明日之歌

【本文首发于《虹膜》公众号】

作者：贝特朗·塔维涅

译者：覃天

校对：易二三

来源：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.)

和其他许多法国影迷一样，我发现《明日之歌》这部电影的时间相对较晚，尽管我们多年来一直对莱奥·麦卡雷感兴趣。我们喜爱他执导的、劳莱与哈台兄弟主演的一系列影片；欣赏他拍的《鸭羹》，人们通常认为它是马克思兄弟最好的一部电影；或将《春闺风月》奉为圭臬，并反对那些针对《金玉盟》的批评声。（但我确实在想，我们为《集合到国旗下的男儿们》这部电影辩护是否是正确的，在电影里，集会上的琼·柯琳斯低声说，我相信，「粉色的床垫，粉色的闺房，粉色的我。」这是一部我连续看了五次，但三十年来都不敢再看的电影。）

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.

导演德尔默·戴夫斯是我最先知道在上世纪60年代初，公开称赞《明日之歌》这部电影的人，他让我们发现了这部还没有在法国上映的电影。戴夫斯曾在莱奥·麦卡雷的《爱情事件》及其翻拍片《金玉盟》担任联合编剧，《金玉盟》收录了《爱情事件》中那些被删减或从未拍摄过的片段。戴夫斯认为《明日之歌》不仅是麦卡雷的杰作之一，也是有史以来最伟大、最被忽视的美国电影之一。他对这部电影赞不绝口，兴奋地告诉我们这部电影，特别是它的最后30分钟中饱含的情感强度。他将《明日之歌》中的这种情感强度与弗兰克·鲍沙其的一系列无声电影相提并论。

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.

几年后，制片人兼编剧西德尼·巴克曼告诉我，《明日之歌》是麦卡雷本人最喜欢的电影——它也是麦卡雷对哥伦比亚电影公司总裁哈里·考恩进行的报复。每当麦卡雷在拍摄《春闺风月》的过程中超出预算或落后于拍摄计划时，哈里·考恩都会无情地提醒他《明日之歌》在商业上的失败。《春闺风月》的成功上映，让考恩相信麦卡雷会和哥伦比亚续签合同。但就在他们同意签约的前一天，麦卡雷在《综艺》杂志上刊登了一则广告，宣布他刚刚和雷电华公司签署了《与我同行》的拍摄合同。

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.

除了德尔默·戴夫斯，约翰·福特和让·雷诺阿也很喜欢《明日之歌》。制片人皮埃尔·里斯安在60年代中期最终在法国发行了这部电影（以及同样很难找到、麦卡雷同样被忽视的另外一部电影《红谷英仆》），我与他合作发行了这部电影，让·雷诺阿为《明日之歌》写了几句热情洋溢的祝词，补充了约翰·福特、恩斯特·刘别谦和戴维斯早先的赞扬。

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·塔维涅和历史学家伯纳德·艾森斯基兹一起给《明日之歌》配上了法语字幕。我记得她打字时泪流满面。她被这部电影在她身上激起的深刻情感所淹没。

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.

尽管《明日之歌》受到了评论界的热烈好评，但它的票房表现并不理想。我们希望影评人不要总结电影的故事情节，而是可以用文学的语言来描述它的情感基调，同时又不透露它讲述的是一对老人被他们的孩子送到不同的养老院的故事，但我们的恳求经常被置若罔闻。一旦这部电影的情节被披露，评论家们的称赞所产生的的积极作用就消失了。

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.

我永远不会忘记，当我看到皮埃尔·里斯安从美国寄来胶片时的情景，我感到非常惊讶，他立即给我看了这部影片。对我来说，那次放映仍然是我近十年中最令人印象深刻的时刻之一。麦卡雷几乎奇迹般地设法避免了这样一个话题固有的矫揉造作感，避开了矫情的怜悯、居高临下的态度和说教的意味——这一切都让我目瞪口呆。《明日之歌》就像一支射中了我的箭，在我的心里不停地颤动。

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.

从那以后的四十年里，我每次看这部电影都有同样的感觉。它带给我一种与弗兰克·鲍沙其的《第七天堂》和小津安二郎的《东京物语》相近的感觉。就像在这两部电影中一样，麦卡雷立刻找到了他与角色之间的确切距离。我们作为观众被置放于他们中间，从他们的视角来感受他们所经历的一切——但与此同时，麦卡雷也让我们和他们保持了一定的距离，使我们可以见证这些角色的缺点和错误，这既滑稽又令人心酸。像鲍沙其一样，麦卡雷用幽默——这种带有意想不到的反应的喜剧方式化解了情节剧的窠臼和陷阱。维克多·摩尔和比尤拉·邦蒂的精彩表演促成了这部电影的成功，这可能也是他们职业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.

而我们的笑声——因为我们经常在看《明日之歌》的过程中大笑——将电影的情感力量增加了十倍。我们既会欢笑，我们也会心碎。如同我们在《爱情事件》的某些镜头以及《红谷英仆》的葛底斯堡演讲场景中可以看到的那样，麦卡雷仍然是转变观众情绪的能工巧匠。正如魁北克谚语经常说到的那样，这样的笑声扣人心弦，也「让人感到痛苦」。它也令人想起了契诃夫戏剧中的某些场景，我们的笑声毫无征兆地变成了泪水，突然间痛苦的感受滑入了我们的思绪。就像生活本身这件事一样，当我们知道如何观察它，并忠实地把它展现在屏幕上时，它带给我们的感受和它本身一样欢乐而痛苦。

很好的题材，很好的表达，它的表达内核是一个永恒的议题，就是任何一个时代和家庭都会存在这样显得多余的父母和逃避赡养父母责任不孝的子女，对老年人的情感关怀缺失既是一个社会问题，也是一个亲情议题，但这个问题实际上没有任何方案去解决，所有的出口都在于老人们的内心，像电影里的两位老人他们是传统和保守的代表，但是我们当代也会有更现代化的代表，他们不依附于子女生存，活得更通透，归根结底，我们终归需要意识到，能够抚慰个体的永远是个体本身，个体既是问题的成因也是问题的结果。 此外，也不得不用更现代化的眼光更严谨的去看电影的问题，剧本的表达还有表演的表达都会有一些比较过的地方，它们加重了电影表达的某些力度，但也存在某些相对的不合理性，它是一种很戏剧并很个体化表达的融合，二者之间的平衡性我觉得还是不够的，它使得每一场戏之间都会有断续，最终拼连起来多少有些不圆融，当然电影最大的优点在于，每一场戏的表达我认为导演都非常充分的理透了他想要实现的效果，尽管当下来看，电影的思维逻辑以及技术层面都会有些不足，但是看看电影创作的时代，又不得不说，它很不可思议，它的创作非常传统但是议题非常超前！

第29届法罗岛电影节第5个放映日为大家带来主竞赛单元的《明日之歌》，下面请看场刊影评人的评价了！

松野空松

6.0 总觉得这样的故事在东亚场景会吸引人很多，除了主角外的角色太美国化，并不普世。

消亡之人

与东京物语相比，一切的矛盾都那么刻意，感觉剧作不敢直面一个真相：子女不想与父母同佳，这件事不需要任何导火索，不需要任何代沟和观念差异，不需要年迈的父母惹出任何麻烦，这件事其实是天然成立的，是写就在人类天性之中的，无论这种天性指的是渴望自由还是懒惰、冷漠、趋利避害等等。

不肯蓝

美国人将家庭间本更微妙的情绪冲突表现得太直白，又过分强调冲突，失去了「家庭」叙事的复杂性，亲情纽带与现实冲突之间的互动中往往是遮蔽住不堪的微笑与沉默。