又把《他人的生活》看了一遍，记忆中这是唯一一个我主动看第二遍的电影。重新看一遍的原因很简单：看第一遍时太囫囵吞枣了，没留心一个关键问题，那个“坏人”是怎么变成“好人”的。确切地说。我很想知道一个腐朽大厦的倒塌，是从哪个裂缝开始的。
《他人的生活》情节已经众所周知：1984年，东德秘密警察Wiesler被派去监听一个剧作家Georg，结果他不但没按计划搜集该作家的反动言行，反而被他和女友的爱情和勇气所打动，最后背叛组织暗中救助了他。
带着清晰的问题意识再看第二遍，我遗憾地发现，导演其实根本没有回答我的问题：“坏人”并没有“变好”，他简直从来就是好的。电影开始不久，在其上司Grubitz表示要通过监听搞倒谁谁谁时，他就问：“难道这就是我们当初为什么加入组织？”一个竟然追问为什么的人，怎么可能是一个好的秘密警察。在听Georg弹贝多芬时，他竟被感动得泪流满面。一个追问为什么的人，以及一个多愁善感的人。所以该片最大的问题似乎并不是“坏人”怎么变成“好人”，而是“好人”怎么能允许自己做那么多年的“坏事”。Wiesler在成为片中的英雄之前，做了20年的秘密警察劳模。如果他可以劳模20年而不羞愧，那么他应该也可以这样劳模下去；如果他会那么轻易被监听对象所打动，那么他也不可能这样劳模20年。
电影里真正的“坏人”似乎只有两个，一个是部长Hempf，另一个是警察头子Grubicz。区区二人可以对这么多人的命运翻手为云覆手为雨，原因就在于“他们”把“你们”也变成了“他们”。他们以保卫国家的名义吸纳了无数秘密警察，他们发展艺术家中的内奸，他们逼迫Christa告密，他们让Georg们保持沉默……如果没有“你们”，“他们”什么都不是，只是一群小丑而已。
但“你们”又是谁呢？“你们”可能周末带孩子去父母家尽享天伦之乐，“你们”路上看到车祸可能会打911帮助呼救，“你们”可能看到电视剧里坏人欺负好人时气愤填膺，然而你们在做着这一切的同时，也会像Wiesler那样爬到别人的楼顶阁楼上——当然不仅仅阁楼，还有可疑分子家门口，单位，言论的字里行间——说：看，这个混蛋，竟然拿民主德国的自杀率来做文章，把他给抓起来！
“他们的信念是什么？”有一次我试图和一个朋友讨论这个问题：“他们怎么说服自己，一个人把一件事情诚实地说出来，就应该被抓起来？真的，他们是怎么说服自己的？这事首先令人困惑，其次才令人沮丧。他们怎么能够在窃听骚扰跟踪袭击迫害诚实正直的人之后，一转身，对自己的孩子说：孩子，你要做一个好人。
那个朋友说：“不需要信念，就是个趋利避害的本能。”
我还以为道义感羞耻感内疚感也是人的本能呢。
可能也正是因此，Wielser这个人物太理想化了；他作为国家机器的一部分，拒绝被彻底机器化，羞耻感犹存。电影甚至把他描述得很可怜，一个人住冷冰冰的单身公寓，在电梯里被小孩子当面骂成“坏蛋”，招来的妓女甚至不愿意多停留半个小时。而现实生活中，那些变成“他们”的“你们”，可能过得比谁都好：他们在饭桌上谈笑风生，在亲友中春风得意，在生意上左右逢源。也正因此你们还在趋之若鹜地变成他们。
如果该电影展示的是1984年东德现实写照的话，那么5年之后的巨变一点都不奇怪。当电梯里的孩子都可以羞辱秘密警察而他只能哑口无言时，只能说这个社会已经变心了。事实上从故事情节来看，当时东德的控制手段已经贫乏到完全依靠胁迫：听不听话？不听我就让你没饭吃。当统治者的统治手段已经贫乏到仅剩胁迫时，它就气数将近了。我们从小就说物质基础决定上层建筑，但也许历史唯物主义偶尔也会走神，物质基础也会被上层建筑拐跑。至于上层建筑又是如何变心的，那个20年的秘密警察是怎么突然从“他们”转变成“我们”的，电影没有说清，我没有找到答案，看来还得接着找下去。
I watched "other people's lives" again. It was the only movie I could remember watching a second time. The reason for revisiting it is simple: the first time I read it, I swallowed it too quickly, not paying attention to one key qion: how did the "bad guy" become the "good guy". Well, technically,. I'd like to know where a crack in a decaying building starts to collapse. The plot of "the lives of others" is well known: in 1984, Wiesler, the East German secret police, was sent to spy on a playwright, Georg, and instead of gathering the writer's reactionary words and deeds as planned, instead, he and his girlfriend's love and courage moved, and finally betrayed the organization secretly rescued him. Looking at it a second time with a clear sense of the problem, I regret to find that the director did not answer my qion at all: "the bad guy" is not "getting better," he is simply always good. Soon after the movie begins, when his boss, Grubitz, says he wants to take down whoever he wants through wiretaps, he asks, "is that why we joined division in the first place?" How can you be a good secret police. Listening to Georg Play Beethoven, he was moved to tears. A man who asks why, and a man who is sentimental. So the biggest qion seems to be not how the "bad guy" becomes the "good guy", but how the "good guy" allows himself to do the "bad thing" for so many years. Wiesler was a model secret police officer for 20 years before he became the film's hero. If he can work 20 years without shame, he can work 20 years without shame; if he can be so easily moved by the people he listens to, he can not work 20 years without shame. There seem to be only two really bad gin the movie, one is the Minister Hempf and the other is the police chief Grubicz. Just two people can turn over the fate of so many people for rain, the reason is that "they" to "you" has become "they". They recruited the secret police in the name of defending the country, they developed a mole among the artists, they forced Christa to snitch, they silenced the Georgs... without you, they" are nothing but a bunch of clowns. But who are "You"? "You" might take your kids to their parents'house for the weekend, "You" might call 911 for help if yoe a car accident on the way, "You" might get angry if yoe a TV show where bad people bully good people, and while you're doing that, you'll be like Wiesler, climbing into someone's attic -- not just the attic, of co, but the doorway to the suspect's house, the office, the words -- and saying, look, that son of a bitch is using East Germany's suicide rate as an excuse to arrest him! "what do they believe in?" I once tried to discthe qion with a friend: "How do they convince themselves that a person should be arrested for speaking honestly about something? Really, how do they convince themselves? It's confusing at first and depressing at second. How can they turn around and say to their children, son, you have to be a good person after bugging, harassing, stalking, and persecuting honest people. "you don't need faith," said the friend. "It's just an instinct for good and evil." I thought morality, shame, guilt were human instincts. Maybe that's why Wielser is so idealistic; he's part of a state apparatus that refuses to be fully mechanized, and still feels shame. He is even portrayed pitifully, alone in a cold bachelor pad, vilified as a "bad guy" by a child in an elevator, and a prostitute who won't stay for more than half an hour. In real life, those "you" who become "them" may have a better life than anyone else: they talk and laugh at the dinner table, thrive among friends and family, and thrive in business. And that's why you're still trying to be them. If the film shows East Germany in 1984, it is no surprise that five years later the country has changed dramatically. When a kid in an elevator can humiliate the secret police and he's speechless, society has changed. Indeed, the story line suggests that East German control was so poor that it relied entirely on coercion: did they listen or not? If you don't listen to me, I'm gonna put food on your table. When the ruler's means of domination have been exhausted to the point of coercion, it will be close to its fate. We are raised to believe that the material base determines the base and superstructure, but perhaps the historical materialism will occasionally wander, and the material base will be abducted by the base and superstructure. As for how the base and superstructure changed his mind, how the 20-year-old secret police suddenly changed from "they" to "We", the movie is unclear, I haven't found the answer, it looks like we'll have to keep looking. 标题: 没有你们就没有他们作者: 刘瑜
字数: 1548
简介: 又把《他人的生活》看了一遍，记忆中这是唯一一个我主动看第二遍的电影。重新看一遍的原因很简单：看第一遍时太囫囵吞枣了，没留心一个关键问题，那个
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