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Netflix新片《誓血五人组》上线, 聚焦黑人士兵的遭遇

Netflix新片《誓血五人组》上线, 聚焦黑人士兵的遭遇

Radhika Marya 2020年06月27日
这部电影讲述了四名黑人退伍军人重返越南,寻找阵亡战友遗骸和宝藏的故事。

在乔纳森·梅杰斯看来,和斯派克·李合作《誓血五人组》(Da 5 Bloods)堪比经历了一段军人生活,也像是加入了专业的运动队。他说,电影制作人“会激励你成为最好的演员,同时他也是一名教练,会不断挑战你,让你在表演中爆发最大的运动潜能”。

这部电影讲述了四名黑人退伍军人重返越南,寻找阵亡战友遗骸和宝藏的故事,6月19日在流媒体Netflix首播。德尔罗伊·林多扮演一位患有创伤后应激障碍、支持唐纳德·特朗普的退伍军人,他的儿子大卫也与老兵们一起踏上了征途,剧中由梅杰斯饰演。在为角色做准备的过程中,演员们涉猎了包括越南战争、“战术枪械演练”在内的大量资料。

“我饰演的角色大卫并没有亲历战争,他去那里的目的也和其他人不同。”梅杰斯说。“斯派克就像学者一样,让我参与了所有的训练。”

在接受《财富》杂志采访时,梅杰斯谈到了自己的角色,以及这部电影是如何聚焦黑人士兵经历的——《现代启示录》(Apocalypse Now)和《野战排》(Platoon)等越战电影都没有采用这种手法。为简明起见,以下采访内容有所精简。

斯派克·李协助演员为角色做了哪些准备工作

我们把一本名为《血》(Bloods)的越战退伍军人回忆录奉为理解历史背景的圣经。这本书刻画了黑人越战退伍军人的经历和所处的时代,因此是我们的必读书目。导演还邀请了许多退伍军人来到泰国和越南(影片拍摄地)与我们直接交流,我不知道(导演)是怎么做到这一切的。如此一来,我们不仅能从书中获得一对一的叙事,还能听到这些老兵亲身讲述自己的故事。除此之外,我们还学习了黑人打招呼的方式。

你有时会看到,有人在街头跑步遇见朋友或死党时,通常会用相互击掌或别的方式问好——这种文化其实源自越南战争中的黑人退伍军人,它不仅是一种互道“你好”的形式,也可以由此推断对方来自何方。你在戏里就能看到这些问候方式。我们学习了六种动作,其中有一些是越南老兵曾经用过的,经过重新编排后得以在电影里重现,看上去都很酷。此外,我们还接受了一些高于基本要求的训练——比如包含动作序列的战术枪械演练。我们学以致用,在拍摄时用上了货真价实的防御动作。

《誓血五人组》剧照:(从左至右)梅尔文(小伊塞亚·维特洛克饰)、艾迪(诺姆·刘易斯饰)、欧迪斯(克拉克·彼得斯饰)、保罗(德尔罗伊·林多饰)和乔纳森·梅杰斯。

图片来源:David Lee—Netflix

关于学习越战历史中不为人知的部分

过往的影片没有把战争和非裔美国人的故事结合在一起,我们也在很大程度上已经远离了这段历史。我本身是退伍军人的后代,所以对此有一定的体会。但其实退伍军人并不喜欢和别人谈起国外的狼狈遭遇,甚至对自己的儿孙也是如此,这一点还蛮常见的。所以,我从拍摄中获得了双重感悟:一是越南战争就仅仅是我们口中的越战吗?还是那只是我们给它起的名字而已。老兵们称其为美国战争,因为当时在国内也爆发了冲突。

我现在还搞清楚了另一点,那就是这帮兄弟其实经历了两场战争。在父权制社会的背景下,系统性的种族背叛和不公义现象十分猖獗。他们当中有很多人都背井离乡——我的祖父离开了得克萨斯,因为他当时没有工作可做。而不止是他,他的三个兄弟也都在越战期间加入了军队。历史书不会提到这种挣扎,也不会教授黑人士兵文化。越战期间,黑人士兵常去当地的灵魂巷相聚,而国内的黑人运动正如火如荼,黑人力量逐渐壮大,呼声甚至传到了战场前方。有的黑人士兵用不惯某种剃须刀刮胡子,因为非裔美国人的肤质不同,会感到不舒服——军队发的剃须刀会刮伤皮肤。所以,你会发现有的军人留着胡子,因为他们不希望自己的脸被刮破。但你从历史书或电影中看不到这些,《现代启示录》里没有描绘这一幕,《野战排》也没有,那些电影推崇的是脚踏战靴的约翰·韦恩式的硬汉人物。

关于饰演大卫这个角色

我知道,他不得不背负一些东西。他来自莫尔豪斯学院(一所传统上招收黑人的美国私立男子文理学院——译注),其校训是“拥抱光明”。那是一个比喻,用富有诗意的方式在说,“是的,这个人来自这里,他以自己从莫尔豪斯毕业为傲。”他是一名田径队员,所以我在身体动作方面都要揣摩他的特点;他还是一名老师,对他来说,任何形式的教学方法都非常重要。但我认为,他和父亲之间的互动才是至关重要的部分。

关于剧中复杂的父子关系

这是一个关于父子的故事,儿子一直都很难理解父亲,但很爱他。实际上,正因为两个男人都关心彼此,才形成了紧张不安的父子关系。在现实生活中,很多人都不知道如何去爱一个人,每个人表达爱的方式也不尽相同。在剧中,两人之间长久以来都存有隔阂,儿子认为“我想得到父亲的爱,想成为他的模范儿子”。我的父亲是一名军人,我也想做最好的军人,希望像他们一样聪明、强壮、忠诚和有道德感,但因为(这个角色的父亲)支持特朗普,所以面临了诸多挑战……儿子大卫并不赞同父亲的立场,因此两人的关系矛盾重重,但他一心都想追寻父爱。我(角色)的使命就是:获得父爱,让他为我感到自豪。在这个过程中,你能看到很多相关的情节。

斯派克·李、克拉克·彼得斯、德尔罗伊·林多、乔纳森·梅杰斯和诺姆·刘易斯在《誓血五人组》片场。

图片来源:David Lee—Netflix

关于电影上映的时机

嗯,我想说的是,现在正发生的(反种族主义和警察暴行的抗议活动)未必算得上激进。

这是世上最自然的事。试想,如果你把生物关进笼子会怎么样?更不用说是人了,对不对?世间万物都有心灵、有家庭、有需求、欲望和梦想,一旦把它们关进笼子里,或是禁锢一个人、一种文化和种族,随着时间推移,那个人、那个种族和群体必定会起身反抗。

身为一位电影制作人,斯派克·李做的事情是再自然不过的,他展现了故事的另一面。我们现在上街也表达了对父权制社会的不满,发出了大多数人的声音,体现出美国的另一面。因此,这部电影在此时此刻横空出世,对于我来说——无论秉持哪种信仰,相信哪个人——都像是一个非常明确且不可否认的征兆,预示着事已至此,一切都该停止了。这部电影是这场运动的一部分,也是抗议活动的一部分。我指的是,这部电影揭露了不公义的事,反映了缺乏公平的现实社会:某些人从1619年开始就制订了不公平的游戏规则,而现在终于多行不义必自毙。仅此而已,就是这么简单。

我很高兴看到这部电影在此时上映。它增加了双方的对话,也具有教育意义。

关于观众的反应,以及如何看待影片在Netflix上线

观众喜欢这部电影。在此我想分享一件轶事:我在得克萨斯州长大,22岁才观看了人生中第一场百老汇演出。我从小到大都买不起百老汇的门票,还是花奖学金才买到了票。放在流媒体这里,也有同样的问题。(对于某些人而言),电影票可能很贵。如果有的人不幸生病、破产,就只能把钱花在其他事情上——如果这部电影没有在Netflix上线,他们或许就难以有机会看到它。所以对我来说,这种上映方式也是一种关心他人福祉的善举,体现了造福所有群体的真谛。(财富中文网)

译者:Shog

在乔纳森·梅杰斯看来,和斯派克·李合作《誓血五人组》(Da 5 Bloods)堪比经历了一段军人生活,也像是加入了专业的运动队。他说,电影制作人“会激励你成为最好的演员,同时他也是一名教练,会不断挑战你,让你在表演中爆发最大的运动潜能”。

这部电影讲述了四名黑人退伍军人重返越南,寻找阵亡战友遗骸和宝藏的故事,6月19日在流媒体Netflix首播。德尔罗伊·林多扮演一位患有创伤后应激障碍、支持唐纳德·特朗普的退伍军人,他的儿子大卫也与老兵们一起踏上了征途,剧中由梅杰斯饰演。在为角色做准备的过程中,演员们涉猎了包括越南战争、“战术枪械演练”在内的大量资料。

“我饰演的角色大卫并没有亲历战争,他去那里的目的也和其他人不同。”梅杰斯说。“斯派克就像学者一样,让我参与了所有的训练。”

在接受《财富》杂志采访时,梅杰斯谈到了自己的角色,以及这部电影是如何聚焦黑人士兵经历的——《现代启示录》(Apocalypse Now)和《野战排》(Platoon)等越战电影都没有采用这种手法。为简明起见,以下采访内容有所精简。

斯派克·李协助演员为角色做了哪些准备工作

我们把一本名为《血》(Bloods)的越战退伍军人回忆录奉为理解历史背景的圣经。这本书刻画了黑人越战退伍军人的经历和所处的时代,因此是我们的必读书目。导演还邀请了许多退伍军人来到泰国和越南(影片拍摄地)与我们直接交流,我不知道(导演)是怎么做到这一切的。如此一来,我们不仅能从书中获得一对一的叙事,还能听到这些老兵亲身讲述自己的故事。除此之外,我们还学习了黑人打招呼的方式。

你有时会看到,有人在街头跑步遇见朋友或死党时,通常会用相互击掌或别的方式问好——这种文化其实源自越南战争中的黑人退伍军人,它不仅是一种互道“你好”的形式,也可以由此推断对方来自何方。你在戏里就能看到这些问候方式。我们学习了六种动作,其中有一些是越南老兵曾经用过的,经过重新编排后得以在电影里重现,看上去都很酷。此外,我们还接受了一些高于基本要求的训练——比如包含动作序列的战术枪械演练。我们学以致用,在拍摄时用上了货真价实的防御动作。

关于学习越战历史中不为人知的部分

过往的影片没有把战争和非裔美国人的故事结合在一起,我们也在很大程度上已经远离了这段历史。我本身是退伍军人的后代,所以对此有一定的体会。但其实退伍军人并不喜欢和别人谈起国外的狼狈遭遇,甚至对自己的儿孙也是如此,这一点还蛮常见的。所以,我从拍摄中获得了双重感悟:一是越南战争就仅仅是我们口中的越战吗?还是那只是我们给它起的名字而已。老兵们称其为美国战争,因为当时在国内也爆发了冲突。

我现在还搞清楚了另一点,那就是这帮兄弟其实经历了两场战争。在父权制社会的背景下,系统性的种族背叛和不公义现象十分猖獗。他们当中有很多人都背井离乡——我的祖父离开了得克萨斯,因为他当时没有工作可做。而不止是他,他的三个兄弟也都在越战期间加入了军队。历史书不会提到这种挣扎,也不会教授黑人士兵文化。越战期间,黑人士兵常去当地的灵魂巷相聚,而国内的黑人运动正如火如荼,黑人力量逐渐壮大,呼声甚至传到了战场前方。有的黑人士兵用不惯某种剃须刀刮胡子,因为非裔美国人的肤质不同,会感到不舒服——军队发的剃须刀会刮伤皮肤。所以,你会发现有的军人留着胡子,因为他们不希望自己的脸被刮破。但你从历史书或电影中看不到这些,《现代启示录》里没有描绘这一幕,《野战排》也没有,那些电影推崇的是脚踏战靴的约翰·韦恩式的硬汉人物。

关于饰演大卫这个角色

我知道,他不得不背负一些东西。他来自莫尔豪斯学院(一所传统上招收黑人的美国私立男子文理学院——译注),其校训是“拥抱光明”。那是一个比喻,用富有诗意的方式在说,“是的,这个人来自这里,他以自己从莫尔豪斯毕业为傲。”他是一名田径队员,所以我在身体动作方面都要揣摩他的特点;他还是一名老师,对他来说,任何形式的教学方法都非常重要。但我认为,他和父亲之间的互动才是至关重要的部分。

关于剧中复杂的父子关系

这是一个关于父子的故事,儿子一直都很难理解父亲,但很爱他。实际上,正因为两个男人都关心彼此,才形成了紧张不安的父子关系。在现实生活中,很多人都不知道如何去爱一个人,每个人表达爱的方式也不尽相同。在剧中,两人之间长久以来都存有隔阂,儿子认为“我想得到父亲的爱,想成为他的模范儿子”。我的父亲是一名军人,我也想做最好的军人,希望像他们一样聪明、强壮、忠诚和有道德感,但因为(这个角色的父亲)支持特朗普,所以面临了诸多挑战……儿子大卫并不赞同父亲的立场,因此两人的关系矛盾重重,但他一心都想追寻父爱。我(角色)的使命就是:获得父爱,让他为我感到自豪。在这个过程中,你能看到很多相关的情节。

关于电影上映的时机

嗯,我想说的是,现在正发生的(反种族主义和警察暴行的抗议活动)未必算得上激进。

这是世上最自然的事。试想,如果你把生物关进笼子会怎么样?更不用说是人了,对不对?世间万物都有心灵、有家庭、有需求、欲望和梦想,一旦把它们关进笼子里,或是禁锢一个人、一种文化和种族,随着时间推移,那个人、那个种族和群体必定会起身反抗。

身为一位电影制作人,斯派克·李做的事情是再自然不过的,他展现了故事的另一面。我们现在上街也表达了对父权制社会的不满,发出了大多数人的声音,体现出美国的另一面。因此,这部电影在此时此刻横空出世,对于我来说——无论秉持哪种信仰,相信哪个人——都像是一个非常明确且不可否认的征兆,预示着事已至此,一切都该停止了。这部电影是这场运动的一部分,也是抗议活动的一部分。我指的是,这部电影揭露了不公义的事,反映了缺乏公平的现实社会:某些人从1619年开始就制订了不公平的游戏规则,而现在终于多行不义必自毙。仅此而已,就是这么简单。

我很高兴看到这部电影在此时上映。它增加了双方的对话,也具有教育意义。

关于观众的反应,以及如何看待影片在Netflix上线

观众喜欢这部电影。在此我想分享一件轶事:我在得克萨斯州长大,22岁才观看了人生中第一场百老汇演出。我从小到大都买不起百老汇的门票,还是花奖学金才买到了票。放在流媒体这里,也有同样的问题。(对于某些人而言),电影票可能很贵。如果有的人不幸生病、破产,就只能把钱花在其他事情上——如果这部电影没有在Netflix上线,他们或许就难以有机会看到它。所以对我来说,这种上映方式也是一种关心他人福祉的善举,体现了造福所有群体的真谛。(财富中文网)

译者:Shog

Jonathan Majors compares working with Spike Lee on Da 5 Bloods to being in the military—and to being on a professional sports team. The filmmaker “inspires you to be your best artist,” the actor says. “He’s such a coach, too, that he challenges you to be the most athletic you can be in your craft.”

The film, which started streaming on Netflix June 19, focuses on four black veterans as they return to Vietnam in search of a fallen comrade’s remains as well as buried treasure. They’re joined by David (Majors), the son of a PTSD-afflicted, Donald Trump–supporting veteran (Delroy Lindo). Preparing for the role involved everything from reading up on the Vietnam War to “tactical gun drills.”

“David, my character—he doesn’t do any of that, right? He’s not there for that,” Majors says. “Spike, the scholar that he is, had me do all the training.”

Majors spoke to Fortune about his role in the film, as well as how it highlights the experience of black soldiers in a way that Vietnam War movies like Apocalypse Now and Platoon did not. What follows are his words, lightly edited and condensed for clarity.

How Spike Lee prepared the cast for their roles

The bible for us was a book called Bloods, and Bloods is a collection of memoirs from Vietnam War vets—particularly and singularly black Vietnam War vets—and it talks about their time. So that was essential reading. I don’t know how [Lee] did it, but he got a lot of war veterans to come to [shooting locations in] Thailand, where we were, or Vietnam—and speak to us directly. So we didn’t only get a one-on-one account from the books—we got an in-person personal recounting of what that experience was like for those fellas. In addition to that, there was the dapping.

You’re running down a street, you see a friend, you see a homie—you high-five or whatever you do—a great deal of that culture originated in the Vietnam War among the black vets. And the dap was a way of saying, “Hello, how are you,” and also a way of establishing where you’re from. And so there would be a dap. Among the guys in the cast, we had multiple daps—we learned six daps. And some of these daps they did in Vietnam at that time. We re-created those and pushed those into the lifeblood of the film. That was really cool. In addition to that, we did a little more than basic training—tactical gun drills to work on the action sequences. We learned it practically, then we applied the actual blocking and camera movements.

Learning untold aspects of Vietnam War history

The story of war and the story of African-Americans does not go hand in hand. We have been divorced from that narrative a great deal. I’ve been blessed to be a son and grandson of war vets, so I have a certain understanding about what that is, but it’s not uncommon knowledge that war vets don’t like to talk about the shit that happened overseas, even to their grandsons, even to their sons. So what I learned a great deal is twofold: One was that the Vietnam War is just what we call it, right? That’s just our naming of it. There, they call it the American War—and in the American War, all this happened.

Now the other part that became very clear to me is that the brothers that were in this war were fighting two wars, right? The patriarchy is the patriarchy, and racial systematic betrayal and injustice are rampant. A lot of them left—my grandfather left Texas because at that time, there was nothing else for him to do. So not only him, but his, I believe, three brothers, all went into the armed forces—all joined the Army around the time of the Vietnam War. That struggle is not taught in history books. The other thing that’s not taught in history books is the culture of what it was to be a black soldier. There’s a place called Soul Alley where all the brothers hung out, and those in the black movement—it was moving through the ranks, even there—were growing their Afros out. Some of the brothers were feeling discomfort because some African-American men, because of the way our skin is, can’t shave with a certain type of razor—the razor they give us in the armed forces is not good for our skin. So you’ve got soldiers who are growing beards because they don’t want their face to be all tore up. The culture of that, that’s not something you learn from the history books or from the movies. Apocalypse Now is not dealing with that; Platoon is not dealing with that. They’re too busy with John Wayne in combat boots.

On playing David

There were certain things I knew he had to have. He was a Morehouse [College] man—the motto of Morehouse is “Let there be light.” So that’s a metaphor, something to drop in poetically to suggest, “Okay, this is where this man is coming from, and he’s very proud of having graduated from Morehouse.” We also know he’s on the track team, so that informed my body and how I moved, and we also know he’s a teacher, so pedagogy of any sort is very important to him. But I think the most crucial part of it was the father-son dynamic.

Establishing a complicated father-son dynamic

This is a story about a father and a son, and the son is having a very hard time getting to know his father. And he loves his father. The tautness of the relationship, the turbulence of the relationship, is because these men actually love each other. In real life, you don’t know how to love somebody. Everyone loves differently. And in this case, there’s a historical block between them: "I want my father’s love, and I want to be the model son for him." So if my father was a soldier, I want to behave like a soldier in the best way. I want to be as intelligent as a soldier. I want to be as strong as a soldier. I want to have the loyalty and the moral compass of a soldier, which [his character’s father] challenges so much because his flag he’s flying under—the Trump flag…is not what David agrees with. So there’s turmoil and hardship there, but you just go after the love. My [character's] mission was: Get my father’s love, make my father proud, and in doing that, you can get a whole lot of stories.

The timing of the film’s release

Well, I’d say that it’s not necessarily radical—the [protests against racism and police brutality] that are happening right now.

It’s the most natural thing in the world. If you cage any living thing, right? Let alone a man, right? Something that has a heart, that has a spirit, that has a family, that has needs, wants, desires, dreams? The second you cage that thing, you cage that man, you cage that culture, you cage that race—over time, that man, that race, that group of people will undoubtedly fight back and revolt.

Spike Lee is doing the most natural thing he could do as a filmmaker. He is giving the other side of the narrative. Here in the streets right now, we are giving the patriarchy, the majority, the other side of America. And so the film popping off right now at this time and this moment, is to me—whatever you believe in, whomever you believe in—a very definite and undeniable sign that things have come to an end. Things are stopping now. The film is a part of the movement, a part of the protests. And I mean the things that this film is bringing to light—the unfairness. It’s just unfair: Since 1619, a certain group of folks have not been playing fair, and the chicken has come home to roost. That’s all it is. It’s as simple as that.

I’m very pleased that the film is out right now. I think it adds to the conversation, and it adds education.

Audience reactions and the film’s straight-to-Netflix release

People are loving the film. I’ll leave you with this anecdote: I grew up in Texas and I saw my first Broadway show when I was 22 years old. I could never afford a Broadway ticket between birth to that. I think I used college money to buy the ticket. The same thing can be said about streaming. Movie tickets can be tough [for some people to afford]. And I think that certain people who are sick, who are broke, who literally have to spend their money on other things—they would not have had the opportunity to see this film had it not come out on Netflix. So to me, it is again a divine action taken by whoever, by whatever, for the better good.

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