Two-handed combat
肉搏戰(zhàn)（陳繼龍 編譯）
Of Clint Eastwood's two films about Iwo Jima, the Japanese is far better
克林特•伊斯特伍德（Clint Eastwood）執(zhí)導(dǎo)的兩部關(guān)于硫黃島（Iwo Jima）的電影，站在日本人視角拍攝的那一部遠(yuǎn)勝一籌
IN TRADITIONAL war films, the enemy is faceless. Imbuing[1] opponents with humanity would rob “our boys” and the audience of moral certitude[2]. Reality is different. There is no glory in war and the boys on both sides—and so many are just boys—are human; terrified and unsure about what they are fighting for. Clint Eastwood, a Hollywood actor and director, has provided a powerful reminder of this by making two films of the same battle.
在傳統(tǒng)戰(zhàn)爭(zhēng)影片中，敵人都是無(wú)名無(wú)姓的。給敵人賦予人性的光彩會(huì)令“咱們的阿兵哥”和觀眾懷疑道義的存在。然而今非昔比，戰(zhàn)爭(zhēng)中不再有榮耀可言，敵我雙方都是人，其中有很多還只是孩子；他們都不清楚為何而戰(zhàn)，都懼怕戰(zhàn)爭(zhēng)。好萊塢演員兼導(dǎo)演克林特•伊斯特伍德執(zhí)導(dǎo)的關(guān)于同一戰(zhàn)役的兩部電影，讓人們清醒地認(rèn)識(shí)到這一點(diǎn)。
The conquest of Iwo Jima, shown from an American view in “Flags of our Fathers” and from the Japanese side in “Letters from Iwo Jima”, was the most brutal and pointless of the second world war. By February 1945, it was clear that the Allies' technological and numerical superiority was unbeatable. Yet the Japanese, led by an inspired general, dug themselves in[3] on Iwo Jima, a bleak, volcanic island far from Tokyo. It took American marines five weeks to overrun them. Some 7,000 Americans and 22,000 Japanese died. But what turned Iwo Jima into legend was Joe Rosenthal's photograph of six American soldiers raising a flag on Mount Suribachi.
分別站在美國(guó)人和日本人角度拍攝的兩部電影《父輩的旗幟》（Flags of our Fathers）和《硫黃島來(lái)信》（Letters from Iwo Jima），均取材于攻占硫黃島一役，它是二戰(zhàn)中最慘烈也是最無(wú)謂的一場(chǎng)戰(zhàn)役。到了1945年2月的時(shí)候，盟軍已經(jīng)凸現(xiàn)科技和兵力上的優(yōu)勢(shì)，但是就在遠(yuǎn)離東京一座荒涼的火山島——硫黃島上，日軍卻在一名壯志凌云的將軍的率領(lǐng)下誓死頑抗。美國(guó)海軍陸戰(zhàn)隊(duì)耗時(shí)5個(gè)星期才將他們擊潰，大約7000名美軍士兵和 22000名日軍士兵陣亡。不過，硫黃島之所以名留青史，緣起于喬伊•羅森塔爾（Joe Rosenthal）拍攝的一張照片——六名美軍士兵在摺缽山（Mount Suribachi）上豎起美國(guó)國(guó)旗。
The first film, which opened last October, follows the fate of those flag raisers. Three are killed in the subsequent combat, since the flag was raised on the fifth day of battle and not at the end, as the American public believed. The others, including James “Doc” Bradley, whose son's book is the basis for the film, are sent home to drum up enthusiasm for war bonds. The tawdriness[4] of their public-relations tour, which has them climbing a cardboard Mount Suribachi to cheering crowds, proves more corrosive than the horrors of battle. One of the three dies an alcoholic.
《父輩的旗幟》一片去年 10月上映，講述的是六位旗手后來(lái)的命運(yùn)。其中三人在隨后的戰(zhàn)斗中陣亡，按照美國(guó)人的普遍說法，是在硫黃島戰(zhàn)役第五天、豎起國(guó)旗之后，而其時(shí)戰(zhàn)爭(zhēng)尚未結(jié)束。其他人則被送回國(guó)內(nèi)幫著推銷戰(zhàn)爭(zhēng)公債，其中包括詹姆•布萊德利醫(yī)生（James “Doc”Bradley），而本片正是改編自他兒子的小說。為了擴(kuò)大宣傳，這些人被迫登上紙板做的“摺缽山”接受人們的歡呼。事實(shí)表明，宣傳的俗麗比戰(zhàn)爭(zhēng)的恐怖貽害更深，比如三人中有一人酗酒而死。
Mr Eastwood's point that war heroes are cynically manufactured is well made. Seemingly aimed at the current Iraq war, it is ironic then that it turns a film about propaganda into propaganda itself. That war is romanticised is hardly new, as Wilfred Owen's first world war poetry and Robert Capa's 1936 “falling soldier” photograph attest. In the end, polemic[5] dulls this film, leaving it oddly insubstantial[6]—its characters too little developed for us to care.
伊斯特伍德諷刺所謂戰(zhàn)爭(zhēng)英雄純屬子虛烏有的用意在片中得到充分體現(xiàn)，然而更加具有諷刺意義的是，伊斯特伍德的原意是針對(duì)當(dāng)前的伊拉克戰(zhàn)爭(zhēng)，末了卻把一部諷刺戰(zhàn)爭(zhēng)的電影變成了為戰(zhàn)爭(zhēng)搖旗吶喊的“幫兇”。威爾弗瑞德•歐文（Wilfred Owen）的一戰(zhàn)詩(shī)作以及羅伯特•卡帕（Robert Capa）1936年拍攝的照片《墜落的士兵》表明，“戰(zhàn)爭(zhēng)是浪漫的”一說由來(lái)已久?？犊ぐ旱恼Z(yǔ)言反而讓這部電影看起來(lái)非常沉悶，空洞無(wú)比——片中人物線條過于簡(jiǎn)單，令人索然無(wú)味。
Not so for “Letters from Iwo Jima”, which opens in America next week and in Europe at the end of February. The film is rich with memorable individuals: Saigo, a humble baker who misses his wife and baby daughter; Baron Nishi, an Olympic gold medallist equestrian[7] who brings his horse to the island; and their wise leader General Kuribayashi, a patriot who nevertheless respects his American foes. The discovery of his letters home in a cave on Iwo Jima sparked Mr Eastwood's interest. The film's more conventional narrative brings the characters to life and embraces nuance[8]: daring to show not just the fanatical Imperial Army soldiers blowing themselves up with grenades[9] rather than surrendering, but also marines shooting Japanese prisoners rather than guarding them.
《硫黃島來(lái)信》就不是這樣，這部將于下周和2月底先后在美國(guó)和歐洲上映的影片中，一個(gè)個(gè)人物都令人難忘：西鄉(xiāng)（Saigo），想念妻子和幼女的小小面包師；男爵西（Nishi），奧運(yùn)會(huì)馬術(shù)比賽金牌獲得者，把自己的馬也帶到了島上；還有他們精明的將領(lǐng)栗林（Kuribayashi）將軍，愛國(guó)但又尊重其美國(guó)敵人。激發(fā)伊斯特伍德拍攝興趣的是，在琉璜島一個(gè)山洞里找到了這名將軍給家人的信件。影片較為傳統(tǒng)的敘事方式讓人物栩栩如生，同時(shí)也較以往有著細(xì)微差別：不僅敢于表現(xiàn)狂熱的日軍士兵拒不投降、用手榴彈自殺的場(chǎng)面，而且還有海軍陸戰(zhàn)隊(duì)員不把日本戰(zhàn)俘看守起來(lái)而是進(jìn)行槍殺的大膽鏡頭。
It is possible to do terrible things only to faceless foes. Ultimately, and laudably, Mr Eastwood's films attack anonymity, whether invisible enemy or fake heroes. In one of the film's most moving scenes, Baron Nishi reads his men a letter sent to a captured American marine from his mother. As the Japanese soldiers realise that he is just like them, the fog of war lifts to reveal a shared humanity.
一般影片中下場(chǎng)悲慘的都是無(wú)名的敵人，而在伊斯特伍德的這部電影中，無(wú)論是看得見的敵人還是偽冒的英雄，都不再 “隱姓埋名”，這不禁讓人拍手稱快。本片最感人的一幕出現(xiàn)在男爵西向他的士兵讀一名被俘美國(guó)海軍陸戰(zhàn)隊(duì)員母親寫給兒子的一封信時(shí)，當(dāng)日軍士兵意識(shí)到自己和這名俘虜一樣時(shí)，籠罩在人性之上的迷霧隨即消散開去。
[NOTES](OXFORD)
1. imbue v. [Tn.pr esp passive 尤用于被動(dòng)語(yǔ)態(tài)] ~ sb/sth with sth (fml 文) fill or inspire sb/sth with (feelings, etc) 使（某人[某事物]）充滿或激起（感情等）: imbued with patriotism, ambition, love, etc 充滿愛國(guó)主義精神、雄心勃勃、滿懷愛心 * politicians imbued with a sense of their own importance 自以為舉足輕重的政治家們.
2. certitude n. [U] (fml 文) feeling of certainty; lack of doubt 確信; 確定無(wú)疑.
3. dig in . dig oneself in (a) (military 軍) (of soldiers) protect oneself by digging a trench, etc （指士兵）挖壕溝等以掩蔽自己, 挖掩體. (b) (infml 口) establish oneself securely (in a place, job, etc) （在職位、 工作等方面）使自己站穩(wěn)腳跟, 鞏固自己的地位: He has dug himself in well at the college now. 如今他在學(xué)院已站住腳了.
4. tawdry adj. (-ier, -iest) showy or gaudy but without real value 俗麗的; 華而不實(shí)的: tawdry jewellery, furnishings 俗麗的珠寶、 家具.
5. polemic n. (fml 文) 1 (a) [C] ~ (against/in favour of sth/sb) speech, piece of writing, etc containing very forceful arguments (against or for sth/sb) （反對(duì)或贊成某事物[某人]的）慷慨陳詞, 辯論文章: He launched into a fierce polemic against the government's policies. 他猛烈地抨擊政府的政策. (b) [U] such speeches, pieces of writing, etc 慷慨陳詞; 辯論文章: engage in polemic 進(jìn)行辯論. 2 polemics [pl] art or practice of arguing a case formally and usu forcefully 辯論法; 爭(zhēng)辯術(shù).
6. insubstantial adj. 1 not solid or real; imaginary 非實(shí)體的; 非實(shí)質(zhì)的; 非實(shí)在的; 非真實(shí)的; 幻想的: an insubstantial vision, figure, creature 虛幻的景象、 人物、 生物. 2 not firmly or solidly made; weak （做得）不堅(jiān)固的, 不堅(jiān)實(shí)的, 薄弱的: Early aircraft were insubstantial constructions of wood and glue. 早期的飛行器是木頭和膠粘合的脆弱機(jī)器. * (fig 比喻) an insubstantial argument, accusation, claim, etc 無(wú)真憑實(shí)據(jù)的爭(zhēng)論、指控、 索賠要求等.
7. equestrian n. 騎手，馬術(shù)運(yùn)動(dòng)員
8. nuance n. subtle difference in meaning, colour, feeling, etc （意義、 顏色、 感覺等的）細(xì)微差異: be able to react to nuances of meaning 能夠?qū)σ饬x上的細(xì)微差異做出反應(yīng).
9. grenade n. small bomb thrown by hand or fired from a rifle 手榴彈; 槍榴彈: a `hand-grenade 一顆手榴彈 * [attrib 作定語(yǔ)] a grenade attack 榴彈攻擊.
肉搏戰(zhàn)（陳繼龍 編譯）
Of Clint Eastwood's two films about Iwo Jima, the Japanese is far better
克林特•伊斯特伍德（Clint Eastwood）執(zhí)導(dǎo)的兩部關(guān)于硫黃島（Iwo Jima）的電影，站在日本人視角拍攝的那一部遠(yuǎn)勝一籌
IN TRADITIONAL war films, the enemy is faceless. Imbuing[1] opponents with humanity would rob “our boys” and the audience of moral certitude[2]. Reality is different. There is no glory in war and the boys on both sides—and so many are just boys—are human; terrified and unsure about what they are fighting for. Clint Eastwood, a Hollywood actor and director, has provided a powerful reminder of this by making two films of the same battle.
在傳統(tǒng)戰(zhàn)爭(zhēng)影片中，敵人都是無(wú)名無(wú)姓的。給敵人賦予人性的光彩會(huì)令“咱們的阿兵哥”和觀眾懷疑道義的存在。然而今非昔比，戰(zhàn)爭(zhēng)中不再有榮耀可言，敵我雙方都是人，其中有很多還只是孩子；他們都不清楚為何而戰(zhàn)，都懼怕戰(zhàn)爭(zhēng)。好萊塢演員兼導(dǎo)演克林特•伊斯特伍德執(zhí)導(dǎo)的關(guān)于同一戰(zhàn)役的兩部電影，讓人們清醒地認(rèn)識(shí)到這一點(diǎn)。
The conquest of Iwo Jima, shown from an American view in “Flags of our Fathers” and from the Japanese side in “Letters from Iwo Jima”, was the most brutal and pointless of the second world war. By February 1945, it was clear that the Allies' technological and numerical superiority was unbeatable. Yet the Japanese, led by an inspired general, dug themselves in[3] on Iwo Jima, a bleak, volcanic island far from Tokyo. It took American marines five weeks to overrun them. Some 7,000 Americans and 22,000 Japanese died. But what turned Iwo Jima into legend was Joe Rosenthal's photograph of six American soldiers raising a flag on Mount Suribachi.
分別站在美國(guó)人和日本人角度拍攝的兩部電影《父輩的旗幟》（Flags of our Fathers）和《硫黃島來(lái)信》（Letters from Iwo Jima），均取材于攻占硫黃島一役，它是二戰(zhàn)中最慘烈也是最無(wú)謂的一場(chǎng)戰(zhàn)役。到了1945年2月的時(shí)候，盟軍已經(jīng)凸現(xiàn)科技和兵力上的優(yōu)勢(shì)，但是就在遠(yuǎn)離東京一座荒涼的火山島——硫黃島上，日軍卻在一名壯志凌云的將軍的率領(lǐng)下誓死頑抗。美國(guó)海軍陸戰(zhàn)隊(duì)耗時(shí)5個(gè)星期才將他們擊潰，大約7000名美軍士兵和 22000名日軍士兵陣亡。不過，硫黃島之所以名留青史，緣起于喬伊•羅森塔爾（Joe Rosenthal）拍攝的一張照片——六名美軍士兵在摺缽山（Mount Suribachi）上豎起美國(guó)國(guó)旗。
The first film, which opened last October, follows the fate of those flag raisers. Three are killed in the subsequent combat, since the flag was raised on the fifth day of battle and not at the end, as the American public believed. The others, including James “Doc” Bradley, whose son's book is the basis for the film, are sent home to drum up enthusiasm for war bonds. The tawdriness[4] of their public-relations tour, which has them climbing a cardboard Mount Suribachi to cheering crowds, proves more corrosive than the horrors of battle. One of the three dies an alcoholic.
《父輩的旗幟》一片去年 10月上映，講述的是六位旗手后來(lái)的命運(yùn)。其中三人在隨后的戰(zhàn)斗中陣亡，按照美國(guó)人的普遍說法，是在硫黃島戰(zhàn)役第五天、豎起國(guó)旗之后，而其時(shí)戰(zhàn)爭(zhēng)尚未結(jié)束。其他人則被送回國(guó)內(nèi)幫著推銷戰(zhàn)爭(zhēng)公債，其中包括詹姆•布萊德利醫(yī)生（James “Doc”Bradley），而本片正是改編自他兒子的小說。為了擴(kuò)大宣傳，這些人被迫登上紙板做的“摺缽山”接受人們的歡呼。事實(shí)表明，宣傳的俗麗比戰(zhàn)爭(zhēng)的恐怖貽害更深，比如三人中有一人酗酒而死。
Mr Eastwood's point that war heroes are cynically manufactured is well made. Seemingly aimed at the current Iraq war, it is ironic then that it turns a film about propaganda into propaganda itself. That war is romanticised is hardly new, as Wilfred Owen's first world war poetry and Robert Capa's 1936 “falling soldier” photograph attest. In the end, polemic[5] dulls this film, leaving it oddly insubstantial[6]—its characters too little developed for us to care.
伊斯特伍德諷刺所謂戰(zhàn)爭(zhēng)英雄純屬子虛烏有的用意在片中得到充分體現(xiàn)，然而更加具有諷刺意義的是，伊斯特伍德的原意是針對(duì)當(dāng)前的伊拉克戰(zhàn)爭(zhēng)，末了卻把一部諷刺戰(zhàn)爭(zhēng)的電影變成了為戰(zhàn)爭(zhēng)搖旗吶喊的“幫兇”。威爾弗瑞德•歐文（Wilfred Owen）的一戰(zhàn)詩(shī)作以及羅伯特•卡帕（Robert Capa）1936年拍攝的照片《墜落的士兵》表明，“戰(zhàn)爭(zhēng)是浪漫的”一說由來(lái)已久?？犊ぐ旱恼Z(yǔ)言反而讓這部電影看起來(lái)非常沉悶，空洞無(wú)比——片中人物線條過于簡(jiǎn)單，令人索然無(wú)味。
Not so for “Letters from Iwo Jima”, which opens in America next week and in Europe at the end of February. The film is rich with memorable individuals: Saigo, a humble baker who misses his wife and baby daughter; Baron Nishi, an Olympic gold medallist equestrian[7] who brings his horse to the island; and their wise leader General Kuribayashi, a patriot who nevertheless respects his American foes. The discovery of his letters home in a cave on Iwo Jima sparked Mr Eastwood's interest. The film's more conventional narrative brings the characters to life and embraces nuance[8]: daring to show not just the fanatical Imperial Army soldiers blowing themselves up with grenades[9] rather than surrendering, but also marines shooting Japanese prisoners rather than guarding them.
《硫黃島來(lái)信》就不是這樣，這部將于下周和2月底先后在美國(guó)和歐洲上映的影片中，一個(gè)個(gè)人物都令人難忘：西鄉(xiāng)（Saigo），想念妻子和幼女的小小面包師；男爵西（Nishi），奧運(yùn)會(huì)馬術(shù)比賽金牌獲得者，把自己的馬也帶到了島上；還有他們精明的將領(lǐng)栗林（Kuribayashi）將軍，愛國(guó)但又尊重其美國(guó)敵人。激發(fā)伊斯特伍德拍攝興趣的是，在琉璜島一個(gè)山洞里找到了這名將軍給家人的信件。影片較為傳統(tǒng)的敘事方式讓人物栩栩如生，同時(shí)也較以往有著細(xì)微差別：不僅敢于表現(xiàn)狂熱的日軍士兵拒不投降、用手榴彈自殺的場(chǎng)面，而且還有海軍陸戰(zhàn)隊(duì)員不把日本戰(zhàn)俘看守起來(lái)而是進(jìn)行槍殺的大膽鏡頭。
It is possible to do terrible things only to faceless foes. Ultimately, and laudably, Mr Eastwood's films attack anonymity, whether invisible enemy or fake heroes. In one of the film's most moving scenes, Baron Nishi reads his men a letter sent to a captured American marine from his mother. As the Japanese soldiers realise that he is just like them, the fog of war lifts to reveal a shared humanity.
一般影片中下場(chǎng)悲慘的都是無(wú)名的敵人，而在伊斯特伍德的這部電影中，無(wú)論是看得見的敵人還是偽冒的英雄，都不再 “隱姓埋名”，這不禁讓人拍手稱快。本片最感人的一幕出現(xiàn)在男爵西向他的士兵讀一名被俘美國(guó)海軍陸戰(zhàn)隊(duì)員母親寫給兒子的一封信時(shí)，當(dāng)日軍士兵意識(shí)到自己和這名俘虜一樣時(shí)，籠罩在人性之上的迷霧隨即消散開去。
[NOTES](OXFORD)
1. imbue v. [Tn.pr esp passive 尤用于被動(dòng)語(yǔ)態(tài)] ~ sb/sth with sth (fml 文) fill or inspire sb/sth with (feelings, etc) 使（某人[某事物]）充滿或激起（感情等）: imbued with patriotism, ambition, love, etc 充滿愛國(guó)主義精神、雄心勃勃、滿懷愛心 * politicians imbued with a sense of their own importance 自以為舉足輕重的政治家們.
2. certitude n. [U] (fml 文) feeling of certainty; lack of doubt 確信; 確定無(wú)疑.
3. dig in . dig oneself in (a) (military 軍) (of soldiers) protect oneself by digging a trench, etc （指士兵）挖壕溝等以掩蔽自己, 挖掩體. (b) (infml 口) establish oneself securely (in a place, job, etc) （在職位、 工作等方面）使自己站穩(wěn)腳跟, 鞏固自己的地位: He has dug himself in well at the college now. 如今他在學(xué)院已站住腳了.
4. tawdry adj. (-ier, -iest) showy or gaudy but without real value 俗麗的; 華而不實(shí)的: tawdry jewellery, furnishings 俗麗的珠寶、 家具.
5. polemic n. (fml 文) 1 (a) [C] ~ (against/in favour of sth/sb) speech, piece of writing, etc containing very forceful arguments (against or for sth/sb) （反對(duì)或贊成某事物[某人]的）慷慨陳詞, 辯論文章: He launched into a fierce polemic against the government's policies. 他猛烈地抨擊政府的政策. (b) [U] such speeches, pieces of writing, etc 慷慨陳詞; 辯論文章: engage in polemic 進(jìn)行辯論. 2 polemics [pl] art or practice of arguing a case formally and usu forcefully 辯論法; 爭(zhēng)辯術(shù).
6. insubstantial adj. 1 not solid or real; imaginary 非實(shí)體的; 非實(shí)質(zhì)的; 非實(shí)在的; 非真實(shí)的; 幻想的: an insubstantial vision, figure, creature 虛幻的景象、 人物、 生物. 2 not firmly or solidly made; weak （做得）不堅(jiān)固的, 不堅(jiān)實(shí)的, 薄弱的: Early aircraft were insubstantial constructions of wood and glue. 早期的飛行器是木頭和膠粘合的脆弱機(jī)器. * (fig 比喻) an insubstantial argument, accusation, claim, etc 無(wú)真憑實(shí)據(jù)的爭(zhēng)論、指控、 索賠要求等.
7. equestrian n. 騎手，馬術(shù)運(yùn)動(dòng)員
8. nuance n. subtle difference in meaning, colour, feeling, etc （意義、 顏色、 感覺等的）細(xì)微差異: be able to react to nuances of meaning 能夠?qū)σ饬x上的細(xì)微差異做出反應(yīng).
9. grenade n. small bomb thrown by hand or fired from a rifle 手榴彈; 槍榴彈: a `hand-grenade 一顆手榴彈 * [attrib 作定語(yǔ)] a grenade attack 榴彈攻擊.