It's one of the biggest movie hits of the decade and has revolutionized the use of technology in film. But James Cameron's 'Avatar' may also be a profound interpretation of one of humanity's oldest scriptures. That's according to writer and director Sudipto Chattopadhyay, who writes in the Passion for Cinema film blog that Cameron's choice of title was deeply thought out from the Hindu perspective.
這是十年來最震撼的電影、也是電影技術(shù)史上革命。但同時，詹姆斯喀麥隆的《阿凡達(dá)》也是對人類最古老的經(jīng)典的一次深刻詮釋。影評人Sudipto Chattopadhyay在他的博客中解釋到，喀麥隆對電影名稱的選擇源于一部印度史詩。

"The ancient Hindu scriptures have forever reiterated that whenever the world would be on the brink of disaster and mankind faces extinction, whenever the vessel of sin is about to spill over to create death and destruction, the divine Lord Vishnu would considerate his duty to manifest himself in mortal, palpable form to save mankind from the impeding doomsday....In the larger perspective the Avatar is meant to be the savior, the messiah of his own race and people," says Chattopadhyay.
“古老的印度史詩中不斷提及，每當(dāng)世界處于崩潰邊緣、人類瀕臨滅頂之災(zāi)，每當(dāng)罪惡萌生、將帶來死亡和破壞，天神毗瑟努(印度教主神之一,守護(hù)之神)就會化身凡人、下界救助人類，他的化身名為阿凡達(dá)……廣泛地講，阿凡達(dá)就是救世主，人和神的彌賽亞。”Chattopadhyay說。

"Despite the fear of being lynched by Hindu Fundamentalists," Chattopadhyay continues, "I propose that Cameron is alluding to that tenth avatar of Vishnu becoming manifest as the US marine (the character played by Sam Paddington) in Pandora's universe. The deliberate choice of the blue skin instantly, magically and metaphorically relates our protagonist to two previous avatar’s namely Rama and Krishna."
“因為擔(dān)心被印度的學(xué)究們批評，我建議喀麥隆在電影里暗示毗瑟努的第十代化身阿凡達(dá)轉(zhuǎn)世為美國海軍，在潘多拉星球上執(zhí)行任務(wù)。而我們也特意將那里的人類皮膚設(shè)定為藍(lán)色，以此與上兩任阿凡達(dá)Rama和Krishna聯(lián)系起來。”

Despite the film coming under criticism for a weak story line Chattopadhyay instead lauds Cameron's "Avatar" as "a truly post-structuralist, post-modern work of epic proportions both in terms of story telling and redefining how the human eye can perceive a constructed image in motion."
盡管有批評認(rèn)為《阿凡達(dá)》的故事線索過于簡單，但Chattopadhyay則強(qiáng)調(diào)說，喀麥隆的《阿凡達(dá)》是一部真正的后結(jié)構(gòu)主義、后現(xiàn)代主義的時代巨著，它講述故事的方式和電影拍攝的運動手法都將挑戰(zhàn)觀眾的極限。

"After this, cinema will be divided into two eras — Before Avatar/After Avatar."
“在此以后，電影將被劃分為兩個時代：前阿凡達(dá)時代，和后阿凡達(dá)時代。”