梁家辉：“北上”不是选择，而是回归

导读

从香港到北京，从敦煌到巴黎，从一个角色走进另一种人生。梁家辉的40余年电影生涯，也是一场不断跨越地域、文化与时代的旅程。

8月8日上午，在第38届大众电影百花奖北京电影论坛上，这位中国香港演员回望自己的银幕人生，讲述电影如何让不同的土地彼此相连，让不同文化在光影中相遇。

8月12日，《中国日报》言论版经授权刊发梁家辉发言全文英文版，以下为文章主要内容。

一张电影地图，从北京开始

我今年已经六十八岁了，普通话讲得不好，演了四十多年的戏，差不多一百六十多部电影。

I am 68 years old. I have been acting for more than 40 years and have appeared in more than 160 films.

你如果问我，我最大的收获是什么？我想就是：从南边到北边，从东方到西方，我走过了很多地方，活过了很多种人生。也因此看到，电影是怎样把一片一片的土地、一种一种的文化，连成一张地图。

而我，第一次开启这张地图的地方，就是北京。

People sometimes ask what I have gained from such a long career. The answer is in the places.

I have gone from south to north, east to west, moving between cities, countries and, quite often, centuries. My career has been a journey through the changing geography of Chinese cinema. The journey began in Beijing.

1982年，我24岁，对演戏谈不上什么期待和准备，就被李翰祥导演拉到北京，剃了光头、穿上龙袍，成了《火烧圆明园》和《垂帘听政》里的咸丰皇帝。而这两部电影，正是当时改革开放初期，最早的一批合拍片。

那时候香港也拍古装片。但当我真正走进故宫的那一刻，我感到的是一种完全不同的恢宏。

The grandeur I felt there was not the grandeur of a set. It was the grandeur of history. Standing inside those walls, I began to understand that a film could carry more than a story. It could carry the memory of a people.

我忽然意识到，电影不只是讲故事，它还可以承载一个民族对历史的回望、对文化的敬畏。

电影《垂帘听政》剧照 梁家辉饰咸丰

走出片场、走进大街小巷，我又看见这座城市不同于香港的一面。

我第一次真切感受到，地域与文化是如何在各自的历史脉络里，孕育出截然不同的气质。

The city was very different from Hong Kong. Both were modern cities, but they had different rhythms, streets and ways of living. That was when I began to understand something that has stayed with me ever since: place matters.

正是从那时候开始，我越来越相信：演员的一生，就是不断走进不同空间、不同文化的一生。

A character does not exist in a vacuum. He comes from somewhere. His language, food, weather, family and history all leave their mark on him. Before I learned how to play a character, I learned that I had to find the place that had made him.

从一个角色走进另一种文化

作为一个演员，能走到哪，往往不只是靠自己计划。

我很幸运，26岁就拿到了香港电影金像奖最佳男主角。更幸运的是，后来遇见了《情人》这部电影，让我走进一段跨越地理、文化、语言，甚至于年龄的爱情故事。

电影《情人》剧照 梁家辉（右）饰东尼

演绎这个角色的困难，正来自这一系列“跨越”里。

The Lover took me much farther from home. I had to speak English and French and tell a love story set in Vietnam, with filming in Vietnam and France.

现在想起来，一个来自中国香港的演员，说着一口流利的英语和法语，演了一个发生在越南的爱情故事，最后被全世界的观众看见，这是多么奇妙的一种体验。

For a Hong Kong actor, it was an unusual journey. Yet the film traveled farther than any of us could have predicted. Young people have told me that it was one of the films that introduced them to cinema.

这就是电影的力量，跨越空间、跨越文化的力量。

Cinema does not erase geography. It allows us to see it through other people's lives.

它不问你是谁、你来自哪里、你说什么话；它只问：你能不能把一个“人”立起来，让观众相信他的悲欢离合。

A viewer does not have to be from Hong Kong, Vietnam or France to understand loneliness, desire or regret. A film crosses a border not because it erases differences, but because it gives those differences a human face.

“北上”不是选择，而是回归

新千年之后，随着内地与香港的文化交流越来越紧密，越来越多香港电影人来到内地工作，我当然也在其中。

很多人问我，这是不是一种“北上”的选择？

对我来说，这不是选择，是回归。

因为早在90年代，我就在内地拍摄了《新龙门客栈》《东邪西毒》等电影。

I returned to the mainland many times in the 1990s, making films such as New Dragon Gate Inn and Ashes of Time. Later, as exchanges between Hong Kong and the mainland became closer and more Hong Kong filmmakers came north to work, people began to describe this as "going north".

I never quite saw it that way. For me, it felt more like returning to a landscape I had already begun to know.

电影《东邪西毒》剧照 梁家辉饰黄药师

甘肃敦煌的风沙、陕西榆林的红石峡，这些山河记忆每一次都刻在了我身上，让我充满记忆。当大好河山碰上电影人的想象力，那种震撼，时至今日仍未褪色。

I remember the sands of Dunhuang in Gansu. It was a film location, but it became part of my memory. More importantly, it became part of the film itself. Put a martial-arts story against those mountains and deserts, and the landscape becomes part of the action.

武侠动作、浪漫情感，因为那些不同地域文化的存在，都被提升了一个档次，对于后来的华语大片也有很多启迪。

Hong Kong brought its own urban energy and cinematic language. The mainland brought vast landscapes and an enormous range of local cultures. As filmmakers moved between them, the boundaries became less fixed. New stories became possible.

加上今年上映的《镖人之风起大漠》，在我的演艺生涯里头已经集齐了一个“沙漠三部曲”。其实我还在期待四部曲、五部曲，虽然我们很多治沙人已经把很多沙漠变成绿洲了，但是我也希望在我余下的演艺生涯里面能够再经历祖国的大好河山。

演了160多种人生，但我没有“千面”

从《刮痧》里的中西文化冲突，到《太行山上》《明月几时有》这些片子里头的民族记忆；从《十月围城》里的陈少白，到《智取威虎山》里的座山雕，再到《捕风追影》里的悍匪傅隆生……

很多人叫我“千面演员”，其实我没有千面。

我做的从开始到现在始终是一件事：我先把人物放回他的土地里，再去演他。

People call me a "thousand-faced actor". I don't think I have a thousand faces. I have one method. I put the character back on his land.

那片土地有它独有的语言、饮食、气候、历史，甚至人情世故。当你了解了这个空间，你再演这个人物就活了。

电影《捕风追影》剧照 梁家辉饰傅隆生

当年演《黑金》周朝先时，我曾经写了差不多有十万字人物小传，里面写的就是：这个人从哪里来？他为什么在这里？他要去哪里？我用这个方法走进了一百六十多种人生。

每走进一种，我都能更深地确认：每个角色，都是被一方水土养出来的；而每一部好电影，都是在为这个时代保存一种文化记忆。

After more than 160 films, I have come to believe that every character is shaped by a particular piece of land. And every good film, in its own way, preserves something of that land — its language, its habits, its memories, even its contradictions.

从一个个角色，看见一个时代

这四十多年，我一直在通过表演，把不同土地、不同文化、不同人心，连接在一起。

我觉得我自己是一个架桥的人，同时也是与所有观众朋友一起站在桥上看风景的那个人。

When I look at the roles I have played over the past two decades, I see more than a collection of characters. I see a changing film industry.

My career happened to move with that change.

我见证的不只是自己的演艺之路，更是一个时代的缩影：内地的电影工业从低成本拍摄，成长为全球瞩目的市场；中国香港从文化的输出方变成了融合的一部分。这是一个演员和行业、和时代、和一片土地的双向奔赴。

一张电影地图，越画越大

电影是一种全球性的交流方式，电影节、电影奖项，是电影凝聚合力和穿透力最集中的体现。

I have never thought of cinema simply as entertainment. It is also a record of where we have been.

在国际电影节上，一个国家、许多国家；一种语言、许多语言，可以在短短几天内聚合在一起。

每每这种时候，我会觉得，我们是因为电影，才相聚在一起。

At international film festivals, I have seen this happen in a different way. Films from countries that may have little else in common are placed side by side. Different languages fill the same theater. For a few days, people sit together, watching strangers laugh, suffer and fall in love.

我们谈文化建构，谈的不是宏大的口号，而是一个个具体的作品、一个个真诚的创作、一个个让观众一起笑、一起流泪的瞬间。

This year's Hundred Flowers Awards make me think about the journey again. When we talk about culture, we sometimes reach too quickly for large words. But culture is made from smaller things: a city seen through a camera, a landscape remembered by an actor, a character speaking in a particular voice, an audience laughing at something it thought belonged only to another place.

电影是一张地图，标记我们从哪里来，也铺展着我们怎么样去更远的地方。而我们所有电影人一起，正在每一天每一天把这张地图画得越来越大：画出更多的坐标与桥梁，画出更辽阔的山河，也画出时代的广度与文化的纵深。

For more than 40 years, I have been moving through those places. The map has changed. Hong Kong has changed. The mainland has changed. Chinese cinema has changed. And so have I. Perhaps that is what I have really learned from acting: A film does not merely tell us who we are. Sometimes, it shows us where we have been — and gives us a reason to keep going somewhere else.

希望未来的中国电影，能够继续百花绽放，光影共生，让每一种文化、每一个故事，能在世界面前都被看见。

I still have places I want to see.

I hope Chinese cinema does, too.

记者：李薇

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