【译林】“金绮泳是真正的大师”：奉俊昊谈《下女》（上）

翻译：陈思航 覃天

来源：《视与听》（Sight & Sound）杂志，2020年第3期

金绮泳1960年的电影《下女》是对《寄生虫》影响至深的一部作品。这部电影聚焦于一个中产阶级家庭，其成员们渴望成为上流阶级。当一名女仆（下女）来到这个家庭时，我们看到了他们面临的恐惧。

A film that was a big influence on Parasite is Kim Kiyoung’s The Housemaid (1960). It’s about a middleclass family who want to become upper-middle class, and it shows the fears they face when they accept a housemaid into their home. 

我在1990年代发现了金绮泳的这部影片。上世纪八十年代末，韩国军统时期结束后，正式的电影资料馆才建立起来（译者注：韩国电影资料馆于1974年建立于首尔，奉俊昊的意思也许是，在他看来，上世纪八十年代军统时期前还没有正规的电影资料馆），才有可能再去重看一些老电影。这一时期，韩国的影迷文化也开始兴起，金绮泳再次出现在观众的视野中，并且被认为是韩国电影界十分重要的人物。1997年，釜山电影节举办了他的电影回顾展，这不仅招揽了国际上的批评家，也吸引了许多韩国本土影迷的关注。我成为了金绮泳的忠实粉丝。当时我还是一名助理导演。我还记得我跑遍了影碟店，试图去找他那些罕见的影片。

I discovered Kim’s films in the 1990s. In Korea it was only after military rule ended at the end of the 1980s that a proper film archive was established, and it became possible to see older films again. That coincided with an explosion of cinephile culture in Korea, and it was at that point that Kim re-emerged as a very significant figure in Korean cinema. In 1997 the Busan film festival held a retrospective of his films, which introduced many international critics to his works – and many young cinephiles in Korea too. I became a huge fan. I was working as an assistant director at the time. I remember rummaging through various video stores trying to find his rare films.

金绮泳在1998年于家中去世，这个消息令人震惊。但是，甚至连他的死亡都充满了戏剧性，就像电影的剧情一样——虽然这么说听起来可能有些缺乏同情心。

Kim’s death in a fire at his home in 1998 was shocking, but – and this may sound crass – it was also fitting that even his death was dramatic and cinematic.

金绮泳导演

在他去世后，人们逐渐发现他电影中的有趣之处。1998年柏林电影节（Berlin film festival）举办了他的回顾展，2006年巴黎的法国电影资料馆（Cinématheque française）也举办了回顾展，我当时也是策展成员之一。从1990年代晚期直到21世纪初期，金绮泳在韩国电影界建立了自己不朽的地位。

After his death, interest in his films exploded. There was a retrospective at the Berlin film festival in 1998, and another at the Cinématheque française in Paris in 2006, where I was a part of the panel. From the late 1990s through the 2000s Kim really took on an immortal standing in Korean cinema.

他为韩国影人们留下了无尽的财富，包括那充满了创造力的视觉风格，以及独特的、生猛的冲动——一种迫切地描绘人类欲望的需要。同样值得一提的，还有他那离奇的、处理电影空间的手法。这些都深深地震撼了我，尤其令我吃惊的，是他居然能够在军统时期创造出那么多的作品。当然，在其他国家也有和金绮泳很相似的电影人，比如路易斯·布努埃尔（Luis Buñuel）以及今村昌平，他们都是用电影处理欲望的大师。我曾如饥似渴地观看他们的影片，但后来，令我十分惊讶的是，在韩国居然也有这样的一位电影人。

What he gave to us Korean filmmakers was the originality of his visual style, and this uniquely raw attitude – a need to portray human desires honestly. Those, and the uncanny ways he dealt with cinematic space. These things were all shocking to me – especially the fact that he was able to create such works during the military regime. Of course, there had been similar filmmakers in other countries – like Luis Buñuel and Imamura Shohei, other masters of dealing with desire. I used to devour their films, but I was very surprised to learn that there was a filmmaker like that in Korea.

金绮泳的《高丽葬》（1963）与今村昌平的《楢山节考》（1983）十分相似，它们都讲述了相同的习俗。金绮泳和今村昌平在处理人的欲望以及女性角色的方面上十分相近。金绮泳电影中的女人，并不是那种为爱所伤的刻板形象，她们常常显得比男性更加坚强有力，例如《下女》中的这名女仆，就是一个强有力的、劳动阶级的角色。而金绮泳电影中的那些男性角色都显得可悲、做作而愚蠢。你也可以在我的电影中发现这一点，因为我受到了金绮泳的影响。我想他刻画男性角色的方式，与他自己的生活经历息息相关。 

Kim’s film Goryeojang (1963) is very similar to Imamura’s The Ballad of Narayama (1983) – it’s about similar traditions. Kim and Imamura are really inseparable in the way they deal with desire and female characters. Women in Kim’s films are not your femme fatale archetypes, though they are always stronger than the men – the maid in The Housemaid, for instance, is a very powerful working-class character. His male characters tend to be pathetic, pretentious and idiotic, and that’s an influence you can see in my films as well. I think the way he depicts male characters is tied to his own life.

《视与听》杂志每十年都会投票选出自己的影史最佳影片。在2012年，这个榜单的第一名从《公民凯恩》（Citizen Kane, 1941）变成了《迷魂记》（Vertigo, 1958）。在韩国也出现了十分相似的情况。长久以来，排名第一的电影始终是《误发弹》（1960），这是一部由大师级导演俞贤穆执导的社会现实主义影片。但是，当金绮泳的回顾展放映结束之后，这份榜单发生了改变，《下女》成为了那部排名第一的电影。

In S&S you do your poll every ten years to find the best films of all time. A bit like in the 2012 S&S poll, where the top film changed from Citizen Kane to Vertigo, in Korea for many decades the number one film in national polls was always The Aimless Bullet (1960), a social realist film by another master director, Yoo Hyunmuk. But after the mid-2000s, after all the Kim retrospectives, that changed, and it’s now The Housemaid that usually sits at the top.

韩国电影资料馆如今正在修复金绮泳的电影，并且发行了它们的蓝光版本。我希望像箭头电影（Arrow films，英国独立电影发行商，主要发行邪典电影、艺术电影、恐怖片以及经典电影）、指示符电影（Indicator films，英国套装媒体发行公司，公司以“Powerhouse Films”为名，发行经典电影时使用“指示符电影”的标签）、标准收藏（Criterion）或者英国国家电影中心（BFI）等机构，可以发行金绮泳的蓝光套装合集。我常常向我遇到的影人们推荐金绮泳，他是一位真正的大师。 

The Korean Film Archive is restoring Kim’s films, and has released Blu-ray versions. My hope is that a company like Arrow or Indicator or Criterion or the BFI will release a Blu-ray box-set. Kim Kiyoung is someone I always recommend to filmmakers I meet; he’s truly a master.

《下女》是一部引人注目的影片，我完全可以说，它和我以前看过的所有电影都不一样。我第一次看完这部电影之后，就被电影中那种压抑的情绪、大胆的表现主义元素，以及所有人际交往中的潜在危险所震撼。电影中紧张而狂烈的情绪，给人带来一种心理上的幽闭恐惧感。我并不认为这是一部简单的电影，事实上，它是一部寓意深远、值得回味的影片。因此，不难理解的是，它对众多的韩国影人产生了深远、长久的影响，他们包括朴赞郁、林常树和奉俊昊。在西方，金绮泳的电影变得更加知名，也更容易被看到了。我希望这样的趋势能一直保持下去。（2014年） 

The Housemaid is a remarkable picture, which I can safely say is unlike anything I have ever seen. I was startled the first time I saw it, by its mood of upset, its bold expressionism, its sense of the potential danger in all human interaction, and its intense and passionately realised sense of claustrophobia. I don’t think it’s an easy film, but it is a rich and rewarding one, and it’s easy to understand the profound effect it has had on so many filmmakers in Korea, including Park Chanwook, Im Sangsoo and Bong Joon Ho. Kim Kiyoung’s pictures have become much better known and more available in the West, and I hope that trend continues. [Speaking in 2014]