宋云峰

美國電影中有無數(shù)從不同角度反映戰(zhàn)爭的，尤其是導(dǎo)致美國成為超級(jí)大國的第二次世界大戰(zhàn)。2014年10月上映的《狂怒》（Fury）成為其中最新的一部，并取得了票房與評(píng)論俱佳的成績。本片由大衛(wèi)·阿耶（David Ayer）導(dǎo)演，布拉德·皮特（Brad Pitt）、什耶·拉博夫（Shia LeBeouf）和洛根·勒曼（Logan Lerman）等主演，反映二戰(zhàn)尾聲美軍坦克“狂怒”號(hào)五位成員的心路歷程。影片投資6，800萬美元，在全球收獲了2.11億美元的票房。人們普遍認(rèn)為比起其他類似題材的影片，這部基于導(dǎo)演家族老兵經(jīng)歷和柏爾頓·庫珀（Belton Y. Cooper）小說《死亡陷阱》（Death Traps）改編的二戰(zhàn)片對(duì)戰(zhàn)爭的殘酷和人物的刻畫更加貼近現(xiàn)實(shí)。

Fury is a 2014 American-British war film written and directed by David Ayer. The film stars Brad Pitt， Shia LaBeouf， Logan Lerman， Michael Pe?a， and Jon Bernthal. The film portrays US tank crews in Nazi Germany during the final days of World War II. Ayer was influenced by the service of veterans（退伍老兵）in his family and by reading books， such as Belton Y. Coopers Death Traps， about American armored（裝甲的）warfare in World War II. Ayer aimed for a greater degree of realism（現(xiàn)實(shí)主義） in the film than in other World War II dramas.

影片的成功之處是通過五位性格各異的坦克組員在戰(zhàn)爭中的經(jīng)歷來呈現(xiàn)戰(zhàn)爭的殘酷和現(xiàn)實(shí)性，以及對(duì)人性的考驗(yàn)和扭曲，所以觀感真實(shí)可信并給人啟迪。

坦克

《狂怒》的上映使觀眾中的坦克迷驚喜不已，因?yàn)橛捌褂昧硕?zhàn)中美國與德國當(dāng)時(shí)的兩款經(jīng)典主戰(zhàn)坦克，而非模型。首先，片名所指的是美國在二戰(zhàn)中使用最廣的主戰(zhàn)坦克謝爾曼M4型其中一輛的綽號(hào)，其特點(diǎn)是輕巧、可靠、易于大量制造，并曾租借給主要盟國英國和蘇聯(lián)，用于和德軍作戰(zhàn)。

The M4 Sherman， officially Medium Tank， M4， was the most numerous battle tank used by the United States and some other Western Allies in World War II. In spite of being surpassed by German medium and heavy tanks late in the war， the M4 Sherman proved to be very reliable， cheaper to produce and available in greater numbers. Thousands were distributed through the Lend-Lease（租借法）program to the British Commonwealth（英聯(lián)邦）and Soviet Union. The tank was named after the American Civil War General William Tecumseh Sherman by the British.

其次，導(dǎo)演說服了英國東南部多塞特郡（Dorset）博文頓（Bovington）坦克博物館將世界唯一還能正常運(yùn)轉(zhuǎn)的德國二戰(zhàn)主戰(zhàn)坦克虎式I型（Tiger I）出借給電影組，供影片拍攝使用。該款坦克自1946年以來從未在戰(zhàn)爭片中露面?；⑹絀型坦克由德國著名工程師波爾舍（保時(shí)捷汽車公司創(chuàng)始人與大眾汽車公司經(jīng)典甲殼蟲汽車的設(shè)計(jì)師）設(shè)計(jì)，優(yōu)點(diǎn)是結(jié)實(shí)耐打，缺點(diǎn)是笨重費(fèi)油，所以很快被虎式II型坦克取代，現(xiàn)存不多，彌足珍貴。

Tiger 131—the only operating Tiger I tank in the world—was lent by The Tank Museum for the film. It is the first time a genuine Tiger I tank was used in a contemporary war film since 1946； 131 was restored to running condition between 1990 and 2003， further work was only completed in 2012.

二戰(zhàn)

盡管影片的具體情節(jié)是虛構(gòu)的，但是《狂怒》所描繪的一些人物卻是基于真實(shí)史事的，例如綽號(hào)為“戰(zhàn)爭老爹”（Wardaddy）的美國坦克指揮員拉法葉特·普爾（Lafayette G. Pool）在諾曼底登陸之后到1944年底其坦克被摧毀之間共擊毀258輛德國坦克；而“炸彈”號(hào)謝爾曼坦克則從諾曼底登陸一直戰(zhàn)斗到二戰(zhàn)結(jié)束，這是參戰(zhàn)的加拿大部隊(duì)中唯一幸存下來的謝爾曼坦克。

While the plot of the film is fictional（虛構(gòu)的）， the depiction（描寫）of the tank Fury and its commander Wardaddy parallels（與……相似）the experience of several real Allied（同盟國的）tankers， such as the American tank commander Staff Sergeant（參謀軍士） Lafayette G. “Wardaddy” Pool who landed just after D-Day（諾曼底登陸日） and destroyed 258 enemy vehicles before his tank was knocked out（擊毀）in Germany in late 1944， and the small number of Sherman tanks to survive from the landing at D-Day to the end of the war， such as Bomb， a Sherman tank that landed at D-Day and survived into the bitter fighting in Germany at the wars end， the only Canadian Sherman tank to survive the fighting from D-Day to VE Day（歐洲勝利日）.

人性

美國二戰(zhàn)影片的主題無非是“美國拯救歐洲甚至世界”、“英雄主義”、“戰(zhàn)爭殘酷”以及“人道主義”（如《拯救大兵瑞恩》）等，但細(xì)致入微揭示戰(zhàn)爭中的人性在其他影片中稍顯不足，而在這方面，《狂怒》的貢獻(xiàn)則非常突出。影片通過幾場戰(zhàn)斗場景，從不同人物的角度具體而形象地揭示戰(zhàn)爭的殘酷和人性的扭曲，例如剛?cè)胛榈男卤Z曼（綽號(hào)為“機(jī)器”）被指揮員“戰(zhàn)爭老爹”逼迫手把手槍殺納粹軍官的震撼場景（第一次殺人）、被占區(qū)德國婦女為生存下去不得不忍氣吞聲接受美國士兵蹂躪的情景，德國城市被盟軍狂轟濫炸下的殘磚斷瓦以及被當(dāng)成叛徒當(dāng)街吊死的、拒絕參加抵抗的一具具普通市民的尸體。

當(dāng)然，影片也從另一個(gè)角度展示了人性的溫暖和光輝，例如“狂怒”坦克組的團(tuán)結(jié)互助和同生死共命運(yùn)的精神，“戰(zhàn)爭老爹”對(duì)新手諾曼“機(jī)器”的關(guān)心和引導(dǎo)，以及德國士兵面對(duì)“狂怒”坦克組唯一幸存者諾曼“機(jī)器”的仁慈放過?？傊ㄟ^細(xì)節(jié)來展示戰(zhàn)爭與人性之間的復(fù)雜關(guān)系是該片打動(dòng)觀眾的最主要原因。另外故事發(fā)展的戲劇性與邏輯性、對(duì)主要人物令人信服的刻畫（皮特、拉博夫、勒曼的演技），以及二戰(zhàn)場景與細(xì)節(jié)的真實(shí)性也為影片增色不少。

主演對(duì)人物性格及其演變的刻畫很到位得益于導(dǎo)演逼迫他們進(jìn)行的“真實(shí)體驗(yàn)”。影片開拍之前，阿耶要求演員們進(jìn)行了長達(dá)四個(gè)月的精心準(zhǔn)備工作，其中包括在海軍特種兵“海豹突擊隊(duì)”訓(xùn)練營長達(dá)一周的艱苦軍事訓(xùn)練。

Prior to filming， Ayer required the actors to undergo a four-month preparation process. This included a week-long boot camp（新兵訓(xùn)練營）run by Navy SEALs. Pitt stated， “It was set up to break us down（使意志瓦解、精神崩潰）， to keep us cold， to keep us exhausted， to make us miserable（痛苦的）， to keep us wet， make us eat cold food. And if our stuff wasnt together we had to pay for it with physical forfeits（處罰）. Were up at five in the morning， were doing night watches（守夜，夜巡）on the hour.”

影評(píng)摘選

通過以上分析，可以看出《狂怒》取得票房與評(píng)論雙豐收并不是偶然的。下面是一些媒體的評(píng)論摘選，尤其受到贊揚(yáng)的是：對(duì)戰(zhàn)爭殘酷的真實(shí)刻畫、導(dǎo)演的精妙手法、主演們的出色演技。

Ty Burr of The Boston Globe： “the battle-scarred（身經(jīng)百戰(zhàn)的）leader of a tank crew pushing through Germany toward Berlin， Brad Pitt creates a warrior（戰(zhàn)士）who is terse（簡練的）， sometimes noble（高尚的）， more often brutal（殘忍的）.” “a figure both monstrous（畸形的）and upstanding（正直的）. In one scene， he shoots a captured enemy officer in the back. A few scenes later， hes protecting two German women from being assaulted（強(qiáng)奸）by his own men.” “Fury gives us terrible glimpses： tank treads（坦克履帶）rolling over a body pancaked（碾平）into the mud， an elderly woman cutting meat off a dead horse， a woman in a wedding dress among a crowd of refugees（難民）.”

Newsdays Rafer Guzman admired director Ayer， who “does a good job of putting us inside the tank Fury”； with “all the extra blood and brutality， this is still a macho（大男子氣概的）and romanticized war movie”， and he singled out Pitt， who he said “serves honorably in the John Wayne（約翰·韋恩，美國經(jīng)典西部片明星）role”.

The Philadelphia Inquirers Steven Rea gave the film three out of four stars and praised， “Fury presents an unrelentingly（無情地）violent， visceral（粗俗的） depiction（描繪）of war， which is perhaps as it should be. Bayonets（刺刀）in the eye， bullets in the back， limbs（四肢）blown apart， corpses of humans and horses splayed （展開，張開）across muddy， incinerated（化為灰燼的）terrain.”

Chris Vognar wrote the review for The Dallas Morning News giving the film “B+” grade， in which he writes about “War” which he thinks is， “hell，” and also “relentless（殘酷的）， unsparing（不寬容的）， unsentimental（冷漠的） and violent to the mind， body and soul. Fury conveys（表達(dá)）these truths with brute force（暴力）and lean（簡潔的，犀利的）， precise drama.”

Todd McCarthy of The Hollywood Reporter simply said， “Fury is a good， solid World War II movie， nothing more and nothing less. Rugged（粗糙的）， macho， violent and with a story sufficiently unusual to grab and hold interest， its a modern version of the sort of movie Hollywood turned out practically every week back in the 1940s and 1950s.”

Rex Reed of The New York Observer said， “The actors are all good， Mr. Pitt moves even closer to iconic（偶像的）stardom（明星地位）， and young Mr. Lerman steals the picture as the camera lens through whose eyes and veins we share every dehumanizing（使失掉人性的）experience. Purists（純粹主義者） may squabble（爭論不休）， but if youre a history buff（歷史愛好者） or a pushover（易于征服或控制的人） for the sight of a man engulfed（淹沒在）in flames who shoots himself through the head before he burns to death， youll go away from Fury sated（充分滿足的）.”

Amy Nicholson of LA Weekly said， “This is an ugly part of an ugly war， and Ayer wallows（沉湎于）in it. Instead of flags and patriotism， Fury is about filth（污穢）： the basins of blood， the smears（污點(diǎn)）on the soldiers exhausted faces， the bodies pushed around by bulldozers（推土機(jī)）， a decomposing（分解的）corpse thats melted into the mud.”