Actual view of Col. Roma Sur. Image © Zaickz Moz
为什么阿方索·卡隆导演的《罗马》在墨西哥城的集体记忆中占有重要地位？
Why is Alfonso Cuaron's 'Roma' an Important Part in the Collective Memory of Mexico City?
由专筑网邢子，李韧编译
罗马殖民区是墨西哥城内的当代艺术和文化的热点社区，以其艺术画廊、餐馆、书店和博物馆而闻名于世。然而，这种文化传统实际上可以追溯到20世纪初的波菲利亚时代，这片区域和康德萨殖民区一同发展，将墨西哥城改变为一座现代化城市，并为居民提供基本的社会服务。罗马殖民区有着巴黎的林荫大道和绿树成荫的街道，汇聚了新艺术建筑的典范，建筑风格兼收并茂，并具有法式特征。这是一个非常吸引人的场所，很快就吸引了众多富裕家庭的到来。
由于航运便利，罗马区在很长一段时间内都是富人阶层精英居住区的象征。它的街道以墨西哥的城市和州的名字而命名，并划分区域的范围，北边是Chapultepec大街，南边是Coahuila大街，东边是Cuauhtémoc大街，西边是Insurgentes大道和Veracruz大街。之后南部的Rio de la Piedad大街（如今的高架桥）也被划分进来，这便形成了我们今天所知道的罗马苏尔殖民区。
Colonia Roma, a neighborhood in Mexico City, is well known among locals for its art galleries, restaurants, bookstores and museums - it is a hotspot of contemporary art and culture. However, this cultural tradition actually dates back to the Porfirian Era in the early twentieth century. The area was a way to present Mexico City as a modern city by creating the first colony, along with Colonia Condesa, with all basic services available to the residents. Drawn with Parisian boulevards and tree-lined streets, Roma is an exemplar of art nouveau architecture, eclectic and French-ified – an attractive area that immediately led to the arrival of wealthy families.
With its easy-to-navigate perpendicular route, Roma was for a long time a reference of good architecture inhabited by a wealthy class. Its streets, which bear the names of cities and states of Mexico, mark its limits: Chapultepec to the North, Coahuila to the South, Cuauhtémoc to the East, Insurgentes Avenue and Veracruz to the West. However, it was later divided to the south at Rio de la Piedad Street (today Viaducto), forming what we know today as Colonia Roma Sur.
Actual view of Av. Baja California and Tonalá Street, Col. Roma Sur. Image © Zaickz Moz
到了20世纪末，在经历了1985年地震（地震摧毁了大量具有重要价值的建筑）之后，很多人离开了社区，搬到了城市的西部。在这之后，社区开始产生转变，罗马区从一个居民区发展成为了商业区，并于最近被INAH命名为艺术纪念碑区。在整个墨西哥城，罗马区拥有着整个国家10%的艺术纪念碑。
Towards the end of the twentieth century, after the earthquake in 1985 (which destroyed a large number of buildings of significant architectural value), many people left the neighborhood to move to exclusive areas to the west of the city. After this, the neighborhood began to transform. Roma evolved from a residential area to a commercial zone and, was recently named a Zone of Artistic Monuments by INAH. In all of Mexico, Roma houses 10% of the country's designated artistic monuments.
Actual view of Col. Roma Sur. Image © Zaickz Moz
城市与居民、社区以及传统的结合，丰富了该地区的文化价值，并赋予社区特征。这些元素之间的社会联系在城市中创造了不同的环境，并通过建筑来讲述记忆和故事。这些故事对导演阿方索·卡隆（Alfonso Cuaron）来说至关重要。卡隆一生的大部分时间都在这个社区渡过，最近他个人代表作品的灵感就来自他成长的地方——罗马区。
这段记忆以及罗马区充满爱意的镜头视角组成了故事的基础，甚至是主体，向我们展示了导演对1971年的早年罗马区的回忆。在影片中，他不仅试图恢复整座城市失去的时间，而且从标志着国家历史的微小细节上呈现了整个时代的面貌。
The conjunction of the cities with their inhabitants and the neighborhoods with their traditions enrich the cultural value of the area, giving identity to the neighborhood. The social communication between these elements created different environments within the city, forming memories and stories that the buildings can tell. These stories are essential to director Alfonso Cuarón, who spent much of his life in the neighborhood and who recently made his most personal work inspired by the place that saw him grow: Roma.
This memory, coupled with lovingly shot perspectives of Roma is the foundation and even a protagonist of the story. He presents us with the Roma of 1971, all conceived as a memory in the early life of the director. In the film, he tries to not only recover and rebuild an entire city lost in time but present a whole era down to the smallest detail which marked the history of the country.
Actual view of facade of the house where 'Roma' was filmed located on Tepeji Street, Col. Roma Sur. Image © Zaickz Moz
虽然这部电影的目标不是再现波菲利亚时代的罗马区，但它也没有试图表现当前的现实。这部电影讲述的是电影制作人生命中的特殊时期，那就是重现这座过去的城市，并展现了在寻求“进步”的现代目标的过程中，这座城市经历的飞跃式的改造和再生。
While it is true that the goal of the film was not to recreate Roma of the Porfirian Era, neither did it seek to represent the current reality. It was about showing a specific moment in the history of the filmmaker's life to recover the city of the past, which was transformed and reinvented in leaps and bounds in search of the modern promise of "progress".
Actual view of Col. Roma Sur. Image © Zaickz Moz
为了讲述这个关于记忆的故事，阿方索·卡隆导演与艺术家尤吉尼奥·卡巴莱罗（Eugenio Caballero）合作，卡巴莱罗以其作品《潘神的迷宫》而闻名。同时他们通过童年的记忆将周边地区联系在一起，并用16毫米的胶片电影将这座70年代的城市分享给每一个人。其中有起义者乘坐的有轨电车、人们停留的电影院、被毁的医院和“鳄鱼”出租车，这些都是卡瓦列罗与卡隆共同根据他们童年记忆开展的艰巨调研，而得出的整个社区的部分集体记忆。
In order to tell this story of memory, the director worked with artist Eugenio Caballero, famous for his work in Pan's Labyrinth and also connected to the neighborhood through childhood memory, to help bring the city of the '70s to everyone in 16 mm. Trams in Insurgentes, cinemas of voluntary stay, destroyed hospitals, and "crocodile" taxis are all part of the neighborhood's collective memory and were part of a strenuous investigation that Caballero, in collaboration with Cuarón, carried out based on their memories of childhood.
Actual view of Kínder Condesa located on Tlaxcala Street. Image © Zaickz Moz
一般城市的镜头都会用到CGI和特效。例如，在Tonalá街与Baja California大街的交叉路口，同样挂在屋顶上的晾衣绳也出现在1985年地震后部分被毁的全国医疗中心的一些镜头上。导演表现出那一场地震中医院里发生的轻微的震动，部分的天花板落在新生儿的育婴箱上，这预示着十多年后将发生的事情。
《罗马》向我们展示的墨西哥城已经不复存在，快速的现代化、尖锐的社会斗争和自然灾害都改变着这座城市和居民。事实上，由于条件限制或现在已经消失的因素，城市的某些场所仍然未能就地记录。
CGI and special effects were used for general shots of the city. For example, in the case of the intersection of Tonalá Street with Baja California, the same clotheslines were hanging on the roofs and part of the shots of Centro Médico Nacional, which was partially destroyed after the 1985 earthquake. The director refers to the same earthquake where a small tremor occurs inside the hospital. Part of the ceiling falls on the nursery boxes of newborns, a harbinger of what was to happen little more than a decade later.
The Mexico City that Roma shows us no longer exists. Rapid modernization, trenchant social struggles, and natural disasters have all changed the city and its inhabitants. In fact, some places in the city could not be recorded in situ since the conditions were not optimal or simply no longer exists.
Actual view of Av. Baja California and Tonalá Street, Col. Roma Sur. Image © Zaickz Moz
建筑内的大部分情节的场景，完全是根据另一座建筑的记忆和照片而构思，这座建筑即将被夷为平地，从而为Del Valle社区的一座办公楼让路。这使得制作可以根据场地的需求进行修改。医院内部的序列被重新创建，并设置在同一家医院校园的废弃仓库中。然而，最为宏大的壮举是在Insurgentes大街和Baja California大街拐角处的情节设置，这里如今是Chilpancingo地铁站的出口所在地。在墨西哥城北部的Vallejo地区，坐落着Las Américas电影院，它曾是这条重要道路交叉口的象征，并以其雄伟的立面和富丽堂皇的风格而与众不同。
The interior of the house, where most of the plot occurs, was conceived entirely from memories and photos of another house about to be razed to make way for an office building in the Del Valle neighborhood. This allowed the production to make modifications according to the demands of the set. The sequence inside the hospital was recreated and set in an abandoned warehouse on the campus of the same hospital. However, the most epic feat was the entire creation of the corner of Insurgentes and Baja California Street, where today the exit of the Chilpancingo metro is located. In the area of Vallejo, at the north of Mexico City, the Las Américas cinema was erected, which once served as an emblem of this important avenues crossing, with its imposing façade and palatial style characteristic of the cinemas of that time.
Actual view of Av. Baja California and Tonalá Street, Col. Roma Sur. Image © Zaickz Moz
这些微小的细节将考古工作推向了高潮，同时深入地挖掘了历史。70年代墨西哥世界杯的海报、总统埃切维里亚（Echeverría）的形象、品牌玩具、电视里的美食、Perdidos en el Espacio的形象以及孩子们不分社会阶层扮演宇航员的情景。
同样地，电影的音效设计也是一项极具深度的工作，因为在这部电影中人们可以欣赏到大量历史的声音，这些声音都是经过了杜比全景声的渲染，就像在《地心引力》中表现出的真空一样。背景音乐是Juan Gabriel和Javier Solis的作品，大街上的街头小贩，夜间漫步的红薯小贩，还有过往的飞机，所有这些都是围绕着我们城市的声音特征来表达，轻松地将大都市生动地展现在人们的面前。
The small details are the ones that build the archaeological work to an exquisite climax which digs into the depths of the past. Posters of the 70's World Cup in Mexico, images of Echeverría for president, toys of yesteryear, Ensalada de Locos on television, references of Perdidos en el Espacio and children playing at being astronauts regardless of their social class.
In the same way, the sound design of the film –rendered under the Dolby ATMOS brand, the same one used to represent the vacuum of space in Gravity– was deeply work intensive for the amount of sound that can be appreciated from the time. Juan Gabriel and Javier Solís music in the background, street vendors in the avenues, sweet potato vendors in their nighttime stroll and the passing airplanes, all characterize the sounds of the city that surround you, without overwhelming, like a wave of references of a living megalopolis.
Actual view of Col. Roma Sur. Image © Zaickz Moz
《罗马》将这些元素与独特的事实结合在一起，与城市一同组成了一个没有联系的简单故事。通过这部电影，你可以行走、聆听、感知它的气味与质感，并从中得到享受，但同时也能体会到它所遭受的苦难。
通过对那些已经不再（或只存在于人们的怀旧中）的墨西哥城建筑、文化和生活的深入调查，唤醒了你从一个旁观者的角度对这座记忆之城的好奇心。
Roma brings together these elements combined with the unique fact of being part of a simple story without ties, where the city serves as another main character. Through this film you can walk, listen, perceive its smells, feel its textures, and enjoy it - but you also suffer from its hardships.
The deep investigation of architecture, culture, and life in a Mexico City that no longer exists (or only does in peoples' nostalgia) turns you into a spectator and awakens curiosity and longing for the city of memory.
Actual view of Centro Médico Nacional S.XXI. Image © Zaickz Moz
何塞·埃米利奥·帕切科（José Emilio Pacheco）在《Las batallas en el Desierto》一书的结尾提到：“学校被毁了，Mariana的房子被毁了，我的家、整个罗马殖民区都毁了。那座城市完了，整个国家完了，那些年的墨西哥已不复存在了。没有人会在意，在那种恐惧下，谁还会有怀旧之情呢？”
阿方索·卡隆似乎也读到过这些文字，因为他用心地再现了这个时代的城市，将社会斗争和建筑交织在一起。这意味着墨西哥的记忆仍然存在，在那里的人们仍然在讲述过去的故事。《罗马》打破了国内人们欣赏电影的模式，也打破了墨西哥电影的制作方式。
José Emilio Pacheco mentions at the end of his book Las batallas en el Desierto, set in Roma: "The school was demolished, Mariana's building too, my house, the whole Colonia Roma. That city is over. The whole country is over. There is no memory of the Mexico of those years. And nobody cares: from that horror who can have nostalgia."
It seems that Alfonso Cuarón himself read these words because he painstakingly recreates the city of this time, showing social struggles and architecture interwoven in an intimate portrait. It implies that the memory of this Mexico still exists - where there are people who still care about telling past stories. Roma came to break the patterns of how the domestic worker looks, but also in the way cinema is made in Mexico.
Actual view of Centro Médico Nacional S.XXI. Image © Zaickz Moz
罗马区如今仍然是这座城市的标杆。骑着自行车穿过街道，拐进一个你从未去过的角落，停下来观察一座建筑，给自己时间去欣赏它，想像谁会住在里面，又是谁建造了它，想象那些所有可能的故事。在这里，你会发现这个城市有成千上万个你不知道的空间，等待着你去发现，并讲述属于它们的故事。
Roma remains as a benchmark of the city. Ride your bike through its streets, turn into a corner you had not gone to before, stop to observe a house, give yourself time to admire it, wonder who inhabited it, who built it, all the stories that can be told. Here, you realize there are thousands of spaces in this city you do not know are there, waiting to be discovered and tell their story.
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