評(píng)論
打印
Books & arts
文藝板塊
Home entertainment
家庭娛樂(lè)專欄
Pandemic cinema
疫情影院
Will and grace
意愿與恩惠
Ingmar Bergman’s contemplation of plague and death is life-enhancing
英格瑪·伯格曼對(duì)瘟疫與死亡的思考增益人生。
The inspirationfor one of the most legendary (and parodied) images in world cinema lies a half-hour’s drive north of Stockholm, up near the ceiling of a small medieval church. A fresco shows a ghoulish skeleton and a young man, dressed in a green robe and a brown hat, hovering over a large chessboard. The mural at the Taby church was painted in the 1480s. It came to life nearly five centuries later, when it led Ingmar Bergman, the Swedish director, to cast Max von Sydow as Antonius Block, a troubled knight, and to pit him against Death in a chess match.
世界電影史上最具傳奇色彩（也是戲仿）的一張影像的靈感，來(lái)源于一座中世紀(jì)小教堂的穹頂壁畫(huà)，這座小教堂在斯德哥爾摩以北半小時(shí)車程。在這幅壁畫(huà)中，有一具可怕的骷髏和一個(gè)身穿綠色長(zhǎng)袍、頭戴棕色帽子的年輕人，他們正在一個(gè)大棋盤上下棋周旋。塔比教堂的這幅壁畫(huà)創(chuàng)作于15世紀(jì)80年代。在接近5個(gè)世紀(jì)之后，這幅壁畫(huà)才變得活躍起來(lái)，當(dāng)時(shí)瑞典導(dǎo)演英格瑪·伯格曼執(zhí)導(dǎo)了一部影片，馬克斯·馮·西在其中擔(dān)任主演，飾演一位麻煩重重的騎士安東尼烏斯·布洛克，電影講述了他與死神擺下一盤生死棋局的故事。
Death is everywhere in Bergman’s “The Seventh Seal”. It rages in the Holy Land, where Block and his squire Jons have spent years as Crusaders, and back home in Sweden, where the bubonic plague has started to spread. Before it takes him, Block wants to understand whether his life has made any sense, and what might await in the hereafter. To do so he needs time, and to have time he needs to play for it.
在伯格曼導(dǎo)演的《第七封印》中，死亡無(wú)處不在。布洛克和他的隨從作為十字軍，在圣地征戰(zhàn)多年，在那里，死亡肆虐，之后他們返回家鄉(xiāng)瑞典，而黑死病開(kāi)始在瑞典蔓延。在死神奪走布洛克的性命之前，他很想搞明白自己的生命是否有意義，以及未來(lái)會(huì)發(fā)生什么。為了弄清楚這一切，他需要時(shí)間，在擁有時(shí)間的同時(shí)，還需要為之努力。
Between the chess game to which Block challenges the grim reaper, the ethereal expression fixed on his face throughout the film, and the backdrop of disease, “The Seventh Seal” can seem unbearably heavy, especially during today’s pandemic. Block cannot come to terms with God’s silence. He yearns to have faith in faith, and not in the facile kind either. He scoffs at the monks who claim that the plague is divine punishment, and pities the penitent zealots, with their crosses and relics, whipping themselves senseless with scourges.
在這場(chǎng)對(duì)弈中，布洛克挑戰(zhàn)冷酷的死神，影片中他臉上的表情虛無(wú)縹緲，再搭配黑死病的背景，讓《第七封印》這部電影十分壓抑，讓人不堪忍受，特別是針對(duì)現(xiàn)在的疫情期間。布洛克無(wú)法接受上帝的沉默。他渴望篤信信仰，而不是輕率地相信。他嘲笑那些聲稱文藝是神罰的僧侶，憐憫那些懺悔狂熱者，他們拿著十字架和生物，用鞭子抽打自己卻毫無(wú)知覺(jué)。
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