迷失的“归来”——论电影《归来》对小说《陆犯焉识》的改编  

A Lost Return:On the Film,Titled,The Return,Based on the Adaptation of the Novel,The Criminal Lu Yanshi

作　　者：骆淑文 Luo Shuwen

机构地区：[1]台湾中兴大学中国文学系

出　　处：《华文文学》2020年第4期61-68,共8页Literatures in Chinese

摘　　要：《归来》改编自《陆犯焉识》,和其他改编自小说的电影一样,毫无疑问会和原著有差异,只是《归来》和原著《陆犯焉识》差异之大,还是颇令人意外。《归来》对小说的改编主要从以下四方面进行:从自由的追求到爱情的守望、从人性的探究到温情的慰藉、从深沉的历史审视到浅层的商业制作、从繁复的"文本叙述"到极简的"光影演绎"。《陆犯焉识》所探讨的主要是一位知识分子在所处时代环境与个人追求的冲突中所造成的悲剧,而《归来》则是一部"极简主义"风格的电影,所呈现是政治抽象化的大背景下的一场感人至深的爱情故事,总的来说,《归来》的改编并不成功,它远没有原著的深度和厚度,缺乏震撼人心的力量。The Return,adapted from The Criminal Lu Yanshi,and like the other films,also adapted from novels,will doubtlessly have differences from the original work.However,the differences between The Return and The Criminal Lu Yanshi,are so vast that they take one by surprise.The adaption for The Return is done in the following four respects,from the pursuit of freedom to the watch out for love,from an exploration of human nature to the comfort of tenderness,from a profound examination of history to a shallow commercial production,and from a complex textual narration to a minimalist display of light and shade.While The Criminal Lu Yanshi is a book that explores the tragedy as the result of a conflict between the circumstances an intellectual finds himself and what he pursues,The Return is a film in the minimalist style that tells a moving love story in a politically abstract context.In sum,the adaptation of the film is not successful as there is a lack of heart-shaking power,and of the depth and breadth of the original work.

关 键 词：严歌苓 影视化 主题设置 

分 类 号：I106[文学—世界文学]