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.
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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
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。
《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...