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秦建中
重慶晨報報導，4月19日，導演陸川親自對影片《南京！南京！》的幕後故事進行了揭秘，稱拍慰安婦死亡被扔上車那場戲的群眾演員，大多來自高校的女學生，需全裸出鏡，但她們都毫不猶豫地走到了鏡頭前。
《南京！南京！》尚未公映就已經引起了社會輿論的高度關注，究其原因，一是因為南京大屠殺是日軍在侵華戰爭中犯下的最為嚴重的暴行，二是因為這部影片以真實的藝術手法再現了南京軍民在這場慘絕人寰大屠中的血腥場面。

導演陸川讓高校女大學生全裸出鏡，無非是想以震憾人心的畫面揭露日軍在南京犯下的歷史罕見的獸行，無非是想通過中國婦女在大屠殺中所遭受的苦難揭示“落後就要挨打”的歷史真理，無非是想讓每一個中國人在心靈受到震憾之後永遠銘記這場民族的奇恥大辱。

然而，令人意想不到的是，陸川的現實主義表現手法卻受到了許多人的無端批評。一些人口口聲聲要銘記歷史，可卻不願讓歷史的真實重現。他們在聽到女大學生為出演慰安婦而全裸出鏡的消息後，揮舞道德的大棒，指責花季少女一絲不掛出現在銀幕上是揭自家的傷疤，是在揭開的傷疤上面撒鹽。

其實，那些道學家們批評女大學生全裸捐軀的確是誤讀了《南京》。一部歷史題材的影片，如果離開了歷史的真實，這樣的影片對於觀眾來說不但索然無味，而且也喪失了拍攝歷史電影的價值和意義。

縱觀西方拍攝的反映二戰時期的電影不難發現，慘烈的戰爭場面和血腥的屠殺畫面非但沒有降低影片的藝術價值，而且也沒有讓觀眾們感覺到戰爭的慘烈和屠殺的血腥是在殘忍地揭開歷史的傷口。在美國導演斯皮爾伯格拍攝的電影《辛德勒名單》中，令人恐怖的焚屍爐，讓人毛骨悚然的運屍車，給人看到的雖是納粹黨徒慘絕人寰的暴行，但帶給人們的卻是對人類和平的渴望，是對人性與正義的呼喚。

這就是東西方文化傳統的迥異之處。僅僅是讓女大學生裸體出演慰安婦就是揭開了自家人的傷疤，說這話的人並不知道，恰恰是中國人不敢正視歷史，不願正視歷史，才會有更多的歷史悲劇一而再再而三的在中國歷史上發生。

是誰在南京野蠻地脫去了中國女人身上的衣服，又是誰讓中國的女人們在那些寒冷的冬日裡一絲不掛地委身野獸，表面上看是那些滅絕人性的日本軍人，可在這場血腥的悲劇背後，卻是軍閥混戰給我們帶來的民貧國弱。

可以說，導演陸川拍攝的電影《南京！南京！》非但沒有在我們民族的傷口上撒鹽，反過來說卻是給一些隻知道說中國人不高興的人打下的一針清醒劑。女大學生全裸出鏡飾演慰安婦不能拔高為愛國，但女大學生脫去衣服還原歷史卻是對上個世紀三十年代民族悲劇產生原因的無情追問。

According to a news report in Chongqing Morning News on April 19, the director Lu Chuan disclosed that the episode of the bodies of the dead "comfort women" being tossed onto the trucks used female university students who were completely nude and unafraid to go before the camera.

Even before the movie is shown to the public, it has already drawn a great deal of public attention. The first reason is that the Nanjing massacre was a serious atrocity committed by the Japanese army during their war against China. The second reason is that the movie used realistic techniques to represent the bloody scenes in this awful tragedy.

The director Lu Chuan used fully nude female university students in order to depict the beastly acts of the Japanese army in Nanjing. He only wanted to use the sufferings of Chinese women in this massacre to show the historical precept that "being backwards means being oppressed." He only wanted to shock all Chinese people and make them remember this ignominy forever.

Unexpectedly, Lu Chuan's realistic representation has drawn many undeserved criticisms. Certain people talk about needing to remember history, but they will not permit any realistic representation of that history. When they learned that female university students played "comfort women" in the nude, they wielded their big moral sticks to denounce that the use of young nude Chinese girls is like rubbing salt into the wound.

Actually, these moralists are misreading when they denounced the use of nude female university students. When a movie with a historical subject deviates from the historical truth, it is a waste of time for the audience and it also loses any meaning or significance as a historical movie.

In looking at western movies about the Second World War, we see that terrible battle scenes and the bloody massacre scenes did not make the audience feel that this was rubbing salt into wounds. In Steven Spielberg's [schindler's], the ovens that were used to incinerate corpses and the trucks that were used to transport bodies managed to show the atrocities of the Nazis and make people yearn for peace, humanity and justice.

Herein lies the difference between eastern and western cultures. When people say that the use of female university students to portray "comfort women" is to rub salt into the wound, they only show that the Chinese people are afraid and unwilling to confront history. The result is that more tragedies occur in China repeatedly.

Who was the one who brutally ripped off the clothes off the Chinese women in Nanjing? Who forced these Chinese women to let their naked bodies be abused by those beasts? On the surface, it would seem to be those Japanese soldiers who were devoid of humanity. But behind this bloody tragedy, it was the Chinese warlords who created a weak nation together.

We can say that the director Lu Chuan did not rub salt in the wound when he made the movie . On the contrary, the movie is a wake-up call for all those who only know to say that China is not happy. While nude female university students playing "comfort women" cannot be elevated to an act of patriotism, their actions have revived the issue of why the national tragedy took place in China in the 1930's.