《茉莉人生》――黑白之间,美如夏花

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“Persepolis”直译为“波斯波利斯”，指的是古代波斯的首都。虽然漫画原作被译为《我在伊朗长大》，但看完动画之后，Wendy觉得最适合这部电影的译名还是《茉莉人生》。即使在角逐奥斯卡时败给了《料理鼠王》，凭着有别于“美国制造”的艺术感和版画式的黑白画面，这部独立动画片还是给今年的国际动画界带来一股与众不同的清新气息。这是一个女孩的成长故事，从迷茫到坚定，从含苞到绽放，如五月茉莉一般，年年岁岁，芬芳四溢……

In Tehran in 1978, hundreds of thousands of people are in the streets, calling for the end of the Iranian monarchy[君主制]. Marjane is a little girl, and she and her family are swept up in the turbulent[动荡的] events: the Shah[伊朗国王] falls, Islamic revolution takes hold and war breaks out between Iran and Iraq.

Events in Persepolis are familiar to viewers in Tehran. Thirty-five year old Mohammed says he was surprised at the impact Persepolis had on him.

Mohammed: We could really touch it and feel it and we could really understand it and absorb it. That was the

reason that we really enjoyed the movie.

Stylistically, Persepolis is an unusual animated film. It is drawn in a flat style in stark[完全] black and white, very much like the drawings in Marjane Satrapi’s graphic novel, from which the film was adapted. But the animation in Persepolis is anything but simple, says Nelufar.

Nelufar: I really like the technique of the film, because it’s sort of like putting away the Disney clichés[陈腐的题材]. It was, in a way, combination of Eastern theatrical[戏剧的] style with…I don’t know, modern Western films?

To protect Marjane from the Iraqi bombs and

missiles[导弹], her parents sent her to Europe and safety. But the young teenager cannot adapt. She falls sick and must return to Tehran. In Iran, she is unable to conform to[遵照]

the changing political culture. She turns Punk, champions[支持]

heavy metal Rock, challenges the Islamic dogma[教条] of her teachers, and later falls into a deep depression.

Nelufar: I can see the same thing she has [saw]注.

Nelufar says she and her friends have gone through some of the same experiences that young Marjane did in the film. Mohammed found himself surprisingly wrapped up in[迷上] Marjane’s struggle.

Mohammed: For this person, who comes back again at the…after couple of years to Iran, still it’s very difficult to adapt yourself with the situation that still was going on in Iran. That’s why maybe the reason that, for her, was difficult to find her way.

Eventually, Marjane pulls herself together[重新振作], and struggles to assert[坚决维护] her individuality in the society that appears to have no interest in individual identity. But her parents fear that her behavior could land her in prison, and they persuade her to leave Iran again, this time for Paris. Still, the end gives a feeling of hope, Nelufar says, adding she wishes Persepolis had won the Oscar.

1978年，成千上万人走上德黑兰街头，要求结束伊朗君主。玛嘉当时还是一个小女孩，和她的家人一同被卷入动乱的大潮中：伊朗国王下台，伊斯兰革命开始，伊朗与伊拉克之间爆发了战争。

德黑兰的观众对《茉莉人生》中的事件耳熟能详。35岁的说，《茉莉人生》对他产生了很大冲击，他对此也感到非常惊讶。

：这部电影对我们来说仿佛触手可及，让人深有同感，我们很理解其中的故事，能体会到它要表达的东西。这就是我们喜欢这部电影的原因。

从创作风格上看，《茉莉人生》是一部很不寻常的动画片。它采用全黑白的平面画风，和玛嘉・莎塔碧的绘本风格如出一辙――电影正是改编自该作品。但（观众）内卢珐则认为，《茉莉人生》中的动画绝不

简单。

内卢珐：我非常喜欢这部电影采用的技巧，因为它基本摒弃了迪斯尼那种老模式。从某种程度上，它结合了东方戏剧风格与……我也说不上，西方现代电影？

为了让玛嘉免受伊拉克炮火的威胁，父母把她送到欧洲这片安全的土地。但这个少女无法适应新环境。她生病了，只好重回德黑兰。在伊朗，她又无法顺应不断变化的政治风气。于是她喜欢上朋克音乐，追捧重金属摇滚，还挑战老师们固守的伊斯兰教条，后来便陷入了严重的抑郁状态。

内卢珐：我能看到她所看到的东西。

内卢珐说，她和朋友们也有过小玛嘉在电影中的经历。则惊奇地发现自己很热衷看玛嘉如何挣扎求存。

：对这个人来说，她重回……她数年之后又回到伊朗，却还是很难让自己适应伊朗当时的状况。那或许正是她难以找到自己的方向的原因。

最后，玛嘉振作起来，在那个似乎毫不注重个人特质的社会中努力坚持自己的个性。但她的父母担心这种做法会给她带来牢狱之灾，于是说服她再次离开伊朗，这次的目的地是巴黎。不过，内卢珐说，影片结尾还是让人们感受到一线希望；她还补充道，她真希望赢得奥斯卡奖的是《茉莉人生》。

注：此处为说话人口误，正确应为“seen”。