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寻找“功夫女王”(下):先锋者还是失意人?

更新时间:2016-11-19 8:41:02 来源:纽约时报中文网 作者:佚名

Searching for Lady Kung Fu
寻找“功夫女王”(下):先锋者还是失意人?

Her break came when the Hong Kong producer Raymond Chow discovered her in an opera. Though Ms. Mao generally described her life as a case of being in the right place at the right time, she did display a rare moment of tenderness at this point. “I have to thank God and Raymond Chow,” she said.

当香港制作人邹文怀(Raymond Chow)在一出戏中发现了她的时候,她的机会来了。尽管她通常会以机缘巧合来描绘自己的人生,但此刻她却颇为少见地沉于感情之中。“我必须感谢神明和邹文怀,”她说。

The dominant studio in Hong Kong at the time was Shaw Brothers, which produced dozens of formulaic action films per year. Mr. Chow was considered one of Asian cinema’s revolutionaries for founding the competing studio, Golden Harvest, which is credited with helping bring martial arts cinema to the West. Among his early coups were signing Bruce Lee — and discovering Angela Mao.

香港当时的主要制片公司是邵氏兄弟,每年会出品数十部程式化的动作片。邹文怀创办了与邵氏相抗衡、因为帮助把功夫片带到西方而受到赞誉的嘉禾,被视为亚洲电影界的革命性人物。他最初取得的重大成功包括签下李小龙——以及发掘茅瑛。

“Everyone told him, ‘No one wants to see a woman on the screen,’” Mr. Meyers said. “He said, ‘That’s not true: I do.’ And Raymond Chow was right. He searched for a female actress with the same charisma and talent as Bruce Lee, and he found Angela Mao.”

“人人都对他说,‘没人想在银幕上看到女人,’”迈尔斯说。“他回答,‘不对,我就想看到。’”邹文怀是正确的。他那时候正在寻找像李小龙一样有魅力、有才华的女演员,结果找到了茅瑛。

Her first prominent role was “Hapkido,” or “Lady Kung Fu,” in 1972. “That made me a star,” she said. “I traveled the world to promote it. People knew my face. Then the whole Asian world knew my face.” “Lady Kung Fu,” along with “Lady Whirlwind,” also in 1972, established her nicknames.

她主演的第一部影片是1972年的《合气道》。“我由此成了明星,”她说。“为了推介这部片子,我四处奔走。人们认识了我的脸。接着整个亚洲地区的人都认识了我的脸。”同样是在1972年,“功夫女王”和“旋风女王”成了她的绰号。

In the early 1970s, she appeared in a string of films now considered martial arts classics: “Angry River,” “Thunderbolt,” “The Fate of Lee Khan,” “When Taekwondo Strikes” and “The Tournament.” A teenage Jackie Chan appeared as an uncredited stuntman in several of her early films.

70年代初,她出现在一系列现如今被视为经典的功夫片里:《鬼怒川》(Angry River)、《五雷轰顶》(Thunderbolt)、《迎春阁之风波》(The Fate of Lee Khan)、《跆拳震九州》(When Taekwondo Strikes)和《中泰拳坛生死战》(The Tournament)。不到二十岁、尚未成名的成龙作为无名替身演员参演过她早期的几部片子。

“Jackie and I started together,” she said. “We learned to take care of each other. He is my brother.” At the height of Ms. Mao’s fame, a man attacked her on a walk home, she recalled in an interview from the mid-1990s. She promptly dealt him several kicks. He ran off. The episode made headlines.

“我和成龙是同时出道的,”她说。“我们学着照顾彼此。他是我的兄弟。”茅瑛在90年代中期接受采访时回忆,名声最盛的时候,她在走路回家时遭到了一个男人的袭击。对方立刻挨了她好几脚,一溜烟儿跑掉了。这件事曾登上新闻头条。

Ms. Mao reflected: “A lot happened to me in a little bit of time.”

茅瑛回忆说:“短短的时间里我遇到了太多事情。”

Aside from some cameos in the early 1990s, Ms. Mao said, she effectively concluded her film career in 1983, when her son was born. By this time, her husband had moved to New York to start a construction company. Ms. Mao and their son joined him in 1993. She opened her first restaurant, Mama King, on Roosevelt Avenue in Flushing three years later. She opened Nan Bei Ho in 1997. New Mei Hua, in Flushing, and Guo Ba Inc, in Bayside, would follow.

除了在90年初客串过一些角色,茅瑛说她实际上在1983年,即儿子出生那年便息影了。当时她丈夫已经移居纽约,去创办一家建筑公司。1993年,茅瑛携子前往纽约与丈夫团聚。三年后,她在法拉盛的罗斯福大道开了自己的第一家餐厅Mama King。南北和则于1997年开业。接下来是法拉盛的新美华(New Mei Hua)和贝赛德的Guo Ba Inc。

“After I got married,” she said, chuckling, “I had to keep a lower profile so my husband could be the leader. But in film? I was the king.”

“结婚以后,”她笑道,“我必须保持低调,以便让我丈夫显出一家之主的威仪。但在电影里,我才是王者。”

Ms. Mao’s lack of regard for stardom may have been apparent from the start. “It is evident that success has not spoiled Angela Mao, or that she is too simple to know the extent of her popularity,” a 1974 profile in a martial arts magazine reads. “But, there is a small indication she is finding all the strings of kung fu movies a bit monotonous since she constantly repeats her plans after retirement. She still considers herself Mao Ching Ying, the Chinese opera actress and loves simple clothes.”

茅瑛并不看重自己的明星地位,这一点从一开始似乎就很明显。“显然,成功没让茅瑛被宠坏,或者说她太过单纯,并不知道自己有多出名,”一本功夫片杂志刊于1974年的一篇人物特写这样写道。“但有蛛丝马迹表明,她觉得所有这些功夫片有点儿单调乏味,因为她一直反复提及自己对息影以后的规划。她依然认为自己是京剧演员茅复静,依然喜爱简单的衣着。”

The article ends: “Angela Mao gets up to leave. She runs her hands down the sides of her Levi’s, crushes a last Silva Thin on an ashtray and picks up her purse.… She did not say goodbye.”

这篇文章以此作结:“在茅瑛起身离开时,她用双手把身上的李维斯(Levi’s)牛仔裤抚平,在烟灰缸中碾灭了最后一支席尔瓦细杆烟(Silva Thin),拿起了自己的手袋……她没有说再见。”

If Ms. Mao has tried to part ways with her past, she has never been able to fully shake it. The occasional customer recognizes her to this day, and sharp-eyed kung fu fans still stop her in the street.

如果茅瑛试图斩断和过去的联系,那么她其实从来都没能完全摆脱过去。直到今天,偶尔还是会有客人认出她来,眼尖的功夫片影迷还是会在街上拦住她。

“It always happens,” Ms. Mao said. She recalled the time years ago when, while she was sitting in Central Park, a man shouted “That’s Angela Mao!” “He wanted to know what it was like working with Jackie Chan,” she said. “I was so surprised.”

“这样的事情时有发生,”茅瑛说。她还记得多年前,她坐在中央公园(Central Park)里,一个男人高喊“那是茅瑛!”“他想要知道跟成龙一起工作是什么感觉,”她说。“我特别吃惊。”

Mr. Meyers considered her legacy. “She didn’t have the ego of Bruce Lee,” he said. “He didn’t feel justified unless he was a star. She didn’t need that. She left Hong Kong on her own terms. She was a pioneer unconcerned with her own stardom.”

迈尔斯思考过她留下的精神遗产。“她没有李小龙的那种自负,”他说。“只有成为明星他才会觉得合情合理。而她不需要这个。她遵循自己的想法离开了香港。她是一位对自己的明星地位毫不关心的先锋者。”

May Joseph, a professor at Pratt Institute who wrote an essay about Ms. Mao as a feminist hero, encapsulated her influence this way: “She was a radical feminist cinematic presence before there was a language for that,” she wrote in an email. “She is the Lauren Bacall of kung fu.”

曾在一篇文章中把茅瑛描述为女性主义英雄的普瑞特艺术学院(Pratt Institute)教授梅·约瑟夫(May Joseph),如此总结她的影响:“她是一位带有激进女性主义色彩的影坛杰出人物,而当时人们甚至还不知道该怎么给这样的人归类,”她在一封电子邮件中写道。“她是功夫片界的劳伦·巴考尔(Lauren Bacall)。”

Ms. Mao, however, bristled at grandiose notions about her legacy; she was not interested in hearing that she had become the subject of feminist literature.

不过,关于其精神遗产的宏大说法让茅瑛有些震惊;她也没兴趣听人说起自己成了女性主义文学的主题。

“This is not a gender situation,” she said with a baffled expression. “I just played myself. I am strong and I am powerful. That is how I became the most important female kung fu actress of my time.”

“这无关性别状况,”她带着困惑的表情说道。“我只是在演我自己。我是强壮而又强大的。因此我才能在那个时代成为最重要的功夫片女演员。”

One story told in kung fu circles is that she was paid only $100 for her role in “Enter the Dragon.” The subject obviously fatigued her. “I’m more focused on the quality of the movie than how much money I got paid,” she said. “I am very traditional. I don’t want to argue for special things. I don’t think much about male power and female power.”

在功夫圈里流传的一个说法是,她出演《龙争虎斗》的报酬只有100美元。这个话题显然让她感到厌倦。“我更注重片子的品质,而非我赚了多少钱,”她说。“我非常传统,我不愿意为了特定的待遇去争执什么。我没太想过男权、女权的问题。”

Grady Hendrix, a founder of the film festival at Lincoln Center who endured the challenge of tracking her down, suggested that Ms. Mao was part of a bigger story.

在林肯中心举办的那个电影节的创始人之一格雷迪·亨德里克斯(Grady Hendrix),当年经历了种种波折才得以找到茅瑛。他认为茅瑛是一个更为宏大的故事的组成部分。

“She’s one of those martial arts ‘What happened to?’” Mr. Hendrix said. “Lots of Hong Kong talent ends up in places like New York or Vancouver. One of the ‘Five Deadly Venoms’ had a kung fu academy in New York. For every Jackie Chan, there’s ones that aren’t.”

“她是让人感概于其遭遇的那些功夫明星之一,”亨德里克斯说。“香港的许多人才最后都到了纽约或者温哥华之类的地方。《五毒》(Five Deadly Venoms)里的一位演员曾在纽约开过一家武馆。不是人人都能成为成龙。”

“You get the sense it was all embarrassing to her,” he added.

“你能感受得到,这对她来说颇为尴尬,”他补充道。

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