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| Made for a pittance with nonprofessional actors, officially unapproved in China and first shown in the United States in 1999, Jia Zhangke’s debut feature “Xiao Wu” depicted a deadbeat Chinese protagonist and a backwater milieu few Westerners had ever seen. | 贾樟柯的首部长片《小武》由非专业演员出演，以极小的成本制作，在中国没有得到上映许可，1999年在美国首次上映。影片描绘了一个游手好闲的中国主人公，以及一个很少有西方人见过的落后环境。 |
| That movie, revived by Film at Lincoln Center in a new 4K restoration, is both downbeat and transcendent. | 林肯中心电影公司(Film at Lincoln Center)以新的4K修复版重新推出这部低调又杰出的电影。 |
| “Xiao Wu” is set in Jia’s hometown in central China, Fenyang. The title character is an aimless, alienated pickpocket — described in a New York Times review as “a nondescript young man in a shabby city who practices his trade without remorse, compassion or evident fear although he is known to the police.” Some critics were reminded of Robert Bresson, whose 1959 “Pickpocket” is a masterpiece of elliptical cinema. | 《小武》的故事发生在贾樟柯位于中国中部的家乡汾阳。《纽约时报》的一篇影评描述主人公小武是一个过一天算一天、不太合群的扒手，“一个生活在破败城市、毫无特色的年轻人，尽管警察认识他，但他在从事自己的职业时毫无悔意、同情心或明显的恐惧。”这让一些影评人想起了罗伯特·布列松(Robert Bresson)，他1959年的《扒手》(Pickpocket)是极简电影的杰作。 |
| Observational, mainly in medium shot and almost plotless, “Xiao Wu” has a documentary quality. The titular character, played by Wang Hongwei, is introduced while waiting for a bus; once aboard, he beats the fare with the smirking claim he is a policeman, then casually picks the pocket of the passenger beside him. | 《小武》以中景为主，几乎没有情节，具有纪录片的质感。由王宏伟饰演的主角在等公交车时出场；一上车，他就假装自己是警察，打了乘客一顿，然后随手扒开旁边乘客的口袋。 |
| An unlikely tough guy — indeed, something of a loser with thick Woody Allen glasses and a cigarette-lighter that plays a few bars of “Für Elise” — Xiao Wu has his act down. The world, however, is changing. As local TV welcomes “the return of Hong Kong,” sleepy, half-urbanized Fenyang has begun to offer the fruits of the free market — karaoke, beauty salons, cheap sound systems. | 小武不太像个硬汉——他戴着一副厚重的伍迪·艾伦(Woody Allen)式眼镜，拿着一个能播放几小节《致爱丽丝》(Für Elise)的打火机，其实是个失败者——但他做事有自己的一套。然而，世界正在发生变化。当地电视台欢迎“香港回归”时，死气沉沉、半城市化的汾阳已经开始提供自由市场的成果——卡拉OK、美容院、廉价音响。 |
| News reaches Xiao Wu that his former partner in crime, now a legitimate businessman trafficking in hostess bars and wholesale cigarettes, is about to marry. Xiao Wu is pointedly uninvited to the wedding and constitutionally unable to move on from his criminal life. The pickpocket is less a product of the new China than an antisocial element who fails to modernize. Asked by the karaoke hostess, Mei-Mei, whom he ambivalently courts, what he does for a living, he tells her that he’s “a craftsman who earns his money with his hands.” | 小武得到消息，他以前的同伙就要结婚了，他现在已经是一个合法的商人，在有人陪酒的酒吧贩卖烟草。小武显然没有被邀请参加婚礼，他也无法从根本上摆脱犯罪生活。这个扒手与其说是新中国的产物，不如说是一个未能走入现代化的反社会分子。卡拉OK女服务员梅梅（他暧昧地追求她）问他以什么为生，他告诉她，自己是 “干手艺活的”。 |
| Mei-Mei is sufficiently impressed to encourage him to buy a beeper so she can alert him when she’s free. Xiao Wu buys her a ring as well. And each purchase, in its way, promotes his undoing. (Technology is part of the movie’s subtext. Anticipating Jia’s use of science fiction elements in his later, naturalistic films, TV subtly mediates crucial aspects of Xiao Wu’s life.) | 梅梅被打动了，鼓励他买个传呼机，这样她有空时就可以call他。小武也给她买了一枚戒指。两次购物都各自促成了他的毁灭。（科技是这部电影的潜台词之一。电视巧妙地调和了小武生活的关键方面，预示了贾樟柯在他后来的自然主义电影中使用科幻元素。） |
| Remarkable for a movie made entirely with nonactors, “Xiao Wu” thrives on extended scenes of personal interaction — Xiao Wu with his former friend, his parents, the police and, mainly, the diffidently wooed Mei-Mei. Significantly, his single moment of liberation occurs when he finds himself alone in an empty public bath. In the film’s final scenes, society prevails. Xiao Wu himself becomes an object lesson, another commodity in the marketplace, contemplated by the crowd as a pop song asks, “Who is the hero?” | 作为一部完全由非专业演员拍摄的电影，《小武》引人注目的是，它扩展了个人互动的场景——小武和他以前的朋友、他的父母、警察，更重要的是，他羞怯追求的梅梅。值得注意的是，他唯一的自由时刻是他独自在一个空荡荡的公共浴室里时。在影片的最后，社会取得了胜利。小武自己成了一种教训，市场上的另一种商品，就像一首流行歌曲唱的：“谁是英雄？” |
| As can happen with first films, “Xiao Wu” has a purity unique in its maker’s oeuvre. But it is also an auspicious beginning to one of the most impressive careers in 21st century cinema. | 和其他电影处女作一样，《小武》放在其创作者的全部作品里，可以看到一种独特的纯粹感。但是对于21世纪电影界最令人印象深刻的导演之一，这堪称一个开门红。 |
| Xiao Wu | 《小武》 |
| July 23-Aug. 5 at Film at Lincoln Center, Manhattan; filmlinc.org. | 7月23日至8月5日，曼哈顿林肯中心电影院；filmlinc.org。 |
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