老枪

引自 Wikipedia 的介绍：

In early 1944, 2nd SS Panzer Division Das Reich was stationed in the southern French town of Montauban north of Toulouse to gain new equipment and freshly trained troops. After the D-Day invasion in Normandy, Das Reich was ordered to make its way across the country to stop the Allied advance. In the days leading up to the Allied D-Day landings at Normandy, the local French Resistance had increased its activities in order to disrupt local German forces and to hinder communications. Along their way, the Germans came under attack and sabotage by the fighters from the Maquis du Limousin and, in turn, attacked and killed many French civilians.

Early on the morning of 10 June 1944, Sturmbannführer Adolf Diekmann, commanding the I battalion of the 4th Waffen-SS ("Der Führer") Panzer-Grenadier Regiment, informed Sturmbannführer Otto Weidinger at regimental headquarters that he had been approached by two French civilians who claimed that a German officer was being held by the Resistance in Oradour-sur-Vayres, a nearby town. The captured German was alleged to be Sturmbannführer Helmut Kämpfe, commander of the 2nd SS Panzer Reconnaissance Battalion, who may have been captured by the Maquis the day before.

On 10 June, Diekmann's battalion sealed off the town of Oradour-sur-Glane, having confused it with nearby Oradour-sur-Vayres (some disagreement on this point, see esp. Max Hastings, Das Reich, who states reasons for believing no such confusion), and ordered all the townspeople – and anyone who happened to be in or nearby the town – to assemble in the village square, ostensibly to have their identity papers examined. In addition to the residents of the village, the SS also apprehended six people who did not live there but had the misfortune of riding their bikes through town when the Germans arrived.

All the women and children were then taken to and locked in the church while the village itself was looted. Meanwhile, the men were led to six barns and sheds where machine-gun nests were already in place. According to the account of a survivor, the soldiers began shooting at them, aiming for their legs so that they would die more slowly. Once the victims were no longer able to move, the soldiers covered their bodies with fuel and set the barns on fire. Only six men escaped; one of the six men was later seen walking down a road heading to the cemetery and was later shot dead. 190 men died.

The soldiers then proceeded to the church and put an incendiary device in place there. After it was ignited, women and children tried to flee through the doors and windows of the church but were met with machine-gun fire. Two hundred forty-seven women and two hundred and five children died in the carnage. Only two women and one child survived, one was 47-year-old local housewife Marguerite Rouffanche. They had managed to slide out of a small window at the back of the church and had dropped 10 feet, at which point the Germans heard the child cry and began to shoot at them, Marguerite Rouffanche's companions died and she was wounded, she crawled and hid in the some pea bushes behind the church overnight until she was rescued. Another small group of about twenty villagers had fled Oradour-sur-Glane as soon as the soldiers had appeared. That night, the remainder of the village was razed.

A few days later, survivors were allowed to bury the dead. It was found that 642 inhabitants of Oradour-sur-Glane had been brutally murdered in a matter of hours.

Sturmbannführer Adolf Diekmann claimed that it was a just retaliation due to partisan activity in nearby Tulle and the kidnapping of Helmut Kämpfe.


原文链接：http://en.wikipedia.org/wiki/Oradour-sur-Glane

   记得上次看这部电影，还是我年纪很小的时候．
  昨天当我重看这部电影，那把如恶魔般的喷火枪，Philippe Noiret茫然，痛苦的眼神，Romy Schneider不着痕迹，不着修饰，却让人感觉惊天动地的美……，这一切的一切，突又唤起我幼时观看时那种莫名感动和哀伤的情愫．
  还记得当年在电影院看的这部电影，电影结束时，我还坐在座位上久久不愿离开，因为结尾时男主角一家三口正骑着单车向我们飞驰过来．
  可能电影中发生过的悲剧只是男主角的想像？可能他们他们还是幸福的生活在一起？可能这只是夹杂着噩梦的一部童话？当时还是懵懂少年的我，这样想……
        

剧情是简单的——复仇（导演不想多费笔墨），关键是细节的处理和分镜的技巧，导演无疑是个讲故事的高手。男主人公的一段段回忆与现实交织将故事的脉络交代的很清晰 ，最关键的是把握住了观众的情感脉络 一段段的记忆碎片将观众刚刚安定的神经又刺激到了顶点。这个手法的成功运用成就了《老枪》的经典。

另外我还想说：记得有人说过 “男人都有保护自己心中所爱的本能”当他发现自己心爱的东西被人摧毁时将陷入疯狂的愤怒中。当看到影片中 罗密 被德国士兵用火焰喷射器烧死的场面时我深深的体味到了这句话的含义。
 
战争的罪恶就在于它将我们心中美好的一切砸得粉碎使我们心上留下永久的伤疤。男主人公手中的那杆老枪就象征着对这罪恶的本能反抗。

《老枪》是上世纪七十年代的一部法国影片，一上映就赢得了巨大的成功，获得了首届法国电影凯撒奖的最佳影片、最佳男演员、最佳电影音乐等三项大奖。为什么影片会这么受欢迎呢，因为电影讲的是法国人有切身感受的故事，影片的主人公于连代表的也是典型的法国人的形象，法国观众在影片中看到了自己。
战争中的法国人
     《老枪》的故事发生在二战期间，可影片开篇的气氛就很难让我们联想到这是一个发生在纳粹占领下的法国的故事。于连和他的家人并没有以一种灰头土脸，饱受折磨的战争受害者的姿态在影片中登场，而是一家三口骑着自行车，欢快的在丛林中骑行。他们的生活并未被战争摧毁，相反于连和他的家人仍然追求着生活的乐趣和人生的享受。这一点在影片中的很多地方都展现出来了，比如于连的老婆和孩子穿越德军占领地区来找他，按于连妻子的话来说：“一路上都是德国鬼子，大家都在逃跑。”照着我们中国人的理解，这是一幅多么痛苦的场景，两人一路走来也不知吃了多少苦，受了多少罪，可是事实根本不是这样，于连的妻子孩子两人坐着一辆漂亮的敞篷车，车上和身上没有一点遭遇过危险的痕迹，甚至在路上两人还捡了一条狗作为宠物。
       这样的事我们中国人是绝对无法理解的，战乱年代，在路上肯定得在车上冒险藏一两个游击队员，反纳粹领袖什么的，怎么能救了一条狗？可法国人认为这是理所应当的，于连看到老婆孩子来了，也没一点兴趣了解下德国军队的暴行或者被占领区人民的疾苦，而是高兴的和妻子孩子逗乐。法国人的天性可能就是追求享乐的，似乎对生活的苦难有着免疫的能力。于连的女儿在谈到学校被德国人占领而停课时，也是一副笑嘻嘻的表情，一点也没有像都德的《最后一课》中的小弗朗士那样苦大仇深。
      那么《最后一课》和《老枪》哪一部作品里的法国人才是真正的法国人呢？答案是都是，《最后一课》里为国忧心的是法国人，《老枪》中似乎不知亡国之耻的也是法国人。两者形象完全不同的原因就在于社会地位不同。《最后一课》里的小弗朗士生活在社会底层，他能最直接地感受到国家被侵略所带来的生活的改变，所以本能地担忧国家命运。而于连一家生活在社会上层，法国人重享乐和爱面子的个性使得他们不舍得也没想过要放弃他们的社会地位和优越的生活，所以德国人来了，于连就开始为德国人服务，仍然然做着原来的工作。尽管工作里受德国人欺压，遭德国人白眼，可是他也决不愿为了什么亡国之耻，就放弃工作，舍掉自己的社会地位。于连在战乱之中仍然将很多心思放在了维持自己的生活方式上，所以他对亡国的悲痛也缺乏感受，直到最后，妻女被杀，他才终于体会到国家被侵略的切肤之痛，拿起了父辈留下的老枪，用子弹来倾泻对德国纳粹的仇恨。
法国人的性格
      电影中于连最后拿起了枪，可是我觉得拿枪复仇的于连应该是导演理想中的法国人，或者说是作为商业电影，为了满足主流价值取向而创造出的法国人形象。一个法国的知识分子，即使到了一无所有的地步，他会不会选择拿起枪来复仇？我很怀疑。
     法国人似乎天生对什么破釜沉舟，玩命一搏之乐的事比较不感冒。二战打了没有多久就亡了国，法国人非但一点也没有日本人“一亿国民总玉碎”的想法，想的第一件事倒是先跑，一大票人狼狈不堪跑到了英国，但逃跑不能输气势，法国人又组织了所谓的“自由法国”，宣称要领导法国人的反法西斯斗争。但是，整个二战期间，这个所谓的“自由法国”领导下的法国反法西斯斗争似乎还是停留在美好的计划和宏伟的目标上。反倒是像《无耻混蛋》中那些家伙一样的一些外国人，跑到法国去和德国人拼刺刀，打游击，试图解放一把法国。
      不过，爱面子的法国人是绝对不承认法国人是靠外国人帮助复国的。诺曼底登陆前，“自由法国”的领袖戴高乐将军就庄重告知美国人艾森豪威尔：“历史上，还从没有外国人能指挥法国军队。”然后，诺曼底登陆就在美国人的指挥下在法国的土地上取得了伟大的胜利。
      我认为，可能二战中法国的这些行为方式才是真实的“于连”们所会采取的，而电影中于连则代表的是导演希望法国人拥有的一种精神或者说民族性格。
      影片中最真实的于连应该是那个回忆与妻子恋情的于连。向往浪漫，向往爱情是上帝赐予法国人的性格特质。无论在什么环境下最能吸引法国人的，也是最能引起法国人情感共鸣的，就是男女之间的浪漫爱情。支撑于连复仇的精神动力，以及他勇气的来源都是对妻子的爱。没有爱的动力在心中涌动，没有对妻子的情感在心中燃烧，于连是绝不敢也不愿拿起那杆复仇的老枪的。
      于连回忆与妻子的恋爱经历，他所怀念的不仅仅是与妻子的爱情，还有战前法国平等开放自由的生活方式。法国人对德国纳粹的仇恨不仅来源于亡国的耻辱，更多的，还是因为德国纳粹摧毁了他们引以为傲的生活方式。法国人热爱自由的精神和他们无拘无束的生活方式，是法国人的民族文化标签。这也是《老枪》这部影片中于连的根本特质。他在战争中无时不忘享受生活，他缅怀与妻子共同度过的岁月，他拿起枪勇敢的向德国军队复仇，这一切的一切都离不开他对过往的自由自在的生活的热爱。
       影片结尾，又是一幅于连一家三口在树林中骑自行车的场景，这象征着，无数像于连一样的法国人在战争中经历了伤痛，可他们最终将找回他们所热爱的生活。