韩建忠001
这部影片之所以深受好评，凯特·温丝莱特完美的表现首当其冲，美国有媒体表示“我有多久没有为一个虚构的角色而感动了？凯特·温丝莱特在本片的演出无可挑剔。”这样的评价令人信服。《朗读者》通过党卫队成员汉娜这个角色，以及他与米夏·伯格之间的情爱关系，展现了二战期间德国纳、粹集、中营的情况，并且从一个特别的角度，对战争中的屠杀、纷争和人性的扭曲、包容和理解，客观而又深刻的表达出被害者的痛苦。影片中的纳粹战争，没有武器、没有徽章、没有流血，甚至没有任何室外戏来表现。但我们却看到了人们对战争的诘问、痛恨和争论，汉娜显然是罪犯中最特殊的一个，导演没有将她的感想完全表露出来，而是始终选择通过第三人的角度对她进行观察和叙述，因此观众和她之间始终是存在一定距离感的。我们也只能从男孩米夏·伯格、二战受害者和监狱管理人员的嘴中得知她的所为所感。可以说，凯特·温丝莱特在《朗读者》中为我们奉献了伟大的表演，从而使她成为在奥斯卡影后争夺战中，梅丽尔·斯特里普最直接最有力的竞争者。此前表现二战题材的影片多部胜数，但《朗读者》却是那么的与众不同，影片通过凯特扮演的汉娜，让我们看到在那场战争中有许多毫不自觉的参与到其中的人，他们拥有羞耻心和完整的人格，对工作认真负责，是极好的社会成员和产业工作者，但在当时无法想像的残酷时局下，他们却不经意的成为战争的参与者，成为别人罪恶行径的执行者，这种遭遇所带来的心理负担和负罪感，同样难以抚平。导演史蒂芬·戴德利对此也是感慨良多：“在某种程度上而言，他们也是受害者，只是从来就没有人关注过他们。可以说这是一部关于忏悔与救赎的电影，男女主人公一生都深陷自己的过去而不能自拔。年轻时的米夏·伯格，放弃了身边充满阳光、欢声笑语的生活和好朋友，每天很早的回到那个阴暗狭小的房间中。而汉娜也在他生日的时候选择了离开，去经历她人生中最灰暗的时刻。于是两人骑车漫步乡野，共进午餐的欢乐时光，便成了他们一生中最快乐的瞬间。片中扮演成年米夏·伯格的拉尔夫·费因斯，则早先在《辛德勒的名单》中主演过这类二战纳粹题材的影片，同是英国演员的他和凯特·温丝莱特在《朗读者》里优秀的演出令人过目不忘，而且俩人的德国英语的确纯正，为影片加分不少。当然，这部影片也不是没有争议，比如凯特·温丝莱特和扮演少年米夏的演员大卫·克劳斯之间的情爱戏，其实是非常真实、精彩的，可惜影片公映后带来的负面新闻事件令人们难免感到些许不快。此前媒体和影迷都将目光集中在凯特·温丝莱特在老公导演的《革命之路》上，她的表演也的确值得称赞，但无论是角色的感染力、表演难度和年龄跨度上，《朗读者》中的汉娜对观众和学院都更有吸引力。而凯特在片中的戏份并不是最多的，但她却在未出镜的时间里，依然牢牢抓住了观众的心思。在影片中把女主人公的忏悔、思念和隐忍，表露的入木三分，将观者的心思牢牢带入到当时的那种境况之中。
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The Reader is an exemplary piece of filmmaking, superbly acted by Kate Winslet, David Kross and Ralph Fiennes, beautifully lit by two of Britain's finest cinematographers (Roger Deakins and Chris Menges) and sensitively directed by Stephen Daldry from a screenplay by David Hare. In certain ways they sharpen Bernard Schlink's bestselling German novel of 1995 which deals with a subject - Nazi concentration camps and the Holocaust - that has hung over my generation since the outbreak of war in 1939, days after my sixth birthday. Since then, there has been an unending stream of Holocaust movies (nearly 300 are dealt with in the third edition of Indelible Shadows: Film and the Holocaust, Annette Insdorf's standard work on the subject), ranging in character and quality from scrupulous documentaries like Claude Lanzmann's Shoah and Alain Resnais's Night and Fog to, for me personally, the two most offensive, Liliana Cavani's near-pornographic The Night Porter and Roberto Benigni's sickly Oscar-winning Life is Beautiful.Ralph Fiennes made an unforgettable impression as Amon Goeth, the demonic commandant of the Plaszow forced labour camp in Schindler's List, the most widely shown movie on the Holocaust. So a provocative statement of some sort is being made by casting him as Michael Berg, the innocent narrator of The Reader. Born in Neustadt, Germany in 1944, the gifted son of a liberal intellectual, Berg is a successful lawyer who reviews his troubled life from the perspective of 1995 Berlin, and it's immediately clear that his experiences have left him secretive, inward-looking, emotionally stunted in a way that recalls the form and moral tenor of the Losey-Pinter film of The Go-Between.The movie is in three sections, with a couple of codas. In the first chapter, set in 1958, the 15-year-old Michael (David Kross) meets the voluptuous Hanna Schmitz (Kate Winslet), a kindly tram conductress more than twice his age. She provides his sexual initiation and sentimental education in the manner of such celebrated Continental novels as Raymond Radiguet's Le Diable au corps. In return she asks him to read to her before and after sex, and he regales her with The Odyssey, Huckleberry Finn, War and Peace and (a book she thinks disgusting) Lady Chatterley's Lover. The eroticism of reading brings to mind Michel Deville's La Lectrice, and the lovers' activities at their trysts complement each other. If you left the film after 45 minutes at the point when Hanna mysteriously disappears from Michael's life, and were unacquainted with the novel, you'd have thought it a wistful rite of passage, rather like Summer of '42 or The Graduate. But there are carefully planted clues to the tale's subsequent surprises. First, there is Hanna's reluctance to look at any text, be it a book, a travel brochure or a menu, or to write anything. What is she avoiding? The second is the emphasis placed on her uniform as a public transport employee. This gives her an official, military look.The second chapter unfolds in 1966 when Michael is a law student at Heidelberg, still yearning for Hanna. A sympathetic teacher, Professor Rohl (played by Bruno Ganz, who brings to this impeccable liberal figure a whiff of his Hitler in Downfall) launches a seminar for bright pupils to scrutinise the issues of guilt and crimes against humanity and takes them to a trial in a nearby town. There, Michael discovers to his horror that Hanna and other Auschwitz guards are in the dock, accused of appalling conduct at the camp and a callous atrocity while escorting a death march of Jewish prisoners away from the advancing Russians. Ironically, it is a book by a Jewish survivor that has occasioned the trial.Hanna does little to clear her name and it becomes evident to us and to Michael that this is in some way connected - I will say no more - with literacy. She is, apparently out of pride and shame, willing to accept greater blame than her co-defendants, a frumpy collection of middle-aged women, quite unlike the comely Hanna. Moreover, for a congeries of reasons, Michael doesn't come to her assistance. He feels betrayed, morally tainted, ethically disoriented and unforgiving. The third chapter covers Hanna's lengthy jail sentence, during which Michael communicates with her fervently but only via cassettes of great literary works. Thereafter comes a pair of codas, one concerning the divorced Michael's reconciliation with his estranged daughter, the other a visit he makes to New York to see an Auschwitz survivor, one of the witnesses at Hanna's trial She's played with an icy moral superiority by Lena Olin and most of her excellent dialogue is provided by Hare. "What do you think those places were - universities?" she asks the anguished Michael. "What are you looking for? Forgiveness for her or to feel better about yourself? If you are looking for catharsis, go to the theatre or literature. Don't go to the camps." This double-edged statement brings into question much of what has gone before. The reflections on guilt, responsibility and the relationship between generations are betrayed by the contrived fiction into which they've been inserted by Schlink, a lawyer born in 1944 who writes detective stories. Scene by scene, we're gripped, but the metaphor is elusive, the narrative unconvincing and the overall effect vague and unpersuasive. The key clicks smoothly in the lock but no doors of perception open up. I'm also a little troubled by the movie being made in English. And, disconcertingly, the books Michael reads from are English versions. Won't this be odd when, as almost certainly it will be, the movie is dubbed into German?
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