僭越的时代与民间的高贵——从《师父》与《门前宝地》看徐浩峰影片中的民国天津武林

An Age of Transcendence and the Nobility of the Folk:A View on the Martial-art Circle in Tianjin City during the Period of the Republic of China from XU Haofeng’s Films of Master and Men-qian-bao-di

《门前宝地》是徐浩峰的最新作品,是又一部描写民国武行的电影,与前作《师父》一起讲述了20世纪20-30年代,天津武行的变迁与衰落,力图还原一个民国背景下,真实的社会状况、武林行业图景和武行人物关系,借用人类学田野调查的方法,用虚构的故事拍摄业已消失的武行生态。影片叙事中铺陈了诸多武行典故,武打设计以拳理作为着眼点,通过对拳脚招数的纪实性呈现和令人耳目一新角色塑造,以及细腻深沉的情感刻画,呈现了一种独属于民国武林的阶层的品格与民间的高贵。

XU Haofeng’s latest work Men-qian-bao-di is another film depicting the circles of martial arts in the Republic of China. Together with his previous work Master, it narrates the changes and declines of the martial-art circles in Tianjin city during the 1920 s-30 s, attempting to represent the social reality, the landscape of martial arts and the relationship between the characters of martial arts in context of the Republic of China. It adopts the method of anthropological fieldwork to shoot the vanished martial-art ecology with fictional stories. The film narrates many classic stories in the circles of martial arts and focuses on boxing theory in the martial arts design. With a documentary representation of the boxing moves, the refreshing characterization, and the exquisite and profound emotional portrayal, the film presents a noble quality that is unique to the class of martial arts in the Republic of China.