梁家輝：“北上”不是選擇，而是回歸

導讀

從香港到北京，從敦煌到巴黎，從一個角色走進另一種人生。梁家輝的40余年電影生涯，也是一場不斷跨越地域、文化與時代的旅程。

8月8日上午，在第38屆大眾電影百花獎北京電影論壇上，這位中國香港演員回望自己的銀幕人生，講述電影如何讓不同的土地彼此相連，讓不同文化在光影中相遇。

8月12日，《中國日報》言論版經(jīng)授權(quán)刊發(fā)梁家輝發(fā)言全文英文版，以下為文章主要內(nèi)容。

一張電影地圖，從北京開始

我今年已經(jīng)六十八歲了，普通話講得不好，演了四十多年的戲，差不多一百六十多部電影。

I am 68 years old. I have been acting for more than 40 years and have appeared in more than 160 films.

你如果問我，我最大的收獲是什么？我想就是：從南邊到北邊，從東方到西方，我走過了很多地方，活過了很多種人生。也因此看到，電影是怎樣把一片一片的土地、一種一種的文化，連成一張地圖。

而我，第一次開啟這張地圖的地方，就是北京。

People sometimes ask what I have gained from such a long career. The answer is in the places.

I have gone from south to north, east to west, moving between cities, countries and, quite often, centuries. My career has been a journey through the changing geography of Chinese cinema. The journey began in Beijing.

1982年，我24歲，對演戲談不上什么期待和準備，就被李翰祥導演拉到北京，剃了光頭、穿上龍袍，成了《火燒圓明園》和《垂簾聽政》里的咸豐皇帝。而這兩部電影，正是當時改革開放初期，最早的一批合拍片。

那時候香港也拍古裝片。但當我真正走進故宮的那一刻，我感到的是一種完全不同的恢宏。

The grandeur I felt there was not the grandeur of a set. It was the grandeur of history. Standing inside those walls, I began to understand that a film could carry more than a story. It could carry the memory of a people.

我忽然意識到，電影不只是講故事，它還可以承載一個民族對歷史的回望、對文化的敬畏。

電影《垂簾聽政》劇照 梁家輝飾咸豐

走出片場、走進大街小巷，我又看見這座城市不同于香港的一面。

我第一次真切感受到，地域與文化是如何在各自的歷史脈絡里，孕育出截然不同的氣質(zhì)。

The city was very different from Hong Kong. Both were modern cities, but they had different rhythms, streets and ways of living. That was when I began to understand something that has stayed with me ever since: place matters.

正是從那時候開始，我越來越相信：演員的一生，就是不斷走進不同空間、不同文化的一生。

A character does not exist in a vacuum. He comes from somewhere. His language, food, weather, family and history all leave their mark on him. Before I learned how to play a character, I learned that I had to find the place that had made him.

從一個角色走進另一種文化

作為一個演員，能走到哪，往往不只是靠自己計劃。

我很幸運，26歲就拿到了香港電影金像獎最佳男主角。更幸運的是，后來遇見了《情人》這部電影，讓我走進一段跨越地理、文化、語言，甚至于年齡的愛情故事。

電影《情人》劇照 梁家輝（右）飾東尼

演繹這個角色的困難，正來自這一系列“跨越”里。

The Lover took me much farther from home. I had to speak English and French and tell a love story set in Vietnam, with filming in Vietnam and France.

現(xiàn)在想起來，一個來自中國香港的演員，說著一口流利的英語和法語，演了一個發(fā)生在越南的愛情故事，最后被全世界的觀眾看見，這是多么奇妙的一種體驗。

For a Hong Kong actor, it was an unusual journey. Yet the film traveled farther than any of us could have predicted. Young people have told me that it was one of the films that introduced them to cinema.

這就是電影的力量，跨越空間、跨越文化的力量。

Cinema does not erase geography. It allows us to see it through other people's lives.

它不問你是誰、你來自哪里、你說什么話；它只問：你能不能把一個“人”立起來，讓觀眾相信他的悲歡離合。

A viewer does not have to be from Hong Kong, Vietnam or France to understand loneliness, desire or regret. A film crosses a border not because it erases differences, but because it gives those differences a human face.

“北上”不是選擇，而是回歸

新千年之后，隨著內(nèi)地與香港的文化交流越來越緊密，越來越多香港電影人來到內(nèi)地工作，我當然也在其中。

很多人問我，這是不是一種“北上”的選擇？

對我來說，這不是選擇，是回歸。

因為早在90年代，我就在內(nèi)地拍攝了《新龍門客棧》《東邪西毒》等電影。

I returned to the mainland many times in the 1990s, making films such as New Dragon Gate Inn and Ashes of Time. Later, as exchanges between Hong Kong and the mainland became closer and more Hong Kong filmmakers came north to work, people began to describe this as "going north".

I never quite saw it that way. For me, it felt more like returning to a landscape I had already begun to know.

電影《東邪西毒》劇照 梁家輝飾黃藥師

甘肅敦煌的風沙、陜西榆林的紅石峽，這些山河記憶每一次都刻在了我身上，讓我充滿記憶。當大好河山碰上電影人的想象力，那種震撼，時至今日仍未褪色。

I remember the sands of Dunhuang in Gansu. It was a film location, but it became part of my memory. More importantly, it became part of the film itself. Put a martial-arts story against those mountains and deserts, and the landscape becomes part of the action.

武俠動作、浪漫情感，因為那些不同地域文化的存在，都被提升了一個檔次，對于后來的華語大片也有很多啟迪。

Hong Kong brought its own urban energy and cinematic language. The mainland brought vast landscapes and an enormous range of local cultures. As filmmakers moved between them, the boundaries became less fixed. New stories became possible.

加上今年上映的《鏢人之風起大漠》，在我的演藝生涯里頭已經(jīng)集齊了一個“沙漠三部曲”。其實我還在期待四部曲、五部曲，雖然我們很多治沙人已經(jīng)把很多沙漠變成綠洲了，但是我也希望在我余下的演藝生涯里面能夠再經(jīng)歷祖國的大好河山。

演了160多種人生，但我沒有“千面”

從《刮痧》里的中西文化沖突，到《太行山上》《明月幾時有》這些片子里頭的民族記憶；從《十月圍城》里的陳少白，到《智取威虎山》里的座山雕，再到《捕風追影》里的悍匪傅隆生……

很多人叫我“千面演員”，其實我沒有千面。

我做的從開始到現(xiàn)在始終是一件事：我先把人物放回他的土地里，再去演他。

People call me a "thousand-faced actor". I don't think I have a thousand faces. I have one method. I put the character back on his land.

那片土地有它獨有的語言、飲食、氣候、歷史，甚至人情世故。當你了解了這個空間，你再演這個人物就活了。

電影《捕風追影》劇照 梁家輝飾傅隆生

當年演《黑金》周朝先時，我曾經(jīng)寫了差不多有十萬字人物小傳，里面寫的就是：這個人從哪里來？他為什么在這里？他要去哪里？我用這個方法走進了一百六十多種人生。

每走進一種，我都能更深地確認：每個角色，都是被一方水土養(yǎng)出來的；而每一部好電影，都是在為這個時代保存一種文化記憶。

After more than 160 films, I have come to believe that every character is shaped by a particular piece of land. And every good film, in its own way, preserves something of that land — its language, its habits, its memories, even its contradictions.

從一個個角色，看見一個時代

這四十多年，我一直在通過表演，把不同土地、不同文化、不同人心，連接在一起。

我覺得我自己是一個架橋的人，同時也是與所有觀眾朋友一起站在橋上看風景的那個人。

When I look at the roles I have played over the past two decades, I see more than a collection of characters. I see a changing film industry.

My career happened to move with that change.

我見證的不只是自己的演藝之路，更是一個時代的縮影：內(nèi)地的電影工業(yè)從低成本拍攝，成長為全球矚目的市場；中國香港從文化的輸出方變成了融合的一部分。這是一個演員和行業(yè)、和時代、和一片土地的雙向奔赴。

一張電影地圖，越畫越大

電影是一種全球性的交流方式，電影節(jié)、電影獎項，是電影凝聚合力和穿透力最集中的體現(xiàn)。

I have never thought of cinema simply as entertainment. It is also a record of where we have been.

在國際電影節(jié)上，一個國家、許多國家；一種語言、許多語言，可以在短短幾天內(nèi)聚合在一起。

每每這種時候，我會覺得，我們是因為電影，才相聚在一起。

At international film festivals, I have seen this happen in a different way. Films from countries that may have little else in common are placed side by side. Different languages fill the same theater. For a few days, people sit together, watching strangers laugh, suffer and fall in love.

我們談文化建構(gòu)，談的不是宏大的口號，而是一個個具體的作品、一個個真誠的創(chuàng)作、一個個讓觀眾一起笑、一起流淚的瞬間。

This year's Hundred Flowers Awards make me think about the journey again. When we talk about culture, we sometimes reach too quickly for large words. But culture is made from smaller things: a city seen through a camera, a landscape remembered by an actor, a character speaking in a particular voice, an audience laughing at something it thought belonged only to another place.

電影是一張地圖，標記我們從哪里來，也鋪展著我們怎么樣去更遠的地方。而我們所有電影人一起，正在每一天每一天把這張地圖畫得越來越大：畫出更多的坐標與橋梁，畫出更遼闊的山河，也畫出時代的廣度與文化的縱深。

For more than 40 years, I have been moving through those places. The map has changed. Hong Kong has changed. The mainland has changed. Chinese cinema has changed. And so have I. Perhaps that is what I have really learned from acting: A film does not merely tell us who we are. Sometimes, it shows us where we have been — and gives us a reason to keep going somewhere else.

希望未來的中國電影，能夠繼續(xù)百花綻放，光影共生，讓每一種文化、每一個故事，能在世界面前都被看見。

I still have places I want to see.

I hope Chinese cinema does, too.

記者：李薇

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