请贾樟柯导演公开澄清：

《后会无期》是贾樟柯导演电影，还是韩寒抄袭贾樟柯电影？

肖　鹰

昨日在新浪微博【@01子非鱼《李多钰：请善待那些有野心的韩寒式青年们》http://weibo.com/3304034920/Bjhjx5CAg　】贴评论中读到网友提供著名国际电影评论报刊《好莱坞报道者》发表的影评家Clarence Tsui评《后会无期》文章（详见后）。该文指出，由贾樟柯参与出演的《后会无期》，模仿和拼贴了多部贾樟柯电影，它是贾樟柯电影的“一个拙劣的模仿作品”。

我在8.19中青报文章《“天才韩寒”是当代文坛的最大丑闻》中指出：“不敢面对自己‘天才成名史’的韩寒与《后会无期》中‘博学迂执’又‘欲望猥琐’的江河是同形同质的。这种现实与电影的同形同质，如果导演真是韩寒本人，则是他对主角的无意识移情（自我投射）；如果导演并不是韩寒，则是导演根本缺少诚意和底气。”

我上述文章表明，我在写作《韩寒丑闻》时，对韩寒本人是否是《后会无期》的真实导演是有怀疑的。昨天读了Clarence Tsui评《后会无期》这篇文章，我倾向于认为友情客串《后会无期》的贾章柯也友情导演了《后会无期》。

贾樟柯是第6代导演的重要代表人物之一，我非常赞赏他的《三峡好人》。我期望贾樟柯本着对自我信誉负责的诚挚态度，向公众澄清：

《后会无期》是贾樟柯导演电影，还是韩寒抄袭贾樟柯电影？

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'The Continent' ('Hou Hui Wu Qi'): Film Review
《好莱坞报道者》评《后会无期》

10:03 PM PDT 7/28/2014

Clarence Tsui

Securing one of the world's most critically garlanded filmmakers to appear in your directorial debut could be a masterstroke for any rookie director, but a device which could easily backfire when your film turns out to be a pretentious, pointless replica of that very icon's oeuvre. With Jia Zhangke's cameo, Chinese pop-lit star Han Han lays bare what inspired The Continent, but also reveals, perhaps inadvertently, how his film is just an amalgamation of Jia's visuals and vignettes — emptied of even the slightest smidgen of artistic edge and social relevance.

对于一个新秀导演来说，如果能有某个世界知名的制片人出现在自己的导演的第一部电影中，那将是一个妙举。但是如果你的电影只是某个偶像作品的做作且没有意义的复制品，这一举动很容易产生出人意料的后果。虽然贾樟柯在中国流行文学偶像韩寒的电影《后会无期》中友情客串，但这反而无意中显露出其电影只是贾樟柯的视觉效果和小插曲的融合，没有任何艺术效果和社会关联。

Boasting a title as epic as The Continent, and a protagonist's name translating as "rivers and streams," Han's road movie is all artistic posturing but no substance. By the film's end, one is not much wiser about the two travelers' backgrounds or personalities beyond their over-stylized encounters with clichéd archetypes (the old flame, the innocent prostitute, the zany hitchhiker). Not that one gets to learn about the roads being traveled too, as Han never really ventured specific reflections about the state of the Chinese nation unfolding around the characters — in fact, there's even scant mention of China here. The nuggets of cod philosophy on show are universal to the point of banality: it's all so romantic and melancholic for two men to hit the road to find some answers to their life, but the film never really reveals what their questions are.

这部电影有着浮夸的史诗般的名字《后会无期》，而其中一个主角的名字叫“浩汉”，韩寒的公路电影只是艺术上的装腔作势，没有实质内容。直到电影末尾，观众依然不清楚两个旅行者的背景和个性，只看到了老掉牙的邂逅桥段（昔日的情人，纯情的妓女，滑稽的搭便车的旅行者）。观众也无从了解其经过的路线——因为韩寒从未真正思考过让影片中人物生活在中国的国情中——实际上，影片中很少提到中国。其中的骗人哲学同样是陈词滥调：两个男人通过公路旅行来寻找生活的答案总是浪漫和忧郁的，但是影片中从未真正揭示他们的问题到底是什么。

The Continent's central pairing are Jiang He (Bolin Chen, Buddha Mountain) and Haohan (Feng Shaofeng, Young Detective Dee: Rise of the Sea Dragon), two young men living on a run-down, rustic village in the depopulated island at the eastern coast of the country; their trip arose as a result of the former's assignment to a teaching position in a western province. En route, they would meet Zhou Mo (Joe Chen), who earns her living as a background actor in film studios every day; Su Mi (Wang Luodan), a damsel-in-distress trying to escape the clutches of her mobster uncle (Jia); Liu Yingying (Yuan Quan), a snooker-hall proprietor who punctures Haohan's dreams for love and family; and finally Ah Lu (Wallace Chung), a free-spirited wanderer whose existence amounts to nothing but the need to find someone to relieve the pair of their car and walk the final stretch of their journey.

《后会无期》的两位主人公分别叫做江河（陈柏霖饰，代表作：观音山）和浩汉（冯绍峰饰，代表作：神探狄仁杰之神都龙王）。他们的家乡位于中国东部沿海某个荒凉小岛上的穷苦乡村。江河要去西部教书，兄弟三人一起出发离开家乡。在路上，他们先后遇到了周沫（陈乔恩饰），每日在影视基地赚钱糊口的替身演员。苏米（王珞丹饰），试图逃离恶棍三叔魔爪的落难女子。莺莺（袁泉饰），摧毁浩汉爱情家庭美梦的台球厅老板。最后是阿吕（钟汉良饰），一个无拘无束的流浪者，他的出现似乎只是为了排解两人的寂寞，陪他们走最后一程。

The formula, apparently, is have these women — all exotic in their different ways — change these dreamy young men and the way they see the world. But these gents are not for turning — because there's simply nothing there in their psyche to be turned or altered in the first place. These are not nihilists, as Jack Kerouac's roadsters are; The Continent offers non-entities who — as the on-screen proxy of Han himself, probably – has nothing to say apart from indulging in, with furrowed brows, the fantasy of being a pretty face meeting other pretty faces while driving a pretty car in pretty landscapes.

显然，公路电影的一贯套路是，两个异想天开的年轻人在路上遇到形形色色的女人，这些女人改变了他们自身，也改变了他们的世界观。然而，这部电影中的两位主人公并没有经历什么改变，因为他们心底没有什么需要改变的东西。他们不同于小说家杰克•凯鲁亚克《在路上》所刻画的虚无主义者。在《后会无期》这部电影，正如韩寒本人所说，主角紧锁眉头，幻想自己英俊潇洒，开靓车，看美景，泡美女，沉浸其中不能自拔。

And these are landscapes, though captured beautifully by Liao Hwa and pepped up pristinely by production designer Liu Weixin, well-trodden previously. A walk through fake streets filled with dressed-up people play-acting roles as work? That's Jia Zhangke's The World. Young men rescuing a young woman from the evil claws of a baddie? That's from a Jia film again, Unknown Pleasures. Satellite dishes and spaceships in rural China? That's a scene from Still Life. And a final reunion with an old flame? That's Platform. Finally, of course, there's the film's episodic structure, each representing a different way of living in China — something which drives A Touch of Sin, Jia's magnum opus. Isn't it ironic that Han's pale copy of that is raking eight-digit box-office returns in China while the original remains unreleased, caught in censorship limbo?

尽管由廖拟拍下来的这些风景可以说是美轮美奂，更是由刘伟新进行了美术指导，但仍然不免落入俗套。走在充满了以角色扮演为生的盛装打扮的人的街道？这是贾樟柯的电影《世界》里的场景。年轻的男子从坏人的魔爪下救出了一个年轻女子？又是贾樟柯的另一部电影《任逍遥》里的桥段。中国农村的卫星天线和宇宙飞船？这是《三峡好人》里的剧情。与旧情人的重聚？《站台》。当然了，电影里的情节结构，每一层都代表了中国人民不同的生活方式，明显模仿了《天注定》——贾樟柯的代表作。韩寒苍白无力的抄袭版电影在中国获得排名第八的票房，但是原创的影片却因处在审核状态而未发布，难道这不是一种讽刺吗？

In a way, The Continent is not substantial enough to be an homage to Jia and his fiery attempt to relay China's problems; on the other hand, it's too earnest and po-faced to be pastiche or parody. A Shanghai-born enfant terrible born into a comfortable lifestyle with scant experience of living outside the bright lights of the big city – his hobby is in driving race cars — Han has delivered a glossy, sugar-coated adaptation of the gritty realism Jia and his fellow sixth-generation Chinese filmmakers have shaped and perfected. While his archrival Guo Jingming is more honest and explicit about his garish celebration of bling-fueled melodrama in the Tiny Times films, Han has produced a film devoid of meaning but filled to the brim with pretensions of artistic greatness — or at least glimpses of artistic greatness he has readily absorbed, drained of power and then called his own.

从某种意义上来说，《后会无期》从实质上无法表现出对贾樟柯以及他揭露中国现状的大胆尝试的尊敬。另一方面，它作为一个拙劣的模仿作品又太一本正经了。出生于上海的一个舒适家庭的顽童，从来没有离开过灯火通明的大城市——业余爱好是赛车—韩寒传递的是一个散发光泽的有着糖衣外壳的现实主义的改编本——而现实主义是由贾樟柯以及他的“第六代”电影制作人塑造和完善起来的。或许他的主要竞争对手郭敬明的《小时代》更为诚实和直率，虽然里面充斥着各种闹剧和花哨浮夸的庆祝会。韩寒创作了一个缺乏内涵却又自命不凡故作文艺的电影。——至少他乐此不疲的填满各种华而不实的艺术性场景，矫揉造作而又自称文艺。

（英文来源：http://www.hollywoodreporter.com/review/continent-hou-hui-wu-qi-721872

中文来源：http://xue.youdao.com/zx/archives/77790）