《茉莉人生》——黑白之間，美如夏花

“Persepolis”直譯為“波斯波利斯”，指的是古代波斯的首都。雖然漫畫原作被譯為《我在伊朗長大》，但看完動畫之后，Wendy覺得最適合這部電影的譯名還是《茉莉人生》。即使在角逐奧斯卡時敗給了《料理鼠王》，憑著有別于“美國制造”的藝術感和版畫式的黑白畫面，這部獨立動畫片還是給今年的國際動畫界帶來一股與眾不同的清新氣息。這是一個女孩的成長故事，從迷茫到堅定，從含苞到綻放，如五月茉莉一般，年年歲歲，芬芳四溢……

In Tehran in 1978， hundreds of thousands of people are in the streets， calling for the end of the Iranian monarchy[君主制]. Marjane is a little girl， and she and her family are swept up in the turbulent[動蕩的] events: the Shah[伊朗國王] falls， Islamic revolution takes hold and war breaks out between Iran and Iraq.

Events in Persepolis are familiar to viewers in Tehran. Thirty-five year old Mohammed says he was surprised at the impact Persepolis had on him.

Mohammed: We could really touch it and feel it and we could really understand it and absorb it. That was the

reason that we really enjoyed the movie.

Stylistically， Persepolis is an unusual animated film. It is drawn in a flat style in stark[完全] black and white， very much like the drawings in Marjane Satrapi’s graphic novel， from which the film was adapted. But the animation in Persepolis is anything but simple， says Nelufar.

Nelufar: I really like the technique of the film， because it’s sort of like putting away the Disney clichés[陳腐的題材]. It was， in a way， combination of Eastern theatrical[戲劇的] style with…I don’t know， modern Western films?

To protect Marjane from the Iraqi bombs and

missiles[導彈]， her parents sent her to Europe and safety. But the young teenager cannot adapt. She falls sick and must return to Tehran. In Iran， she is unable to conform to[遵照]

the changing political culture. She turns Punk， champions[支持]

heavy metal Rock， challenges the Islamic dogma[教條] of her teachers， and later falls into a deep depression.

Nelufar: I can see the same thing she has [saw]注.

Nelufar says she and her friends have gone through some of the same experiences that young Marjane did in the film. Mohammed found himself surprisingly wrapped up in[迷上] Marjane’s struggle.

Mohammed: For this person， who comes back again at the…after couple of years to Iran， still it’s very difficult to adapt yourself with the situation that still was going on in Iran. That’s why maybe the reason that， for her， was difficult to find her way.

Eventually， Marjane pulls herself together[重新振作]， and struggles to assert[堅決維護] her individuality in the society that appears to have no interest in individual identity. But her parents fear that her behavior could land her in prison， and they persuade her to leave Iran again， this time for Paris. Still， the end gives a feeling of hope， Nelufar says， adding she wishes Persepolis had won the Oscar.

1978年，成千上萬人走上德黑蘭街頭，要求結束伊朗君主專政。瑪嘉當時還是一個小女孩，和她的家人一同被卷入動亂的大潮中：伊朗國王下臺，伊斯蘭革命開始，伊朗與伊拉克之間爆發了戰爭。

德黑蘭的觀眾對《茉莉人生》中的事件耳熟能詳。35歲的穆罕默德說，《茉莉人生》對他產生了很大沖擊，他對此也感到非常驚訝。

穆罕默德：這部電影對我們來說仿佛觸手可及，讓人深有同感，我們很理解其中的故事，能體會到它要表達的東西。這就是我們喜歡這部電影的原因。

從創作風格上看，《茉莉人生》是一部很不尋常的動畫片。它采用全黑白的平面畫風，和瑪嘉·莎塔碧的繪本風格如出一轍——電影正是改編自該作品。但（觀眾）內盧琺則認為，《茉莉人生》中的動畫絕不

簡單。

內盧琺：我非常喜歡這部電影采用的技巧，因為它基本摒棄了迪斯尼那種老模式。