《电影艺术》上古史话

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《电影艺术》上古史话

罗艺军

作为《电影艺术》的一个老编辑,我想,
《电影艺术》50 年,要按照正常的历史来分期
的话,大概很自然地分成三个阶段:文化大革
命以前,这是《电影艺术》的“上古史”;文
化大革命十年,是《电影艺术》的“中古史”,
正好也是黑暗时代;新时期是《电影艺术》的“近
代史”。经历过《电影艺术》“近代史”的人很
多,经历过《电影艺术》“上古史”的人现在
已经不多了。我就讲一段《电影艺术》“上古史”
的史话吧。也让大家了解一下在“上古史”时《电
影艺术》是怎样进行工作的,以及当年一些电
影理论家、电影创作者的处境。
《中国电影》(《电影艺术》前身)1956 年
创刊,正好是提出“双百”方针的时候,是思
想相当解放的时候,也只有在这种时候,电影
理论比较活跃,才创刊了《中国电影》。但是
创刊以后不久,就是反右派斗争了,《中国电影》
主要的任务就是批判右派言论,接着又是反右
倾…… 可以说《电影艺术》自创刊之后,一
直都是比较坎坷的,虽然当中有一些起伏,但
极左思潮在当时中国的政治领域和文化领域是
起主导作用的。
到了1961 年,三年困难时期,出现了在
物质上的贫困,只要从那个年代过来的人,都
会深有感受。那么在精神上的贫困恐怕比物质
的贫困如果不说是更严重的话,至少也差不多。
于是在这个时候,中央调整了政策,提出“调
整、巩固、充实、提高”的八字方针。由周总
理提议在1961 年6 月召开了“新侨会议”——
电影故事片创作会议,这次会议大概是新中国
成立以来第一次由中央高级领导人出席并做了
重要发言的里程碑式的电影会议,主要精神就
是反“左”,批判1957 年以后泛滥的极左思潮,
要求思想解放,强调重视艺术规律等等。这可
以说是十七年很难得吹来的一阵清醒之风。
在这个背景下,当时《电影艺术》的同志
们也都欢欣鼓舞,赶紧行动起来。因为《电影
艺术》自创刊以来,基本上是反右,老是发批
判文章,所以名为《电影艺术》,恐怕实际上主
要是电影政治,主要是谈政治,很少谈艺术。
那么有了这么个机会,整个电影界的创作人员
思想都相当活跃,所以当时《电影艺术》编辑
部的同志都很希望能够真正组织一些有分量的
电影理论文章。在这个时候,上海有人传过信
息来,说上海的陈西禾同志曾经给一些年轻的
电影工作者作了两个报告,一个专门谈电影的
画面,另一个专门谈电影的音响。他之所以能
作这两个报告,当然跟周总理主持的这个“新
侨会议”倡导的风气有关系。《电影艺术》自从
创刊以来,实际上对电影本体的研究是很少的,
在极左思潮猖獗的年代,有一种风气,如果《电
影艺术》杂志谈艺术谈电影本体太多了的话,
就会被认为是一种脱离政治的倾向,所以一般
很难见到很有分量的关于这一方面的文章。
听说陈西禾在上海作了两个报告,而且非
常受欢迎,《电影艺术》就派编辑到上海去组稿,
去找陈西禾同志,对他说:“听说你作了两个报
告,有的人把报告的记录给我们看了,确实谈

得不错,希望你能够把这篇文章给《电影艺术》
发表。”陈西禾是有很高文化素养的人,他对
法国文学、法国戏剧都很有研究,他作为电影
导演,在50 年代初编导过《姊姊妹妹站起来》,
是写北京清除妓女的,后来又拍过《家》,这两
部片子应当说在艺术上还是相当有水平的。但
是,他有个特点,胆儿非常小,一向谨言慎行。
多年不断的政治运动更使得他小心翼翼。所以
我们的记者找到他,让他把他的讲演稿交给我
们的时候,怎么说他都不同意。最后没办法,
记者只好空手而回。
到了1962 年春,《电影艺术》又派记者去,
派的记者就是我夫人徐虹。她找到陈西禾同志
之后,对他说把你这个稿子给我们《电影艺术》
发,《电影艺术》是如何需要这个稿子。她把“新
侨会议”当时总理的讲话以及“新侨会议”如
何发扬民主精神,让大家有苦的诉苦,有冤的
吐冤,会议开得怎么好跟他说。说了以后,他
还是不给。徐虹一再到他家里去,说了很多北
京的电影艺术家准备放手大干一场的事例,乃
至当时电影界的领导人像夏公、陈荒煤在这些
问题上的态度。最后,他总算是哆哆嗦嗦地把
他早已经写好的稿子拿了出来,交给了徐虹。
徐虹接到稿子之后,马上到电报局给《电
影艺术》编辑部发了一封电报,说陈西禾的稿
子已经到手了。电报一来,整个编辑部都觉得
这是一大胜利, 如同在重大战役中攻克了一
个重要堡垒。哇——陈西禾的稿子居然都组得
来!过了几天,徐虹就回到编辑部,把稿子交
出来了,以为这一下子万事大吉。但是稿子拿
到了之后,后续的麻烦不断,她还没有回到编
辑部的时候,陈西禾就打电报来了,说这稿子
你不能马上发,稿子里哪个地方有个提法不准
确,等我的挂号信。挂号信过两天来了,实际
上他要求改的地方没什么了不得的,就是在文
章里某个提法是不是太尖锐了一点,得改一改。
从此以后,徐虹三天两头不是接到电报,
就是接到挂号信,所要说的东西不过就是他稿
子里有一句话要改一改, 某个影片的例子要
换一换等等。当时中国影片里足以说明画面上
艺术处理的典型例子还不多,所以这个稿子里
面就用了许多外国影片包括一些苏联影片的例
子,但是到了60 年代初,中苏关系也出了问题。
那并不是一篇在理论上面特别提出什么新观点
的文章,基本上还是关于电影技巧这个层面的
文章,所以就得要举很多具体的事例。一个电
报打来,说我这篇文章里引用的好莱坞的影片
太多了,这恐怕不好。最好把好莱坞的例子拿
下来,换成另外一个例子。
所以,徐虹拿到了稿子回到编辑部,就没
完没了地收到挂号信或电报,编辑部有的同志
就跟她开玩笑说:“你跟陈西禾到底是什么关系
啊?热恋的爱人也没有像这样三天两头又是电
报又是挂号信的!”而且实际上他要改的都是
这么一些并不是什么原则性的问题,像这样的
艺术家,因为老是搞政治运动,弄得心惊胆战,
如履薄冰。
这一期刊物把他的文章发表了之后,正好
北戴河会议召开,发出“千万不要忘记阶级斗
争”的号召。声音的部分原先他说还要再修改,
徐虹已经跟他说好了,画面的稿子发了之后,
你马上把声音的部分寄过来。但是这时,打电
报也罢,写挂号信也罢,派人去坐在他家里拿
也罢,怎么样他也不拿出来了。他的这两篇文
章等于是上下篇,发了上篇以后,下篇就一直
没有发表。一直等到粉碎“四人帮”之后,他
的下篇才在《电影艺术》上露面,而且这两篇
文章最后合成了一个小册子出版。
我说一点当年的电影史话,为了说明我们
中国电影包括中国电影理论走过的路是多么坎
坷。现在《电影艺术》面临的困难确实很大,
但是中国电影包括老一代的电影理论家、电影
创作者们走的路,一直是坎坷的。希望我们的
《电影艺术》在走过了50 年之后,至少在这一
些方面,像发一篇文章又是挂号信又是电报的
这种情况,不会再发生了。
(宝光根据录音整理)

This entry was posted on 星期四, 02月 25th, 2010 at 2:42 上午 and is filed under 转帖. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.

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