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找了一个周末下午将《辉夜姬物语》看完，最让我印象深刻、大概很多年以后都不会忘记的，就是刚开始那几分钟的作画--就像一个有声音、动起来的水彩绘本似的，四季在久石让的音乐中变幻更迭，每个分镜都美得让人窒息。或许我们不能在这部电影中重拾《再见萤火虫》的虐心深刻，也找不回《百变狸猫》的逗趣诙谐，但“鸟儿虫儿和野兽，青草和花朵”的歌声千回百转，静下心来仔细品味吧，你也许会感受到什么……
Much was made of animation legend Hayao Miyazaki’s decision to retire last year， but a new movie out today from his Studio Ghibli comes from the mind of no less great a talent. The Tale of the Princess Kaguya was directed by 78-year-old Isao Takahata注， a co-founder of the studio， and you won’t see a more gorgeous[极好的] movie in 2014.
Princess Kaguya is based on a 10th-century Japanese folk story called The Tale of the Bamboo Cutter， which tells of a poor couple that discover a mystical[神秘的] girl in a forest and take it upon themselves to raise her as a princess. Takahata takes this narrative[故事] and runs with it， exploring the transient[瞬变现象的] nature of life， the shallowness[肤浅的] we play along the way. But Princess Kaguya’s plot is a simple one at first—most viewers will be more immediately grabbed by the astonishing[惊人的] artistic style.
Princess Kaguya is like an old Japanese painting come to life. The fluid[流畅的] animation is drawn in minimalist[极简抽象派艺术家] yet memorable[难忘的] watercolors， with charcoal[炭笔] strokes[笔画] that reminded me a little of the Raymond Briggs adaptation[改编] The Snowman. A core[核心] theme of the film—how simple years spent among nature can offer more happiness than city life and social progression[前进]—is one shared by other Ghibli works， but the painterly[画家的] style helps make a more convincing[有说服力] case here. In one amazing scene， the princess Kaguya’s angry fantasies[幻想] of escaping her caged environment are shown in dazzling[眼花缭乱的] motion as the character takes flight.
Princess Kaguya’s simple plot perhaps doesn’t quite justify[证明……是正当的] its two hours and 17 minutes running time， and viewers unfamiliar with[不熟悉] the original story might be thrown sideways by a cosmic[宇宙的] twist in the third act. The Tale of the Bamboo Cutter is often described as proto[最初的]-science fiction， making Princess Kaguya more than your average Japanese folk tale. And despite some strong scenes， I didn’t find it quite as moving or emotional[感动人的] overall as some of Takahata’s best work， which often has the power to touch your heart. But I never felt that Princess Kaguya dragged[拖沓]—even at its slowest， the film is never less than stunning， and it’s hard not to be swept away by its charms.
That Takahata’s work is often held up next to Miyazaki’s， despite drastic[极端] differences in style and tone， is an example of the diversity[多样性] of Ghibli’s work and the talent of its two biggest names. The Tale of the Princess Kaguya might be the last chance to see a new Takahata film as it comes out in cinemas； I would say it’s a chance not to be missed. 众所周知，动画泰斗宫崎骏去年决定退休，不过他的吉卜力工作室在今天（2014年10月17日）又推出了一部全新电影，同样出自一位不遑多让的天才之手。电影《辉夜姬物语》由吉卜力的创始人之一、现年78岁的高畑勋执导，你在2014年不会看到比它更漂亮精美的片子了。
《辉夜姬物语》根据十世纪的日本民间传说《竹取物语》改编而成，讲述了一对贫穷的夫妇在树林里发现了一个神秘的女孩，便自告奋勇收养了她，要将这孩子养育成一位公主。高畑勋在这个故事的基础上加以发挥，探讨生命的易逝无常，财富与物质的肤浅无用，以及我们一路以来所扮演的社会角色是多么缺乏意义。不过，《辉夜姬物语》刚开始的剧情还是很一目了然的——大多数观众会被那惊人的艺术风格一下抓住眼球呢。
《辉夜姬物语》就像一幅重现生机的古老日本画。寥寥几笔便足以让人印象深刻的水彩绘制出流畅的动画，那种炭笔线条让我有点想起雷蒙特·布里格斯改编的《雪人》。比起都市生活以及社会地位的提升，在大自然中度过的简单岁月更能让人幸福——这部影片有着和其他吉卜力作品共通的核心主题，但是这种绘画风格在这里显得尤为具备说服力。在一幕精彩镜头中，辉夜姬愤怒地幻想着逃离牢笼般的处境，（制作方）用一连串让人眼花缭乱的动作（镜头）表现她逃之夭夭的情形。
《辉夜姬物语》那简单易明的故事情节也许与其2小时17分钟的放映时间并不相称，而第三幕中突然出现的宇宙情景也许会让那些对原作不太熟悉的观众完全摸不着头脑。《竹取物语》时常被认为是一部前科幻作品，这就让《辉夜姬物语》超出了一般日本民间传说的范畴。除开部分激烈的情景，这部电影在整体上并不如高畑勋过往的杰作那么感人肺腑、情真意切——而后者时常可以撼动你的心灵。不过，我从不觉得《辉夜姬物语》拖沓无聊，即使在节奏最慢的时候，这部电影也是那么精美绝伦，让人很难不被其魅力所征服。
尽管两人在电影风格以及格调有着显著的差别，高畑勋的作品还是常常被拿来与宫崎骏的电影相提并论，这也体现了吉卜力系列作品的多样性以及两位当家巨头的才华。《辉夜姬物语》或许是我们能在大屏幕上看到的最后一部高畑勋新作了，我会说这是一个不容错过的机会。
注：高畑勋，日本著名动画电影导演、制作人，是自日本动画业的黎明期开始支撑着动画界的巨匠。高畑勋导演的主要作品有《太阳王子霍尔斯的大冒险》、《萤火虫之墓》、《阿尔卑斯山的少女》和《鲁邦三世》等。
Much was made of animation legend Hayao Miyazaki’s decision to retire last year， but a new movie out today from his Studio Ghibli comes from the mind of no less great a talent. The Tale of the Princess Kaguya was directed by 78-year-old Isao Takahata注， a co-founder of the studio， and you won’t see a more gorgeous[极好的] movie in 2014.
Princess Kaguya is based on a 10th-century Japanese folk story called The Tale of the Bamboo Cutter， which tells of a poor couple that discover a mystical[神秘的] girl in a forest and take it upon themselves to raise her as a princess. Takahata takes this narrative[故事] and runs with it， exploring the transient[瞬变现象的] nature of life， the shallowness[肤浅的] we play along the way. But Princess Kaguya’s plot is a simple one at first—most viewers will be more immediately grabbed by the astonishing[惊人的] artistic style.
Princess Kaguya is like an old Japanese painting come to life. The fluid[流畅的] animation is drawn in minimalist[极简抽象派艺术家] yet memorable[难忘的] watercolors， with charcoal[炭笔] strokes[笔画] that reminded me a little of the Raymond Briggs adaptation[改编] The Snowman. A core[核心] theme of the film—how simple years spent among nature can offer more happiness than city life and social progression[前进]—is one shared by other Ghibli works， but the painterly[画家的] style helps make a more convincing[有说服力] case here. In one amazing scene， the princess Kaguya’s angry fantasies[幻想] of escaping her caged environment are shown in dazzling[眼花缭乱的] motion as the character takes flight.
Princess Kaguya’s simple plot perhaps doesn’t quite justify[证明……是正当的] its two hours and 17 minutes running time， and viewers unfamiliar with[不熟悉] the original story might be thrown sideways by a cosmic[宇宙的] twist in the third act. The Tale of the Bamboo Cutter is often described as proto[最初的]-science fiction， making Princess Kaguya more than your average Japanese folk tale. And despite some strong scenes， I didn’t find it quite as moving or emotional[感动人的] overall as some of Takahata’s best work， which often has the power to touch your heart. But I never felt that Princess Kaguya dragged[拖沓]—even at its slowest， the film is never less than stunning， and it’s hard not to be swept away by its charms.
That Takahata’s work is often held up next to Miyazaki’s， despite drastic[极端] differences in style and tone， is an example of the diversity[多样性] of Ghibli’s work and the talent of its two biggest names. The Tale of the Princess Kaguya might be the last chance to see a new Takahata film as it comes out in cinemas； I would say it’s a chance not to be missed. 众所周知，动画泰斗宫崎骏去年决定退休，不过他的吉卜力工作室在今天（2014年10月17日）又推出了一部全新电影，同样出自一位不遑多让的天才之手。电影《辉夜姬物语》由吉卜力的创始人之一、现年78岁的高畑勋执导，你在2014年不会看到比它更漂亮精美的片子了。
《辉夜姬物语》根据十世纪的日本民间传说《竹取物语》改编而成，讲述了一对贫穷的夫妇在树林里发现了一个神秘的女孩，便自告奋勇收养了她，要将这孩子养育成一位公主。高畑勋在这个故事的基础上加以发挥，探讨生命的易逝无常，财富与物质的肤浅无用，以及我们一路以来所扮演的社会角色是多么缺乏意义。不过，《辉夜姬物语》刚开始的剧情还是很一目了然的——大多数观众会被那惊人的艺术风格一下抓住眼球呢。
《辉夜姬物语》就像一幅重现生机的古老日本画。寥寥几笔便足以让人印象深刻的水彩绘制出流畅的动画，那种炭笔线条让我有点想起雷蒙特·布里格斯改编的《雪人》。比起都市生活以及社会地位的提升，在大自然中度过的简单岁月更能让人幸福——这部影片有着和其他吉卜力作品共通的核心主题，但是这种绘画风格在这里显得尤为具备说服力。在一幕精彩镜头中，辉夜姬愤怒地幻想着逃离牢笼般的处境，（制作方）用一连串让人眼花缭乱的动作（镜头）表现她逃之夭夭的情形。
《辉夜姬物语》那简单易明的故事情节也许与其2小时17分钟的放映时间并不相称，而第三幕中突然出现的宇宙情景也许会让那些对原作不太熟悉的观众完全摸不着头脑。《竹取物语》时常被认为是一部前科幻作品，这就让《辉夜姬物语》超出了一般日本民间传说的范畴。除开部分激烈的情景，这部电影在整体上并不如高畑勋过往的杰作那么感人肺腑、情真意切——而后者时常可以撼动你的心灵。不过，我从不觉得《辉夜姬物语》拖沓无聊，即使在节奏最慢的时候，这部电影也是那么精美绝伦，让人很难不被其魅力所征服。
尽管两人在电影风格以及格调有着显著的差别，高畑勋的作品还是常常被拿来与宫崎骏的电影相提并论，这也体现了吉卜力系列作品的多样性以及两位当家巨头的才华。《辉夜姬物语》或许是我们能在大屏幕上看到的最后一部高畑勋新作了，我会说这是一个不容错过的机会。
注：高畑勋，日本著名动画电影导演、制作人，是自日本动画业的黎明期开始支撑着动画界的巨匠。高畑勋导演的主要作品有《太阳王子霍尔斯的大冒险》、《萤火虫之墓》、《阿尔卑斯山的少女》和《鲁邦三世》等。