【電影簡介】

懷著好友木月自殺身亡的陰影，渡邊高中畢業后進了東京的大學，在沒有半個熟人的城市展開新的生活。東京的日子過得很平穩卻又仿佛缺失了什么。
這天，渡邊偶然與直子重逢。直子是木月的女朋友。只有木月一個朋友的渡邊和直子也相熟，以前三個人經常一起玩。同病相憐的渡邊和直子越走越近，渡邊愛上了有著一雙清澈眼眸的直子。在直子二十歲生日那天，兩人共度一宵。然而渡邊的感情越深，直子所抱有的喪失感越強。最終直子不辭而別住進了京都的療養院。
渡邊在大學里邂逅了綠子，一個宛如初春時節重歸大地的小動物的可愛女孩。因為見不到深深思念的直子，渡邊開始頻繁接觸與直子截然不同的綠子。綠子請渡邊來家里吃飯，兩人自然而然地吻在了一起，那是一個溫柔平和卻不知何去何從的吻。
不久后，渡邊收到了來自直子的信。他前往療養院探望直子。直子的同屋人玲
子正在用吉他彈奏披頭士的《挪威的森林》，這是直子最愛的歌。
“聽到這首歌，感覺自己仿佛在密林里迷了路。不知道為什么會這樣。只覺我孤單一人、又冷又暗，沒人來救我，但是這確確實實是我最喜歡的歌。”
聽到《挪威的森林》總會流淚的直子說道：“只要有渡邊在就不要緊了”，可她依然無法止住泉涌的淚水。
《挪威的森林》是村上春樹的代表作，以第一人稱視角講述一名男子與兩名女孩之間的愛情糾葛。這本略帶憂傷，整體風格舒緩的愛情小說展現了20歲年輕人對愛情和生活的彷徨，對歲月的感傷，對未來的迷惘。電影由越南導演陳英雄執導，松山健一，菊地凜子擔綱主演。其中菊地凜子憑借《通天塔》一片中的聾啞少女大放光彩，這次的表現也非常讓人期待。另外這部影片也是本屆威尼斯電影節商業味最濃的影片之一。

【音頻文本】

Roughly ten years ago in China, Japanese writer and translator Haruki Murakami won popular acclaim when the Chinese translation of his novel Norwegian Wood was released. The Chinese probably knew Murakami better than they did the Beatles, whose song bearing the same name could have been one source of inspiration for the Japanese writer. Ten years later, Murakami's Norwegian Wood is commanding the attention of the Chineseaudience again – a film adaptation of the novel by French director Tran Anh Hung is now appealing to Chinese audiences.

The story takes place in Japan in the 1960s. It depicts the painful journey of a sensitive youth in the struggle to outgrow his insecurities. A few years after the death of his best friend in high school, the protagonist Watanabe develops a unique and intimate relationship with Naoko, the ex-girlfriend of his late best friend. While Watanabe is taking pains to get over his friend's death, he finds himself losing Naoko toan obsession with that death. Meanwhile, Watanabe's encounter with another girl, the outgoing and vivacious Midori, forces him to make a decision between the past and the future.

Those who have read the novel will be able to tell that the film is a perfect incarnation of the original story in film. The film successfully depicts the tribulations of youth, how they strive to come to terms with a number of questions involving their age, desire and death.

Perhaps owing to his Asian ancestry, Tran Anh Hung exhibits a fairly good understanding of the original work. The presentation of this understanding is boosted by the miracle worker and director of photography Mark Lee Ping Bin, his wizardry with the lens and the spectacular settings never fails to recreate the quietambience typical of Murakami stories. What's more, to live up to the author's unique taste in music, a wide range of songs are carefully selected and positioned for moviegoers to feast their ears on. All in all, the film is able to deliver the silent melancholy that haunts the original story.

However, the director goes no further than providing a recreation of the novel. There are no perceptible signs of originality on the part of the director. He obviously hasn't done anything to stray from the novelas to make the film exciting, but allows sufficient time – two hours plus – for the story to develop. Atsome points, it seems Tran Anh Hung has based the film on the premise that all viewers have read the novel, as if the Murakami fans are the only target audience. One can't help but worry: for those who haven't read the story, will they be patient enough to remain seated until the closing credits? Let's just hope the well crafted audio and visual effects can do the trick.

Directors who take on adaptations always face a thorny question: should they be allowed to tamper with theoriginal script? The question can only be answered on a case by case basis. In this case, Tran Anh Hung deserves an EIGHT.

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