[轉錄][賽德克巴萊國際版相關影評 三篇][之後會陸續補上][外文]

[XMARTY (其實沒有睡的很飽)]

發表本系列(含本篇)文章的用意主要是
我看了幾篇關於中國或中國媒體對於賽德克巴萊的評價
發現他們在內容選擇及立場上 是有些特別的

而台灣媒體在這段期間的追蹤 似乎還未即時跟上(但也許是有其他因素 例如時差)
所以 我希望提供在威尼斯影展期間 能有國際版賽德克巴萊 第三國的"影評"

但我不會刻意挑選 盡量把我能找到的評論放上來

至於翻譯問題 由於我不具備翻譯相關專業 這方面我無法幫忙

資料來源出處則多是由Google搜尋得到
我通常會以電影英文譯名"warriors of the rainbow：seediq bale"
          導演英文名  "Wei Te-Sheng"
這兩個來做搜尋

我將不另外再開文章 以避免有洗版或衝個人文章數之嫌
為避免有意圖增加個人優文之嫌 也請大家盡量以箭頭代替推文

新的文章我會放在最上層

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第一篇(非影評 應為相關報導)

http://www.channelnewsasia.com/stories/entertainment/view/1150412/1/.html

新聞標題：Taiwan's warrior epic "Seediq Bale" runs for the Lion

VENICE, Italy : Warrior cries and brutal decapitations colour the opening
scenes in Wei Te-Sheng's "Seediq Bale," the fierce Taiwanese epic running
against Hollywood favourites for the Golden Lion award at Venice this year.

With a record production cost of 24 million dollars, "Seediq Bale" brings to
the big screen the true story about a rebellion of aboriginal tribes against
their Japanese colonial rulers in Taiwan in 1930 -- at their ultimate defeat.

Produced by renowned Hong Kong-based director John Woo -- whose Hollywood
films include "Face Off" and "Mission Impossible 2" -- the film alternates
between fight scenes and moments of spiritual anguish for the proud tribesmen.

Stunning cinematography captures the untamed beauty of Wushu, a tribal
township on Mount Chilai, where the concept of freedom is inextricably linked
to hunting wild animals through lush undergrowth -- a ritual at risk as
civilisation takes hold.

"The film tells the story of an encounter between a people who believe in
rainbows and a nation which believes in the sun -- a heroic battle in defence
of faith and dignity," Wei said about his most ambitious work to date.

Over 12 years in the making, "Seediq Bale" features a cast of 15,000, many of
whom were hand picked for the part in a door-to-door search throughout Taiwan
for people with the right characteristics: specifically, "hunters eyes."

Wei said he had researched the history behind the "Wushe Incident" thoroughly
and had been very aware of not wanting to "exacerbate dormant tensions," but
instead "effect some kind of reconciliation between the two opposing sides."

Wei and Lin Ching-Ta -- who plays tribal chief Mouna Rudo -- will be
accompanied to the premiere screening on Thursday by co-stars Vivian Hsu and
Landy Wen, who both made their names as singers before going into acting.

But it is pop-star Madonna who is expected to draw the screaming crowds on
Thursday as she appears on the red carpet ahead of the screening of her
second film as a director, "W.E.", which will be shown out of competition.

The diva landed at Venice airport late on Wednesday evening, looking
glamorous in a black outfit, with a check shirt and sunglasses, and headed
for the luxury Bauer hotel on Venice's Grand Canal.

Her film, starring British actors James D'Arcy and Andrea Riseborough, tells
the tale of King Edward VIII's controversial romance with American divorcee
Wallis Simpson -- through the eyes of a lonely modern-day New Yorker.

The US singer is expected to arrive on the Lido by speed boat, as are stars
Jodie Foster and Kate Winslet, who will dazzle paparazzi on the red carpet
for the highly-anticipated "Carnage," directed by the controversial Roman
Polanski.

The French-Polish director will not be present. Wanted in the United States
for alleged sexual assault dating back to 1977, he risks extradition should
he travel to Italy.

- AFP /ls

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第二篇

http://www.nonsolocinema.com/Saideke-Balai-Warriors-of-the_23320.html

影評標題：
"SAIDEKE BALAI (WARRIORS OF THE RAINBOW)" DI WEI TE-SHENG
SOME WAR, OVER THE RAINBOW

di Andrea Vesentini
Pubblicato giovedì 1 settembre 2011 - NSC anno VII n. 23

原文為義大利文(由Google翻譯成英文)

Little-known chapter of history in Taiwan. When the island was a colony
Nippon between 1895 and 1945, the Aboriginal tribes who inhabited the
mountains in the hinterland of the island, the Seediq, they decide to rebel
against the oppressor and to organize a suicide mission, given the advanced
media and numerical dominance of the Empire of the Rising Sun. To guide them
in the impossible business, the elderly leader and fighter, Mouna Rudo. The
end is predictable, of course, but this will drive down Seediq warriors, who
seek reward for their heroism in reunification with the ancestral spirits,
over the rainbow.
Little-known chapter of Taiwan's history, he said. And in fact the director
Wei Te-Sheng chooses to tell the coveted island, has always contended among
strapoteri European, Chinese and Japanese, in fact he had a native population
that is often left out of history books.

Only innovation of the whole movie, on the other, a conventional loaf
historical action-drama-funded by the thriving pockets of John Woo , with a
large waste of resources and years of work.

Both the decade and the millions spent on leave no trace. The battle scenes
have nothing to do with the invention of the fantastic mentor hongkongese,
bad special effects and suggest the production of a remote island of Papua,
not the Taiwanese film industry.

Wei, taken under the wing of Woo and your wallet after a debut as an
independent and highly successful sentimental musicals ( Cape No.7 ) chooses
themes have often visited in the film and Eastern (colonialism, belonging to
the earth) and gives us a Braveheart in soy sauce, where the emotional
involvement of the viewer is lost in trivial maximum philosophizing ("They
have more men of pebbles in the river, but I'm as big as the mountain") and a
triumph of severed heads and a hara-kiri rhythm so tight that scroll across
the screen and harmless cathartic, such as fresh leafy branches of the
rainforests of the island.

The characters are painted in an almost caricature (the Japanese invaders bad
and ridiculous screaming and make devilish grimaces from Pokemon, Aboriginal
people have all the stuff written in the eyes of the hero), without an
attempt to make the complexity of the issues raised.

Closes March of the warriors who find themselves "over the rainbow" and sing
their songs of clouds and rainbows, as wants Seediq mythology, the sign of
unintended kitsch. In the face of those who thought that the naive Dorothy of
The Wizard of Oz and a Taiwanese aboriginal warriors have nothing in common.

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第三篇(非針對賽德克巴萊的評論 而是與喬治克隆尼影片的比較)

http://www.pointblank.it/?p=17583

評論標題(本篇原文為義大利文 用google翻譯為英文)
Venice 2011 / Day 1
BY GIULIO CASADEI

The highly anticipated first day of the 68th Venice International Film
Festival of Venice saw features two very different works by style and
aesthetics, but sharing the same idea of cinema: The Ides of March ( the Ides
of March ) by George Clooney - film d 'Opening of the Festival - and Bale
Seediq Wei Te Sheng of Taiwan. Both present in the competition, the two films
have emerged as excellent examples of that popular film and entertainment
during the eight years of management Müllerian found - between the concerns
of critics of the "old guard" - more and more space within Venetian
competitions.

Despite the obvious differences, the two are linked by the same philosophy of
film that tends to include the viewer in the narrative, to wrap and
involvement through the use of expression systems that look spectacularly in
the past: a glorious tradition of the cinema of social commitment Seventy
years of Pakula, Lumet and Redford ( The Ides of March ), the other to the
great historical epic adventure to Braveheart and The Last of the Mohicans (
Seediq Bale ). Clooney's film, which has had the honor and the burden of
opening the festival, further certifies the nature of the work involved with
nostalgic and proud American actor and director who, with his latest work,
the line continues path taken from Good Night and Good Luck readback and
analysis of the political history of his country. After telling the
witch-hunt here he is struggling with an issue in some ways even more risky:
the death of political ideals and the failure of American policy management.
Taken from the play by Beu Willimon "Farragut North," The Ides of March
reveals the contradictions of power by telling the story of a politician
(played by Clooney himself) that accepts any type of compromise in order to
be able to aspire to become president. With a truly amazing courage and
independence, Clooney looks into the face of bitter reality by drawing a
decidedly negative balance on the heroic Obama by disillusioned liberals
avoid shortcuts and consolation of sorts near the end line to close the film
without any opening optimistic. The time for happy endings and dreams seem to
be over: the hope waned Obama, Clooney does not just have to look wistfully
to the past - even in the film sense - to try to resist a present in which we
do not recognize and can not accept .

The Taiwanese Wei Te Sheng, director of Seediq Bale turns his gaze back but
it does rather tell a little known episode (even by many of his countrymen)
in the history of his country: the revolt organized in 1930 by some tribes
Seediq against the Japanese occupiers. Despite some drop-style (but
forgivable given the nature of the work and the sincere emotion of the
author) and more than a hole in the narrative (probably produced by the
drastic reduction in the duration in minutes for the foreign market from 300
to 150 minutes) Seediq Bale is still a film to defend not only for its
undeniable historical importance but also the language that the director has
chosen to use. By opting for a conventional narrative but addictive, Wei Te Sheng
has made a film that reconciles with the highly spectacular film. We are confident
that, if anything comes out in our country would be able to attract a wide
range of audiences such is his ability to blend entertainment and reflection,
historic exploration and pure visual pleasure. A little 'like Tsui Hark's
last year, even though this is destined to divide audiences critics: it will
take some' time before a critical part of the Italian able to accept (and
appreciate) the presence of works popular and generally like this in the
official competition.

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◆ From: 61.227.180.205
※ 編輯: XMARTY          來自: 61.227.180.205       (09/01 22:36)
推 killeryuan:徵求翻譯
推 qazxswptt:用翻譯先看了第二篇 背景理解的還蠻正確的
推 molemilk:不太想review 三篇都像介紹
推 Yoshimario:推推 原來是這樣啊 嗯嗯 原來就是這樣
→ qazxswptt:最後好像有抱怨表現方式比較漫畫式有點諂媚,其他敘述
→ qazxswptt:就沒有什麼特別的
→ qazxswptt:大部分都還是背景介紹
推 k24618099:看了前幾行...看不下去了...好像沒甚麼重點...
→ k24618099:有誰可以重點提醒XD
推 yako:這三篇看起來都不是影評，是魏導的專訪以及影片介紹。
→ yako:到目前英文影評只有18678一篇，那篇的確是負評。
→ k24618099:推樓上XD~我就覺得怎麼好像在介紹~就懶得看下去了
→ hens:第二篇標題故意搞綠野仙蹤的梗 真白爛XD
→ littlegreen:影評參考看看 重點還是自己看過再來評論吧
→ yako:覺這部片沒有特別熱，但也沒有特別差。可能反應平平吧我猜。
推 Posaune:有看到一篇德文的  認為砍到剩2.5小時而無法完整鋪敘
→ Posaune:是最大的問題  還有就是過於血腥了
→ hens:第二篇還提到描述角色太過平面 =.=
推 MSme:18698那篇應該也算是評論吧
推 ASTERSEA:用google直翻的話:第三篇
→ ASTERSEA:第一段旨再說明影展的參展電影越來越多元。
→ ASTERSEA:第二段因再講克隆尼，故略。
→ ASTERSEA:第三段則可看出以外國人的觀點，霧社事件仍是一個小戰爭
→ ASTERSEA:以及敘事流於空洞『所需劇情急遽減少，國外版從300至150
→ ASTERSEA:(probabilmente prodotto dalla drastica riduzione del
→ ASTERSEA:minutaggio per il mercato estero da 300 a 150 minuti)
→ ASTERSEA:最後並說明這是一個結合娛樂和反思，歷史探索和純視覺上
→ ASTERSEA:的愉悅，並將能夠吸引廣泛的觀眾的電影。（真的嗎？）
→ ASTERSEA:並借引，徐克的最後一年，儘管這是注定要劃分觀眾的批評
→ ASTERSEA:：它會需要一些時間以及一個關鍵部分，義大利才能夠接受
→ ASTERSEA:（和欣賞）的存在工程流行，一般像這樣的正式比賽。
→ ASTERSEA:（這一段其實看不懂？）
→ ASTERSEA:看來國際版重剪會比較好。
→ DesertShield:樓上大大好辛苦XD  要不要考慮回一篇
→ ABBOBO:真如ASTERSEA說的話那我真的很期待4.5小時版本了
推 andante6851:說時在 看到五分鐘版 就決定要不要進電影院了
→ andante6851:相信自己咖實在