阿飞正传吧 关注：4,895贴子：12,096
【引子】
一直以来，关于《阿飞》的版本传说不绝于耳。
对于大多数DVD观众来说，传说中的“午夜场版本”犹如镜花水月，反正我们没看过，你说什么便是什么咯。面对市面上流传的几个不同的版本细节忆想文字，不免也会揣度，“真的是这样吗？”
这是网易红版的一张旧帖，是我看过的“另版”文字比较详细具象的。回帖里还有非常宝贵的讨论，请大家细读。【http://bbs.ent.163.com/bbs/zhangguorong/1013.html】
我把原文也在这里贴一遍：
在那轻狂的岁月 反叛又何须理由 /Alan
很多时候，最爱的电影未必一定是第一次看已极喜爱的。假如要我数我最爱的五部或十部，「一见钟情」的也许就只有一部，那便是王家卫的《阿飞正传》（Days of Being Wild）。
[已遗失的软片？]
当年我在电影院看的版本，和现在影碟的版本其实有点不同。这是公映时曾经在某些场次出现过的片段，据说是监制要求加的，在影片的最前。独在城寨阁 楼斗室的梁朝伟，画外音说自从某次后便再没与他（旭仔）见面，与片末长镜遥相呼应。接上已卸去戎装、后来道破「阿飞神话」的刘德华的 MTV 式慢镜，配上梅艳芳的【是这样的】。轻烟缕缕（就是《花样年华》中周慕云吞云吐雾埋首工作时徐徐上升的烟），潮湿的就是记忆？暗淡、配合不同程度反差的布 光是影片的基调。手的特写，王家卫手的母题已显现，十几年后母题更成了主题。刀光的闪现划破黑暗，暗示了后来重重的杀机。
这个版本还有一个对称的结构：梁朝伟→刘德华→．．．→刘德华→．．．→刘德华→梁朝伟。在戏的中段**抚慰苏丽珍的伤痛，唤醒她迷失了的心。在戏的末段早已平复的苏丽珍要找**。**一角的重要性更清晰。
可是我觉得这段戏还是不要的好。首先，梁朝伟的镜头和独白制造了一个错误、无必要的悬念，观众在期待了解他与旭仔间的关系，到尾末才发觉他与旭仔 有什麼关系对本片的故事其实并不重要，反而更打断了尾末长镜的一气呵成－－阿飞出门前东摸摸西摸摸摸了好半天的长镜头。这个首尾呼应并无必要。而刘德华那 段更与全片不大配合，反而令人想起之前的《旺角卡门》。
电影的香港版预告片其实剪辑了这段戏的几个镜头。这条预告片还有给剪接谭家明否决了的，旭仔揍养母的菲律宾情人的偷格加印段落（否决亦因为与全片不大配合）。又有传闻，电影最后没用的软片，包括大量续集的片段，已早在仓底坏掉，或甚被邓光荣烧掉了。
一直以来，关于《阿飞》的版本传说不绝于耳。
对于大多数DVD观众来说，传说中的“午夜场版本”犹如镜花水月，反正我们没看过，你说什么便是什么咯。面对市面上流传的几个不同的版本细节忆想文字，不免也会揣度，“真的是这样吗？”
这是网易红版的一张旧帖，是我看过的“另版”文字比较详细具象的。回帖里还有非常宝贵的讨论，请大家细读。【http://bbs.ent.163.com/bbs/zhangguorong/1013.html】
我把原文也在这里贴一遍：
在那轻狂的岁月 反叛又何须理由 /Alan
很多时候，最爱的电影未必一定是第一次看已极喜爱的。假如要我数我最爱的五部或十部，「一见钟情」的也许就只有一部，那便是王家卫的《阿飞正传》（Days of Being Wild）。
[已遗失的软片？]
当年我在电影院看的版本，和现在影碟的版本其实有点不同。这是公映时曾经在某些场次出现过的片段，据说是监制要求加的，在影片的最前。独在城寨阁 楼斗室的梁朝伟，画外音说自从某次后便再没与他（旭仔）见面，与片末长镜遥相呼应。接上已卸去戎装、后来道破「阿飞神话」的刘德华的 MTV 式慢镜，配上梅艳芳的【是这样的】。轻烟缕缕（就是《花样年华》中周慕云吞云吐雾埋首工作时徐徐上升的烟），潮湿的就是记忆？暗淡、配合不同程度反差的布 光是影片的基调。手的特写，王家卫手的母题已显现，十几年后母题更成了主题。刀光的闪现划破黑暗，暗示了后来重重的杀机。
这个版本还有一个对称的结构：梁朝伟→刘德华→．．．→刘德华→．．．→刘德华→梁朝伟。在戏的中段**抚慰苏丽珍的伤痛，唤醒她迷失了的心。在戏的末段早已平复的苏丽珍要找**。**一角的重要性更清晰。
可是我觉得这段戏还是不要的好。首先，梁朝伟的镜头和独白制造了一个错误、无必要的悬念，观众在期待了解他与旭仔间的关系，到尾末才发觉他与旭仔 有什麼关系对本片的故事其实并不重要，反而更打断了尾末长镜的一气呵成－－阿飞出门前东摸摸西摸摸摸了好半天的长镜头。这个首尾呼应并无必要。而刘德华那 段更与全片不大配合，反而令人想起之前的《旺角卡门》。
电影的香港版预告片其实剪辑了这段戏的几个镜头。这条预告片还有给剪接谭家明否决了的，旭仔揍养母的菲律宾情人的偷格加印段落（否决亦因为与全片不大配合）。又有传闻，电影最后没用的软片，包括大量续集的片段，已早在仓底坏掉，或甚被邓光荣烧掉了。
其实在2008年，就有一位牛逼闪闪的电影研究者David Bordwell（此人来头不小，具体可维基可谷歌）在他的电影博客做出了对这个“另版”的图文解析。我不知道他是在什么情况之下看到了这个传说中的“另 版”并把其中的一些画面转换成了数码图片以及不厌其烦地分镜解析。之前看过的有关文字终于一格一格与电影画面对应起来。我们要怎样感谢这位米国老头呢。
原文：
Years of being obscure
http://www.davidbordwell.net/blog/2008/06/24/years-of-being-obscure/
作者：David Bordwell
翻译/校对：nico7e、翔如飞飞、爱你伟大
*以下内容未经允许谢绝转载。
1.
The Cannes screening of Ashes of Time Redux reminds us that Wong Kar-wai has been an incessant reviser of his work. Versions proliferate in different markets—one for Hong Kong, one for Taiwan, one for the international market—and he has sometimes promised online versions, or bonus DVD features. Buenos Aires Zero Degree (1999) by Kwan Pung-leung, provides tantalizing bits of scenes between Tony Leung Chiu-wai and Shirley Kwan. Yet it makes us wonder about the film we might have had if Wong had not decided to cut the whole plot strand out (after keeping Shirley in Argentina for several weeks).
《东邪西毒：终极版》在戛纳的亮相提醒我们，王家卫（以下简称“墨镜”）一直以来都在不断地对他的作品进行修复与修改。不同市场流传的版本数激增，香港， 台龘湾，国际市场各不相同——他曾经承诺过制作网络版，或者包含花絮的DVD版。关本良（导演）的《布宜诺斯艾利斯•摄氏零度》记录了梁朝伟和关淑怡在拍 摄期间的撩人花絮。因此我们也会遐想，如果墨镜打定主意不把全部故事剪得支离破碎，最终的作品会是什么模样。（为此还强留关淑怡在阿根廷好几个礼拜）
The Cannes screening of Ashes of Time Redux reminds us that Wong Kar-wai has been an incessant reviser of his work. Versions proliferate in different markets—one for Hong Kong, one for Taiwan, one for the international market—and he has sometimes promised online versions, or bonus DVD features. Buenos Aires Zero Degree (1999) by Kwan Pung-leung, provides tantalizing bits of scenes between Tony Leung Chiu-wai and Shirley Kwan. Yet it makes us wonder about the film we might have had if Wong had not decided to cut the whole plot strand out (after keeping Shirley in Argentina for several weeks).
《东邪西毒：终极版》在戛纳的亮相提醒我们，王家卫（以下简称“墨镜”）一直以来都在不断地对他的作品进行修复与修改。不同市场流传的版本数激增，香港， 台龘湾，国际市场各不相同——他曾经承诺过制作网络版，或者包含花絮的DVD版。关本良（导演）的《布宜诺斯艾利斯•摄氏零度》记录了梁朝伟和关淑怡在拍 摄期间的撩人花絮。因此我们也会遐想，如果墨镜打定主意不把全部故事剪得支离破碎，最终的作品会是什么模样。（为此还强留关淑怡在阿根廷好几个礼拜）
2.
We can add to the list Days of Being Wild (1990), Wong’s breakthrough movie. It’s been circulated for years in an international version, which is currently available on DVD. But some people people have recalled seeing a fugitive, somewhat hallucinatory cut of the film. Some time ago I examined that alternative, and I figured it’s worth showing what I saw. This rare version prefigures some aspects of Wong’s later style, particularly as seen in In the Mood for Love (2000). I don’t have solutions to all the puzzles it poses, but I’ve gathered some information. If you know something about this “obscure” version, feel free to write to me and I’ll append your comments to this entry.
同样的事情也发生在《阿飞正传》这部墨镜的突破性作品上。它的国际版已经流传多年，也就是我们现在能看到的 DVD版本。但传说有一些人曾回忆起看到过另一个隐秘的，给人以幻觉感的版本。前段时间我仔细看了这个传说中的“另一个版本”（以下简称“另版”），我觉 得值得分享一下。这个稀有的版本也预示了墨镜后期风格的某种方面，特别是如《花样年华》中所展现的。我没有参透这个版本带来的所有疑问，但获取到了不少信 息。如果你对这个个“隐晦”的版本有些许了解，请随时回复，我会在文后附上您的评论。
I need hardly add that there are spoilers galore here. In the images, differences in tonality and aspect ratio spring from my two sources, DVD and 35mm film (which itself fluctuates a little in aspect ratio from shot to shot).
【以下内容含大量剧透】截图的色调和宽高比有差异，片源分别来自DVD和35mm菲林（胶片高宽比随不同镜头会有小小变化）。
We can add to the list Days of Being Wild (1990), Wong’s breakthrough movie. It’s been circulated for years in an international version, which is currently available on DVD. But some people people have recalled seeing a fugitive, somewhat hallucinatory cut of the film. Some time ago I examined that alternative, and I figured it’s worth showing what I saw. This rare version prefigures some aspects of Wong’s later style, particularly as seen in In the Mood for Love (2000). I don’t have solutions to all the puzzles it poses, but I’ve gathered some information. If you know something about this “obscure” version, feel free to write to me and I’ll append your comments to this entry.
同样的事情也发生在《阿飞正传》这部墨镜的突破性作品上。它的国际版已经流传多年，也就是我们现在能看到的 DVD版本。但传说有一些人曾回忆起看到过另一个隐秘的，给人以幻觉感的版本。前段时间我仔细看了这个传说中的“另一个版本”（以下简称“另版”），我觉 得值得分享一下。这个稀有的版本也预示了墨镜后期风格的某种方面，特别是如《花样年华》中所展现的。我没有参透这个版本带来的所有疑问，但获取到了不少信 息。如果你对这个个“隐晦”的版本有些许了解，请随时回复，我会在文后附上您的评论。
I need hardly add that there are spoilers galore here. In the images, differences in tonality and aspect ratio spring from my two sources, DVD and 35mm film (which itself fluctuates a little in aspect ratio from shot to shot).
【以下内容含大量剧透】截图的色调和宽高比有差异，片源分别来自DVD和35mm菲林（胶片高宽比随不同镜头会有小小变化）。
5.
The very end/最后
The variations continue in the final shots. Both versions begin with the shot of Lulu striding to the camera in a telephoto framing, above. Now she’s in the Philippines.
影片的结尾部分也各有不同。两版相同之处，都以长镜开始。俯视的长焦镜头中露露大步走入 —— 此时她来到了菲律宾。
In the international version, this shot is followed by Lulu swanning into a bedroom, hanging up her dress, and saying to the landlady, “There’s someone I want to ask you about.”
在国际版中，紧接这个镜头之后，露露袅袅娜娜地进入一间卧室，挂起衣服，和房东说，“我想跟你打听个人。”
In the other version, we see her passing through a somewhat sleazy hotel lobby and asking for a spare room. As a result, it’s somewhat less clear that she’s pursuing Yuddy.
在“另版”中，我们看到她穿过凌乱的旅馆大堂，然后说要开一间房。所以，并没有明确说明她是否是在寻找旭仔。
The very end/最后
The variations continue in the final shots. Both versions begin with the shot of Lulu striding to the camera in a telephoto framing, above. Now she’s in the Philippines.
影片的结尾部分也各有不同。两版相同之处，都以长镜开始。俯视的长焦镜头中露露大步走入 —— 此时她来到了菲律宾。
In the international version, this shot is followed by Lulu swanning into a bedroom, hanging up her dress, and saying to the landlady, “There’s someone I want to ask you about.”
在国际版中，紧接这个镜头之后，露露袅袅娜娜地进入一间卧室，挂起衣服，和房东说，“我想跟你打听个人。”
In the other version, we see her passing through a somewhat sleazy hotel lobby and asking for a spare room. As a result, it’s somewhat less clear that she’s pursuing Yuddy.
在“另版”中，我们看到她穿过凌乱的旅馆大堂，然后说要开一间房。所以，并没有明确说明她是否是在寻找旭仔。
5.3
The rest of what follows corresponds in both versions. Lai-chen is seen reading a newspaper before closing the booth.
其余的镜头两个版本都一样。苏丽珍在关门之前看报纸。
Both versions likewise wind down with a shot of the phone booth, the one that Lai-chen and the cop had lingered beside, followed by a closer view of the interior. The phone is ringing.
两版都同样以苏丽珍和警龘察逗留过的电话亭的镜头开始，然后是内部的近景，接下来电话响起。
The first shot of the pair recalls, in its high-angle composition, the rainy night that the two met. (Wong’s characters are haunted by memory, but he forces us to use ours too.)
两人的第一镜头，俯拍，与两人雨夜邂逅时呼应（墨镜的电影角色总是被记忆困扰，不过要看懂的话，观众也要有好记性才行）
The rest of what follows corresponds in both versions. Lai-chen is seen reading a newspaper before closing the booth.
其余的镜头两个版本都一样。苏丽珍在关门之前看报纸。
Both versions likewise wind down with a shot of the phone booth, the one that Lai-chen and the cop had lingered beside, followed by a closer view of the interior. The phone is ringing.
两版都同样以苏丽珍和警龘察逗留过的电话亭的镜头开始，然后是内部的近景，接下来电话响起。
The first shot of the pair recalls, in its high-angle composition, the rainy night that the two met. (Wong’s characters are haunted by memory, but he forces us to use ours too.)
两人的第一镜头，俯拍，与两人雨夜邂逅时呼应（墨镜的电影角色总是被记忆困扰，不过要看懂的话，观众也要有好记性才行）
6.6
Now we get opposing lines of movement—up and to the right in the first chopper shot, horizontally to the left in this shot. The rhythmic bump is accented by the brevity of the shots (30 frames, 21 frames). At the end of this second shot, we can glimpse someone walking away in the dark background.
现在我们得到的相反的运行线路——第一个切刀镜头往上往右，第二个镜头横向左移。简洁的镜头（30帧，21帧）带来律动感。在第二个镜头结束时，我们可以瞥见在黑暗的背景中有人正在离去。
The cleaver shots are followed by a close-up of Andy walking along the corridor, much like those at the start of the sequence. The final shot shows him walking far away from us. This take seems to be a continuation of the earlier one, when he put out his hand against the left wall. It fades out as the song does.
刀的镜头过后，是刘德华沿着走廊走动，跟开始的镜头类似。最后镜头中他离我们远去。这好像是早先他向墙伸手的镜头的延续。镜头随音乐淡出。
After the fade-out of Andy walking down the corridor, the credits resume and the scene introducing Yuddy and Lai-chen begins the main plot.
刘德华走出走廊的镜头淡出后，重新显示字幕，旭仔和苏丽珍出现，开始电影的主要情节。
Now we get opposing lines of movement—up and to the right in the first chopper shot, horizontally to the left in this shot. The rhythmic bump is accented by the brevity of the shots (30 frames, 21 frames). At the end of this second shot, we can glimpse someone walking away in the dark background.
现在我们得到的相反的运行线路——第一个切刀镜头往上往右，第二个镜头横向左移。简洁的镜头（30帧，21帧）带来律动感。在第二个镜头结束时，我们可以瞥见在黑暗的背景中有人正在离去。
The cleaver shots are followed by a close-up of Andy walking along the corridor, much like those at the start of the sequence. The final shot shows him walking far away from us. This take seems to be a continuation of the earlier one, when he put out his hand against the left wall. It fades out as the song does.
刀的镜头过后，是刘德华沿着走廊走动，跟开始的镜头类似。最后镜头中他离我们远去。这好像是早先他向墙伸手的镜头的延续。镜头随音乐淡出。
After the fade-out of Andy walking down the corridor, the credits resume and the scene introducing Yuddy and Lai-chen begins the main plot.
刘德华走出走廊的镜头淡出后，重新显示字幕，旭仔和苏丽珍出现，开始电影的主要情节。
7.
Partial solutions, more mysteries/有限的答案，无穷的玄妙
Back in 2001, Shelly Kraicer, impresario of the Chinese Cinema List, wrote about having seen this version, and several people chimed in with their recollections and opinions. In 2004, I asked several Hong Kong friends about it. Filmmaker, critic, and educator Shu Kei, who has a long memory for Hong Kong film, replied:
早在2001年，"Chinese Cinema List"(http://www.chinesecinemas.org/)的经理Shelly Kraicer写到过就她曾经看到这个版本后，不少人均以其回忆和意见遥相呼应。在2004年，我问了几个香港朋友。电影制片人，评论家和教育家舒琪，（他）以其长久以来对香港电影的了解，如是回答：
I remember the footage you describe. If I’m right, this was the version WKW re-edited after the disastrous midnight premiere of the film, and it was the “official released version” for the regular shows in the following week.
您所描述的画面我有印象。如果我没记错的话，这是灾难性的午夜场首映后，王家卫重新编辑的版本，这个“官方发布的版本”，要在接下来的一周上映。
Days was released on 15 December 1990 and played until 27 December, so perhaps this was indeed the version that was seen in its Hong Kong run. In 2001 correspondence on Shelly’s list, Bérénice Reynaud, who saw the “pre-premiere version” of a print straight from the lab, was “positive” that the prologue material was not in that print.
1990年12月15日《阿飞正传》上画，12月27日下画，所以也许这真的是在香港上映的版本。在和Shelly在2001年的信函中，Bérénice Reynaud提到他看过直接从工作室剪辑出来的“预首映版本”，他确认序幕部分未在该版本中出现。
Partial solutions, more mysteries/有限的答案，无穷的玄妙
Back in 2001, Shelly Kraicer, impresario of the Chinese Cinema List, wrote about having seen this version, and several people chimed in with their recollections and opinions. In 2004, I asked several Hong Kong friends about it. Filmmaker, critic, and educator Shu Kei, who has a long memory for Hong Kong film, replied:
早在2001年，"Chinese Cinema List"(http://www.chinesecinemas.org/)的经理Shelly Kraicer写到过就她曾经看到这个版本后，不少人均以其回忆和意见遥相呼应。在2004年，我问了几个香港朋友。电影制片人，评论家和教育家舒琪，（他）以其长久以来对香港电影的了解，如是回答：
I remember the footage you describe. If I’m right, this was the version WKW re-edited after the disastrous midnight premiere of the film, and it was the “official released version” for the regular shows in the following week.
您所描述的画面我有印象。如果我没记错的话，这是灾难性的午夜场首映后，王家卫重新编辑的版本，这个“官方发布的版本”，要在接下来的一周上映。
Days was released on 15 December 1990 and played until 27 December, so perhaps this was indeed the version that was seen in its Hong Kong run. In 2001 correspondence on Shelly’s list, Bérénice Reynaud, who saw the “pre-premiere version” of a print straight from the lab, was “positive” that the prologue material was not in that print.
1990年12月15日《阿飞正传》上画，12月27日下画，所以也许这真的是在香港上映的版本。在和Shelly在2001年的信函中，Bérénice Reynaud提到他看过直接从工作室剪辑出来的“预首映版本”，他确认序幕部分未在该版本中出现。
8.
Earlier in June our blog discussed Grover Crisp’s visit to Madison, in which he argued that in an important sense every film exists in alternative versions. We simply have to accept that. It’s especially true of Hong Kong films, which are recut for circulation in many markets. And I like knowing that there’s an especially puzzling variant of Days of Being Wild—one that lets us imagine virtual narrative possibilities and adds to the appeal of this enigmatic movie. Nonetheless, I’d welcome more information about all this, especially from Wong Kar-wai himself.
早在六月我们的博客讨论Grover Crisp（Sony公司数码修复部的老大）访问Madison(University of Wisconsin–Madison Cinematheque)的事，他认为，在某种重要意义上讲，每部电影都存在着“另版”的形式。这是我们不得不接受的事实。尤其是香港电影，为了在不同 市场上流通的需要重新剪辑。我感到高兴的是，了解到《阿飞正传》还有一个如此费解的版本——让我们可以想象虚拟叙事的可能性，并且增加了这部神秘的电影的 吸引力。尽管如此，我欢迎更多有关这一切的信息，尤其是从王家卫本人。
Thanks to Alex Wong for translating the prologue’s voice-over narration for me.
最后，感谢Alex Wong翻译序幕的画外音。
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Earlier in June our blog discussed Grover Crisp’s visit to Madison, in which he argued that in an important sense every film exists in alternative versions. We simply have to accept that. It’s especially true of Hong Kong films, which are recut for circulation in many markets. And I like knowing that there’s an especially puzzling variant of Days of Being Wild—one that lets us imagine virtual narrative possibilities and adds to the appeal of this enigmatic movie. Nonetheless, I’d welcome more information about all this, especially from Wong Kar-wai himself.
早在六月我们的博客讨论Grover Crisp（Sony公司数码修复部的老大）访问Madison(University of Wisconsin–Madison Cinematheque)的事，他认为，在某种重要意义上讲，每部电影都存在着“另版”的形式。这是我们不得不接受的事实。尤其是香港电影，为了在不同 市场上流通的需要重新剪辑。我感到高兴的是，了解到《阿飞正传》还有一个如此费解的版本——让我们可以想象虚拟叙事的可能性，并且增加了这部神秘的电影的 吸引力。尽管如此，我欢迎更多有关这一切的信息，尤其是从王家卫本人。
Thanks to Alex Wong for translating the prologue’s voice-over narration for me.
最后，感谢Alex Wong翻译序幕的画外音。
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