When Jia Zhang-ke begins his latest state-of-China epic with a cannon-blast of Pet Shop Boys'"Go West", one sits up and takes notice.
賈樟柯以寵物店男孩（英國電子流行組合）一曲《西行》，開始了他最新一部中國史詩，炮轟槍擊般的曲風(fēng)引得人正襟危坐、開始留心注意。

Jia shows us a China whose citizens just want to Go West – if not geographically then cognitively. It becomes the movie’s marching song, keeping time with its characters’ quest for self-determination and social advancement.
賈樟柯展現(xiàn)了這樣一個(gè)中國：其公民就是想去西方，即便不是地理意義上的西方，也是認(rèn)知上的西方。這支曲子成了電影的進(jìn)行曲，順應(yīng)電影角色自我決定與社會(huì)進(jìn)步的需求。

For the most part, it centres on a woman called Shen Tao, who lives in the mining town of Fenyang. She’s a dance teacher in her early 20s, and is leading an aerobics class in a slightly tatty studio, smiling and bouncing in the moment, with little inkling where the next quarter-century will lead.
多數(shù)時(shí)候，電影圍繞一個(gè)叫沈濤的女性展開。沈濤住在礦鎮(zhèn)汾陽，20多歲的時(shí)候是個(gè)舞蹈教師，在一個(gè)稍顯破舊的練功房帶健身操，笑著、跳著，渾然不知接下來的二十五年會(huì)帶她去何方。

Zhao gives a performance of extraordinary detail and depth of feeling in all three time periods: she’s ravishing and butterfly-bright as a young woman, and tight with anxieties as a worried mother a decade and a half later, and returns for the bittersweet and beautiful finale after spending a regrettably large part of the film’s third section offscreen.
趙濤（沈濤的扮演者）對三個(gè)時(shí)間段的細(xì)節(jié)和情感的刻畫都入木三分。年輕時(shí)美麗迷人，有如蝴蝶般耀眼，十五年后身為焦慮的母親又憂心忡忡，還有鏡頭之外令人扼腕的漫長的第三個(gè)階段，最后一幕喜樂參半、回歸美好。

In 1999, she’s being courted by two men: Liangzi (Liang Jin Dong), an honest, working-class chap whose ambitions don’t run much further than providing for himself and whomever he may end up marrying, and Zhang (Zhang Yi), a petit-bourgeois, slick-haired socialite who’s just invested in a local coal mine and has big plans for the future.
1999年，沈濤被兩個(gè)男子追求，一個(gè)是老實(shí)的工人階級青年梁子（梁景東飾演），人生志向不過是自給自足、養(yǎng)得起老婆；另一個(gè)是張晉生（張譯飾演），是個(gè)油頭粉面的小資產(chǎn)階級，投資了當(dāng)?shù)孛旱V，對未來有頗有一番打算的小開。

The choice facing Tao is the same one facing the country at large: settle or trade up? Of course she plumps for the latter, although her flirtations with each makes this the film’s most satisfying section.
沈濤面臨的選擇也是國家所面臨的：安心求穩(wěn)定還是逆流而上？她當(dāng)然選擇后者，盡管她和兩人的談情調(diào)笑是整部電影最令觀眾滿足的片段。

It may only be set a decade and a half ago, but the intense stylishness of Jia’s images makes it glamorously remote, reinforcing the idea that our steps through the past can’t be retraced.
電影不過設(shè)置在十五年前，但賈樟柯電影畫面強(qiáng)烈的風(fēng)格營造出絢麗迷人的過往感覺；我們回顧過往的步伐是無法重溯的，影片強(qiáng)化了這一觀點(diǎn)。

Dollar embarks on a vaguely oedipal affair with his teacher in a subconscious quest to recreate his failed relationship with his mother, and the film’s opening song now rings with sadness.
道樂（沈濤與張晉生之子）與他的老師開始了一場愛戀，隱約含有有幾分戀母色彩。道樂下意識(shí)里想要重修與母親破碎的關(guān)系，而影片的開場序曲而今聽來悲傷。

Mountains May Depart offers a more ambitious and messier treatment of those themes – but its generation-spanning story has serious power, and, in its masterful opening chapter and final sequence, brushes against greatness.
《山河故人》處理其主題大膽而匆忙，但跨代的故事敘述強(qiáng)大有力，開篇和最后的結(jié)局近乎卓越。?

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