搖滾老男孩崔健的《藍色骨頭》

Cui Jian, China’s godfather of rock music, has two new titles: award-winning film director and screenwriter.

中國的搖滾教父崔健，最近又獲得了兩個新頭銜：“獲獎”電影導演與編劇。

His directorial debut, Blue Sky Bones, which garnered international recognition in Rome International Film Festival in late 2013, is beautifully accomplished, especially compared to his last attempt as a filmmaker — the 30-minute segment of the 2009 two-part movie Chengdu, I Love You— which was a chaotic jumble of ideas.

在2013年末的羅馬國際電影節上，他的導演處女作《藍色骨頭》贏得了國際認可（獲特別推薦獎）。尤其與他雜亂無章的上一部作品—— 2009年拍攝的30分鐘短片《成都，我愛你（上、下）》相比，《藍色骨頭》是一部完成度很高的電影。

The premise of Blue Sky Bones, briefly speaking, is a story about the “cultural revolution” (1966-76) told by a young computer hacker. It has two storylines: one about the hero Zhong Hua (Yin Fang), an underground songwriter who makes a living creating computer viruses and then selling anti-viruses to neutralize them; the other one about the love triangle of Zhong’s parents during the “lost 10 years” of the “cultural revolution”.

《藍色骨頭》的背景簡單而言，即以一位年輕黑客的視角，講述了1966至1976年“文革”期間的故事。全片有兩條主線，一條是主人公——地下作曲家鍾華(尹昉 飾)，他以販賣查殺自己寫的電腦病毒的殺毒軟件爲生。另一條線則圍繞鍾華父母 “迷茫十年文革”間的三角戀展開。

Through flashbacks to the past and a jungle of thoughts expressed by the central character in philosophical voiceovers, the movie has a strong emotional thread and observes the lost generation of the “cultural revolution” through the eyes of a young man who’s trying to make sense of his life in an age of the Internet, music downloading and forgetfulness of the past.

影片思想豐富，情感主線突出，通過倒敘的手法以及核心角色哲人般的畫外音，向我們展示了一個生活在上網、下音樂、遺忘過去的時代裏努力尋找生命意義的年輕人，和他眼中“文革”時迷茫的父輩們。

Cui has described his role on the film as “orchestrating the actors, the music and the script” and leaving the rest of the production work to professionals in each field. Cui’s use of music binds together the whole structure of the film, giving it a genuine dramatic power that compliments the emotive voiceovers by the main character.

崔健說自己在電影拍攝時的角色就是“協調演員、音樂和劇本”，至於其他製作工作，自有其領域的專業人員打理。但正是他用音樂串聯起了整個電影情節架構，爲主人公飽含深情的旁白賦予了戲劇化的張力。

Cui’s wisest choice, however, was hiring Australian cinematographer Christopher Doyle, who is known for his work on Wong Kar-wai films. Doyle’s photography brings atmosphere and shape to the story as it jumps between past and present.

崔導最明智的選擇莫過於請來了王家衛的御用攝影師——來自澳大利亞的杜可風。正是他的拍攝，讓故事在過去與當下間完美穿梭。

The most noticeable weakness about the film is the script. Cui’s got so much ambition in storytelling that the two subplots don’t sit comfortably within the movie.

相比之下，劇本成了全片最明顯的軟肋。崔導想要講一個太過宏大的故事，以致影片的兩條副線顯得有些不協調。

But the movie does all come together in its final sequence, which creatively cross-cuts between scenes of a timeless China on the Yangtze River with Zhong performing the title song. Cui’s embracing of traditional values of love and forgiveness, in such a genuine way, is quite surprising. It reminds us of a fact that no one wants to accept: the bad-boy rocker, now 52, has finally hit middle age.

好在影片還有充滿創意的最後一鏡，當揚子江上的不老中國與唱着主題曲的鐘華交叉剪輯在一起，千頭萬緒也終於匯聚一處。崔健能以如此真誠的方式傳遞傳統價值觀中的愛與寬恕，着實令人驚訝。而這也提醒着我們一個難以接受的事實：這個現年52歲的搖滾“壞男孩”，已然人到中年。