电影诗人:费穆

A Cinematic Poet:FEI Mu

1948年费穆导演的黑白电影《小城之春》代表了中国电影从二十世纪二、三十年代传统的浪漫现实主义发展到心理现实探讨的现代电影层次,不但是当年中国电影的里程碑,更可以媲美1941年《大国民》在美国电影中的地位。电影以一个少妇(比兴中华之美)周旋于丈夫(东亚病夫)和旧情人(西医的入侵)的三角故事来进行中国电影美学上技巧与风格的探讨,建立一套以诗词赋比兴和戏曲美学为基础的民族电影手法,实在是非凡的成就。整部《小城之春》的场面、演出、对白和旁白都精彩百出,往往出人意表;剧本亦具有高度的文学价值,可说是石破天惊地建立了一套完整卓越的民族电影美学体系。

Spring in a Small Town directed by Mr. FEI Mu in 1948 represented the transit from the traditional romantic realism to the exploration of psychological reality in modem films that occurred in Chinese films between 1920s and 1930s. It was a milestone whose influence on Chinese films at that time can be compared to that of the Citizen Kane in 1941 on American films. Focusing on the love triangle of a young married woman （ She stands for Chinese beauty ） with her sick husband （ the stereotyped Chinese ） and her old flame （ He indicates the invasion of West medicine ） , the film explored the technique and style of Chinese cinematic aesthetics and gained outstanding achievements by establishing national cinematic techniques based on poetic metaphors and dramatic aesthetics. The scenes~ performance, dialogues and asides are all superbly marvelous and often unexpected. The script itself has high literary value that sets up a complete national cinematic aesthetics.