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塔洛:爱情可耻,孤独万岁。

 

这部纯粹的西藏题材藏语黑白影片,没有那些神秘的西藏风光,没有洁白明亮的帐篷和锦绣一般的草原,也没有猎奇与异域感强烈的民俗,却又显得与众不同,导演作为一个藏族人,一如既往地选择了以藏区的现实作为背景,将目光都集中在了塔洛这个个体身上,这个人物既来自于藏区普通人的故事,又融入了许多导演个人的生命经验与思考历程,他既是真实的,又是虚构的。塔洛,其实就是我们每个人的影子。

 

 

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另一个说:“你们看他的眼神,那么深沉,肯定是一个深刻的艺术家。”塔洛也不理他们,等抽完烟把烟屁股扔到地上使劲踩了一下后才说:“其实我是个放羊的。”又一个说:“你们听听,他说话多深刻啊,他肯定是个艺术家。”放羊人塔洛是个孤儿,扎着小辫子,留着长头发,他记得现在自己有三百五十七只羊,二百零九只白羊,七十一只黑羊,九十五只花羊,一百三十四只有角的,二百四十一只没角的,他在那面刻着“为人民服务”的墙壁之下,熟练地背诵着《毛主席语录》——“人总是要死的,但死的意义有不同。或重于泰山,或轻于鸿毛。为人民利益而死,就比泰山还重;替法西斯卖力,替剥削人民和压迫人民的人去死,就比鸿毛还轻……”塔洛觉得自己替别人放羊也是为人民服务,塔洛觉得为村里的人放羊,死了也会比泰山还要重要。超群的记忆力在此,变得极度奢侈与滥用,只将之用在生计与信仰里,却没有包含他的名字与生辰。

孤儿塔洛没有身份。为了办理身份证,他来到县城,命运就此发生改变。塔洛觉得自己是个好人,就像所长说的那样,直到他遇见年轻另类的短发女孩杨措。杨措开了一家理发店,她给塔洛洗头,她说:“我剪短头发就是为了等你这么个长发小伙子来会我啊。”洗头女杨措带塔洛去酒吧,喝酒,唱歌,抽薄荷烟,听演唱会,杨措说:“你带我去什么地方吧,咱们可以去拉萨,什么地方都可以去。”她剪掉了塔洛的小辫子,说以后要留长发梳两条小辫子专门给他一个人看。

他把他的所有都给了她,信仰和全部积蓄。而她,剪羊毛一样,剪去了他的小辫子,说为了爱情。杨措不见了,像他的小辫子,像他带来的毛爷爷,像他丢失的信仰,像他一去不复返单调平静的世界。他的世界被生硬安插、置换、推搡,羊群不再是夜里能够闪烁的光斑,欲望成了饿狼,疯狂撕咬,生活有了一道口子,一道念想,是可耻的爱情啊,带来了转瞬即逝的期望和无边无际的孤独。
没了小辫子的塔洛想说出自己的故事,他不想再背诵《毛泽东语录》,他问所长他像不像坏人,可是所长却说更像好人了。他离开派出所,骑着摩托开向原野,没有方向。

 
《塔洛》改编自藏族导演和编剧万玛才旦的同名短篇小说,并由万玛才旦本人执导,由藏族演员西德尼玛和藏族女歌手杨秀措主演,被提名第52届金马奖最佳影片和最佳导演,于2016年12月9日在中国大陆上映。这部纯粹的西藏题材藏语黑白影片,没有那些神秘的西藏风光,没有洁白明亮的帐篷和锦绣一般的草原,也没有猎奇与异域感强烈的民俗,却又显得与众不同,导演作为一个藏族人,一如既往地选择了以藏区的现实作为背景,将目光都集中在了塔洛这个个体身上,这个人物既来自于藏区普通人的故事,又融入了许多导演个人的生命经验与思考历程,他既是真实的,又是虚构的。塔洛,其实就是我们每个人的影子。

 

 

 

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