一直寻找山，却想成为海
张三坚回来了 2022-12-15 12:00 Posted on 北京
看完《分手的决心》这部电影，与影片中反复提及的歌曲《雾》一样，心里感到格外的雾障，如匪浣衣，多种滋味在心中就像披了件脏乎乎的衣服一样，像上了一节混杂着古典气质又纠缠克制的爱情课。导演热衷于制造间离效果，用极具个人风格的视听语言与多线蒙太奇段落为影片罩染上一层特有的神秘色彩。
影片以男主海俊与警员打靶训练开场，虽然有几乎全中靶心的出色能力，却在每每周末驱车回到常年被雾气笼罩的梨浦的家时打盹险些出事，而这时一桩命案和女嫌疑人走入了他苍白枯乏的生活。
After finishing the film <Decision to leave> , much like the song < Fog > which was mentioned repeatedly in the movie, I felt like my heart was particularly shrouded, disturbed, feeling many different emotions like I was wearing dirty clothes yet to be washed, as if I had a love lesson mixed with classical temperament and entangled restraint. The director is keen to create an alienation effect, and uses a very personal style in his audio-visual language and multi-line montages to add a mysterious layer to the film.
The film opens with the male protagonist Hae-jun, at target practice. Although he is shown to possess excellent marksmanship skills, he almost fell asleep at the wheel when he drove back to his home in Ipo, , which is shrouded in fog all the year round. This time, a homicide and a female suspect enters his insipid and boring life.
女主宋瑞莱精巧设置的语言习惯、审讯之间的相互试探、窥视与被窥视形成有空间互动的关系，海俊看到她晚餐吃冰淇淋会不经意说，“晚餐又是冰淇淋”，看到她抽烟叹息说，“饭后抽烟对身体可不好”，看到她手中的烟蒂忍不住帮她接快要掉落的烟灰……这种监视录音属于案件信息，一般是作为公共文件进行客观描述，男主却在无意中表露出了关心，危险又禁忌的黑色浪漫元素随着画面铺排而来。导演用物像间的类比衔接构成空间闭合，搭配神秘古怪的声效为观众营造出沉浸式的观影氛围。闪回推进的仿佛不是镜头，而是人心。
The female lead Song Seorae’s quaint language habits, their sounding each other out during interrogation, the surveiller and the surveilled formed an interactive relationship across different spaces, where Hae-jun would unwittingly say to himself ” Ice cream for dinner again”, sigh when he saw her smoking ” its not good to smoke after meals”, feel an urge to catch the ashes from her finished cigarettes ……These recordings meant for objective narrative purposes in public records, but the male lead unintentionally showed concern, a dangerous and forbidden dark romanticism begins on screen. The Director creates analogical imagery in order to create connections in relative space to each other, matching strange and mysterious sound effects to create an immersive ambience for the audience. The flashbacks and close ups does not seem to be camera subjects, but of the human heart.
而瑞莱也在推拉间给予相应的回应。海俊监视瑞莱时曾眼见她埋过一只乌鸦并且对着乌鸦用中文说想要男主的“心”，海俊用翻译软件误以为瑞莱想要他的“心脏”，因语言习惯及翻译软件带来的误会造成故事亮点——也许海俊做好了心脏都可以献出来的准备也要去接近她。后来海俊在瑞莱的家发现透明花瓶里发现了乌鸦的羽毛，而且是两根。影片常以符号隐喻导致多多少少缺乏感情线的起伏，没有交代清楚爱意产生的契机，情不知所起的雾雰再次升腾。
Seo-rae also responded accordingly with a push-pull. While monitoring Seo-rae, Hae-jun had seen her bury a crow and heard her speaking in mandarin to the crow** that she wants his ‘heart’; when Hae-jun used a translation software he mistakenly thought that Seo-rae wanted his ‘heart’, and created a misunderstanding due to differences in language and lost in translation — Perhaps Hae-jun was ready to give her his heart when he decided to get close to her. Later Hae-jun finds two crow feathers in Seo-rae’s glass vase in her home. The film often uses symbolic metaphors to make up for the lack of highs and lows in the emotional love line, and does not clearly state when was the moment when love had bloomed, and the love that begun appeared like the fog.
( ** I was under the impression that Seo-rae was talking to the cat, who had killed the crow and brought it to her, and she was asking the cat to bring her Hae-jun’s heart )
男主心疼瑞莱受到的家暴，他懊恼她为什么选这样的人结婚，他说服自己接受瑞莱是个曾有弑母案底的人。就连查清瑞莱确为丈夫凶手时，他选择了为她隐瞒真相，这就是男主爱女主的方式——赌上我的职业生涯为你解决事情。
The male lead felt sorry for Seo-rae who had suffered domestic violence, and he was vexed at her choice to have married such a person; he convinced himself that Seo-rae was someone who had matricide on her criminal record. Even after realizing that she was guilty of murdering her husband, he chose to bury the truth for her, this is the way the male lead loves the female lead — he bet his professional career to solve her problems.
就像结尾处瑞莱说的，“你的爱结束的瞬间，我的爱就开始了”。
As Seo-rae said at the ending, “The moment your love ends, mine began.”
如果说故事上半部分男主把藏有女主罪证的手机交给她让她扔向大海，男主对女主的爱就结束了，那么下半部分女主爱男主的故事就开始了，而她可以赌上自己的命。
If the first half of the story where the male lead hands the incriminating mobile phone over to the female lead for her to discard into the sea and his love for her ended then, the next half is the beginning of the female lead’s love for him, and she was willing to bet her life on it.
在梨浦市场的再次相遇，两人都见到了彼此的伴侣，从上往下拉的镜头一一给到发型、鞋子特写。在无言对视间昭告着分别之后，彼此都有着崭新且看似美满的生活。平静之下，却是幽深的迷恋，瑞莱想见到海俊只有成为他的嫌疑人。
When they met again at the Ipo Market, both of them met each other’s partners; the camera pan from top to bottom showed the close-ups, details of hairstyles and shoes. After saying goodbye to each other silently, both of them now have a new and seemingly happy life. Under the calm, there is deep infatuation, and the only way Seo-rae can see Hae-jun again is by becoming his suspect.
面对瑞莱炽烈的爱、两位无辜者的死，海俊彷徨迷离如同在迷雾中一样。就像影片海报呈现的那样，女主始终是睁着眼格外清醒的吧，作为护工对老人体贴入微、为了爱人也可以献身自毁，而男主却始终闭着眼，看不清名存实亡的家庭生活，看不清失眠的真实理由，只有案件来临时才滴眼药水叫醒沉睡的干涸已久的心灵。
Facing Seo-rae’s fiery love and the death of two innocent people, Hae-jun became lost and confused like he was in a fog. As shown in the movie poster, the female lead seems to be always clear-headed with her eyes wide open. As a caregiver, she is kind and attentive to the elderly patients; as a lover, she can sacrifice herself for her love. But the male lead always has his eyes closed, unable to see clearly that his family life which exists in name only; unable to see the real reason for his insomnia; he puts in eye drops to awaken the long-dried soul that has been long asleep only when his cases come in.
故事的结尾，瑞莱把自己埋在了沙滩上，潮水把小山一样的沙丘冲刷平整，再一次次冲走了她的所有痕迹。没有求救的信号，没有留恋的眼光，或许只有分手的决心，与海俊分手的决心，与世界分手的决心。
At the end of the story, Seo-rae buried herself on the beach; the tide washed away the hill-like dunes, washing away all traces of her again and again. There is no signal for help, no lingering gaze, maybe only the determination to break up, the determination to break up with Hae-jun, and the determination to break up with the world.
又或者在海俊忘了他说过“我爱你”的瞬间，她就明白自己漂泊半生在寻找的男人，也就是所谓的靠山，到最后却是无所依靠。
Or the moment when Hae-jun forgot that he had told her “I love you”, she knew that the man she had been searching for half her life, the so-called backer, just to realize there was nobody to rely on in the end.
影片中多次运用了“山”“海”“雾”这些自然意象，壁纸与陈设、蓝绿色的连衣裙抑或在读的《山海经》不断深化这种相对却不能相容的意象，但说到底《山海经》不是含蓄蕴藉的古典爱情故事，它讲的是山海奇景、神怪异兽，记录着九头的蛇，三脚的鸟，人面的兽，妖之所以是妖不是人，因为它们是畸形的肉体和灵魂，某方面的执着与欲望塑造出它们的形态，极度丑陋或极度贪婪，或因某方面缺失而造成另一特性的极度偏执。在某一瞬间，女主好像邪魅的妖，可能这样她才有着常人之外的疯狂，恨一个人可以杀死他，爱一个人可以为他赴死。
The natural imagery of “mountain”, “sea” and “fog” are used many times in the film, and the wallpaper and furnishings, the blue-green dress, or the reading of “Classic of Mountains and Seas” continue to deepen this relative but incompatible image, but in the end, “Classic of Mountains and Seas” is not a subtle classical love story. It talks about the wonders of mountains and seas, gods and monsters, with records of nine-headed snakes, three-legged birds and beasts with human faces. The reason why demons are demons and not humans, is because they are deformed of body and soul, with certain fixations and desires that shaped and gave them form, extremely ugly or extremely greedy, or lacking certain aspects which led to extreme paranoia of others. In certain moments, the female lead is enchanting like an evil demon, maybe because of this she possessed an insanity beyond ordinary people, to kill someone out of hate, or dying for someone out of love.
所以在某种程度上来说，男主是现实、是社会行为规范、是阶级与权力的需求，女主是理想、是遗世独立、是飘摇在体系之外的槛外人；男主是人的真实，女主是超乎人之外的境界。
So to a certain extent, the male lead represents reality, the norm of social behavior, conforming to the need of class and power; while the female lead represents idealism, someone who stands aloof from the world, an outlier adrift outside the system; he is human, while she is on a realm beyond human beings.
男人投射的是自身欲望，从窥探、靠近到爱上她，最终却又低头回到自己无爱压抑的婚姻、备受赞赏的警员身份中，比起对于女主的爱，他对真实现实恐惧得更多。女主却如同血红色明艳的画布，爱得更加纯粹热烈，梦幻有多残酷，自毁就有多明媚。
What the man projects is his own desires, from spying on her, getting close, to falling in love with her, but ultimately bowing his head to return to his loveless and repressed marriage and his identity as an admired police officer. His fear of reality far outweighed his love for the female lead. However the female lead is like a vibrant blood-red canvas, her love is purer and more passionate; her self-destruction is as radiant as the cruelty of her fantasy.
可能到最后男主也没有真正的理解女主，如果他懂她，当知道她所谓的爱不是海岸边流于表面的奔走，嚎啕你到底在哪里，不是她从背后抱住他而他瞪大了双眼担心要被谋杀。可能这就是山与海的区别吧。
Maybe in the end, the male lead didn’t really understand the female lead. If he had understood her, he should know that for her, so-called love is not just a performative act of running around on the beach, wailing where are you? His eyes would not have widened in fear of being murdered when she had back-hugged him. Maybe this is the difference between mountains and seas.
所以如果找不到那座山，倒不如就做自己的海吧，冷眼旁观，深邃无言，看穿万象，包容万物，最后把深藏心底的秘密埋在海底，深蓝者大抵如此。
So if you can’t find that mountain, you might as well be your own sea; look on dispassionately, deeply and silently, see through everything, embrace everything, and finally burying the deepest secrets in the bottom of the sea; Deep blue ones are probably this way.
Zhang Zhehan 