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三十年后，已经成为一名舞蹈家的杰罗恩，因一张旧照片而回想起幼年时那段难忘的同性爱情。1944年，杰罗恩（马腾·斯密特 Maarten Smit 饰）被母亲从阿姆斯特丹送回乡下小镇生活。翌年战争结束，一队加拿大官兵在这个荷兰小镇驻扎，杰罗恩邂逅了其中一名俊朗潇洒的军官。与其他军官不同，这名军官对杰罗恩特别眷顾。随后他们度过了一段美好的时光，奇妙的爱情在二人之间发生了。然而，当杰罗恩还沉浸在爱情的浪漫与喜悦中时，军队却撤走了，昔日他们朝夕相处的小屋，已经变得空荡荡……三十年后的他，借着曾经的旧照片，寄托了自己对那名军官最深刻的情思…… 本片根据著名舞蹈家鲁迪方丹斯的自传小说改编，获1996年度荷兰影展最佳影片提名。
长篇影评
1 ) 这本书我已经翻译了一半了
这是第一章的链接，余下的章节在我的日记里，喜欢的话可以关注我，我会一直更新，直到完结。我自己也是非常喜欢这个故事，所以才来做这个翻译。用文字展现这个故事和影像是不同的，这部小说有相对电影更加独特的魅力。//www.douban.com/doubanapp/dispatch?uri=/note/727344128/&dt_dapp=1
2 ) 我已经完成这本书一半的翻译
这本书我已经翻译了一半了，每一章都发在豆瓣里，有兴趣的可以关注我。随着翻译的不断深入，我对这个故事的态度也一直发生着变化，由于语言的原因，以及小说和电影的巨大差异，很多人对于这个故事有很多错误的理解，但依然，每个人心中都有自己的哈姆雷特，我希望我的翻译能让你更加准备的了解作者想要表达的东西。
3 ) Once, Ever.
--For a lost soldier.
For a lost soldier,片子的英文名在入眼的瞬间便足以教人为之深惋。这是一个缓缓述说的故事，事隔三十年之后，Jeroen回忆起的一场战争时期的爱情，关于记忆中懵懂的小男孩，和一个遗失在生命中的军官。
那时他坐在窗边，身体已经发胖。手中是那年的一张照片——似乎，也是唯一的一张。照片里，荷兰小男孩和一个加拿大军官站在一块儿，笑容灿烂。
影片的画面微淡，如同是丹麦春天映照下来的模糊的日光。漫长的叙述中，见不到战争的残酷。仅仅是暖，却因暖而伤了人心。
所有细微之处都在不经意间描画。年轻的军官在神父讲道时的一个回头，然后两人相视而笑。男孩在军官的抽屉里找到一张照片，然后塞在自己的衣袋中。军官往小男孩嘴里塞一颗巧克力，自己也吃一颗，轻柔接吻。这般生疏而青涩的表达，更觉美好。
其实男孩或许从未明白那人曾说了些什么。在海边的那片草地上，在沉没的飞机残骸上，以及临别的最后一晚，那人都曾絮絮叨叨说过许多话。应该是想告诉男孩什么，男孩不懂英文，最终只变成一个人的自言自语。语言的隔阂，使得两人即使紧紧拥吻，内心却同生生隔过一块玻璃。小心翼翼摸索着彼此的踪迹，触到的只有温暖的冰凉。于是再迫切的倾诉，都化作无尽沉默。
经沿着记忆的路线挖掘出一小段少年的时光，一场尘封的爱情，因未经时间消耗而最终停留在了最美好的时刻。我想，Jeroen是幸福的。
只是，他已永远消失在大海彼方。
4 ) 纪念回忆
第一次见面,是1945年的5月
人们欢快地追着吉普车跑,Jeroen站在车上笑,Walt应该第一眼就注意到了他
谁都不会拒绝爱上这样一个天使
语言不通的两个人说着爱
不能说没有真心的
只是Walt知道总有要走的那天
而在少年简单的心里没有想过要离别吧
所以失落来得那么的强烈
回忆又将这甜蜜和失落延续了几十年
老师让大家写解放对自己意味着什么
Jeroen想着Walt抱着他跳的那次舞,一字没写
对有些人来说,生活,这样,就够了
与过去的自己对话,看到的是曾经单纯的可贵
每个没有被污染的心灵,都是天使
人们欢快地追着吉普车跑,Jeroen站在车上笑,Walt应该第一眼就注意到了他
谁都不会拒绝爱上这样一个天使
语言不通的两个人说着爱
不能说没有真心的
只是Walt知道总有要走的那天
而在少年简单的心里没有想过要离别吧
所以失落来得那么的强烈
回忆又将这甜蜜和失落延续了几十年
老师让大家写解放对自己意味着什么
Jeroen想着Walt抱着他跳的那次舞,一字没写
对有些人来说,生活,这样,就够了
与过去的自己对话,看到的是曾经单纯的可贵
每个没有被污染的心灵,都是天使
5 ) 看起来很美
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
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
6 ) 是那个在生命里出现过的人呵……
有一点类似《情人》。
却本质不同。
杜拉斯的情人，从开场始，将每一个看官坚决的拖入深深地暗伤与绝望之中。
爱的撕裂。爱的伤痕。爱的痛。以及无望。
轻描淡写的，述说着灵魂中最痛的烙印。
深深地刻骨的冷。
而《军官与男孩》这部片子，则相去甚远。
全片透着暖暖的光，在冬季的午后看来格外的有感觉。
即使讲述的，是一个小男孩跟一个军官的，爱情。
是怎么开始的呢？男孩开始爱上军官?
是在欢迎舞会上看到军官风趣的腹语表演吗？
还是在喝下第一口可口可乐之后，抬头发现与女生共舞的军官同样回望的眼神？
是和军官单独在热闹舞会的室外共舞吗？
还是独自走在小路上的时候，被军官的吉普车追上。倒退。倒退。前进。前进。男孩终于笑着跳上车，口里立刻被军官塞了颗巧克力。的时候呢？
无从开始追证。
唯一清楚的是，这个十二岁的小男孩和这个二十多岁的军官。爱了。
暖暖的午后，两个人赤裸相拥。
男孩悄悄地跳下了床，拉开军官的抽屉，找到一张照片，小心的塞到上衣口袋里。
军官醒来，望着男孩，笑着，往他口里又塞了颗巧克力。然后，接吻。
军官告诉身上的那个弱弱小小的男孩，I love you.You are my baby. I love you.
讲荷兰语的男孩，听得懂军官的意思吗？
随着驻军的撤离，两人分别的日子即将来临。
一无所知的男孩，坐在军官的床上，玩弄着他的枪。
军官顾左右而言他的，絮絮的说了很多话。
男孩想是听烦了，想是听不懂。不耐烦地说了shut up.军官没介意，依旧絮絮的在说，关于他，关于他。
那晚军官送男孩回家，对他说自己将要走了。
男孩没听懂。以为是跟以往一样的分别。是第二天依然可以见到的分别。
男孩头也不回的进了家门，没察觉身后军官的眼神。注视，深深地。
知道第二天，男孩在听到同伴中的议论，方恍然醒悟。
急急的骑上了车子跑到营地，人去楼空。
跑到常和军官玩的海边，对着远远的船只大声的呼喊军官的名字。
甚至没有回音。
垂头丧气回到家的男孩，赫然发现门前晾着自己装着军官照片的衬衫。冲上去掏口袋，只剩下一小团纸浆。
男孩终于忍不住，哭了，大叫着，这是我唯一的照片……
这个片子很欧洲，荷兰导演Roeland Kerbosch继续发扬了欧洲导演们慢镜头长镜头的特点，将整个片子的节奏拖得很慢，懒懒的，不慌不忙。满是荷兰乡间的气息。还有淳朴厚道的村民们。虽然背景是在二战时期，却丝毫没有战火的气息。或许，他是认为，在爱情面前，其他的一切都可以忽略不计了吧？
看完这个片子，其实我是有一些些怀疑的。
男孩跟军官，真的是爱情吗？还是处于一种相依为命的本能？
逃难而离开阿姆斯特丹的男孩，为着父母的骄傲而参军的军官。纵使语言不同。相识相认是一种本能吗？
又何必去怀疑。即使不是爱情又如何呢？
带着男孩玩的军官，细心的帮男孩钉了扣子的军官，教会男孩开车的军官，带着男孩打开舞蹈大门的军官，以及，偷偷藏起军官照片的男孩，在教堂里用眼睛追随者军官的男孩，坐在军官身边手舞足蹈的男孩，冒雨去取军官留下的牌子而被雷打到手的男孩，后来成为舞蹈家的男孩。
是一段真实而纯洁的感情啊~即使不知道是否能定义为爱情啊……
如此重要一个人，就在这天早上突然消失了呵。甚至未及留下只言片语。
唯一的一张照片成了泥浆。合照的胶卷由于男孩的无知而暴了光。
还剩下些什么？
其实有呵。
用军队的线帮男孩缝制好的扣子，军官笑指着对男孩说这就是我的那个稻草人，不小心落在男孩家篱笆上的墨镜，挂在稻草人身上的牌子。以及，留在男孩手上永久的伤痕，第一次喝可乐第一次跳舞第一次爱的记忆，还有最终因着军官无心的一句话而选择舞蹈作为职业的人生。
这个人曾经出现过。那么他就永远不会消失。
即使后来不见了。你的生命却也因着这个人的出现，悄悄地向他的方向，偏离了一厘米，又一厘米……
C'est la vie.
片子的最后，三十年后，籍由新的技术，终于将那曝光的胶卷冲出来两张照片。
一张，是男孩和军官笑指说是自己的那个稻草人的合影。
一张，是军官的军牌。
上面写着，Walt,1945.
却本质不同。
杜拉斯的情人，从开场始，将每一个看官坚决的拖入深深地暗伤与绝望之中。
爱的撕裂。爱的伤痕。爱的痛。以及无望。
轻描淡写的，述说着灵魂中最痛的烙印。
深深地刻骨的冷。
而《军官与男孩》这部片子，则相去甚远。
全片透着暖暖的光，在冬季的午后看来格外的有感觉。
即使讲述的，是一个小男孩跟一个军官的，爱情。
是怎么开始的呢？男孩开始爱上军官?
是在欢迎舞会上看到军官风趣的腹语表演吗？
还是在喝下第一口可口可乐之后，抬头发现与女生共舞的军官同样回望的眼神？
是和军官单独在热闹舞会的室外共舞吗？
还是独自走在小路上的时候，被军官的吉普车追上。倒退。倒退。前进。前进。男孩终于笑着跳上车，口里立刻被军官塞了颗巧克力。的时候呢？
无从开始追证。
唯一清楚的是，这个十二岁的小男孩和这个二十多岁的军官。爱了。
暖暖的午后，两个人赤裸相拥。
男孩悄悄地跳下了床，拉开军官的抽屉，找到一张照片，小心的塞到上衣口袋里。
军官醒来，望着男孩，笑着，往他口里又塞了颗巧克力。然后，接吻。
军官告诉身上的那个弱弱小小的男孩，I love you.You are my baby. I love you.
讲荷兰语的男孩，听得懂军官的意思吗？
随着驻军的撤离，两人分别的日子即将来临。
一无所知的男孩，坐在军官的床上，玩弄着他的枪。
军官顾左右而言他的，絮絮的说了很多话。
男孩想是听烦了，想是听不懂。不耐烦地说了shut up.军官没介意，依旧絮絮的在说，关于他，关于他。
那晚军官送男孩回家，对他说自己将要走了。
男孩没听懂。以为是跟以往一样的分别。是第二天依然可以见到的分别。
男孩头也不回的进了家门，没察觉身后军官的眼神。注视，深深地。
知道第二天，男孩在听到同伴中的议论，方恍然醒悟。
急急的骑上了车子跑到营地，人去楼空。
跑到常和军官玩的海边，对着远远的船只大声的呼喊军官的名字。
甚至没有回音。
垂头丧气回到家的男孩，赫然发现门前晾着自己装着军官照片的衬衫。冲上去掏口袋，只剩下一小团纸浆。
男孩终于忍不住，哭了，大叫着，这是我唯一的照片……
这个片子很欧洲，荷兰导演Roeland Kerbosch继续发扬了欧洲导演们慢镜头长镜头的特点，将整个片子的节奏拖得很慢，懒懒的，不慌不忙。满是荷兰乡间的气息。还有淳朴厚道的村民们。虽然背景是在二战时期，却丝毫没有战火的气息。或许，他是认为，在爱情面前，其他的一切都可以忽略不计了吧？
看完这个片子，其实我是有一些些怀疑的。
男孩跟军官，真的是爱情吗？还是处于一种相依为命的本能？
逃难而离开阿姆斯特丹的男孩，为着父母的骄傲而参军的军官。纵使语言不同。相识相认是一种本能吗？
又何必去怀疑。即使不是爱情又如何呢？
带着男孩玩的军官，细心的帮男孩钉了扣子的军官，教会男孩开车的军官，带着男孩打开舞蹈大门的军官，以及，偷偷藏起军官照片的男孩，在教堂里用眼睛追随者军官的男孩，坐在军官身边手舞足蹈的男孩，冒雨去取军官留下的牌子而被雷打到手的男孩，后来成为舞蹈家的男孩。
是一段真实而纯洁的感情啊~即使不知道是否能定义为爱情啊……
如此重要一个人，就在这天早上突然消失了呵。甚至未及留下只言片语。
唯一的一张照片成了泥浆。合照的胶卷由于男孩的无知而暴了光。
还剩下些什么？
其实有呵。
用军队的线帮男孩缝制好的扣子，军官笑指着对男孩说这就是我的那个稻草人，不小心落在男孩家篱笆上的墨镜，挂在稻草人身上的牌子。以及，留在男孩手上永久的伤痕，第一次喝可乐第一次跳舞第一次爱的记忆，还有最终因着军官无心的一句话而选择舞蹈作为职业的人生。
这个人曾经出现过。那么他就永远不会消失。
即使后来不见了。你的生命却也因着这个人的出现，悄悄地向他的方向，偏离了一厘米，又一厘米……
C'est la vie.
片子的最后，三十年后，籍由新的技术，终于将那曝光的胶卷冲出来两张照片。
一张，是男孩和军官笑指说是自己的那个稻草人的合影。
一张，是军官的军牌。
上面写着，Walt,1945.
藍本很好。沒拍好。
一年了 我终于给这电影给看了 这恋童癖可真是够可怕的…人家孩子只是把你当朋友…七八岁懂什么爱情啊，还想着怎么偷小朋友的橡皮呢
很好看，但是有个地方不太明白，那军官ms对小男孩没有留恋么。。。。感觉小男孩对他来说只是一段，而他对小男孩来说却是一生。难道这就是为什么很多国家法律承认同性恋合法但是禁止和14岁以下的小孩发生同性性关系。。。影响孩子的一辈子啊
你是我永远的小男孩～
多年以后，恋童癖骄傲节系列活动上，恋童癖艺术史家在追述自己身份认同史的时候，一定逃不了要讲此片。拍得美轮美奂，觉得就让他俩在一起吧，多可怜啊。
然而爱到燃情时，你终将别离。
自传小说改编，据说军官是作者钦点的。男孩年龄小的还是膈应，不过如此烫手的题材，导演拿捏得却恰到好处。男孩用最简单的单词说着永恒，却没听懂军官的告别，就连偷偷藏起的照片都毁在了水里，可还是记了他几十年。My little prince, I love you.他对他的一见钟情。
这片子给我一种极其强烈的代入感，前半部分基调轻松安详，与接近结尾那种隐忍而又具侵犯性的失落感形成强烈的感情冲击，倒叙的手法与故事的真实性又无疑增加了一种现实的无助感，但这一切始终在一种追溯、释怀的抚慰氛围下进行着，并且它又更多的展现了养父等其他人物的世界，我想你也能深切体会。
现在我们是否还能找到线索，来怀念那些曾在生命里留下记号的人……
用爱包装的性侵！This is not "love"!!!!!! This is fucking criminal and disgusting pedophilia
是否心里总住着这么一个人，让你想起时温暖又痛心...
影片不断提醒我，爱是两个人的事，与战争、性别及年龄无关，与恋不恋童无关，与同不同志无关，与俺这个俗人能不能理解更无关。
NND他那么小就被**了
虽然好多人说好看，但我总是看不下去···
军官一直到电影开始后半个多小时才出现，就像一颗火热的流星一样在某天突然袭入到一个12岁男孩波澜不惊的生活里，爱情就像耀目的星光，划过男孩的眼帘，而欣喜如狂的时光是那样短促，缓过神来之时，唯有空对冰冷如水的夜空，把余生沉溺在记忆幻象中的璀璨里，也许他活着只为与他相识 共梦一场不枉此生。
我们都知道，小时候的爱是一辈子也忘不掉的，即使老了也会记得那个人。
想拍得纯美又没能纯美起来的基片。 @2011-08-02 17:20:22
爱情的魔力真伟大
影片进行到三十六分钟左右终于出现了内军官..军官很帅,男孩够美.我了个去..但是内个啥,军官和小男孩裸体趴床上,确切的说,军官伏在小男孩身上时脑子里一直盘旋着"你X的下去么你真的X的下去么.."我到底有多受不了恋童这件事...PS.我发现北美一带的士兵很喜欢用糖果勾搭小孩..
荷兰人真是什么都敢拍，还拍的那么好，俩位演员勇气可嘉。同样超越伦理的荷兰电影Trage Liefde也是非常感人。 爱，有时候在道德界限外显得如此矛盾。