劉德華的《失孤》，是關(guān)于一次不幸的旅行

Review: ‘Lost and Love’ (‘Shu Gi’) Stars Andy Lau as a Man Searching for His Lost Son

劉德華的《失孤》，是關(guān)于一次不幸的旅行

Peng Sanyuan’s “Lost and Love” could ably serve as a travelogue of China: glowingly verdant trees, winding roads, fishing shacks, ribbonlike bridges, cafes and grubby city intersections, all shot by Mark Lee Ping Bin, the cinematographer who has helped the great director Hou Hsiao-hsien sculpt time in images.

彭三源的電影《失孤》可以成功充當(dāng)一部中國(guó)旅行紀(jì)錄片：蔥翠的樹(shù)木、蜿蜒的道路、漁民小屋、彩帶般的橋梁、小飯館和污穢的城鄉(xiāng)結(jié)合部……本片攝影師李屏賓曾與大導(dǎo)演侯孝賢合作，把時(shí)光凝聚為畫(huà)面。

But this is unhappy sightseeing: Ms. Peng’s film centers on a man on a decade-plus search for his lost son, a victim of the scourge of child trafficking in China. What results is ample fodder for a stop-and-go tear-jerker featuring the Hong Kong star Andy Lau, suitably rumpled like a piece of distressed clothing, as the poor, bereft father, Lei.

但這是一次不幸的旅行：彭三源的這部電影講述一個(gè)中國(guó)男人花十幾年的時(shí)間尋找被拐賣(mài)的兒子。這個(gè)題材足夠拍出一部時(shí)時(shí)催人淚下的影片，香港影星劉德華飾演片中痛失親人、貧窮的父親雷澤寬，臉上的皺紋就像一件破舊的衣服，與角色頗為相稱(chēng)。

On a mountain leg of his province-by-province dragnet, Lei is joined by a young mechanic, Zeng (Boran Jing), after repairs on his bike, which flies a flag of his missing child. When the younger, well-coiffed man reveals he was kidnapped as a child, the film begins a potentially poignant drama of two people in need, both clinging to grief.

雷澤寬一個(gè)省一個(gè)省地搜尋，在走一段山路時(shí)，他遇到年輕的修車(chē)工曾帥(井柏然飾)，曾帥幫他修好了摩托車(chē)，也讓他想起自己走失的兒子。這個(gè)留著時(shí)髦發(fā)型的年輕人透露，自己也是在小時(shí)候被拐賣(mài)的，至此影片開(kāi)始成為一部有可能十分辛酸的劇情片：兩個(gè)有著同樣悲傷的男人需要對(duì)方。

Their bond feels awkwardly developed, as typified by a shouting match over the bike and a playful car-washing scene. Ms. Peng, a novelist and screenwriter, keeps lurching into wide shot to show off the landscape (especially the bridges that tap into Zeng’s vague memories of childhood) and cutting away to wispy stories about a baby trafficker and a distraught mother.

他們之間的關(guān)系有些笨拙地發(fā)展著，最有代表性的一幕就是在摩托車(chē)上大聲呼喊的戲，以及一幕有趣的洗車(chē)場(chǎng)面。彭三源是小說(shuō)家兼編劇，她持續(xù)使用廣角鏡頭來(lái)展示風(fēng)景(特別是曾帥模糊的童年記憶中的那些橋梁)，同時(shí)切入拐賣(mài)嬰兒以及發(fā)狂的母親這樣一些依稀往事。

“Lost and Love” (“Lost Orphan” in the original Chinese title) confronts serious problems but is too busy reaching for epic sweep and soaring moments to nail the fine detail of main characters’ fraught give-and-take.

《失孤》直面重大問(wèn)題，但太急于表現(xiàn)宏大的景象和升華的時(shí)刻，未能很好捕捉主人公之間令人憂傷的情感糾葛的細(xì)節(jié)。