方向盘交付与你，你又教会我自己把握，在以后没有你的岁月里，让我渐渐长成像你一样的男子汉，乐观、心胸宽阔、有责任有担当以及学会怎样去爱。
Chocolate
在最初的试探时期，Walt就不断的像Jeroen抛出巧克力，是爱的暗示，看似漫不经心其实却在意的很。你可不能不要，这可是我对你满腔的爱。到了后来，变成甜蜜的习惯，你一半我一半。因为语言的隔阂，这似乎成了Walt对Jerorn传递爱意的特有方式，也或许巧克力让Walt觉得自己像个男孩，缩短了他们年龄上的差距。
我们分吃巧克力，你喂我吃下那一半，一脸的幸福与宠溺。
我们含着巧克力接吻，疯狂热烈，弄花彼此的脸。
我们在游戏的最后，明明说好是说“OK”的，但都不约而同的喊出“chocolate”。
就是这样像巧克力般浓得化不开的甜蜜爱意，男孩啊，你能明白吗？你弱弱的身躯能否承受这般的深情？
Walt搂着Jerorn轻轻的哼唱着“baby~baby~”，Jerorn问Walt“You know ‘baby’？”Walt看着Jerorn笑得一脸温柔“No，I just know you are my baby.”
是的，Jerorn听不懂Walt的语言，但那又怎样？我就是要向我的爱人一遍一遍诉说着我的爱意，我要亲吻着他的耳朵，告诉他：“I love you ,you are my prince,I love you.”我知道他一定能明白，因为我的爱已经满溢，像巧克力融化在他的心间。
那是最最甜蜜的巧克力，而我们像贪恋甜食的孩童，一遍一遍的品尝，直到甜腻的发苦。
Dance&Gun
影片一开头是已经中年的成为著名舞蹈家的Jerorn在为他的舞蹈演员编排一出关于1945年荷兰解放的舞蹈剧，于是记忆的线就从这点扩散蔓延开去。
说起Walt与Jerorn的相遇，应该从那场舞蹈开始，那是整部影片的转折点，亦可以说是Jerorn人生的转折点。舞会散场，热闹的气氛被宁静安适所取代，一束淡淡的蓝光下，Walt拉着Jerorn在此刻只属于他们的舞台上一圈一圈的旋转。在这旋转中，Jerorn似乎找到了那原本应该属于这个他年纪的游戏与欢乐，他肆无忌惮的笑着，任Walt一次又一次的将他抛向半空而后又紧紧接住，一种有力的安全感刹那充斥他的全身。
而Jerorn之所以后来成为一名舞蹈家，很大程度是受到Walt的影响。
那天Jerorn坐在Walt的床上玩弄着他的步枪，Walt看着他的手，对他说他的手很漂亮，应该成为一名艺术家，Walt还絮絮的说了很多，关于他，关于他。Jerorn许是听不太懂有些烦了，对他说了一句“shut up”，以孩子般天真的认为告诉他，我们会永远在一起的，不是吗？Walt愣了一下，苦涩的点头，眼睛里很复杂，嘴角却漾出了笑容。
小孩子从不考虑长久的问题，或许晚一点知道真相就会幸福的比较久一点。只是我还来不及和你道别，还没学会在茫茫人海中寻找到你的身影，你就从我的世界消失了。我的爱人，我已经成为你想象的模样，我多么希望你能看见。
舞蹈和枪，还意味着“解放”。第一次的那场见面舞，不仅解放了Jerorn的肢体，同样的也解放了他的心。所以，在老师要求他们以“解放”为题写一篇作文时，Jerorn脑海里浮现的就是那次与Walt的共舞。而枪则是更为有力而直接的，Walt用枪击碎了河边竖立的警示牌，坦然的牵引着Jerorn走向“异地”，第一次向Jerorn倾吐出他的爱慕之心。这就是他们，冲破了种族、年龄与性别，无畏无惧，他们的爱是跨越禁地的爱。
For a lost soldier，是真的失去了吗？如此重要的一个人，明明还坚定的相信能永远在一起的人，明明昨天还在一起喂我巧克力亲吻着我的人，为什么就在这天清晨消失了？我骑着单车疯狂的驶过田园、原野、树林，去每一个我们曾经到过的角落苦苦追寻你的影子，我对着清凌凌的大海呼唤你的名字“Walt”，潮水涌动，沉默的回答就像你未留只言片语的离别。我们的合照因为我的粗心而曝光，唯一留下的你的照片也因为雨水化成一团纸糊。那么，关于你，我还有什么？
其实有啊，用军队的线缝制好的扣子，不小心落在篱笆上的墨镜，挂在稻草人身上的牌子。以及，留在手上永久的伤痕，第一次跳舞第一次吃巧克力第一次爱的记忆，还有最终因着那无心的一句话而选择舞蹈作为职业的人生。
对于Jerorn来说这是一次成长的洗礼，看似懵懂，却仿佛浸染了一整条的人生轨迹。有人曾说过，如果有一个人曾在生命里出现过，那么他就永远不会消失，即使后来不见了，你的生命却也因着这个人的出现，悄悄地向他的方向，偏离了一厘米，又一厘米……My solaier,never lost。
自传小说改编，据说军官是作者钦点的。男孩年龄小的还是膈应，不过如此烫手的题材，导演拿捏得却恰到好处。男孩用最简单的单词说着永恒，却没听懂军官的告别，就连偷偷藏起的照片都毁在了水里，可还是记了他几十年。My little prince, I love you.他对他的一见钟情。
爱情的魔力真伟大
荷兰人真是什么都敢拍，还拍的那么好，俩位演员勇气可嘉。同样超越伦理的荷兰电影Trage Liefde也是非常感人。 爱，有时候在道德界限外显得如此矛盾。
这片子给我一种极其强烈的代入感，前半部分基调轻松安详，与接近结尾那种隐忍而又具侵犯性的失落感形成强烈的感情冲击，倒叙的手法与故事的真实性又无疑增加了一种现实的无助感，但这一切始终在一种追溯、释怀的抚慰氛围下进行着，并且它又更多的展现了养父等其他人物的世界，我想你也能深切体会。
想拍得纯美又没能纯美起来的基片。 @2011-08-02 17:20:22
我们都知道，小时候的爱是一辈子也忘不掉的，即使老了也会记得那个人。
影片进行到三十六分钟左右终于出现了内军官..军官很帅,男孩够美.我了个去..但是内个啥,军官和小男孩裸体趴床上,确切的说,军官伏在小男孩身上时脑子里一直盘旋着"你X的下去么你真的X的下去么.."我到底有多受不了恋童这件事...PS.我发现北美一带的士兵很喜欢用糖果勾搭小孩..
用爱包装的性侵！This is not "love"!!!!!! This is fucking criminal and disgusting pedophilia
NND他那么小就被**了
多年以后，恋童癖骄傲节系列活动上，恋童癖艺术史家在追述自己身份认同史的时候，一定逃不了要讲此片。拍得美轮美奂，觉得就让他俩在一起吧，多可怜啊。
藍本很好。沒拍好。
军官一直到电影开始后半个多小时才出现，就像一颗火热的流星一样在某天突然袭入到一个12岁男孩波澜不惊的生活里，爱情就像耀目的星光，划过男孩的眼帘，而欣喜如狂的时光是那样短促，缓过神来之时，唯有空对冰冷如水的夜空，把余生沉溺在记忆幻象中的璀璨里，也许他活着只为与他相识 共梦一场不枉此生。
现在我们是否还能找到线索，来怀念那些曾在生命里留下记号的人……
影片不断提醒我，爱是两个人的事，与战争、性别及年龄无关，与恋不恋童无关，与同不同志无关，与俺这个俗人能不能理解更无关。
很好看，但是有个地方不太明白，那军官ms对小男孩没有留恋么。。。。感觉小男孩对他来说只是一段，而他对小男孩来说却是一生。难道这就是为什么很多国家法律承认同性恋合法但是禁止和14岁以下的小孩发生同性性关系。。。影响孩子的一辈子啊
一年了 我终于给这电影给看了 这恋童癖可真是够可怕的…人家孩子只是把你当朋友…七八岁懂什么爱情啊，还想着怎么偷小朋友的橡皮呢
是否心里总住着这么一个人，让你想起时温暖又痛心...
然而爱到燃情时，你终将别离。
虽然好多人说好看，但我总是看不下去···
你是我永远的小男孩～