军官与男孩

看过了电影，特别是那么多温情的影评。我急迫的想要知道，军官最后的结局。在网上找到了英文版本的原著，for a lost soldier，顿时所有关于这部电影的美好，荡然无存。
这是我引用的书评，和我的看法基本相同，男孩是被rape了，至少是molested，而军官，则是暴力和冷漠，绝不是电影中的美好。
Jeroen is 12 and a long way from home. Because of the Nazi occupation of Amsterdam, Jeroen’s mother has sent him to a remote area of the country to await liberation. Alone, frightened, and feeling less than welcome by his hosts, Jeroen explores the countryside, and after a while begins to make friends. Jan, his hosts’ older son, stirs emotions in Jeroen that he is unable to explain. He enjoys watching the older boy swim and play, but becomes frightened when Jan wants to show him how he has matured lately.
Just as Jeroen is starting to fit-in, a most remarkable event occurs. Allied forces roll into town and the Germans are on the run. Everyone, including Jeroen, is fascinated by the soldiers and crowd around to get a better look. One of the soldiers, however, has his eye on Jeroen. Walt attempts to develop a friendship with young Jeroen, but the boy is very frightened. Through a series of encounters, the two become tentative friends. Each time they meet, Walt takes their relationship a little further, until finally on one such meeting, he has sex with Jeroen. Jeroen, a little squeamish to begin with, is terrified.

Eventually, the relationship becomes a full-fledged affair, with Walt and Jeroen meeting frequently for sex. Each of the encounters, though, is physically and emotionally painful for Jeroen. Walt is abusive in his treatment of the young boy. Nevertheless, Jeroen becomes infatuated with the soldier and is shocked one morning to find that the army has pulled-out of the little town and disappeared. Emotionally devastated, Jeroen can not understand why Walt left without saying anything. His only proof of the relationship is emotional and physical scares, and a small photograph of the young soldier.

Upon returning to Amsterdam, Jeroen searches in vain for Walt, but with no success. Once there, he begins the process of healing but he never forgets Walt. A

This is a autobiography of Rudi Van Dantzig’s early life. Rudi was a dancer in Europe and became quite popular. He looks back at this part of his life partly with a longing and partly with relief.
 
My Notes

Clearly this book is not for everyone. Young Jeroen is such a moving character that reading the story, and understanding his emotional state at the time, becomes draining. Of course, Jeroen was sexually molested, but he looks back at the events, not with hatred or spite, but with tenderness. I found it easy to understand his motivations, emotions, and actions during those years, but I find it difficult to understand his treatment of these events now, as an adult.
If you have seen the film, you will be shocked at the character of Walt in the book. In the film, the relationship is touching and moving despite the eight or nine years age difference. There is a loving relationship nevertheless. In the book, Walt is clearly a predator and Jeroen is his victim. I highly recommend reading this book, but I warn you it will get to you and you will want to reach through the pages and strangle Walt.
（http://www.oocities.org/soho/den/8979/vandantzig_rudi.html）
看书吧，会有个不同的视角。
再给大家发个原著作者，也就是小男孩原型的背景故事吧，我想说，他过得应该很幸福。现实生活中，他事业有成，是荷兰最著名、也是贡献卓著的编舞家。他也真的是同志，有着一个life partner，也是志同道合舞蹈界人士。现在原型人物的小男孩，已经在2012年过世，我很庆幸，他，真正存在过，活过。
Rudi van Dantzig
Rudi van Dantzig, the choreographer, who has died aged 78, was a pivotal figure in the rise to world renown of Dutch ballet in the past half century.
Van Dantzig described himself as “a sort of bastard between classical ballet and modern”, and his works could be more interesting for their intentions than their results. However, his boldness in evoking the anguished isolation of a homosexual boy in a ballet in 1965 won him a global profile and the key support of Rudolf Nureyev. This led to commissions from the Royal Ballet and other leading international companies.
His work captured the mood of the 1960s and became a template for modern ballet that offered a powerful European alternative to the abstract modernists of New York dance. Today, the assumption that the Dutch led mainland Europe in ballet and dance is largely due to van Dantzig.
Rudi van Dantzig was born in Amsterdam on August 4 1933 . It was not until he saw The Red Shoes on its release in 1948 that he knew his vocation (he later claimed to have watched the film nearly 50 times). He started dance lessons at 16, and approached Sonia Gaskell, a Lithuanian-Dutch dancer who was working to generate a Dutch ballet tradition by establishing professional companies and schools.
In 1952, because she was short of boys, she took the raw 18-year old into Ballet Recital, a company from which she would establish the Dutch National Ballet within a decade. With Gaskell’s encouragement, in 1955 van Dantzig choreographed the first of his 51 ballets, Night Island, using music by Debussy .
As a homosexual with an active political sensibility (both his parents were dedicated socialists), he felt acutely the intolerance of the times, and this became a major theme in his ballets and writings.（作为一名拥有政治敏感性的同志（他的妇女都是坚定的社会主义者），他认识到这个时代的狭隘和缺乏宽容，这成为他编舞和写作的主题之一。）
In 1965 he made his breakthrough with Monument for a Dead Boy, showing an adolescent destroyed by his unacceptable sexuality. It was inspired by the brief life of the influential Dutch homosexual poet Hans Lodeizen. The work, set to experimental electronic music by Jan Boerman, was so powerful that Nureyev asked to perform it with Dutch National Ballet.
Nureyev, who was then feeling underappreciated at the Royal Ballet, was searching to cross over into a modern idiom, but he had considerable difficulty understanding van Dantzig’s modern movement and convoluted narrative. At the same time, he found the choreographer’s blunt amiability refreshing compared with the sycophancy which he usually encountered, and he mastered the idiom sufficiently to impress the Dutch.
The Royal Ballet’s director, the classical choreographer Sir Frederick Ashton, then commissioned van Dantzig to create The Ropes of Time for Nureyev and Monica Mason (the Royal Ballet’s present director). The piece had Nureyev as an existential traveller writhing in pas de deux with Death and Life (Mason and Diana Vere). Originally the Life figure was intended to be the Royal Ballet’s star ballerina Antoinette Sibley, but she fell into depression as she tried to master the different plastique and withdrew.
Though the work received ovations from Nureyev’s adoring public on its premiere in 1970, it was found too self-consciously tortured by critics ; and on the company’s subsequent tour to the United States it was panned. Van Dantzig himself was unhappy with Nureyev’s attempts at his choreographic style, saying: “It is like somebody who speaks a different language and you can always hear the mother tongue underneath.” But he still made two further ballets for Nureyev in the late 1970s, Blown in a Gentle Wind and About a Dark House — the second a psychosexual melodrama in which Nureyev intruded unwisely upon a dinner party and was stripped by the guests.
In 1969 van Dantzig had succeeded Gaskell as artistic director of the Dutch National Ballet, first as co-director, then, from 1971, as sole director. For the next 20 years he refined the large and somewhat chaotic mission of the DNB by focusing on 20th-century classicists, primarily George Balanchine and Frederick Ashton, and also on new contemporary ballets created by himself, Hans van Manen and Toer van Schayk .
This trio made The Netherlands a new powerhouse of modern ballet choreography to the European taste, but there was no great enthusiasm for it in Britain. Attempts to open British eyes to the much-talked-about Dutch dawn by both Ashton and his successor, Kenneth MacMillan, fell flat, largely because the British preferred MacMillan and Ashton.
For many of his ballets, van Dantzig collaborated with van Schayk, an outstanding dancer and competent designer, who was also his partner.（很多的芭蕾舞作品，他都是和van Schayk合作完成的。后者是一名杰出的舞者、设计师，也是前者的生活伴侣） Though he created modern versions of Romeo and Juliet (1967) and Swan Lake (1988), van Dantzig was particularly interested in one-act creations to a wide range of 20th-century composers, among them Richard Strauss for Four Last Songs (1977); Debussy for Night Island (1955); Schoenberg for Gesang der Jünglinge (1977); and Webern for Moments (1988) .
Retiring as director in 1991 after 20 years, van Dantzig continued as the company’s resident choreographer for a further three years, finally bowing out with his 50th creation in 1994 (though he returned to Dutch National Ballet in 2002 to create Lommer). He was succeeded as director at the DNB by the former Royal Ballet star Wayne Eagling, now English National Ballet’s director.
An accomplished writer, van Dantzig was acclaimed for his debut novel To a Lost Soldier (1986), which dealt with his awakening to his homosexuality as a child evacuated in the war, and a sexual relationship with a passing soldier. In 1993 it was made into a film in Holland, and it was translated into English in 1996. He also wrote books about Nureyev (Remembering Nureyev: the Trail of a Comet), and the homosexual Dutch artist and anti-Nazi resistance fighter Willem Arondéus.
Rudi van Dantzig, born August 4 1933, died January 19 2012

维基百科发现Rudi van Dantzig已经在2012年1月19日去世了，走好。影片因为时间久远画面不怎么样了，这是一部少有的正太被人压了但是没什么人骂的片子。改编自Rudi的自传小说，但是到底自传叫啥名字没搜出来，只有一部改编的电影同名小说。

出淤泥而不染的性灵——荷兰电影《军官与男孩》（英文名《for a lost soldier》）


这部上世纪90年代初出品的电影根据荷兰著名舞蹈男星鲁迪·方丹斯的自传小说改编，通过他缅怀二战时期一段难忘的“忘年之恋”，勾划出人与人之间的感情关系可以是怎样的刻骨铭心，在舞蹈家少年时的小镇上，一支加拿大军队来到他的家乡，其中一位俊朗潇洒的士兵意外地走进了他纯真的心灵，而男孩眉宇间那与生俱来的“灵”的光彩也让士兵也怦然心动。情欲在二人之间唯妙地发生了，一种从未有过的，莫名的激动和兴奋在他幼小的心灵中烙下终生难忘的印记。直到30年后，他仍深深地怀念着令他痴狂的军官。

很多观众无法接受一个成年男子和一个年仅13岁男孩之间的恋情。毋庸讳言，这样的事情如果发生在荷兰之外的其他国家，比如美国，这个军官是免不了要为他的行为付出严酷的代价——不管男孩是否自愿，与未成年人发生性爱是很多国家法律严惩的行为。

一个人能直面黑暗，是因为他内心充溢着阳光。对于这个敏感早慧的男孩来讲，给他带来人生初恋体验的士兵已经成为心中一个神圣的爱的图腾，所以每每他回忆起来，尽管那年的天空常常布满乌云雷雨轰鸣，尽管人们还无法从战争的噩梦中苏醒过来，尽管这是一段被世人所不堪的“罪孽”之恋，但回忆的焦点一旦落在士兵的身上，三十年前的天空，树木，草丛，流水，牛羊，都在他高大英俊的身影下变得生机勃勃，有了他，梦中的光芒永远是那样新鲜明亮，在士兵的怀抱中，他感觉自己如一朵破土而出的新芽，充满了萌动和生长的激情，而士兵嘴角洒脱明朗的微笑带给他稚嫩孤独的心灵以长久的温暖。

据说古希腊时代有这样一个“同性爱教育”的传统，“当一个十五六岁的少年接受完传统的基本教育之后，即被置于一个年长男子的羽翼之下，这成人被称为“爱者（erastes）”；少年被称为被爱者（eromenos，接受爱和保护的“弟弟”）”。这个成年人通常负责少年的道德与心智发展教育，以仁慈、理解、温暖及纯粹的爱对待少年，唯一的目的是为了培养这少年道德上的完美。在战争中，他们并肩作战；如果少年犯错，这成人要替少年受罚。少年长大成人后，或者结婚，或者成为另一个少年的保护人即“爱者”。在古希腊的壁画和彩陶瓶画中对同性恋的描绘也有很多这样的模式：男青年向少年求欢，而后者则总是表现出被动而矜持。意大利南部的贝斯图姆曾是希腊人的殖民地，1968年在这里发现的彩陶瓶画上也多有这样的描绘，最典型的是学者所谓的“上下姿势”（up and down position），成年男子一手抚摩少年的脸颊，一手伸向其身体……”（以上转引自《“天国之爱”在人间的绽放——古希腊的男子同性恋》）
　　
　　　　
《士兵与男孩》这部以战争为背景的荷兰电影完全将人们从对战争的恐惧转移到人类的感情可能深入到什么样境界的探索之上，并且突破了语言、文化、年龄、国度以及信仰之间的差异——直到男孩长大成人，那个铭刻在他心间的士兵大哥，已经成为了他面对艰难人生时无尽的勇气来源，士兵大哥的温暖让他能在这个 “万物皆在污秽中成长”的世间始终怀抱一份感恩和悲悯的情怀……


影片的最后是在士兵随驻军离去，男孩在暴风骤雨中对爱人的呼唤声中结束。只有一颗纯真无瑕的心灵才能发出这样真切而震撼人心的呼喊，只有一颗没有受到任何世俗熏染的心灵才能从这种“犯罪“中体会到世人无法感受到的深刻的爱。男孩那双纯净的双眸中一点清灵的光让他的美恍若一棵出污泥而不染的青荷，“万物皆在污秽中生长”是这部电影让人记忆深刻的台词，我想，也只有男孩的爱，在这个污浊的世间能保持永久纯净而清洁的芬芳吧。