Anti-Semitism now
反犹 此时
原文地址
http://www.ynetnews.com/articles/0,7340,L-3212503,00.html
Two years ago the Israel Film Foundation refused funding for Paradise Now. Here's why
两年前，以色列电影基金会拒绝为《天堂此时》这部电影支付开支，原因如下。
Irit Linor Published: 02.07.06, 15:01 / Israel Culture
［注］以色列著名左派女作家 Irit Linor 2006/02/07
发表时间是2006年奥斯卡颁奖会之前。
以下注均为翻译注释。
Two years ago, the creators of Paradise Now asked the Israel Film Foundation for public funding to help produce the film. They were turned down thanks to a number of reviewers—including myself—who were taken aback by its moral character. Propaganda film?
两年前，《天堂此时》的制作者曾向以色列电影基金会发出申请，要求用公共基金来完成这样一部电影的拍摄工作。但是多亏了一些评论家的审查---包括我在内---我们被它的道德形象震惊了--申请没有得到通过。
Thus, Israel missed out on the chance to be part to an exciting, quality Nazi film.
因而，以色列也错过了成为这样一部惊奇的，标准的Ｎａｚｉ电影的主角的机会。
I don't use the term "Nazi" frivolously or out of anger. Such a claim must be backed up, particularly when the subject is a film that conforms to all the criteria of quality filmmaking, and which barely contains any Jews. One could, perhaps, have been content with the phrase "anti-Israel" or "anti-Semitic.
本人通常不会轻易使用这样的词汇，即使是出于愤怒之情。但这样的要求理应得到支持。对于这样一部理应遵守电影制作标准的电影，竟然没有出现任何一个犹太人。任何人都会赞同，它是一部不折不扣的“反以”或“反犹”电影。
But the film hasn't got any "Jews" in it and no "Israel," because Jewish Israel is referred to in the film as "them," or "occupation," or "killing" or an "injustice" that has no historic background or human form.
电影中没有出现任何“犹太人”，没有出现任何“以色列”，因为他们就该被称作“他们”，称作“占领者”，称作“杀人的”或者“不公的”，而完全没有任何历史背景，没有任何人性基础。
Ugly Jews
丑陋的 犹太人
The only Jewish Israeli given a name is called Abu Shabab, the man who takes the terrorists to Tel Aviv and receives payment only after the terror attack (or "operation," in the film's phrasing) takes place. As he takes the terrorists to the Dolphinarium parking lot, the only Hebrew word in the film escapes his lips as he wishes the murderers "good luck."
片中唯一一个有名有姓的犹太人叫阿布 沙巴布，此人负责将这些恐怖分子带到特拉维夫，事后（片中叫“行动”）拿钱走人。当他把这些恐怖分子带至海豚停车场时，从他嘴里冒出的唯一一句希伯来文居然是祝愿这些杀人凶手“交好运”。
And so, in just a few seconds, Beyer and Abu-Assad manage to define the Israeli, that is, the caricature Jew: fat, ugly, older, bearded, hungry for young Aryan girls and prepared to do anything for money.
然后，不到几秒钟的工夫，Beyer和Abu-Assad 就开始跟我们解释什么是犹太人，于是我们就看到了这位形象颇具讽刺意味的犹太人--肥胖，老迈，丑陋，只想着那些美女，为了钱什么都能干。
［注］Beyer指Bero Beyer，本片两位编剧之一。
Abu-Assad就是Hany Abu-Assad，（哈尼 阿布阿萨德），本片导演，编剧。巴勒斯坦裔，曾在欧洲学习，拥有以色列护照，对外宣称自己是“巴勒斯坦”导演。
Why use a Jewish Israeli character for this role, when there have been no more than three Jewish collaborators over more than 1000 terror attacks, and in fact most of the Israelis who do aid terror are Arab? How did the creators come to surrender their link to reality? Was it artistic or ideological?
为什么要把以色列犹太人描画成这般形象？1000次的恐怖袭击中，我们的“通敌者”还没有超过3个，而那些真正帮助恐怖分子的以色列人还不都是阿拉伯裔？这些拍电影的为什么不实话实说？ 是因为艺术还是因为意识形态问题？
No choice
没有 选择
And since all the participants in the film repeatedly emphasize that all peaceful Palestinian efforts at solving the problems of occupation and ethnic cleansing have failed, and that there is therefore no alternative but to conduct suicide "operations," the film's subtext suggests a solution to the problem: mass murder.
片子一直在反反复复地强调着那些巴勒斯坦人为和平做出的种种努力，努力却都以失败而告终，于是，除了自杀式炸弹，没有第二种选择。电影通过这样的潜台词告诉我们解决之道--大屠杀。
And so we can rightly call "Paradise Now" a Nazi film: it spins a thin thread of understanding for those who resorted to desperate measures to solve the problem of the constant, unremitting evil of the Jews.
因此，我们完全可以叫《天堂此时》为Ｎａｚｉ电影，电影一直在那些小地方玩技巧，让观众认同，同这些不知道悔改的犹太人的和解方法，就是这些令绝望的方法。
No Victims
没有 受害者
And who are the suicide bombers in the film? They are no more than innocent victims of an occupation devoid of reason or purpose. Forget politics – at the film's conclusion, I was sadder about hottie Kais Nashef in the role of the suicide bomber than I was about a bunch of statistics in the role of Israelis on a Tel Aviv bus, most of whom were soldiers, as is the norm on Tel Aviv buses, and who we didn't even see die.
那么谁是那些自杀式炸弹袭击者呢？当然是那些被占领地上的，可怜的，无辜的人们。忘了政治吧，在电影的结尾，我可是真为扮演主角的帅哥 Kais Nashef伤心了一把，而不是那些特拉维夫公交巴士上，那数不清的士兵们--而也没有人见证他们的死亡。
［注］Kais Nashef（卡伊斯纳塞夫），巴勒斯坦演员，片中萨义德（Said）的扮演者。
The suicide bombing to which the innocent heroes go is an act that, from its genesis to its conclusion, is devoid of victims. There may not even be a bombing, just a close-up on Nashef's soft eyes, and a white screen. Not even a 'boom.'
自杀式炸弹袭击者，无辜的英雄，从开头到结尾，没有一个受害人。甚至没有爆炸，只有伴随着Nashef双目缓缓地合上了，然后是满眼雪白的荧屏，甚至，没有一声 “砰”.
Maybe in the end he just changed his mind. The two murderers are kind, their clothes – Tarantino style – fit them well, so you like them. How could you not?
也许，在结局时刻，他改变了注意。这两个杀手是多么善良，他们的服装，也是塔伦蒂诺风格的，于是你会喜欢上他们，你怎么会讨厌他们呢？
Likeable killers
迷人 杀手
We liked Jackson and Travolta in "Pulp Fiction," and they, too, where murderers who wore the tailored suits. Tarantino prepared the ground for us to like barbaric killers, and to feel good about it.
我们都喜欢在《低俗小说》中的塞缪尔•杰克逊（Samuel L. Jackson）和约翰•特拉沃尔塔（John Travolta）。当然，他们也都是杀手，都穿着精心裁制的西装。塔伦蒂诺通过这样的设计，让我们喜欢上了这些嗜血杀手，甚至让我们为之疯狂。
So although true "martyrs" don't usually appear wearing suits, that's how Hany Abu-Assad chose to portray them. He knew the image it presents.
因而，尽管那些真正的“自杀烈士”们并不穿着西装，但哈尼 阿布阿萨德依旧选择这样来包装他们。他很清楚这些影象呈现给观众的是什么。
"Ah, come on," the critics will say, "that's propaganda? What do you mean? It's homage! At most, they'll argue whether the clothes came from "Pulp Fiction" or the "Blues Brothers.”
“噢，come on！”评论会怎么说？“这是宣传？你什么意思啊，这是在向那些电影表示致敬！” 他们最多不过会争先恐后地辩论，里面的服装，到底是从《低俗小说》，还是从《福禄双霸天》里来的？
［注］“The Blues Brothers”（福禄双霸天）美国导演John Landis在1980拍摄的一部歌舞片。
Another purely artistic consideration was the banding together of hotties Kais Nashef and Ali Suliman in the role of the murderers. I'd have to rack my brain to recall the martyr who could have sidelined as a male model.
另外一处，从纯粹的艺术角度考虑的就是选用俊男Kais Nashef和Ali Suliman出演这两位杀手。就是让我绞尽脑汁，我也想不起来这些“烈士”里还曾出过这样男模身材的。
［注］ Ali Suliman，巴勒斯坦演员，饰演萨义德的朋友---卡哈尔
But there we've got Kais as one of the bombers, and it's clear that whoever causes him to suffer ought to be punished.
于是，当帅哥Kais成为其中一位人体炸弹时，无需多言，让他承受这样的痛苦的人，真是该千刀万剐。
Humble terrorist
卑下 的 袭击者
It is purely out of artistic considerations, of course, that he recites his ideological speech – some lying, sanctimonious Hamas drivel – not with fanatic shouting, but rather with humility, sadness.
这时已经完全超出了艺术角度，是的，当背诵那些宣誓词时---掺杂着谎言，假虔诚的哈马斯鬼话时候，居然没有狂热的嚎叫，居然充满了人情味和悲伤。
This is no Hitler in a stadium, but rather a delicate wildflower, ravaged by the spring winds – and by the occupation, of course, which is a ritual cleansing bath for every Palestinian moral blight.
这哪里象是对着体育馆中的希特勒，倒象被春风摧残的小野花一朵，活脱脱地对每个巴勒斯坦人那饱受摧残的道德的清洗。
The girl who opposes the suicide bombings (and who is also madly attracted to Kais) opposes it so vehemently not because she is opposed to killing civilians but rather because "it just gives them (that is, the Israeli root of evil) the alibi to continue killing."
那位反对自杀式炸弹袭击的姑娘（她一样是疯狂地为Kais着迷），而她反对屠杀平民的理由却是“不过给了他们（“他们”当然是指以色列，邪恶的根源）继续杀戮的好理由。”
In other words: it just isn't practical. And she's the humanist in the film. She's also cute.
换句话说，就是，你们的做法并不实际。 而这个姑娘也是全片中最最人道的了，当然，她也真是漂亮。
Out of artistic considerations, the taxi driver in the film explains to Nashef that the settlers poisoned the wells by Nablus in order to harm the quality of Palestinian offspring. Nashef doesn't raise an eyebrow. Neither will viewers abroad. They've already internalized the link between Jews and well poisoning.
不考虑艺术角度的话，电影中，出租车司机告诉Nashef，这里人都往纳布卢斯的水井里投毒药，用来叫那些巴勒斯坦人精子“不行”。而这时Nashef的眼睛都没有动一下。当然国外的观众也会是一样的反应。他们也已经默许了犹太人和这些往水井里下毒者之间的联系。
［注］ Nablus 纳布卢斯，位于以色列，约旦河西岸城市
The bomber is me
炸弹 是我
The message of "Paradise Now" is simple: We're all people, even mass murderers." You see, anyone has the potential to blow up children and babies in a restaurant. It can happen to anyone, like dandruff.
《天堂此时》所要传达的信息很简单“我们都是人，即使是那些恐怖分子”。你看看，每个人都能把那些餐厅里的孩子们炸到天上去，很简单，好象扫掉头上的一片皮屑。
The movie is a success because of the sophisticated direction of Hany Abu-Assad. There is no blood, and Nablus apartments with exposed cinder block walls look every bit as romantic as a Tuscan villa. Everything is so beautiful, it's clear the terrorists are just like us, just with more tastefully decorated homes.
电影的成功，当然要归功于导演Hany Abu-Assad那令人惊奇不同凡响的表现手法。整部电影，没有鲜血。 纳布卢斯的小屋看起来 浪漫得好象托斯卡纳的别墅。所有的一切，都是如此美丽，当然恐怖分子们，也就象我们一样，住在很有品位的小屋里。
［注］Tuscan 托斯卡纳，托斯卡纳(意大利语为Toscana)是意大利的一个大区，位于意大利中西部，这里被认为是文艺复兴发端的地方，其首府为佛罗伦萨。
And again the message is clear: if these people can become murderers – than clearly so could I.
而且，它还说，如果这些人能成为凶手，我也能。
Out of artistic considerations, you understand, Hany Abu-Assad doesn't linger on the less photogenic aspects that can lead someone to commit mass murder – a distorted mentality of honor, an anti-Semitic education, Islamic radicalism, the cheapening of human life.
在不考虑艺术角度的情况下，你就会明白，Hany Abu-Assad并不想停留在简单的画面上，他是想要把观众引向那些恐怖分子，宣传那些扭曲的荣誉感，进行一次反犹教育，宣传他的伊斯兰极端主义，廉价的人命。
He only sells us a humanity whose outer characteristics we find palatable: young heroes, sweet families – like us – not religious fanatics, but marginally traditional, t-shirt wearing secular folk. You know, just like us.
他不过是在向我们兜售一些看上去很不错的人道：年轻的英雄，甜蜜的家庭--一如我们自己，而且没有宗教狂热，只有连绵的传统，只有穿着T恤衫的普通人，和我们一样。
But that's not wholly accurate, because the two murderers of "Paradise Now" aren't quite like us, nor are they like most other Western viewers. They're much more than that.
其实还是不够准确，因为两位主角还不那么像我们，不向那些西方观众。他们身上，还有一些东西。
Son of God
上帝之子
They're the son of God, in all his splendor and glory. Yes indeed, the screenwriters were well aware of the film's Christian audience, so they prepared something especially for them.
他们是上帝之子，在他的荣耀中。没错，剧本创作者们早就注意到了电影中一些基督徒观众的心理，所以为他们准备了一些特别小菜。
Just before they go out to blow you and me up, the two cool killers sit down to eat a final meal, together with eleven men, in the exact arrangement and with the exact number of participants in Leonardo's famous painting of the Last Supper.
就在他们要去炸飞你我前，两位杀手坐下来享用他们的最后一顿饭食，连同他们的还有另外十一个人，这就是特意安排好的部分---列奥纳多 达芬奇的传世名作---最后的晚餐。
In order to prevent any of the non-Jews from interpreting the scene inappropriately and to maintain its visual context, there are no cuts during the scene.
为了让其他非犹太观众能够理解这一画面中的隐含意义，这个镜头没有任何切换。
There isn't a Christian on the planet who isn't familiar with that painting, or who doesn't know who's sitting around that table. The Christian whose mind will have no trouble conjuring up the association of Jesus just prior to his crucifixion.
这世界上还没有一个基督徒不熟悉这幅名画，不知道坐在餐桌旁边是谁的。因而基督徒们的心理会很自然而然毫无疑问地联系到即将上十字架的耶稣。
So we've got a modern day Jesus and an innocent victim who will die – because of whom? An interesting question.
我们得到了一位当代耶稣，一位必死的受害者--究竟因为谁呢？很有意思的问题啊。
And Abu-Assad marches towards his Oscar, and we'll receive the next martyr. Let's just hope he's as hot as Nashef.
哈尼 阿布阿萨德如今正向他的奥斯卡进军，而我们正迎来下一位“烈士”。但愿，他没有Nashef那么帅吧。
=============译后：我还真是天真啊....
