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主题:【原创】小镇的姑娘 (镜子里的南岛) -- 非

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  • 家园 【原创】小镇的姑娘 (镜子里的南岛)

    南岛。远处的羊和小镇的姑娘,赫赫:)

    1、

      新西兰一直被形容成为一个乡村国家。

      一部分原因是这里的经济以农牧业为主,----青青牧场、遍地牛羊的田园风光是其他国家所不多见的。不过,这种田园牧歌的情调固然诗意,但分布在南北岛众多的乡村小镇加上当地的人民普遍穿着休闲,不刻意讲究,不追逐先锋潮流,所以也还是免不了有时候被一些商品经济更为发达、城市化普遍的国家所笑话。近的就说澳洲人,他们动不动就嘲讽新西兰人很土,不时尚。但有趣的是,新西兰人并不以为意,他们听了会说,澳洲人懂什么,他们不过是以前流放犯人的后代,而我们,是欧洲贵族移民的后代。

      欧洲近代史上流放的犯人是不是经常被弄到澳洲去我没有什么研究,不过是沿着这个思路想了一想,换我当执行官,无疑在那个年代派去澳洲的乘船成本与风险都比来新西兰要低得多得多。新西兰人就这样巧妙的的把矛盾转移到血统论上去,并且还绵里藏针的狡黠的笑了一下。直到我突然想起,中世纪的欧洲,很多贵族的出身不过也就是地主或者农场主而已,真要这么说也没错。一下子也就跟着笑了起来。

    2、

      南岛不是新西兰的主要商业活动地带,除了为数不多的四五个万人以上以浓厚英国移民气息为主的城市外,其它的基本上是人数在数千到几百的乡村小镇。所以南岛之行,一路上与小镇的不断相遇是必然的。塔卡卡(Takaka)轻松惬意的街边咖啡,瓦纳卡(Wanaka)的小巧安静, 绨卡泊(Tekapo)的秀丽湖光,蒂阿瑙(Te Anau)的徒步道,箭镇(Arrowtown)的古老邮局,奥马鲁(Oamaru)的美丽建筑,凯卡拉(Kaikoura)的小渔港……信手拈来的就是值得一一评点的小镇。

      最新版《孤独的行星》(《Lonely Planet》世界级“背包客的圣经”)将新西兰排在了2003年最值得一游的Top 5的第一位,南岛作为电影《魔戒》里呈现出的自然美丽的景观宣传,功不可没。而由南岛北边库克海峡渡船停泊的小镇皮克顿(Picton)开始,那些乡村小镇就象上帝随意撒在南岛葱郁的森林、广袤的草原,峭拔的雪山、绵长的海岸线周围的玉石,天然雕饰,不事琢磨,却也足够让途经它们的人们不经意间就感受到那种温润的光泽,并且为之迷恋。

      那些小镇共同的一个特点就是安静,我们的车开过小镇时,有的地方整条主街上也都见不到一个人,看着路边鲜花围绕的彩色房子、远处的牧场或者果园、高高耸立的教堂的十字架,再看着几只鸟在路上走来走去,容易让人产生一种时空交错的迷惑,不知道自己是不是走进了童话里。

      而一旦碰到人的时候,他们从不会吝惜自己淳朴的微笑。对于不同语言不同民族的人来说,微笑是第一语言。我和妮可就是这样认识的。

    3、

      妮可(Nicole)的家乡在南岛箭镇(Arrowtown),那个据称还保持着130多年前的城市景观的小镇正是我当时下一个要去的目的地,离皇后镇(Queenstowm)二十几公里。我见到她是在皇后镇(Queenstowm)旁边的卡瓦劳大桥(Kawarau Bridge)上。蹦极跳运动发展的鼻祖是皇后镇的A.J.Hacket Bungy,卡瓦劳大桥就是世界上第一个提供普通人也参加蹦极运动的地方(the first Bungy site)。填完表格,量完体重,我趴在大桥的木栏杆上往下看碧绿清澈的河谷,正巧妮可站在我的旁边。

      “嗨,Lovely hair,紧张吗?”。妮可的声音很轻巧愉快,把我的思绪从近五十米的桥下轻飘飘的拉了回来。

      “恩,有一点。”我侧头看了看这个有着好听声音的姑娘,应了一声。

      耳朵上戴着小小的银环,穿着T恤和牛仔裤,她倚着栏杆在阳光下冲我微笑着,那一种芬芳质朴的样子,让我想起了小说电影里常常描写的可爱的邻家女孩。和大多数新西兰的女孩子一样,妮可的神情有种单纯的从容,她并不觉得和一个陌生人交谈有什么不妥。简单的几句交谈,我大概也知道了她一直生活在南岛的这个名叫“箭”的小镇上,马上要随叔叔去奥克蓝住一阵子。今天是闲着没事,来看表哥上班,她表哥就是蹦极跳的工作人员。

      “等下你要是这样张开手臂飞起来会很好看的。恩,你一定可以的。”妮可一边说一边比划着,那样的亲切和友善,让本来有些胡思乱想的我定下神来觉得蹦极只不过是为了“have fun”。站在凌空伸出的木台上完成这个勇敢者的游戏,坦白说,心里是着实有点感激妮可的微笑的,陌生人对你的能力的全然信任,有的时候比熟识的朋友的鼓励还要来得有效果。

      象妮可这样让人觉得心里温暖和舒服的小镇姑娘,一路上还碰到了好些,她们有的赤脚走在马路上玩耍,有的在小店里神情愉快的工作。12月份正是圣诞樱桃成熟的季节,在奥塔哥平原上的小镇果园里,卖樱桃的姑娘还笑盈盈的请我们这些旅行者免费品尝。在塔卡卡的小街上,我见到一个姑娘把一大朵的野花夹在自己的耳后,赤脚走在草地上,那一身洋溢着的轻松与自然实在是让人难忘。

    4、

      虽然,以我个人的眼光来看,新西兰让人惊艳的美女也实在是不多。不象在巴黎或者米兰街头我可以期待的那样,上主要中心街道逛一圈,总能碰上几个曲线玲珑,金发碧眼,面部五官生动起伏撩人情思的欧罗巴女子。她们时尚、美丽,但同时你会觉得她们的世界离你很遥远,那样漂亮与耀眼的人儿,似乎只应该在电影电视T型舞台时尚杂志上出现。

      以至于有阵子在新西兰,偶尔在身边走过一个身材俊秀匀称,面目娇好非常的本地女子,我都老大怀疑的在想她是否是混血,或者从哪里移民来的?我这样说,并不是指新西兰的女子都是面目可憎或者相貌平淡,只是以我在国外旅行和生活中热衷看美女的经验来看,无疑在新西兰遇到随意出现的、让人眼前一亮的美女的机率比较低。

      我曾经戏谑地和朋友说,那可能是因为在新西兰女子的地位太高了。1893年新西兰就成为世界上第一个给予女性完全投票权的国家,现在总理是女的,几个部长是女的,不过才三百多万四百万的总人口里还动不动就有女市长,女银行行长(Westpac)。同时,新西兰还是世界上第一个法定八小时工作日的国家,是欧美国家公众假日里“Labour Day”的起源。在这样一个给予人民最大民主和自由权利的国家,女性已经模糊了很大一部分其他一些国家女性在男权统治下的生存压力,她们自然而自信的态度给这个国家增添了更多的休闲安适。她们的行为态度不造作,她们让自己在最大程度上舒服地去享受平凡的生活。同样的,她们通常也就无需刻意的美容美貌。

    5、

      而有一条真理是,人类的情感里最终能深入人心的总是那些质朴的东西。于是,在我眼里所见的新西兰女子,就象这些小镇姑娘,或许不会让你惊艳,但一定会以她们那种独有的温和的喜悦来打动你。

      无疑她们是可爱的。有的时候,美丽的人太耀眼了,会让人变成眼盲,心理不可承受;而可爱的人,则是秋日里湛蓝天空下的阳光,让现实中的你温暖安详。

      那写战争与和平的谁谁不是说过吗?“人,不是因为美丽才可爱,而是因为可爱才美丽。”

      甚然。


    本帖一共被 1 帖 引用 (帖内工具实现)
    • 家园 咦,画中的姑娘怎么不肯回眸一笑呢?
    • 家园 问个题外问题

      个人感觉,判断一个地方被“现代文明”污染的程度,从街上行人的体重上就能看出来,不知道新西兰,这个听你讲有些化外的地方,胖子多不多?

      • 家园 不多。岛人和毛利人除外

        我个人觉得这里的白人男子个头与体重都算很标准,因为这个国家的户外活动很多,喜欢锻炼的人很多。街上看到的胖子,多数是岛人和毛利人比较多,这和他们的遗传体型也有很大关系,我看到好些太平洋岛的族群都很胖的。这个具体的原因要河里对人种有研究的大侠们发言。

        至于化外之地,在我们现在的指代里,并不是就意味着没有受过教育,而是说,它没有那么大的历史人文负担:)。新西兰是个没有文盲的国家。学生贷款和学生福利是很好的,学生念大学都是可以贷款的,同时可以申请150纽币的每周津贴。新移民也享受同等待遇。不同的只是,因为以前好些新移民骗取福利(包括有些人让父母去读语言,同样可以申请津贴),从前两年开始规定新移民在两年之后才可以申请津贴,但可以申请生活补助(就是说这两年的150的补助是需要还的)。

        另一方面,政府学生贷款这项里目前有相当的呆帐。。。。

        • 家园 毛利人

          记得看过可能是唯一的一部描述毛利人现代生活的电影,描写一些本是勇士猎人,在现代生活里只有喝酒打架唱歌了,最后只有回归传统才是出路。

          名字忘记了。

          • 家园 在《钢琴课》和《whale rider》里,

            你都能看到毛利人。

            钢琴课的导演好象也是新西兰的?。里面的土著即是毛利人。

            whale rider就纯粹是毛利人的故事。里面的小女主角还获得了奥斯卡提名。

            • 家园 想起来了,是Once Were Warriors (1994)

              这只篇很好的评论:

              A horrifying, hard to watch exploration of the hold that domestic abuse has over one Maori family, Once Were Warriors never flinches from its chosen path. Set in modern-day Auckland, where an indigenous people remains repressed, the Heke family is typical. Jake (Temuera Morrison), the father, is on welfare, leaving time to lift weights and go drinking with mates. Jake's wife Beth (Rena Owen) has her work cut out, with five children to care for. It was hard enough to make ends meet before Jake got laid off; a maritime feast, courtesy of his final check, doesn't kiss things better. Unwilling to deal with confrontation, Jake necks beer after beer in the local bar, moaning about women to Bully (Clifford Curtis).

              The kids are powerless to act against this simmering conflict, so each evolves their own defence mechanism to keep out the fire. Nig (Julian Arahanga), the eldest, hangs with a local gang and waits for his initiation ceremony. Grace (Mamaengaroa Kerr-Bell) writes to expunge the pain, spinning stories for her best-friend Toot (Shannon Williams). Boogie (Taungaroa Emile), too sensitive for this hell, is drifting way off course, stealing cars and the like. Only Polly (Rachael Morris) and Huata (Joseph Kairau) avoid Jake's wrath, tiny enough to huddle under Beth's wings. A happy if destitute home, at least until alcohol turns Jake bestial. Then all bets are off.

              Ask someone who's just seen Once Were Warriors what their immediate reaction is and, nine times out of ten, they'll say it was a gruelling experience. They're wrong. This particular tale of disintegration is unbearable in its savagery, an excruciating journey to a place that no one sane would want to visit. To call it anything less is to do the cast, and the population on whom the story is based, a disservice. Time and again your fists clench in sympathetic agony, stomach knotted and mind desperate to reel away. Even the end brings scant relief; if you've any heart you'll be writhing and numbed, stunned by this very human apocalypse.

              In simplistic terms, Morrison is the bomb that rips the Heke family apart, again and again. The problem is that no one, not even Jake, knows the extent of his fuse; you're just waiting for him to explode, to lash out with incredible force. Yet, at the same time, Morrison makes Jake charismatic, amusing and even loving. That's the conundrum. Jake adores Beth and his kids, he'd kill to protect them. Jake is selfish and uncaring, so twisted and full of hate that he could kill those closest to him. Morrison's performance is so coruscating that he binds these characteristics together, justifying Jake's behaviour even as it destroys him.

              Owen, the magnet for Jake's rage, is equally impressive. If you've ever wondered why battered wives don't just walk away from the violence, Owen's performance contains the answer. She loves Jake, despite everything. It's the good times, the fragments where Jake and Beth come together in a love song, that keep her going. Their relationship is one of extremes; they provoke scary emotional responses in one another. When the atmosphere is happy, Once Were Warriors shines with peaceful joy. Yet when booze clouds the vision, things turn ugly. Strangely, and this is in no way an excuse for Jake's behaviour, Beth seems to enjoy lighting his touchpaper. As Jake states, Beth gets a bit too lippy. It's a curious and utterly believable existence.

              Lee Tamahori, in his directorial debut, brings the thematic strands together competently and in context. Frustration, rejection and disappointment are the constants of this alienated culture. In a crazy juxtaposition these Maori ex-slaves live in close proximity to the impersonal highway, the bloodstream of New Zealand, yet they have no place in the broader society and economy. It's an easy explanation for their crime, poverty, drunkenness and preying on one another, yet there's a kernel of truth here.

              Technically Once Were Warriors is quite assured. When Jake snaps into uncompromising violence, the brief but effective beatings are superbly filmed and choreographed. D. Michael Horton's editing slashes back and forth, cross-linking the very different lives of the Heke family members, reinforcing the cumulative sense of their hopelessness. To ward off disorientation, the score of Murray Grindlay and Murray McNabb creeps between scenes. Used to presage a change in location, these musical bridges smooth the narrative flow.

              The worst aspect of Once Were Warriors, if it can be described as such, is that it gets harder to watch with every successive viewing. You know what's coming next and that hurts; forewarned is not forearmed, you just cannot build a defence against this sort of emotional punishment. Yet even in Auckland there is hope and belief, a sense that life not only goes on but that it can improve. For this alone Once Were Warriors should be compulsory viewing, particularly for those who get their kicks from movie violence because "it's not real."

    • 家园 原来那是非飘逸的头发,看小图时,我一直以为是非背了个黑色的小背包.
    • 家园 这篇可爱。
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