宮崎駿，真的要退休了嗎

A Master of Childhood Dreams

宮崎駿，真的要退休了嗎

The nominations won’t be announced until Jan. 15, but it’s safe to say that the greatest filmmaker associated with the 2015 Academy Awards has already received his Oscar, delivered a modest but revealing acceptance speech and flown home to Japan and, perhaps, retirement.

2015年的奧斯卡獎提名要到1月15日才宣布，但是毫無疑問，最優(yōu)秀的電影人今年已經(jīng)得到了他的奧斯卡獎杯，他發(fā)表了謙遜而又真情流露的獲獎致辭后便乘飛機回到日本家中，或許從此就會退休。

Hayao Miyazaki was given an honorary Oscar on Nov. 8 at the Governors Awards ceremony, one that he can put on the shelf next to the statuette he won in 2003 when his masterpiece, “Spirited Away,” was named best animated feature. He got off a sly one-liner about his wife and paid an impish tribute to the Hollywood veteran Maureen O’Hara, a fellow Governors Award honoree along with Harry Belafonte and the French screenwriter Jean-Claude Carrière.

11月8日，宮崎駿在奧斯卡主席獎的典禮上獲得終身成就獎，這是他第二次獲得奧斯卡獎杯，第一次是在2003年，他的杰作《千與千尋的神隱》獲得了最佳動畫長片獎。他說了一句關(guān)于妻子的玩笑話，并且頑皮地向好萊塢資深演員瑪琳·奧哈拉(Maureen O’Hara)致意，她和哈里·貝拉方特(Harry Belafonte)及法國編劇讓-克勞德·卡瑞爾亦獲得了主席獎榮譽。

Between those two humorous notes, he was serious — honest, elegiac, rueful — on the subjects of animation and his country’s history, which gave his brief remarks something in common with his films. “I think I’ve been lucky because I’ve been able to participate in the last era when we can make films with paper, pencils and film,” he said through a translator. “Another fact of luck is that my country has not been at war for the 50 years that I have been making films. Of course, we’ve profited from wars, but we’re very fortunate that we have not had to go to war ourselves.”

在這兩句幽默的話語之間，宮崎駿非常嚴肅，他誠懇、傷感而悲哀地談起動畫片與日本的歷史，這些話題令他簡短的致辭有了和他的影片同樣的氣質(zhì)。“我覺得自己非常幸運，因為我可以參與到使用紙張、鉛筆和膠片制作電影的最后時代。”他借助翻譯說道。“另一個幸運之處是，我的祖國在我拍電影的這50年時間里，沒有戰(zhàn)爭。當(dāng)然，我們從戰(zhàn)爭中獲益，但我們非常幸運，可以不必親自參與戰(zhàn)爭。”

Many things contribute to the enchantment of the 11 animated feature films Mr. Miyazaki has made, beginning with “The Castle of Cagliostro” in 1979. Their sheer pictorial beauty, in the lush, painterly style he developed during years of apprenticeship as a hands-on animator for film and television and as a comic book, or manga, artist. Their swooping, beautifully constructed action sequences, breathless scenes of racing, leaping and, always, flight — in vintage airplanes, on broomsticks or mounted atop mysterious beasts. And, of course, the beasts, spirits, demons and familiars themselves, a seemingly inexhaustible menagerie of companions and impediments for his plucky young heroes (who are most often heroines).

宮崎駿共制作了11部動畫長片，最早一部是1979年的《魯邦三世：卡里奧斯特羅城》，這些動畫的魅力是由很多因素共同造成的。它們有著純粹的繪畫之美，宮崎駿曾經(jīng)當(dāng)過電視和電影動畫繪制的學(xué)徒，還做過漫畫家，他從那時便開始發(fā)展出自己豐富的、油畫般的風(fēng)格。 他的影片中，一系列動作有著全面而美麗的結(jié)構(gòu);賽跑和跳躍的情景令人透不過氣，更有乘著老式飛機、女巫掃帚與神秘野獸的打斗場面。當(dāng)然，那些野獸、神靈、怪物和常見的形象，如同一個無窮盡的小動物園，為他筆下年輕勇敢的英雄們(大部分是女英雄們)充當(dāng)伙伴和敵人。

None of these things are unique to Mr. Miyazaki, though he conjures them with an unmatched variety and generosity. What makes his films so memorable — from the great ones, like “Spirited Away,” which is a coming-of-age tale, and the ecological fables “Princess Mononoke” and “Nausicaa of the Valley of the Wind,” to less profound but still captivating works like “Kiki’s Delivery Service” and the mesmerizing “My Neighbor Totoro” — is something that’s harder to label. You know it when you feel it: the mastery of tone and emotion, embodied in every gesture, expression, movement and setting, that give the films a watchfulness, a thoughtfulness, an unaffected gravity. To watch a Miyazaki movie is to remember what it was like to be a smart and curious child.

這些東西并不是宮崎駿所獨有的，但他以前所未有的多樣化與豐富性使用了這些元素。他有非常宏大的作品：《千與千尋》是關(guān)于成長的故事、《幽靈公主》和《風(fēng)之谷的娜烏西卡》則是生態(tài)寓言;還有一些作品雖然沒這么深刻，但同樣引人入勝，比如《魔女宅急便》和迷人的《龍貓》，這些作品全都如此令人難忘，個中原因很難說清。只要你體會到了就能明白：對基調(diào)和情感的把握體現(xiàn)在每個手勢、表情、動作和場景里，令他的動畫充滿觀賞性和思想性，以及毫不做作的莊重。觀看宮崎駿的電影會讓你感覺自己重新成了聰明好奇的孩子。

Even at its high end, in the works of the Pixar studio or the director Henry Selick, the American children’s movie (a category that these days is pretty much congruent with the animated feature film) approaches its young viewers in a different and less rewarding way. There is always a sense of the filmmakers looking across a divide at their audience, trying with various degrees of grace or desperation to create an entertainment for them, to figure out what will keep those allegedly hyperdistracted children from losing interest.

反觀皮克斯生產(chǎn)的電影或亨利·塞利克(Henry Selick)導(dǎo)演的作品，即便是在最好的情況之下，美國兒童電影(這個類別目前已經(jīng)基本上等同于動畫片)也是以一種完全不同、效果也不那么好的方式去接近年輕的觀眾。電影工作者們在審視觀眾時，總是帶著區(qū)別對待的觀念，刻意以不同程度的趣味或努力程度，努力去娛樂他們，努力想讓那些據(jù)說特別容易分心的小觀眾們對影片保持興趣。

Mr. Miyazaki cares deeply about that young audience, but you get the feeling that he doesn’t waste any time trying to guess what it wants. Like other great directors of films for and about children — Carroll Ballard (“The Black Stallion”) Steven Spielberg (“E.T.”), Alfonso Cuarón (“A Little Princess” and “Harry Potter and the Prisoner of Azkaban”) — he inhabits the child’s point of view and directly communicates her joys, her trepidations and, perhaps most important, her endless curiosity.

宮崎駿也非常重視年輕的觀眾，但你可以感覺到，他并不浪費時間去猜測他們想要什么。有許多導(dǎo)演為孩子們拍出了偉大影片，或拍出了關(guān)于孩子們的偉大影片，比如拍了《黑神駒》(The Black Stallion)的卡羅爾·巴拉德(Carroll BAllard)、拍了《ET》的史蒂文·斯皮爾伯格(Steven Spielberg)，以及拍了《小公主》(A Little Princess)和《哈利·波特與阿茲卡班的囚徒》(Harry Potter and the Prisoner of Azkaban)的阿方索·卡隆(Alfonso Cuarón)。宮崎駿和他們一樣，能以孩子的視角看待世界，能直接了解到這個孩子的喜悅與不安，或許最重要的是，能夠了解到她無窮無盡的好奇。

With his ability to pass so easily through the membrane between youth and adulthood, Mr. Miyazaki is also able to invest his fairy-tale scenarios with thematic weight. In his public life, he has spoken out on issues including pollution, the dangers of nuclear power, and Japan’s recent swing toward nationalism and militarism. His films, correspondingly, have sent messages — sometimes allegorical, but never unclear — in favor of environmentalism (“Nausicaa,” “Princess Mononoke,” “Ponyo”) and against war (“Howl’s Moving Castle,” “The Wind Rises”).

他能輕易穿透橫亙在年輕人與成人之間的隔膜，因此便可以為筆下童話般的情節(jié)賦予沉重的主題。在公眾生活中，他曾為環(huán)境污染、核戰(zhàn)爭的危險，乃至日本近期的民族主義與軍事主義傾向而大聲疾呼。他的影片亦傳遞出同樣的信息，有時可能是寓言性的，但一直都是清晰的——諸如支持環(huán)保主義的《風(fēng)之谷》、《幽靈公主》和《懸崖上的金魚姬》，以及反戰(zhàn)的《哈爾的移動城堡》和《起風(fēng)了》。

The messages are never what the films are about, though. Mr. Miyazaki does not promote outcomes; he explores possibilities. As he says in “The Kingdom of Dreams and Madness,” Mami Sunada’s indispensable 2013 documentary: “You don’t depict fate; you depict will. Even if fate exists.” Like all of us, his characters are born with infinite possibilities and shape their own lives as they close off those options one by one. “To choose one thing is to give up another,” he says.

不過，這些信息從來不是他的影片的核心。宮崎駿從不宣傳成果，只是探索可能性。2013年，在砂田麻美重要的紀錄片《夢與狂想的王國》中，宮崎駿說：“你無法描繪命運，你只能描繪意志，就算真的有命運存在。”和我們大家一樣，他筆下的角色也是從一出生就擁有無窮無盡的可能性，之后他們摒棄了一個又一個的選擇，塑造自己人生的形狀，“選擇一樣?xùn)|西就意味著放棄另一樣?xùn)|西，”他說。

For her documentary, Ms. Sunada embedded herself with Mr. Miyazaki and Studio Ghibli, the animation studio he founded with his colleague and mentor Isao Takahata and the producer Toshio Suzuki. The film provides an intimate view of a man whose disarming, sardonic humor and modest manner don’t hide the tremendous demands he places on his young staff of animators and technicians or the way he feeds on their energy.

砂田麻美在這部紀錄片中深入探索了宮崎駿的人生，以及他與同事兼導(dǎo)師高畑勛和制作人鈴木敏夫聯(lián)合創(chuàng)建的吉卜力工作室。影片以親切的視角拍出了他那令人放下戒備，同時又充滿諷刺的幽默感;他雖然態(tài)度溫和，卻對年輕的動畫師和技術(shù)員工們有著極高的要求，同時吸取著他們的能量。

Of course he places even greater demands on himself, and anyone tempted to sentimentalize him as a head-in-the-clouds fabulist will be set straight by Ms. Sunada’s depiction of his working method, disciplined to the point of regimentation, machine-like in the service of the magical. While workers one-third his age chat or stare into space, Mr. Miyazaki (who will turn 74 on Monday) strides past in his printer’s apron, headed to the next task.

當(dāng)然，他對自己的要求更高。如果有人帶著傷感之情，想把他描述為一個想入非非的寓言家形象，看了這部紀錄片肯定會打消這種看法。砂田麻美在片中記述了他的工作方式，強調(diào)紀律到了嚴格控制的地步，像機器一樣為動畫中的魔法王國服務(wù)。當(dāng)年紀是他1/3的員工們閑聊或發(fā)呆的時候，宮崎駿(周一他就74歲了)穿著畫師的圍裙，大步走過去，開始做下一項工作。