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更新时间：2024-05-27 16:21
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三十年后，已经成为一名舞蹈家的杰罗恩，因一张旧照片而回想起幼年时那段难忘的同性爱情。1944年，杰罗恩（马腾·斯密特 Maarten Smit 饰）被母亲从阿姆斯特丹送回乡下小镇生活。翌年战争结束，一队加拿大官兵在这个荷兰小镇驻扎，杰罗恩邂逅了其中一名俊朗潇洒的军官。与其他军官不同，这名军官对杰罗恩特别眷顾。随后他们度过了一段美好的时光，奇妙的爱情在二人之间发生了。然而，当杰罗恩还沉浸在爱情的浪漫与喜悦中时，军队却撤走了，昔日他们朝夕相处的小屋，已经变得空荡荡……三十年后的他，借着曾经的旧照片，寄托了自己对那名军官最深刻的情思…… 本片根据著名舞蹈家鲁迪方丹斯的自传小说改编，获1996年度荷兰影展最佳影片提名。
长篇影评
1 ) 永恒的留白
看过一期记者对林怀民的采访，在谈到对‘云门舞集’每一个新作品诞生前的感悟时，他说：我要舞者自由舞蹈，他们对身体的直感，就是我要达到的效果。对于我这个舞蹈的门外汉来说，我的理解可能就粗浅些，大意是说大师不希望舞蹈只是肢体的炫耀和表演，而是希望舞者达到一种所谓的身体的自由和解放吧。《军官与男孩》这片子的开头也有类似的情形，已经成为世界级舞蹈大师的杰罗恩，正在为一出新舞蹈一筹不展，舞者们不仅没有打开自己的肢体，而杰罗恩自己，也解放不了自己的灵魂。 在几乎所有以二战为题材的影片中，杀戮，绝望和救赎，已经成为一个永恒的命题，影片总是将之固化成一种痛苦和闪回来加深对我们的重冲击。《军官与男孩》却没这么做，片中的杰罗恩被母亲送到海边的小渔村，在那个兵荒马乱的年代里，从战乱的阿姆斯特丹出发，一路上并没什么躲避纳粹的围追堵截，就连说是颠沛流离都显得矫情，唯一的一次曲折大概就是，坐在大卡车里，过关卡时被要求检查证件。还有一次倒算得上惊心动魄，两个仓皇逃跑的德国士兵‘征用’了杰罗恩和他伙伴的自行车，对了，就在芦苇丛里，他们还向两个孩子举了枪。不过，最后嘛，这部分倒像是出喜剧，只能算是个有惊无险的小插曲。 这部电影没有讲究任何节奏的快慢搭配，从开始到结束，都娓娓道来，带我们慢慢回忆了杰罗恩的童年成长，既不怎么苦涩，又不怎么辛酸，有点像荷兰当地常年悠悠旋转的风车，非常淡定地就讲完了一个仅仅在结尾有点惆怅的故事。我们共同体谅着杰罗恩为了能够‘吃饱饭’，在这个小渔村里过着清教徒般的生活，生活中唯一的亮色，大概就是帮着养父接生小牛犊，或者探险般的在海里发现什么飞机的残骸。片子的前半段，就是这么平静和荒芜，仿佛杰罗恩自己在给生命的其他部分留白，直到杰罗恩遇到加拿大军官沃尔特。 如果去深究那段历史，我们甚至可以把这段相遇定格爱1945年5月的某一天，那天正是加拿大军队赶走纳粹，解放荷兰的日子。沉闷多日的小渔村突然迎来了士兵们的联欢和舞蹈，一下子显露出许多勃勃生机。杰罗恩也喝到了平生的第一次可乐，还第一次解开束缚的扭动起身体，舞蹈，让这个沉闷忧郁且有些自闭的小男孩，第一次体会到了发自内心的自由和快慰。 接着就是那场军官与男孩的见面舞蹈，整部片子的转折点。演出过后，椅子被排列成巷道，如同身列Ｔ型台的两端，只有一束蓝光从后面射进来，整个画面充满了宁静而又跳跃的气氛，沃尔特拉着杰罗恩的手在转圈，一圈一圈的旋转中，杰罗恩第一次肆无忌惮的大笑，在这次肢体旋转的舞蹈中，杰罗恩找回了原本属于自己童年的游戏和欢乐。之后，沃尔特更是兴奋得把杰罗恩抛向半空，然后又紧紧将他接住，一种有力的安全感刹那间充满了杰罗恩全身。也许有人会说，这场堪称完美的舞蹈桥段显得有点暧昧，好吧，暧昧怎么了？因为在这一刻，杰罗恩至少体会到了温情，这是这个小男孩一生的转折点，就像我们每个人都有一个属于自己生命的转折点，只不过很多时候，我们醒悟的时间往往比较晚。 沃尔特后来说自己之所以对这个忧郁的小男孩如此关怀备至，是因为他看上去很‘特别’。他们的相处中，沃尔特说英语，杰罗恩说荷兰语，大部分时间里，都是沃尔特絮絮叨叨，自言自语，但这期间，他说话时的表情和腔调，却让杰罗恩再次感到安全，就像那次沃尔特把他抛向半空而后把他稳稳接住一样。还有一场关于‘吉普车’的追逐戏，整个过程流畅没有语言成分，两个男性没有对话，没有扭捏作态，就像一对恋人的试探，其间包含着对爱人的天然信任，当军官那颗巧克力抛进杰罗恩的嘴里时，我们看到的是，这段友谊注定了。 沃尔特对小男孩的关怀自始至终都充满着温情的呵护，他们之间的联系，不仅仅是一次舞蹈，一次抛来的巧克力，一次学开车的经历，或是一次缝缝补补那般简单。沃尔特用自己男人宽厚的胸怀，为远离家乡，远离母亲的杰罗恩，撑起一把爱的大伞。他教会了杰罗恩真挚地去对待每一个身边的人，他教会了杰罗恩对生命中所有美好的事物心存感激，杰罗恩模仿着着他，当沃尔特睡着时，他就偷偷跑到镜子前，梳一个和军官一模一样的发型，军官的男性气质成了杰罗恩模仿标本，杰罗恩已经开始决定去做一个像沃尔特一般英武的人。这是一次成长的行礼，可贵的是，期间没有摔打，没有恐惧，没有纷乱，没有暴虐，一切就是那么自然而然，以一种极其温暖的方式进行和推进。 这部电影的神秘部分也不言而喻，虽然整部片子有着行云流水般的洁白和轻盈，但是它所探索的‘同性’话题仍是隐约可见。最后沃尔特告别时，选择悄悄离开，一是他明白小小年纪的杰罗恩听不懂，一是他觉得杰罗恩今后的人生舞台还宽广的很，他用自己无言的方式，教会杰罗恩什么才是责任，对爱的人的将来负责，这是电影里给出的答案。 其实沃尔特离开之前也是有所征兆，就在他为杰罗恩一家拍全家福时，他将自己的军牌挂在杰罗恩身后的稻草人上，杰罗恩偷偷拿走了一张沃尔特的单人照片，可就是这张照片偏偏却在洗衣服时化为纸浆。遗憾吗？当然。但是大多人即使一生相伴，却彼此陌路如同行人，相比之下，有些人相遇仅数日，却彼此在心中一生怀念，不过，这个答案，当年十多岁的小男孩是无法体会的。 除了片中沃尔特对杰罗恩的温情照顾，养父的爱更是恩重如山。养父将沃尔特遗留下的雷朋眼镜交给杰罗恩的母亲，他知道，男孩与军官之间的这段深情厚意，他虽然不说，但是他一直看在眼里。片子最后给养父一个镜头，更是让夕阳穿过，使他看上去竟有了圣父般的光环。 舞蹈对自由的解放，舞蹈对心灵的解放，这一切，在童年那次一抛一接中，杰罗恩有了深刻的体会，冥冥之中，同性的指引让他最终走上属于自己的舞台。
2 ) 纪念回忆
第一次见面,是1945年的5月
人们欢快地追着吉普车跑,Jeroen站在车上笑,Walt应该第一眼就注意到了他
谁都不会拒绝爱上这样一个天使
语言不通的两个人说着爱
不能说没有真心的
只是Walt知道总有要走的那天
而在少年简单的心里没有想过要离别吧
所以失落来得那么的强烈
回忆又将这甜蜜和失落延续了几十年
老师让大家写解放对自己意味着什么
Jeroen想着Walt抱着他跳的那次舞,一字没写
对有些人来说,生活,这样,就够了
与过去的自己对话,看到的是曾经单纯的可贵
每个没有被污染的心灵,都是天使
人们欢快地追着吉普车跑,Jeroen站在车上笑,Walt应该第一眼就注意到了他
谁都不会拒绝爱上这样一个天使
语言不通的两个人说着爱
不能说没有真心的
只是Walt知道总有要走的那天
而在少年简单的心里没有想过要离别吧
所以失落来得那么的强烈
回忆又将这甜蜜和失落延续了几十年
老师让大家写解放对自己意味着什么
Jeroen想着Walt抱着他跳的那次舞,一字没写
对有些人来说,生活,这样,就够了
与过去的自己对话,看到的是曾经单纯的可贵
每个没有被污染的心灵,都是天使
3 ) 看起来很美
看过了电影，特别是那么多温情的影评。我急迫的想要知道，军官最后的结局。在网上找到了英文版本的原著，for a lost soldier，顿时所有关于这部电影的美好，荡然无存。
这是我引用的书评，和我的看法基本相同，男孩是被rape了，至少是molested，而军官，则是暴力和冷漠，绝不是电影中的美好。
Jeroen is 12 and a long way from home. Because of the Nazi occupation of Amsterdam, Jeroen’s mother has sent him to a remote area of the country to await liberation. Alone, frightened, and feeling less than welcome by his hosts, Jeroen explores the countryside, and after a while begins to make friends. Jan, his hosts’ older son, stirs emotions in Jeroen that he is unable to explain. He enjoys watching the older boy swim and play, but becomes frightened when Jan wants to show him how he has matured lately.
Just as Jeroen is starting to fit-in, a most remarkable event occurs. Allied forces roll into town and the Germans are on the run. Everyone, including Jeroen, is fascinated by the soldiers and crowd around to get a better look. One of the soldiers, however, has his eye on Jeroen. Walt attempts to develop a friendship with young Jeroen, but the boy is very frightened. Through a series of encounters, the two become tentative friends. Each time they meet, Walt takes their relationship a little further, until finally on one such meeting, he has sex with Jeroen. Jeroen, a little squeamish to begin with, is terrified.
Eventually, the relationship becomes a full-fledged affair, with Walt and Jeroen meeting frequently for sex. Each of the encounters, though, is physically and emotionally painful for Jeroen. Walt is abusive in his treatment of the young boy. Nevertheless, Jeroen becomes infatuated with the soldier and is shocked one morning to find that the army has pulled-out of the little town and disappeared. Emotionally devastated, Jeroen can not understand why Walt left without saying anything. His only proof of the relationship is emotional and physical scares, and a small photograph of the young soldier.
Upon returning to Amsterdam, Jeroen searches in vain for Walt, but with no success. Once there, he begins the process of healing but he never forgets Walt. A
This is a autobiography of Rudi Van Dantzig’s early life. Rudi was a dancer in Europe and became quite popular. He looks back at this part of his life partly with a longing and partly with relief.
My Notes
Clearly this book is not for everyone. Young Jeroen is such a moving character that reading the story, and understanding his emotional state at the time, becomes draining. Of course, Jeroen was sexually molested, but he looks back at the events, not with hatred or spite, but with tenderness. I found it easy to understand his motivations, emotions, and actions during those years, but I find it difficult to understand his treatment of these events now, as an adult.
If you have seen the film, you will be shocked at the character of Walt in the book. In the film, the relationship is touching and moving despite the eight or nine years age difference. There is a loving relationship nevertheless. In the book, Walt is clearly a predator and Jeroen is his victim. I highly recommend reading this book, but I warn you it will get to you and you will want to reach through the pages and strangle Walt.
（http://www.oocities.org/soho/den/8979/vandantzig_rudi.html）
看书吧，会有个不同的视角。
再给大家发个原著作者，也就是小男孩原型的背景故事吧，我想说，他过得应该很幸福。现实生活中，他事业有成，是荷兰最著名、也是贡献卓著的编舞家。他也真的是同志，有着一个life partner，也是志同道合舞蹈界人士。现在原型人物的小男孩，已经在2012年过世，我很庆幸，他，真正存在过，活过。
Rudi van Dantzig
Rudi van Dantzig, the choreographer, who has died aged 78, was a pivotal figure in the rise to world renown of Dutch ballet in the past half century.
Van Dantzig described himself as “a sort of bastard between classical ballet and modern”, and his works could be more interesting for their intentions than their results. However, his boldness in evoking the anguished isolation of a homosexual boy in a ballet in 1965 won him a global profile and the key support of Rudolf Nureyev. This led to commissions from the Royal Ballet and other leading international companies.
His work captured the mood of the 1960s and became a template for modern ballet that offered a powerful European alternative to the abstract modernists of New York dance. Today, the assumption that the Dutch led mainland Europe in ballet and dance is largely due to van Dantzig.
Rudi van Dantzig was born in Amsterdam on August 4 1933 . It was not until he saw The Red Shoes on its release in 1948 that he knew his vocation (he later claimed to have watched the film nearly 50 times). He started dance lessons at 16, and approached Sonia Gaskell, a Lithuanian-Dutch dancer who was working to generate a Dutch ballet tradition by establishing professional companies and schools.
In 1952, because she was short of boys, she took the raw 18-year old into Ballet Recital, a company from which she would establish the Dutch National Ballet within a decade. With Gaskell’s encouragement, in 1955 van Dantzig choreographed the first of his 51 ballets, Night Island, using music by Debussy .
As a homosexual with an active political sensibility (both his parents were dedicated socialists), he felt acutely the intolerance of the times, and this became a major theme in his ballets and writings.（作为一名拥有政治敏感性的同志（他的妇女都是坚定的社会主义者），他认识到这个时代的狭隘和缺乏宽容，这成为他编舞和写作的主题之一。）
In 1965 he made his breakthrough with Monument for a Dead Boy, showing an adolescent destroyed by his unacceptable sexuality. It was inspired by the brief life of the influential Dutch homosexual poet Hans Lodeizen. The work, set to experimental electronic music by Jan Boerman, was so powerful that Nureyev asked to perform it with Dutch National Ballet.
Nureyev, who was then feeling underappreciated at the Royal Ballet, was searching to cross over into a modern idiom, but he had considerable difficulty understanding van Dantzig’s modern movement and convoluted narrative. At the same time, he found the choreographer’s blunt amiability refreshing compared with the sycophancy which he usually encountered, and he mastered the idiom sufficiently to impress the Dutch.
The Royal Ballet’s director, the classical choreographer Sir Frederick Ashton, then commissioned van Dantzig to create The Ropes of Time for Nureyev and Monica Mason (the Royal Ballet’s present director). The piece had Nureyev as an existential traveller writhing in pas de deux with Death and Life (Mason and Diana Vere). Originally the Life figure was intended to be the Royal Ballet’s star ballerina Antoinette Sibley, but she fell into depression as she tried to master the different plastique and withdrew.
Though the work received ovations from Nureyev’s adoring public on its premiere in 1970, it was found too self-consciously tortured by critics ; and on the company’s subsequent tour to the United States it was panned. Van Dantzig himself was unhappy with Nureyev’s attempts at his choreographic style, saying: “It is like somebody who speaks a different language and you can always hear the mother tongue underneath.” But he still made two further ballets for Nureyev in the late 1970s, Blown in a Gentle Wind and About a Dark House — the second a psychosexual melodrama in which Nureyev intruded unwisely upon a dinner party and was stripped by the guests.
In 1969 van Dantzig had succeeded Gaskell as artistic director of the Dutch National Ballet, first as co-director, then, from 1971, as sole director. For the next 20 years he refined the large and somewhat chaotic mission of the DNB by focusing on 20th-century classicists, primarily George Balanchine and Frederick Ashton, and also on new contemporary ballets created by himself, Hans van Manen and Toer van Schayk .
This trio made The Netherlands a new powerhouse of modern ballet choreography to the European taste, but there was no great enthusiasm for it in Britain. Attempts to open British eyes to the much-talked-about Dutch dawn by both Ashton and his successor, Kenneth MacMillan, fell flat, largely because the British preferred MacMillan and Ashton.
For many of his ballets, van Dantzig collaborated with van Schayk, an outstanding dancer and competent designer, who was also his partner.（很多的芭蕾舞作品，他都是和van Schayk合作完成的。后者是一名杰出的舞者、设计师，也是前者的生活伴侣） Though he created modern versions of Romeo and Juliet (1967) and Swan Lake (1988), van Dantzig was particularly interested in one-act creations to a wide range of 20th-century composers, among them Richard Strauss for Four Last Songs (1977); Debussy for Night Island (1955); Schoenberg for Gesang der Jünglinge (1977); and Webern for Moments (1988) .
Retiring as director in 1991 after 20 years, van Dantzig continued as the company’s resident choreographer for a further three years, finally bowing out with his 50th creation in 1994 (though he returned to Dutch National Ballet in 2002 to create Lommer). He was succeeded as director at the DNB by the former Royal Ballet star Wayne Eagling, now English National Ballet’s director.
An accomplished writer, van Dantzig was acclaimed for his debut novel To a Lost Soldier (1986), which dealt with his awakening to his homosexuality as a child evacuated in the war, and a sexual relationship with a passing soldier. In 1993 it was made into a film in Holland, and it was translated into English in 1996. He also wrote books about Nureyev (Remembering Nureyev: the Trail of a Comet), and the homosexual Dutch artist and anti-Nazi resistance fighter Willem Arondéus.
Rudi van Dantzig, born August 4 1933, died January 19 2012
这是我引用的书评，和我的看法基本相同，男孩是被rape了，至少是molested，而军官，则是暴力和冷漠，绝不是电影中的美好。
Jeroen is 12 and a long way from home. Because of the Nazi occupation of Amsterdam, Jeroen’s mother has sent him to a remote area of the country to await liberation. Alone, frightened, and feeling less than welcome by his hosts, Jeroen explores the countryside, and after a while begins to make friends. Jan, his hosts’ older son, stirs emotions in Jeroen that he is unable to explain. He enjoys watching the older boy swim and play, but becomes frightened when Jan wants to show him how he has matured lately.
Just as Jeroen is starting to fit-in, a most remarkable event occurs. Allied forces roll into town and the Germans are on the run. Everyone, including Jeroen, is fascinated by the soldiers and crowd around to get a better look. One of the soldiers, however, has his eye on Jeroen. Walt attempts to develop a friendship with young Jeroen, but the boy is very frightened. Through a series of encounters, the two become tentative friends. Each time they meet, Walt takes their relationship a little further, until finally on one such meeting, he has sex with Jeroen. Jeroen, a little squeamish to begin with, is terrified.
Eventually, the relationship becomes a full-fledged affair, with Walt and Jeroen meeting frequently for sex. Each of the encounters, though, is physically and emotionally painful for Jeroen. Walt is abusive in his treatment of the young boy. Nevertheless, Jeroen becomes infatuated with the soldier and is shocked one morning to find that the army has pulled-out of the little town and disappeared. Emotionally devastated, Jeroen can not understand why Walt left without saying anything. His only proof of the relationship is emotional and physical scares, and a small photograph of the young soldier.
Upon returning to Amsterdam, Jeroen searches in vain for Walt, but with no success. Once there, he begins the process of healing but he never forgets Walt. A
This is a autobiography of Rudi Van Dantzig’s early life. Rudi was a dancer in Europe and became quite popular. He looks back at this part of his life partly with a longing and partly with relief.
My Notes
Clearly this book is not for everyone. Young Jeroen is such a moving character that reading the story, and understanding his emotional state at the time, becomes draining. Of course, Jeroen was sexually molested, but he looks back at the events, not with hatred or spite, but with tenderness. I found it easy to understand his motivations, emotions, and actions during those years, but I find it difficult to understand his treatment of these events now, as an adult.
If you have seen the film, you will be shocked at the character of Walt in the book. In the film, the relationship is touching and moving despite the eight or nine years age difference. There is a loving relationship nevertheless. In the book, Walt is clearly a predator and Jeroen is his victim. I highly recommend reading this book, but I warn you it will get to you and you will want to reach through the pages and strangle Walt.
（http://www.oocities.org/soho/den/8979/vandantzig_rudi.html）
看书吧，会有个不同的视角。
再给大家发个原著作者，也就是小男孩原型的背景故事吧，我想说，他过得应该很幸福。现实生活中，他事业有成，是荷兰最著名、也是贡献卓著的编舞家。他也真的是同志，有着一个life partner，也是志同道合舞蹈界人士。现在原型人物的小男孩，已经在2012年过世，我很庆幸，他，真正存在过，活过。
Rudi van Dantzig
Rudi van Dantzig, the choreographer, who has died aged 78, was a pivotal figure in the rise to world renown of Dutch ballet in the past half century.
Van Dantzig described himself as “a sort of bastard between classical ballet and modern”, and his works could be more interesting for their intentions than their results. However, his boldness in evoking the anguished isolation of a homosexual boy in a ballet in 1965 won him a global profile and the key support of Rudolf Nureyev. This led to commissions from the Royal Ballet and other leading international companies.
His work captured the mood of the 1960s and became a template for modern ballet that offered a powerful European alternative to the abstract modernists of New York dance. Today, the assumption that the Dutch led mainland Europe in ballet and dance is largely due to van Dantzig.
Rudi van Dantzig was born in Amsterdam on August 4 1933 . It was not until he saw The Red Shoes on its release in 1948 that he knew his vocation (he later claimed to have watched the film nearly 50 times). He started dance lessons at 16, and approached Sonia Gaskell, a Lithuanian-Dutch dancer who was working to generate a Dutch ballet tradition by establishing professional companies and schools.
In 1952, because she was short of boys, she took the raw 18-year old into Ballet Recital, a company from which she would establish the Dutch National Ballet within a decade. With Gaskell’s encouragement, in 1955 van Dantzig choreographed the first of his 51 ballets, Night Island, using music by Debussy .
As a homosexual with an active political sensibility (both his parents were dedicated socialists), he felt acutely the intolerance of the times, and this became a major theme in his ballets and writings.（作为一名拥有政治敏感性的同志（他的妇女都是坚定的社会主义者），他认识到这个时代的狭隘和缺乏宽容，这成为他编舞和写作的主题之一。）
In 1965 he made his breakthrough with Monument for a Dead Boy, showing an adolescent destroyed by his unacceptable sexuality. It was inspired by the brief life of the influential Dutch homosexual poet Hans Lodeizen. The work, set to experimental electronic music by Jan Boerman, was so powerful that Nureyev asked to perform it with Dutch National Ballet.
Nureyev, who was then feeling underappreciated at the Royal Ballet, was searching to cross over into a modern idiom, but he had considerable difficulty understanding van Dantzig’s modern movement and convoluted narrative. At the same time, he found the choreographer’s blunt amiability refreshing compared with the sycophancy which he usually encountered, and he mastered the idiom sufficiently to impress the Dutch.
The Royal Ballet’s director, the classical choreographer Sir Frederick Ashton, then commissioned van Dantzig to create The Ropes of Time for Nureyev and Monica Mason (the Royal Ballet’s present director). The piece had Nureyev as an existential traveller writhing in pas de deux with Death and Life (Mason and Diana Vere). Originally the Life figure was intended to be the Royal Ballet’s star ballerina Antoinette Sibley, but she fell into depression as she tried to master the different plastique and withdrew.
Though the work received ovations from Nureyev’s adoring public on its premiere in 1970, it was found too self-consciously tortured by critics ; and on the company’s subsequent tour to the United States it was panned. Van Dantzig himself was unhappy with Nureyev’s attempts at his choreographic style, saying: “It is like somebody who speaks a different language and you can always hear the mother tongue underneath.” But he still made two further ballets for Nureyev in the late 1970s, Blown in a Gentle Wind and About a Dark House — the second a psychosexual melodrama in which Nureyev intruded unwisely upon a dinner party and was stripped by the guests.
In 1969 van Dantzig had succeeded Gaskell as artistic director of the Dutch National Ballet, first as co-director, then, from 1971, as sole director. For the next 20 years he refined the large and somewhat chaotic mission of the DNB by focusing on 20th-century classicists, primarily George Balanchine and Frederick Ashton, and also on new contemporary ballets created by himself, Hans van Manen and Toer van Schayk .
This trio made The Netherlands a new powerhouse of modern ballet choreography to the European taste, but there was no great enthusiasm for it in Britain. Attempts to open British eyes to the much-talked-about Dutch dawn by both Ashton and his successor, Kenneth MacMillan, fell flat, largely because the British preferred MacMillan and Ashton.
For many of his ballets, van Dantzig collaborated with van Schayk, an outstanding dancer and competent designer, who was also his partner.（很多的芭蕾舞作品，他都是和van Schayk合作完成的。后者是一名杰出的舞者、设计师，也是前者的生活伴侣） Though he created modern versions of Romeo and Juliet (1967) and Swan Lake (1988), van Dantzig was particularly interested in one-act creations to a wide range of 20th-century composers, among them Richard Strauss for Four Last Songs (1977); Debussy for Night Island (1955); Schoenberg for Gesang der Jünglinge (1977); and Webern for Moments (1988) .
Retiring as director in 1991 after 20 years, van Dantzig continued as the company’s resident choreographer for a further three years, finally bowing out with his 50th creation in 1994 (though he returned to Dutch National Ballet in 2002 to create Lommer). He was succeeded as director at the DNB by the former Royal Ballet star Wayne Eagling, now English National Ballet’s director.
An accomplished writer, van Dantzig was acclaimed for his debut novel To a Lost Soldier (1986), which dealt with his awakening to his homosexuality as a child evacuated in the war, and a sexual relationship with a passing soldier. In 1993 it was made into a film in Holland, and it was translated into English in 1996. He also wrote books about Nureyev (Remembering Nureyev: the Trail of a Comet), and the homosexual Dutch artist and anti-Nazi resistance fighter Willem Arondéus.
Rudi van Dantzig, born August 4 1933, died January 19 2012
4 ) Once, Ever.
--For a lost soldier.
For a lost soldier,片子的英文名在入眼的瞬间便足以教人为之深惋。这是一个缓缓述说的故事，事隔三十年之后，Jeroen回忆起的一场战争时期的爱情，关于记忆中懵懂的小男孩，和一个遗失在生命中的军官。
那时他坐在窗边，身体已经发胖。手中是那年的一张照片——似乎，也是唯一的一张。照片里，荷兰小男孩和一个加拿大军官站在一块儿，笑容灿烂。
影片的画面微淡，如同是丹麦春天映照下来的模糊的日光。漫长的叙述中，见不到战争的残酷。仅仅是暖，却因暖而伤了人心。
所有细微之处都在不经意间描画。年轻的军官在神父讲道时的一个回头，然后两人相视而笑。男孩在军官的抽屉里找到一张照片，然后塞在自己的衣袋中。军官往小男孩嘴里塞一颗巧克力，自己也吃一颗，轻柔接吻。这般生疏而青涩的表达，更觉美好。
其实男孩或许从未明白那人曾说了些什么。在海边的那片草地上，在沉没的飞机残骸上，以及临别的最后一晚，那人都曾絮絮叨叨说过许多话。应该是想告诉男孩什么，男孩不懂英文，最终只变成一个人的自言自语。语言的隔阂，使得两人即使紧紧拥吻，内心却同生生隔过一块玻璃。小心翼翼摸索着彼此的踪迹，触到的只有温暖的冰凉。于是再迫切的倾诉，都化作无尽沉默。
经沿着记忆的路线挖掘出一小段少年的时光，一场尘封的爱情，因未经时间消耗而最终停留在了最美好的时刻。我想，Jeroen是幸福的。
只是，他已永远消失在大海彼方。
5 ) 爱不是放纵 是责任 不是片刻 是长久——即使我不在
我成长在一个大家庭里,是所有表兄妹里最小的.
大人总是爱对我说,小孩子,懂什么呀!
其实小孩子的心就像一面镜子,通透明亮.
大人的言行举止,所有的一切都清清楚楚地印在他们心里.
他们懂的 比大人想象的多.即使是不懂的也都牢牢地记在心里.
是非对错,很小的时候他们心里就有杆秤了.而且是最诚实的秤.
因为,它的砝码是最简单的情感.喜欢或讨厌.
无关什么身份、地位、金钱等等。
所以，不用太多的笔墨，光是看着小男孩长大后的样子，
我们就能明白，军官是个怎么样的人。
能够对一个那样小的男孩一生产生这么巨大作用的男人，
决不是简单粗暴的几个单词（同志、恋童……）能概括的。
他很坦率，从见到的第一次就直直地看到了孩子的心里；
他很调皮，开着拉风的吉普却跟一个孩子走走停停；
他很温柔，每次用走的也会陪孩子回家；
他很认真，会和孩子讲作为男人的困扰；
他很克制，会轻轻地搂着自己心爱的孩子，说他是他的宝贝；
他很体贴，会和孩子一起作傻乎乎的动作逗伤心的小女孩开心；
他也很深沉，本来话就不多，加上乱七八糟不通的语言，
他甚至连要走都没有告诉孩子。
对着养父，他也终究没有开口把自己真正的愿望说出来。
最后的一眼是黑夜里斑驳树荫下的一个模糊的回眸。
这一切，最终造就了眼前的这个艺术家，
不苟言笑、严谨苛刻、不善言表、却对于生命、希望充满了澎湃的激情。
他想要说的 都在胸中翻腾，却没有溢出分毫，全都被经典的墨镜掩盖。
直到最后，那张照片，我们才在他的脸上看到起了波澜。
看着这样的一个男人，谁都不用怀疑，
那个用爱成就了他的另一个男人是多么的优秀。
看了评论，也的确让我想起了情人、魂断威尼斯和洛丽塔。
三篇我都没有看完文章。
这么回忆起来，自己才觉得蹊跷。竟然都没有看完。
但是追忆一下，感觉都有些晦涩冗长。
只有洛丽塔是最后看了电影，算是虎头蛇尾地勉强领会了一点点。
看着最后洛丽塔戴着厚重的眼镜，身穿粗布衣，粗声粗气地讲着话。
别说是亨伯特，连我看着都觉得绝望。
但这个小女孩就是在他的手里成长起来的。
无论是天真无邪的、还是风情诱惑的。
洛丽塔是他的宠溺与包庇下，长出的恶之花。
一切有因必有果。
两人都只是耽于感官享受与无尽欲望的放纵的孤魂。
至于魂断威尼斯和情人，他们后来的故事我们也不得而知。
所以，军官与男孩是特别的。
它让我们发现所谓的“畸恋”也好“忘年恋”也好，同性恋也好，初恋也好，
原来不仅仅是所谓的“奇情故事”，不仅仅是被主人公在年老色衰之后拿出来炫耀
或是随便追忆一下的东西，更不是供人猎奇的材料。
而是真的可以超越一些东西，影响一些东西，改变一些东西的，包括人生。
曾经有一个男人爱着一个小男孩，他教会他：
爱不是放纵 是责任，
不是片刻 是长久——即使我不在。
大人总是爱对我说,小孩子,懂什么呀!
其实小孩子的心就像一面镜子,通透明亮.
大人的言行举止,所有的一切都清清楚楚地印在他们心里.
他们懂的 比大人想象的多.即使是不懂的也都牢牢地记在心里.
是非对错,很小的时候他们心里就有杆秤了.而且是最诚实的秤.
因为,它的砝码是最简单的情感.喜欢或讨厌.
无关什么身份、地位、金钱等等。
所以，不用太多的笔墨，光是看着小男孩长大后的样子，
我们就能明白，军官是个怎么样的人。
能够对一个那样小的男孩一生产生这么巨大作用的男人，
决不是简单粗暴的几个单词（同志、恋童……）能概括的。
他很坦率，从见到的第一次就直直地看到了孩子的心里；
他很调皮，开着拉风的吉普却跟一个孩子走走停停；
他很温柔，每次用走的也会陪孩子回家；
他很认真，会和孩子讲作为男人的困扰；
他很克制，会轻轻地搂着自己心爱的孩子，说他是他的宝贝；
他很体贴，会和孩子一起作傻乎乎的动作逗伤心的小女孩开心；
他也很深沉，本来话就不多，加上乱七八糟不通的语言，
他甚至连要走都没有告诉孩子。
对着养父，他也终究没有开口把自己真正的愿望说出来。
最后的一眼是黑夜里斑驳树荫下的一个模糊的回眸。
这一切，最终造就了眼前的这个艺术家，
不苟言笑、严谨苛刻、不善言表、却对于生命、希望充满了澎湃的激情。
他想要说的 都在胸中翻腾，却没有溢出分毫，全都被经典的墨镜掩盖。
直到最后，那张照片，我们才在他的脸上看到起了波澜。
看着这样的一个男人，谁都不用怀疑，
那个用爱成就了他的另一个男人是多么的优秀。
看了评论，也的确让我想起了情人、魂断威尼斯和洛丽塔。
三篇我都没有看完文章。
这么回忆起来，自己才觉得蹊跷。竟然都没有看完。
但是追忆一下，感觉都有些晦涩冗长。
只有洛丽塔是最后看了电影，算是虎头蛇尾地勉强领会了一点点。
看着最后洛丽塔戴着厚重的眼镜，身穿粗布衣，粗声粗气地讲着话。
别说是亨伯特，连我看着都觉得绝望。
但这个小女孩就是在他的手里成长起来的。
无论是天真无邪的、还是风情诱惑的。
洛丽塔是他的宠溺与包庇下，长出的恶之花。
一切有因必有果。
两人都只是耽于感官享受与无尽欲望的放纵的孤魂。
至于魂断威尼斯和情人，他们后来的故事我们也不得而知。
所以，军官与男孩是特别的。
它让我们发现所谓的“畸恋”也好“忘年恋”也好，同性恋也好，初恋也好，
原来不仅仅是所谓的“奇情故事”，不仅仅是被主人公在年老色衰之后拿出来炫耀
或是随便追忆一下的东西，更不是供人猎奇的材料。
而是真的可以超越一些东西，影响一些东西，改变一些东西的，包括人生。
曾经有一个男人爱着一个小男孩，他教会他：
爱不是放纵 是责任，
不是片刻 是长久——即使我不在。
6 ) 人无再少年
《军官与男孩》让我想起了在小山村度过的某个暑假。
村里的一位大哥哥成为了我的伙伴。他肩宽个子高，还老爱敞开衣领，露出薄薄的胸肌，一副健康老实农民儿子的身板和肤色。
白天带我去做弹弓，掏鸟窝，摘野果，划船，游野泳，烤红薯……翻山越岭去看另一边的风景。
当天空中拉下幕布，我们躺在草坪上数星星，哼着曲儿，没有醒过，但却梦魂颠倒。
山里的世界真美丽，树林那样绿，太阳那么刺眼。
他懂得如何讨我的开心，他从来不曾掩饰对于我的情谊。某天下午，他对我耳语：我希望你留在这里。
在情窦初开的年纪，他把爱情的种子播撒在我的心理，用笑容催化了我的土壤。
曾经我们纯真的童年被太阳晒得干瘪，曾经我们的夏日时光无尽绵长，曾经我们带着欢乐在风中吟唱。
然而就是如此，我突然预感到天已破晓，便明白旅程已到终点。
这童贞的声音越过山头，拂过湖水，吹过山头，再也回不来了。
花有重开日，人无再少年。
人生就像季节反复，来时和去时一样，仿佛什么也没发生，但是什么都已经发生过了。
现在回想起来，仿佛是一场遥远的梦。
这片子给我一种极其强烈的代入感，前半部分基调轻松安详，与接近结尾那种隐忍而又具侵犯性的失落感形成强烈的感情冲击，倒叙的手法与故事的真实性又无疑增加了一种现实的无助感，但这一切始终在一种追溯、释怀的抚慰氛围下进行着，并且它又更多的展现了养父等其他人物的世界，我想你也能深切体会。
爱情的魔力真伟大
军官一直到电影开始后半个多小时才出现，就像一颗火热的流星一样在某天突然袭入到一个12岁男孩波澜不惊的生活里，爱情就像耀目的星光，划过男孩的眼帘，而欣喜如狂的时光是那样短促，缓过神来之时，唯有空对冰冷如水的夜空，把余生沉溺在记忆幻象中的璀璨里，也许他活着只为与他相识 共梦一场不枉此生。
你是我永远的小男孩～
影片不断提醒我，爱是两个人的事，与战争、性别及年龄无关，与恋不恋童无关，与同不同志无关，与俺这个俗人能不能理解更无关。
现在我们是否还能找到线索，来怀念那些曾在生命里留下记号的人……
虽然好多人说好看，但我总是看不下去···
荷兰人真是什么都敢拍，还拍的那么好，俩位演员勇气可嘉。同样超越伦理的荷兰电影Trage Liefde也是非常感人。 爱，有时候在道德界限外显得如此矛盾。
多年以后，恋童癖骄傲节系列活动上，恋童癖艺术史家在追述自己身份认同史的时候，一定逃不了要讲此片。拍得美轮美奂，觉得就让他俩在一起吧，多可怜啊。
一年了 我终于给这电影给看了 这恋童癖可真是够可怕的…人家孩子只是把你当朋友…七八岁懂什么爱情啊，还想着怎么偷小朋友的橡皮呢
想拍得纯美又没能纯美起来的基片。 @2011-08-02 17:20:22
影片进行到三十六分钟左右终于出现了内军官..军官很帅,男孩够美.我了个去..但是内个啥,军官和小男孩裸体趴床上,确切的说,军官伏在小男孩身上时脑子里一直盘旋着"你X的下去么你真的X的下去么.."我到底有多受不了恋童这件事...PS.我发现北美一带的士兵很喜欢用糖果勾搭小孩..
然而爱到燃情时，你终将别离。
很好看，但是有个地方不太明白，那军官ms对小男孩没有留恋么。。。。感觉小男孩对他来说只是一段，而他对小男孩来说却是一生。难道这就是为什么很多国家法律承认同性恋合法但是禁止和14岁以下的小孩发生同性性关系。。。影响孩子的一辈子啊
用爱包装的性侵！This is not "love"!!!!!! This is fucking criminal and disgusting pedophilia
自传小说改编，据说军官是作者钦点的。男孩年龄小的还是膈应，不过如此烫手的题材，导演拿捏得却恰到好处。男孩用最简单的单词说着永恒，却没听懂军官的告别，就连偷偷藏起的照片都毁在了水里，可还是记了他几十年。My little prince, I love you.他对他的一见钟情。
我们都知道，小时候的爱是一辈子也忘不掉的，即使老了也会记得那个人。
藍本很好。沒拍好。
NND他那么小就被**了
是否心里总住着这么一个人，让你想起时温暖又痛心...