惊沙

         历史是真实的历史，事情也是好事情，可是就这么好的事情，拍得却是一塌糊涂，战争场面因为没有几句台词，也不要多少实在的演技，所以先暂且不谈。可是就有点空闲的时候，这些人物说的话怎么就一板一眼的不像那么回事呢？导演同志，你觉得当初在那种战场环境下的人是那么说话的么？那种不自然的台词，明显的雕琢痕迹，怎么就不能从中国电影里去除？就像某些记者一样，采访别人还要叫别人照着稿子念，那种出来的效果，是人看的么？当然记者的本意是对方不照着稿子念就没法见人，可是最后新闻见人是可以见人了，就是人不再见新闻了。你说你记者白白的浪费这么多精力干啥呢？

        当然，导演，你说，你白白的来糟蹋中国军人的历史干啥呢？

主不主旋律不论，主旋律也可能拍得好看的。但这一类片子（非大制作的主旋律片）往往存在“根本就算不上电影”的问题，此片即一典型。情节、台词、表演、摄影、剪辑，弱智到不行。根本就不能用影评的标准去评判它。我看的版本有中英对照字幕，英文还是比较讲究，不是翻译机翻的。难道这样的片子还指望海外发行？费这事弄英文字幕干嘛？

文 / 赤叶青枫
 
烟花三月，内地上映的主旋律题材的影片特别多。从《炫舞天鹅》到《幸存日》，从《站起来》到《歼十出击》，每一部的主题都健康向上，甚是和谐。而若说其中最令人倍感震撼的影片，则当属讲述红军西路军某段战斗历史的《惊沙》。
 
如果不去百度，有关红军西路军那一段历史，请问你知道多少？
 
那是一段被岁月尘封的悲壮往事，因种种原因，这些年甚少被人提起，其中细节，知者更是少之又少……而作为中国影史上第一部正面反映红军西路军战斗历史的影片，《惊沙》的问世及上映，虽未必有“一石激起千层浪”之效，但能让吾辈通过此片多少关注及了解一些相关历史，已是非常难得的了。
 
此片根据1937年初红军西路军“临泽突围”的真实史料改编，再现了前国防部长秦基伟将军当时如何艰苦卓绝的环境里和其他将领一同率领300人与7000人马家军殊死搏斗，最终成功突围的英勇壮举。
 
军事题材影片相信很多人或多或少都看过几部，但《惊沙》中所展现的临泽之战，应会是你我迄今为止在大荧幕上看到的最惨烈、最惊心动魄的国产主旋律战争片。
 
金戈铁马，血染黄沙；红颜饮弹，将士横刀……导演安战军为使得战争场面尽可能的真实，不做植入广告，不用明星大腕，不玩电脑特效，大胆采用写实手法拍摄，据说光TNT炸药就用了5吨，子弹打了十几万发，再加上众实力派演员全情投入、忘我演绎，故而视觉冲击力非常强。
 
当然，画面只是载体，最震撼人心的是我军将士视死如归、舍生取义的战斗精神。血腥战场之上，枪林弹雨之中，不是你死，就是我亡！故而面对凶残冷血的敌寇，为自己，为同袍，为胜利，别说一般的将士会舍身忘死地奋勇杀敌，伤兵齐和妇孺亦会拿枪上阵，贡献自己的一份力量。
 
所以期间有许多悲壮桥段看得人热血沸腾：被俘女护士原本柔弱如羔羊，但即将被强暴时，她奋起反抗，挥刀杀敌；为免受辱，秦基伟的干妹妹桂芳被敌人抓住之后，高声请求兄长杀了自己；桂芳的丈夫韩仕宏身受重伤之后，舍身炸地洞；秦基伟的同袍彭定山左倾思想严重，但危难关头，挺身而出，甘愿以牺牲自我为代价，掩护大部队撤离……
 
这些人物，无论主配，均个个形象鲜活，个性鲜明。他们的喜怒哀乐，他们的跌宕命运，会不时地触动人的痛觉神经，从而唏嘘不已。
 
“三六年，十月份，三大主力会师到会宁。一部分过河西呀，一部分留河东。十二月，天气寒，红军身上衣裳单。脚上血涟涟，肚子直叫唤。西路军是好汉呀，挥舞大刀把敌砍。敌人太多杀不完，敌人哪，杀不完……英勇不屈的红军哪，拉响了手榴弹！”影片快结束时，已是奄奄一息的彭定山一边唱着这歌，一边拉响了手榴弹。调是民歌小调，词却是非常形象的概括了红军西路军的悲壮经历。而真实的历史必定残酷血腥过电影及歌曲，如今历史真相已得以澄清，但愿昔日埋骨他乡的忠魂英灵能得以安息。

 The Victory Is By No Means Accidental
A review of the film JING SHA

By Veronica

The film Jing Sha was quite heart-shaking. It was adapted from an authentic historical event.The film describes the story of Red Army Western Expenditure, and portrays several distinctive characters. The battle between Kuomintang and the Red Army is stirring, and the stark contrast shown in this film is also shocking.
The whole film was structured on the basis of a stark contrast between the two forces.
Their attitude towards war was enormously different. At the beginning of the film, the head of Kuomintang army forced his soldiers to fight, using carrot and stick. He promised to give them whatever they want while executed the soldiers who defected or withdrew by shooting as a warning to others. For the soldiers in the Red Army, the situation was just the opposite. They wanted to stay at the warfront and fought until the last. They chose to stay even being forced to leave. When their lives were at stake, they put others’ interest first and cared little about themselves. The doctor put himself in danger saving the patients; the pregnant woman preferred to die fighting rather than leave. The wounded, the women, and even the children fought until the last moments of their lives.
Second, the contrast manifested in the combat equipments. The Kuomintang army used state-of-the-art combat equipments, and they ate well and drank well. But for the soldiers in the Red Army, they ate barks and grass roots. They didn’t even have enough guns and bullets. Bricks and stones were all their weapons. When all the munitions ran out, they pick ed up broadswords and fought hand-in-hand. It was the spirit that keep them fighting. Despite the harsh conditions, the Red Army resisted for over three days and finally broke out of the encirclement, showing their will and combat capability.
The film has successfully depicted several distinctive characters, among which Qin Jiwei impressed us most. His personality was quite full and complex.He was experienced in fighting and rich in war strategies. He showed his composure during the battles and made wise decisions about when to stay and when to leave. He also attended to others, and it killed him to shoot Guifang to death. He was fortunate enough to be the only one to survive and later became one of the generals who witnessed the victory of the Communist party and the foundation of the PRC. Guifang’s husband, Han, was warm-hearted and humorous. Peng was different from other soldiers. He appeared more like an intellectual, who was a little stubbon and conservative. But he recorded the combat with his pen and sacrificed his life. The song he sang shortly before death was really touching and heart-breaking.All the major characters had some characteristics in common: faithful to the army, brave and capable in fighting, and never be afraid of death.
This film is also impressive and worth praising because it successfully depicted several women characters. Gui fang is the most impressive one. She was courageous and capable. She fought against the enemy as men did, even when she was pregnant. As a woman, she regarded the interest of the army as more important than her own family. And the nurse was also bold. Confronting the brutal and savage enemy, she was weak and could do nothing except weeping. But she got the nerve to kill the enemy in fighting against the rape. Even a young girl showed her attendance of others and courage to fight and die. They all sacrificed themselves for the collective interests and more grandly, the ideal of liberation.
The film has its symbolic meaning. By telling the story of Qin Jiwei and other warriors who sacrificed their lives during the combats, the film indicates the difficulties and hardships of establishing a peaceful and prosperous country. While enjoying the life now, we should always remember those who shed blood to pave the way for a better tomorrow.
In terms of the technique of film expression, the three closes-up of Qin Jiwei impress me most. The first came after one wounded soldier said”the wounded are fighting forces in war”, and persuaded him to allow them to stay and fight. After taking a glimpse of all the wounded soldier, tears came into his eyes, and his facial expression was heartbreaking. The second came after he had no choice but to shoot Guifang in case she became the capture and was savagely abused. Tears was in his eyes and we sensed the deep sorrow and hatred in his heart. The last one came after the breaking out of the encirclement. After Pend left, he read the notebook on which the details of the combats had been clearly recorded, and he foresaw that they might never see each other again. Tears appeared in his eyes. He had lost almost all comrade-in-arms, but he knew that he should never surrender and must fight until the last minute of his life. The usage of closes-up focused on his facial expression and indicated his emotions, marking the progress of the story and functioning as symbols of each chapter. The structure was compact.The music was solemn and stirring. It created an atmosphere of combat and sacrifice.

西路军征战河西，太惨烈。想二十年前，我还去过高台，可惜年少不识愁滋味，不懂得西路军的历史，更不知道长征后的外祖父跟着徐向前的西路军就蹒跚在河西走廊，九死一生！

角色塑造和故事情节比刚看的《歼十出击》要好很多，但战斗场面的细节还是很有问题，烟火、特效、战术动作、子弹供应——其实开篇都说了，韩为了搞到两三千发子弹，不慎上了马匪的当，使几名红军牺牲，差点儿受处分，可见西路军的捉襟见肘。但是双方一开火，机动性极强的马家军也没携重武器，秦基伟部倒还有几挺重机枪，却到处是火药炸点。这是国产战争片的通病。

片尾歌功颂德意味太明显。不过，无数先烈的奋不顾身，太值得今天去倍加珍惜。

票价只十元。我几乎包场，这是最悲哀的。

片中插曲配乐是关峡的《轨道》，熟稔，激动。钢铁的意志钢铁汉，百战百胜美名传。

主题曲更动人。《化作星辰伴随着你》一出，默默泪流。

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昨天的风　昨天的雨

昨天血染的戈壁

今天的天　今天的地

今天高扬的国旗

不要说我已倒下

看不到黎明的晨曦

不要说我已离去

听不到胜利的乐曲

 

啊　我看到了　你已傲然站起

啊 我听到了　你在自由呼吸

 

来　来　来　来　来吧

来　来　来　来　来吧

我们集合　我们集合

我们集合　我们集合

去参加祖国生日的贺礼

 

来　来　来　来　来吧

来　来　来　来　来吧

我们出发　我们出发

我们出发　我们出发

铿锵的脚步　铿锵的脚步

铿锵的脚步　铿锵的脚步

惊天撼地　惊天撼地

 

昨天的风　昨天的雨

昨天血染的戈壁

今天的天　今天的地

今天高扬的国旗

亲爱的　我不会倒下

化作星辰伴随着你

亲爱的　我绝不离去

永远守卫你精神的高地

 

啊　我看到了　你正傲然崛起

啊　我听到了　你在长空搏击

 

来　来　来　来　来吧

来　来　来　来　来吧

我们集合　我们集合

我们集合　我们集合

铸成祖国刚健的躯体

 

来　来　来　来　来吧

来　来　来　来　来吧

我们出发　我们出发

我们出发　我们出发

像惊沙呼啸　像惊沙呼啸

像惊沙呼啸　像惊沙呼啸

狂飙万里　狂飙万里

  


 

惊沙记录了1937年中国红军西路军在甘肃林泽遭遇国民党马家军围剿的历史事实，在异常艰苦的条件下，由秦基伟领导的红军战士英勇作战，以沉重的牺牲最终实现部队的成功突围。
作为一部反映西路军悲壮历史的影片，《惊沙》触及了一个极好的题材。然而最后呈现在我们眼前的，却是一部彻头彻尾的主旋律电影。一个近乎完美的主角形象，一批英勇壮烈的革命烈士，一群一无是处的反派，以及极端严峻的困难被一次次奇迹般克服的情节设置，构成了这部影片的全部。
当然，《惊沙》并非一无是出，其在音乐的应用，画面的冲击力等方面都较以往的主旋律影片有所进步。但如果用更挑剔的眼光来看待这部影片，惊沙给人留下更深刻印象的还是它的几处硬伤。
首先是在制作上，不符合时代背景的机枪，松垮的绷带等镜头暴露了制作方在细节上的不用心。
演员的表演也让人感觉遗憾。徐僧扮演的秦基伟，让人感觉坚强地近乎死板，难以触及内心的情感表达。而韩仕宏在丧妻之后的那场哭戏也很难让人感到合格。 郑义斋的表演则是平庸地让人几乎感觉不到他的存在。
而最让人诟病的则是影片的编剧，人物过于脸谱化，好人好的一塌糊涂，反派则坏的彻彻底底。人物身中多枪依然能将炸药包成功投出等诸多违背现实的场景，都让观众缺乏真实感。而桂芳、彭定山等人的死也明显流露出导演刻意煽情的痕迹。
以上几点尚可以归结为技术上的不足聊以原谅，而影片的主题则是最让我个人感到不适的。影片导演试图通过再现70多年前的那场艰苦战役，表现秦基伟等英雄人物的高尚品质和丰功伟绩。
在这里，可憎的是那些围剿共产党的马家军，战争本身似乎并没有过错，相反，战争还成为了英雄展现魅力的舞台。
这部电影很容易让人联想到1990年的台湾电影《异域》，该片同样表现的是一支孤立无援的军队在极端恶劣的条件下屡次击退敌人的事迹，然而表达的却是强烈的反战情怀，充满了对于战争的控诉。
而本片却缺乏应有的人文关怀，战争的艰苦不过是突出英雄品质的一种工具，个人的牺牲成为一种理所当然，战争的正义性，牺牲的感人性得到放大。影片总是从拔高了的视角出发，关注的是更为整体的利益，而缺乏从更为具体的个人视角的解读，这也正是长期以来中国主旋律电影的通病。
尽管影片成功实现了对英雄人物的塑造，并赚取了部分人的眼泪，但显然这种错误的战争观、英雄观是不值得提倡的。因此，从这个角度上来说，这部影片作为中国主旋律电影的一个典型是失败的。