可可西里
王书琪
一.导演、演员介绍
1. 导演
陆川,于1971年2月8日在新疆奎屯农七师131团出生,五岁时随父母迁入北京,在北京长大。1993年毕业于南京解放军国际关系学院,后随军入伍两年,于1995年考取北京电影学院导演系研究生,1998年毕业并获得硕士学位。早在军校时期,陆川就对电影十分感兴趣,编导、演出了一系列校园话剧,在军校的这种舞台训练对他日后的电影生涯很有帮助,使其“按照本性去拍片子”(林黎胜,孔苗苗,梁丽华,2005)。与其他第六代导演一样,陆川的电影也极具“文人气质”和“个人化视角”,其为数不多的几部电影多为自编自导,具有一种很强的“陆川风格”(黄丽群,2016;王名成,2020)。
2002年,陆川编剧、导演的处女作电影《寻枪》在电影界初露头角,该片入选威尼斯电影节竞赛单元,陆川本人也凭借此片获得“大学生电影节”最佳处女作导演奖等数十个奖项。本文介绍的《可可西里》是陆川编剧、导演的第二部作品,该片相较于《寻枪》更加“陆川化”,更能体现出他的艺术态度与内心思考(陆川,倪震,2004),该片也为陆川带来更多的荣誉和更大的关注度。在之后的十年间,陆川又编剧、导演了《南京南京》(2009年)《王的盛宴》(2011年)以及《九层妖塔》(2015年)。这些电影虽然收获了不错的票房成绩以及国际国内奖项,但是也颇具争议。正如上文所述,陆川电影过于注重表达个人情感,因此往往不被观众所理解,难以产生共鸣(黄丽群,2016)。在中国电影产业化转型期后,陆川也对商业类型电影进行了探索和实验,如《王的盛宴》和《九层妖塔》,但由于加入了过多个人生活经验和作者式构想而导致叙事紊乱,因此饱受观众非议。可以说,陆川像其他善于执导作者电影的导演一样,“近年来的商业转型之路走得并不顺畅”(潘万里,马睿,2016)。
2. 演员
《可可西里》的演员阵容由专业演员和非专业演员混编组成,其中非专业演员占80%(许琦,2005),有的是原来的巡山队员,有的是原来的盗猎分子,他们在演出中体现出了“令人不容怀疑的真实感”(倪震,陆川,2004)。在专业演员中,让人印象最深刻的是日泰的演员多布杰。他本身是藏族人,科班出身,毕业于上海戏剧学院表演系,是西藏自治区话剧团的国家一级演员,陆川评价其为“一个有鹰一样的眼睛,坚毅、粗犷的男子汉”(倪震,陆川,2004),多布杰也因为在《可可西里》里的出色表演荣获第41届台湾电影金马奖最佳男主角提名和第25届中国金鸡电影奖最佳男主角奖提名。
【参考文献】
[1] 百度百科.陆川(中国青年电影导演、编剧)[DB/OL].[2020-08-03].
[2] https://baike.baidu.com/item/陆川/35057?fr=aladdin
[3] 黄丽群.浪漫与诗意——论陆川电影的风格[J].电影新作,2016(06):66-70.
[4] 林黎胜;孔苗苗;梁丽华.体制中的作者——北京电影学院研究生毕业导演访谈系列之陆川访谈[J].北京电影学院学报,2005(01):76-83.
[5] 陆川,倪震.青春只有一次[J].当代电影,2004(06):23-26.
[6] 潘万里,马睿.双重转型的悖论性合谋——试分析姜文、陈凯歌、陆川的近期创作[J].当代文坛,2016(06):145-149.
[7] 王名成.陆川电影的作者意识[J].电影文学,2020(12):90-93.
[8] 许琦.真实的理想永远如此多情——电影《可可西里》的胶片诉说[J].电影新作,2005(01):13-15.
二.电影梗概
电影一开始,一声枪声打破了可可西里夜晚的宁静,巡山队员强巴在执行任务时被盗猎者杀害,北京报社紧急委派记者尕玉去青海采访。尕玉到达可可西里后,目睹了强巴的天葬仪式并找到了巡山队队长日泰准备采访。在一番交涉后,日泰答应让尕玉跟随巡山队深入可可西里,去抓捕盗猎者。当晚,八个队员、三辆车踏上了巡山的征程。他们首先在道路上设卡,查获了帮盗猎分子带藏羚羊绒的车辆,但他们只能没收羊绒,没有权利抓人,因此只好无奈地放他们走。第二天,他们来到不冻泉保护站,给独自守护在那里的阿旺送去一个月的伙食,他们在那儿载歌载舞,经历了短暂的放松和休息后继续踏上了追捕盗猎者的征程。第三天,他们来到卓乃湖,没有追上盗猎者,却只看到了湖边四百多具剥去皮毛的藏羚羊的尸骨。他们含着悲痛将藏羚羊尸骨火化、埋葬,并化悲愤为力量继续追赶盗猎者。
他们继续深入可可西里,环境也越来越险峻。第五天,他们在牦牛谷遭遇盗猎者的偷袭,一名队员中弹,好在他们根据车辙寻到了盗猎者的踪迹。第七天,他们在楚玛尔河旁边发现了盗猎者,为了追捕盗猎者,他们不畏严寒,脱掉裤子趟过冰冷的湖水,最终抓到了一部分盗猎分子,包括马占林及其三个儿子。通过逼问,他们找到了被藏起来的五百多张藏羚羊绒,而盗猎头目(即枪手)却再次漏网。第九天,由于看守队员的疏忽,逮捕到的盗猎者逃跑了,队员们不顾高原缺氧奋力追赶,虽然追上了盗猎者,但是达瓦却由于肺水肿倒下了。为了给达瓦看病,日泰不惜让刘栋去“卖皮子”凑钱,这让随行的记者很是困扰。
接下来的几天,他们面临着更加严峻的境况。由于食物短缺、汽油将尽,他们不得不放走抓到的盗猎者,让他们在高原中自生自灭。第十天,在布格达坂峰,一辆汽车抛锚,日泰让车上的洛桑等人在原地等刘栋回来补给。刘栋为了不让自己犯困,头发上悬着绳子开车,日夜兼程,在第十五天到达医院给达瓦看病,但在返程中不幸陷入流沙而死。洛桑他们再也等不来刘栋。更糟糕的是,日泰最担心的事还是发生了——下雪了,洛桑他们就这样相互搀扶着消失在风雪中。就这样,日子一天天过去,队员数量也在一天天减少。最后只剩下了记者和日泰队长两人。两人刚走出雪山便遇到了盗猎分子,他们大概十几个人,且人人有枪,日泰队长拒绝了盗猎头目的收买。在敌我力量如此悬殊的情况下,他仍然坚持让盗猎头子“把枪交上,人跟我走”,最后倒在了盗猎分子的枪下。尕玉在马占林的帮助下死里逃生,带回了日泰的遗体并进行了天葬。
三.相关获奖、报刊评价情况,颁奖辞和权威的获奖评价
1.相关获奖
·2004年:
第17届东京国际电影节评委会大奖。
第41届台湾金马电影奖最佳影片、最佳摄影奖获奖;最佳男主角、最佳导演奖、最佳原创剧本提名。
上海影评人“十佳影片”评选年度十佳影片奖。
新浪网评选最佳新锐导演奖。
·2005年:
第25届中国金鸡电影奖最佳故事片奖获奖;最佳导演奖、最佳编剧奖、最佳男主角奖、最佳摄影、最佳录音、最佳音乐提名。
第11届电影华表奖优秀故事片奖、优秀导演奖。
圣丹斯电影节世界电影剧情类大奖。
第12届大学生电影节最佳导演奖、评委会大奖。
第1届中国导演协会最佳年度青年导演奖。
美国第27届Mountain Film Festival 最佳故事片奖。
法国巴黎国际环境电影节大奖。
意大利佩扎罗电影节公众大奖。
加拿大Banff Mountain Film Festival 最佳故事片奖。
美国国家地理All Roads Film Festival 最佳影片和最佳影片公众奖。
印度KERALA 国际电影节最佳导演、公众大奖、评论大奖。
·2006年:
第25届香港电影节最佳亚洲电影奖。
2.相关评价
·正面评价
影片并没有用慷慨激昂的宣传台词向观众喊话,也没有用常见的宣传语气说“杀死藏羚羊剥皮的行为是无耻的”,而是通过一个个真实到令人窒息的画面和巡山队员朴实的话语,让观众自己感受到那种震撼的力量。
——《人民公安》
陆川的《可可西里》展示了一种国产片中从未有过的极度洗练、残酷的纪实美学风格,虽然这种风格在世界影坛并非罕见,比如在《可可西里》中经常出现突如其来的暴力和没有铺垫的死亡,这些在美国导演昆汀·塔伦蒂诺和日本导演北野武的电影中亦属常见,但与他们不同的是,《可可西里》的暴力彻底剔除黑色幽默成分,剩下的完全是冰冷和决绝。在可可西里严酷的生存环境里,这种描述方法表达了对生命的最大尊重。
——《京华时报》
·负面评价
《可可西里》这部影片为了突出人物的高大,环境描写不顾基本事实,把可可西里“险恶化”了。影片中,出现了冷湖,可冷湖与可可西里中间隔了一个柴达木盆地呢。冷湖与柴达木到处是沙漠,而可可西里没有沙漠。……可可西里和青藏高原被“险恶化”,是因为造英雄、树典型的需要。似乎哪里有英雄人物,哪里的自然环境就要被妖魔化。这是一种旧思路,《可可西里》电影不应沿袭这套路。
——《中国国家地理》
【参考文献】
[1] 百度百科.《可可西里》(中国2004年陆川执导电影)[DB/OL].[2020-08-03].https://baike.baidu.com/item/可可西里/5482299?fr=aladdin
[2] 蔡蔡.陆川简介及电影作品获奖情况[J].当代电影,2016(06):62.
[3] 京华时报.评论:电影《可可西里》该更收敛感情(图)[EB/OL].(2004-10-17)[2020-08-03].https://yule.sohu.com/20041017/n222530308.shtml
[4] 新浪网.《可可西里》被点名批评(组图)[EB/OL].(2005-03-08)[2020-08-03].http://news.sina.com.cn/c/2005-03-08/16365301655s.shtml
[5] 人民警察网-人民公安.可可西里信仰与力量[EB/OL].(2013-07-10)[2020-08-03].http://news.cpd.com.cn/n19016/n47141/c17776464/content.html
四.评论文献综述
电影《可可西里》是中国第六代导演陆川于2004年执导的影片,是陆川继《寻枪》之后的第二部力作,获得了艺术和商业上的双重成功(王莉丽,2005),甚至掀起了中国电影界的一次美学革命(林洪桐,2004;杨青,2013),是一部可以载入中国电影史册的作品(高力,2015)。该片改编自真实事件,通过记者尕玉的视角,讲述了巡山队员为保护可可西里的藏羚羊而浴血奋战甚至不惜牺牲的故事,用客观、冷峻、真实的镜头反思了人与自然的关系以及人类自身的存在,探讨了理想与信仰所赋予的生命的意义。
尽管陆川在采访中一再表示《可可西里》不是一部纯粹意义上的环保片,但我们仍能看到电影中处处流露的对生态环境保护的思考以及对人与自然关系的探讨(高圆,张琰,2014;王莉丽,2005)。该电影的拍摄初衷便是朴素的生态环境保护。陆川在看到故事的原型——“野牦牛”巡山队的新闻报道后,发出了这样的感慨,“在今天这样物质崇拜、商品价值衡量一切的社会里,还有人为了保护大自然、保护珍贵的动物而牺牲,不问代价地勇往直前,是多么令人惊叹”,该片的制作公司华谊兄弟公司的总裁王中军也是在应邀去可可西里访问并目睹了大自然横遭生态浩劫的情景后便提出了拍摄该片的想法(陆川,倪震,2004)。正是抓住了“环保”这个世界性主题,该影片被称为“是一部有世界良心的电影”(投资商评)(转引自李皓,2004),也正因如此,该片才走出了国门、走向国际,获得了世界性的共鸣。“可可西里”在藏语中是“美丽的青山,美丽的少女”的意思,她美丽又脆弱,猖獗的盗猎者让生活在其中的藏羚羊几近灭亡;同时她又险峻而莫测,无边的荒原、冰寒的湖水、肆虐的风雪以及吞人于无形的流沙,让生活在其中的人“随时都会死”(陆川语)。人一方面征服自然、主宰自然,另一方面又在自然的威力面前无能为力,人与自然的对立关系在该片中表现得淋漓尽致(李雪霞,2010),而以日泰为代表的巡山队则为人与自然如何和谐相处提供了答案。
正如陆川所言,《可可西里》“不但是一个环保题材,更是关于人本身的生存的”(林黎胜,孔苗苗,梁丽华,2005)。电影将对自然的敬畏之情转换为对生命的普遍尊重,升华出电影特有的“生命之美”(陈阳,2015),真实地展现了“赤裸的生命原生态”以及“人在绝境中的生存挣扎”(陆川语)(转引自林洪桐,2004)。可以说,该片本质上是一部关于生存与存在的电影(高力,2005;王敏,2006;张鹏,2008),探讨了“什么是真正的生存,什么是真正的生命”(陆川语)(转引自袁朝旭,2005)。在可可西里这样极端残酷的环境中,“活着”似乎成了最重要且唯一的目的,无论是盗猎者还是巡山队,他们都是靠可可西里生存,在这一点上,他们是相似的,只不过“一个是为了生存而保护环境,一个是为了生存而破坏环境”(陆川,倪震,2004)。在可可西里,人的生命是坚韧的,同时也是脆弱的。影片中的死亡往往突如其来又无声无息,比如刘栋,他为了给同伴送补给日夜兼程,没想到却突然陷入流沙之中,挣扎着越陷越深,最后流下了一滴绝望的泪水,淹没在漫漫黄沙中,没有留下任何痕迹。这长达一分多钟的镜头淋漓地“展现了人类在大自然面前是多么的渺小与无力”(高圆,张琰,2014),展现了“死亡的突然与生命的轻微”(张希,2005)。
通过展现人在困境中的挣扎与选择,该片也对价值观进行思考,探讨了理想与信仰对于生命的价值与意义(高圆,张琰,2014;杨青,2013)。正如陆川所言,这“是一个理想主义者在天地苍穹下殉道献身的行为,是一群真实的人在极度艰苦的环境里为信仰奉献的事迹”(陆川,倪震,2004)。在影片中,巡山队员们其实原本都有着各自的职业,刘栋曾经是出租车司机,伊西是青海师大的学生,阿旺之前当过兵……来自各行各业的他们为了同一个理想——保护藏羚羊、保护可可西里——聚在一起,义无反顾地深入无人区腹地,与盗猎者展开殊死搏斗。这种理想更像是一种虔诚的信仰,他们愿意为此付出一切,甚至是献出生命。日泰是这群理想者的代表,他坚毅、果敢、执着,即使补给不足、横遭暴雪、队员一个接一个死亡,也不停下追赶盗猎者头目的脚步。他最后的死亡更像是一个理想主义殉道者的结局(袁朝旭,2005),没有激烈的枪战,没有铺垫、渲染,甚至不知道是谁开的枪,就这么突如其来地倒地、颤抖、死亡,然后是一片长久的死寂。日泰的死并不是没有意义,正如片尾所呈现的,日泰的事迹经过尕玉的报道后引起了世界的关注,可可西里成立了国家自然保护区,藏羚羊的数量也从一万只回升至三万余只。可以说,巡山队员们是在信仰的支撑下,用生命换取生命,“在生命禁区里为生命而进行搏斗”(林洪桐,2004)。
《可可西里》是一部令人“震撼”的电影(高力,2005;林洪桐,2004;王敏,2006),这种震撼来自于其“有力量感的真实”(美国哲学家罗蒂评)(转引自刘燕芳,2008)。从故事选择到拍摄技法,从人物刻画到环境塑造,该片都“将真实生活与电影艺术完美地结合起来”(王莉丽,2005),使其具有了纪录片的真实感(高力,2005;杨青,2013;张希,2005),从而更容易打动人心。
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[2] 高力.纪录本性与影像生态——关于电影《可可西里》的话题[J].电影文学,2005(02):16-17.
[3] 高圆,张琰.解读《可可西里》中原生态美学[J].电影文学,2014(20):82-83.
[4] 李皓.情系可可西里——访著名青年导演陆川[J].柴达木开发研究,2004(01):27-28.
[5] 李雪霞.浅谈当代电影中的生态学观念[J].电影评介,2010(08):12+112.
[6] 林洪桐.“生命体验”之震撼传达[J].当代电影,2004(06):32-35.
[7] 刘燕芳.《可可西里》——真实影像系统的杰作[J].电影评介,2008(22):27-28.
[8] 陆川;倪震.青春只有一次[J].当代电影,2004(06):23-26.
[9] 王莉丽.《可可西里》彰显“生态电影”传播空间[J].北京电影学院学报,2005(01):72-75+105-106.
[10] 王敏.艺术、自然和人生——从电影《可可西里》谈开去[J].电影评介,2006(11):3-4.
[11] 杨青.电影《可可西里》的死亡叙事与人性张扬[J].电影文学,2013(22):78-79.
[12] 袁朝旭.生存的拷问与理想的追寻——陆川电影印象[J].电影文学,2005(06):18-19.
[13] 张鹏.生态文明的呼唤——《可可西里》的精神内蕴[J].电影文学,2008(06):53.
[14] 张希.被忽视和被重视的可可西里[J].电影艺术,2005(01):75-78.
五.跨文化知识点
1.藏族文化及信仰
藏族是一个极其注重信仰的民族。其主要的信仰体系包括藏族本地的民间宗教(即苯教)以及从印度和中原传来的佛教(石硕,2015)。这种信仰体系蕴含着朴素的生态伦理观点,使得藏族人民千百年来能够与自然和谐相处,客观上保护了青藏高原上脆弱的生态系统(桑吉扎西,2014;赵艳,2013)。藏族的民间宗教以“万物有灵”为内核,一山一水、一草一木都成了崇拜的对象(李晓丽,张冀震,2007);藏族的佛教也认为山水草木皆有情,不能随意砍伐破坏,主张“众生平等”,要善待动物(桑吉扎西,2014)。
正是由于这种信仰,“珍爱自然、保护家园成了藏族民众最朴素的思想和最单纯的行为”(李晓丽,张冀震,2007)。日泰等人不惜牺牲生命保护藏羚羊也是出于这种信仰。日泰在追捕盗猎者时不考虑金钱、名誉,他“只考虑可可西里”(电影台词),这是他全部的信仰与爱。正如日泰所言,“见过磕长头的人吗?他们的手和脸脏得很,可他们的心特别干净”,重信仰、轻物质是藏族的基本价值观和文化性格(石硕,2015)。这种信仰是一种高超的智慧,在全球生态危机的背景下,“这种古老的智慧也许真的会成为人类走出生态危机的重要途径,从而达到人类与自然的真正和谐”(赵艳,2013)。
【参考文献】
[1] 李晓丽,张冀震.藏族的原始信仰及其生态价值[J].西南民族大学学报(人文社科版),2007(05):52-54.
[2] 桑吉扎西.藏族宗教信仰与环境保护关系初探[J].青海师范大学学报(哲学社会科学版),2014,36(04):68-72.
[3] 石硕.如何认识藏族及其文化[J].西南民族大学学报(人文社科版),2015,36(12):22-32.
[4] 张鹏.生态文明的呼唤——《可可西里》的精神内蕴[J].电影文学,2008(06):53.
[5] 赵艳.青藏高原藏族民间宗教信仰生态伦理意识的思考[J].青海民族研究,2013,24(03):103-105.
2.可可西里自然保护区
可可西里位于青海省玉树藏族自治州西部,面积约4.5万平方公里,平均海拔高达4500米,对人类而言是极为荒凉的“生命禁地”,是世界第三大“无人区”。但就是在这样严峻的环境中,栖息着高原精灵藏羚羊、野牦牛、藏野驴等230多种野生动物。可可西里有大大小小湖泊不计其数,因此又被誉为“千湖之地”。除了生态价值外,可可西里还具有丰富的科考价值,就像电影中所说,“在这里,你留下的每个脚印都有可能是人类留下的第一个脚印”,可可西里对于科学家们展开地质、古地理、古生物等科学研究具有重要的价值。
电影《可可西里》中的故事发生在1993年,经过记者的报道,日泰的原型——索南达杰的死震惊了世界,1995年,国家批准建立了“可可西里省级自然保护区”,1997年又升格为“可可西里国家级自然保护区”,2017年7月7日正式列入《世界遗产名录》,成为中国第51处世界遗产。人们为了纪念英雄索南达杰,以其名字建立了“索南达杰保护站”,使他得以永远保护着他所热爱的这片土地以及在其中奔跑着的生灵。目前,可可西里已经十多年未闻盗猎枪声,其无与伦比的自然风光也吸引了国内外的游客,索南达杰保护站除了承担日常巡山任务之外,也成为游客们了解可可西里的一个窗口。
【参考文献】
[1] 百度百科.青海可可西里国家级自然保护区[DB/OL].[2020-07-30].
[2] 澎湃新闻.自然保护区:可可西里加强保护,十多年未闻盗猎枪声[EB/OL].(2020-07-30)[2020-07-30].
[3] https://www.thepaper.cn/newsDetail_forward_8504320
[4] 央视看点.大美中国——青海可可西里[EB/OL].[2020-07-30].
[5] http://tv.cctv.com/yskd/special/kkxl/index.shtml
六.讨论题
1.有人认为电影的最后主角日泰的死亡过于仓促,是电影的不足之处。你如何看待?
2.你如何理解日泰对记者说的这句话?“见过磕长头的人吗?他们的手和脸脏得很,可他们的心特别干净。我卖过皮子,可我没办法。”
3.电影中盗猎者的帮凶马占林的镜头很多,请结合具体情节,分析马占林的形象。
4.你还看过哪些生态环境保护主题的电影?请简要介绍一下并分析其与该片的异同。
Kekexili: Mountain Patrol:
In the Name of the Coming Generation
Ma Jia
Kekexili: Mountain Patrol (Kěkěxīlǐ可可西里,Chinese release: 2004;
US/Canada release: 2005),Directed by Lu Chuan 陆川
Kekexili: Mountain Patrol is one of the internationally acclaimed Chinese films in the first decade of the century. The film is still drawing attention from audiences today,namely the number of movie⁃goers,critics and scholars,who love the film,have kept growing. It tells a breath⁃taking tale about how unpaid mountain patrols organized by local Tibetans and Han people fight against cruel poachers who kill antelope for their pelts,in order to protect these treasured animals. The high prices and huge profits of woolen shawls made from antelope have created a black market driven byruthless law⁃breakers who capture and kill those innocent animals.Just in five years in the 1990s,the number of antelopedeclined dramatically from one million to 70,000.The director Lu Chuan is known to North American audiences since his debut The Missing Gun (Xun qiang 寻枪,2002),which was nominated for the Golden Trailer Awards in 2013. The Missing Gun is adapted from a novella and belongs to the genre of black humor; it therefore easily drew attention in North America. This second Lu Chuan film,Kekexili: Mountain Patrol,won the 2004 Special Jury Prize at the Tokyo festival,best picture of 2004 Golden Horse Film Awards,and best film of the Golden Rooster Awards,2005.
It is said that Kekexili: Mountain Patrol was inspired by the Chinese documentary Balance (Pingheng,2000),directed by Peng Hui. Peng spent three years capturing the struggle between people trying to protect the animals that live in the wildlife preserve from bands of poachers in the remote Qinghai⁃Tibetan region of Kekexili. Some critics have already noticed that the film Kekexili: Mountain Patrol's realistic and detached style which comes from the believable narratives and characters can be traced to the characteristics of documentary in Balance. Even with the indirect contributions from Balance,major film critics lauded Lu Chuan's unusual success and achievements as the screenwriter and director. Among those reviews,Asian cinema expert TonyRayns's article focuses on all aspects of Lu Chuan's tireless efforts and hard work to make the film succeed beyond expectation,from the detailed descriptions about how Lu Chuan and his team spent four months in sub⁃zero temperatures at 4,700 metres above sea level,and how Lu,by using his unique directing skill and techniques,depicted the characters and arranged the storylines. From Rayns's comprehensive,complimentary analysis of Lu Chuan's work,we can feel that the author must be familiar with the director and admire his creation. In 2010,when Lu Chuan's new film,City of Life and Death,was attacked by Shelly Kraicer,Rayns did not hesitate to defend Lu and assure the audience that Lu Chuan was a Chinese director with vision and humanity,who rethought the Nanjing Massacre profoundly,in clear contrast with his contemporaries (Rayns,2010). By the way,the second part of Rayns's article on Kekexili introduces the storyline in such precise detail that it is really worth reading it if you want to have a comprehensive summary of the film.
Astonishing and thrilling scenes—the endless,majestic wild plateau at the roof of the world,the bloody animals laughter,life⁃or⁃death fighting as well as the environmental disasters,realistic and touching story,the wide⁃screen travelling/handheld cinematography,non⁃professional actors etc.,all these artistic features of Kekexili: Mountain Patrol make it difficult to ascertain its genre—either the dramatic Western,thriller or docu⁃drama. Some critics prefer to treat it as a dramatic Western for two reasons: firstly,as a graduate from the Beijing Film Academy,Lu Chuan must have studied Hollywood films,particularly black humor and the dramatic Western; secondly,it is said that Lu Chuan's first version of the screenplay was favored by some Hollywood producers and investors. From this point of view,one critic wrote,“Or at least as close as we can possibly get: in widescreen tableaux of parched lands as punishing as anything in a John Ford western,characters are constantly dwarfed by their surroundings,as much as they try to gain supremacy over each other and their world” (Koresky,2006). Another critic added names of other famous directors of Western films,Leone and Erich von Stroheim because the scenes in Kekexili evoke their classic films ⁃“when two men,gasping for oxygen and spitting blood,chase each other until they drop” (Dargis,2006). John Ford shot his masterpiece ⁃a 1950 Western film Wagon Master,Sergio Leone was credited as the creator of the Spaghetti Western genre,while Erich von Stroheim was noted as a visionary director of the silent era. For any emerging excellent directors,they usually are good learners. It means in their works,we can always find something borrowed,and something new. Lu Chuan is no exception.
The heroic action and brave masculinity of the characters portrayed in the film reflect the characteristics of Tibetan culture and customs,which are distinctly different from those of other ethnic groups in China,particularly the Han Chinese. There is no doubt many westerners have been fascinated by Tibetan culture. Therefore,Lu's film provides western audiences a window to look into Tibetans' original unsophisticated lifestyle,their religion⁃dominated culture,as well as the stunning picturesque landscape where Tibetans have lived over thousands of years. That's the reason why the North American film critics pay so much attention to the leading Tibetan role of Ri Tai (played by Duobuji). They all agree that Ri Tai is a successfully depicted character in the film. Praises like “as he creates a naive audience surrogate to seemingly dig further into the inner workings of the group,led by the stoic,impenetrable,yet noticeably melancholy Ri Tai (the fierce and commanding Duobuji)” (from Indie Wire),and “Commanding every moment he's on screen,hard⁃faced Duobuji is outstanding as patrol leader Ritai.” (Edwards,2005),etc. In addition,the performance of the journalist Ga Yu and other supporting non⁃pro actors also wowed the critics and audiences.
Some other tech credits are given to the film such as director Lu Chun's well⁃rounded skill,the excellent results of employing CGI (computer⁃generated imagery)to create dust and snow storms,staggering use of widescreen,extensive music by mixing with the elements of local folksongs,as well asdateline captions,short vignettes of action rather than shaped scenes.
One of the distinct features of Kekexili: Mountain Patrol is its multiple themes,which include:
— Rescuing the endangered species in order to avoid environmental disaster
— Preservation of animals for the coming generations
— Balance between good human life and harmonious eco⁃system
— Wildlife trafficking and environmental crime
— Clash between good and evil
— Search for justice
— Life⁃and⁃death struggle
— Always ambiguous about the notions of barbarism and civilization
Because the film demonstrates how vulnerable the endangered antelope is and how concerning is this unfolding environmental catastrophe,some scientists and environmental activists are attracted by the film and praise it enthusiastically. For instance,the magazines National Geographic and The Ecologist both published reviews of the film. The short article about the film in National Geographic,actually a brief introduction to the film,emphasizes Lu Chuan and his crew members' great efforts to bear the harsh environment on the roof of the world to work on their project. Some crew members suffered from the altitude sickness (at an average altitude of 15,000 feet) too much to continue work. Even Lu Chuan himself was once rushed to hospital with serious altitude sickness. Promoting society's and the government's protection of the chiru (Tibetan antelope) eventually became their common mission. Mark Anslow concluded in his review of the film: “It is the film's great success to tell a tale of animal cruelty through a story of human courage and suffering” (Anslow,2006).
On the other hand,some critics have noticed that the film touched upon some most important global issues which raised audience concerns and discussion. For instance,regarding the issue “survival/preservation of animals and life of human beings”,one critic asked,“is preserving an endangered species worth the risk to human life? His [Lu Chuan] response is deeply ambivalent” (Crawford,2006). Such a response is accurate and reasonable because Kekexili is a drama⁃whether we call it docu⁃drama or thriller or the Western,and all the issues raised through the film largely depend on audiences' different sense and thoughts after watching it. From my point of view,such an issue can be extended to the questions: how to maintain the balance between good life of human beings and the friendly eco⁃system? In this case,there may be the further question raised by the film: Eventually who are the most condemned people: The wealthy ones who fall in love with the woolen shawl made from the fur of antelopes? Or the chain of markets which are formed with greedy international cooperation?
If we admit that Kekexili is a tale of protectors,victims and nature (wilderness),we would understand the constant tensions,twists and compromises among the three. Those protectors⁃members of the mountain patrol obviously are the bold soldiers and brave heroes,but in the occasion of death⁃or⁃life,they had to do something against their will or made a deal with their adversaries. The victims include not only the endangered antelope,but also the gang of pelt skinners driven by poverty,even the poachers who desired easy money by risking their life. We have also witnessed the great power of nature like in the case of the death of Liu Dong on day 15 when he got stuck in quicksand and died helplessly,let alone the harsh weather,and the extremely severe high altitude of the Tibetan plateau.
In a word,from a wider perspective,we will agree that Kekexili tells the story in the name of the coming generation because we human beings cannot live well into the future without a harmonious environment.
Discussion Questions
1.Lu Chuan is a smart and creative director who is good at using various tech/skills in his work. Provide your opinions about his artistic achievements in Kekexili: Mountain Patrol.
2.Kekexili: Mountain Patrol is regarded by some critics as the genre of thriller,because the film depicts not only the brutal combat between the mountain patrol and the poachers,but also the harsh and dangerous environment of the people involved. Which is the most shocking scene in the film?
3.As we can see there are multiple themes in the film. What do you think is the most important theme? Why?
4.The film unfolds over 17 days; later on,when the driver on the way back to catch up with his colleagues ⁃ the troupe of protectors,gets stuck in quicksand and dies helplessly. How do you feel about this tragic scene?
5.Kekexili: Mountain Patrol is catalogued as a type of docu⁃drama as mentioned in the article. There are other types of drama in film such as dark drama (dealing with intensely serious issues),satire (it involves humor,but the end result is typically sharp social commentary that is anything but funny). If you are a movie⁃goer,which drama do you like most?
6.Compared to The Missing Gun (2002) and City of Life and Death (2010),Kekexili: Mountain Patrol is much more popular among Western audience. Why?
References
1.Edwards,Russell. 2005. “Kekexili: Mountain Patrol” in Variety,Jan 10,2005). https://variety.com/2005/film/markets⁃festivals/kekexili⁃mountain⁃patrol⁃120052
8775/
2. Koresky,Michael; Crawford,James etc. 2006. “Animal Collective: Lu Chuan's Mountain Patrol: Kekexili” in Indiewire (April 17,2006). https://www.indiewire.com/2006/04/animal⁃collective⁃lu⁃chuans⁃mountain⁃patrol⁃kekexili⁃76832/
3. Dargis,Manohla. 2006. “A 'Mountain Patrol' Struggles to Save Antelopes From Poachers (and Fashionistas)” in The New York Times (April 14,2006). https://www.nytimes.com/2006/04/14/movies/a⁃mountain⁃patrol⁃struggles⁃to⁃save⁃ante
lopes⁃from⁃poachers⁃and.html
4. Rayns,Tony. 2006. “Mountain Patrol (Kekexili)” in Sight & Sound (October 2006,Vol. 16 Issue 10,70⁃72). Resource: York U library.
5.National Geographic Society,2006. “Review on Kkexili: Mountain Patrol” in National Geographic (Vol. 210,Issue 1). http://www.nationalgeographic.com
6. Anslow,Mark. 2006. “Kekexili Mountain Patrol” in The Ecologist (Nov 2006,Vol. 36 Issue 9,59).
7.Rayns,Tony. 2010. “Letter to the Editor” in Cinemascope (March 12,2010).