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因刘在石的第一次有线台综艺挑战而集关注为一体的JTBC 《Two You Project-寻找Sugar Man》，将于19日晚11时首播。节目将先试播2集，根据观众的反应讨论是否编入正式节目。
长篇影评
1 ) 这才是生活本来的样子啊
看电影的时候一直在念叨这一句话。是啊这才是生活本来的样子啊。
老糖建了一个网站，为了了解一个素昧谋面、却对他对他的国家影响巨大的歌手。他以为他死了。一切都是传闻而已，连老美都不了解的歌手，他又了解多少？
如果说励志，老糖才叫励志。说简单也简单说困难也困难的事儿，又有多少人真的下功夫去做了呢？他做到了。
老糖半夜里接到罗德里格兹电话的那段太神了，悬疑片突然摇身一变成了励志片。他知道那是他，他在唱片里无数次听过他的声音。在那一刻我热泪盈眶。
别说我矫情，生活可不就该这样子？平凡是多数人的状态，贫乏却是可以改变的。对老糖来说，追寻一个自己喜欢歌手的下落只是平凡生活之外的一种乐趣，它是生活的一味调料——它让平凡的生活并不显贫乏。
罗德里格兹的生活又是什么样子呢？
年轻时去酒吧卖唱、被挖掘出唱片、沉寂、去工地打工。南非的传奇更像是走得一遭狗屎运。可贵的是这泡狗屎没有把他砸昏头，他还是像过去一样静静地生活在底特律。要是谁有一天指着一退休老工人告诉我，“嘿你知道么，这大爷在南非开国演唱会专辑卖了几百万张”，我可不信。
可生活不就该这样子么？你默默地做过一些事情，因果轮回，也许有一天你会有意外的回报，也许一辈子也没有。暴发户可以是状态，但不能是心态。
电影里有个场景，一份报道上写着——
American zero,South African hero.
配图是年过中年的罗德里克兹手戴着墨镜，手拿吉他。
生活就该这样子嘛，zero代表了平凡的状态，hero却是不甘贫乏的心。
老糖建了一个网站，为了了解一个素昧谋面、却对他对他的国家影响巨大的歌手。他以为他死了。一切都是传闻而已，连老美都不了解的歌手，他又了解多少？
如果说励志，老糖才叫励志。说简单也简单说困难也困难的事儿，又有多少人真的下功夫去做了呢？他做到了。
老糖半夜里接到罗德里格兹电话的那段太神了，悬疑片突然摇身一变成了励志片。他知道那是他，他在唱片里无数次听过他的声音。在那一刻我热泪盈眶。
别说我矫情，生活可不就该这样子？平凡是多数人的状态，贫乏却是可以改变的。对老糖来说，追寻一个自己喜欢歌手的下落只是平凡生活之外的一种乐趣，它是生活的一味调料——它让平凡的生活并不显贫乏。
罗德里格兹的生活又是什么样子呢？
年轻时去酒吧卖唱、被挖掘出唱片、沉寂、去工地打工。南非的传奇更像是走得一遭狗屎运。可贵的是这泡狗屎没有把他砸昏头，他还是像过去一样静静地生活在底特律。要是谁有一天指着一退休老工人告诉我，“嘿你知道么，这大爷在南非开国演唱会专辑卖了几百万张”，我可不信。
可生活不就该这样子么？你默默地做过一些事情，因果轮回，也许有一天你会有意外的回报，也许一辈子也没有。暴发户可以是状态，但不能是心态。
电影里有个场景，一份报道上写着——
American zero,South African hero.
配图是年过中年的罗德里克兹手戴着墨镜，手拿吉他。
生活就该这样子嘛，zero代表了平凡的状态，hero却是不甘贫乏的心。
2 ) 一年从奥斯卡到自杀：追寻《寻找小糖人》导演之死的最后几日
翻译练习
//ca.movies.yahoo.com/news/oscar-to-suicide-in-one-year--tracing-the--searching-for-sugar-man--director-s-tragic-final-days-123437558.html
Oscar to Suicide in One Year: Tracing the 'Searching for Sugar Man' Director's Tragic Final Days
一年从奥斯卡到自杀：追寻《寻找小糖人》导演之死的最后几日
The Hollywood Reporter
好莱坞报道
Jun 12, 2014
2014年6月12日
This story first appeared in the June 20 issue of The Hollywood Reporter magazine.
本文第一次发表在6月20日发行的《好莱坞报道》杂志
By Scott Johnson
作者 斯科特•约翰逊
In the late afternoon on May 13, a young man with a mop of soft brown hair and a delicate frame stood on the platform of the Solna Centrum metro stop in Stockholm, Sweden, waiting for the Blue Line.
5月13日下午晚些时候，一个有着一头蓬松柔软的棕色头发、轮廓精致的年轻人站在位于瑞典，斯德哥尔摩，索尔纳中心地铁站的站台上，等待蓝线地铁。
It was rush hour, and the station, one of the deepest in Stockholm’s rail system, was filling up with commuters leaving the city. At the bottom of a long escalator, cave-like tunnel walls had been painted with elaborate pastoral scenes from the 1970s: 现在是高峰时间，斯德哥尔摩地铁系统最远的车站之一，塞满了正要离开这个城市的通勤乘客。在一段长长的扶梯底部，像洞穴一样的隧道墙壁上描绘着20世纪70年代的田园景色：
lush green hillsides studded with fir trees and a giant yellow moon rising against a vast, dark red sky. Vignettes of Swedish life were overlaid against this Nordic backdrop — chain-saw-wielding loggers presiding over a recent clear-cut, a twin-engine prop plane taking flight, and a solitary violinist standing in a field pondering the city’s encroachment. At one end of the platform was a sign. “Stop!” it warned. “Unauthorized people prohibited on the tracks.”
苍翠繁茂的绿色山坡点缀着冷杉树，一轮巨大的黄色的月亮在一片广阔而黑暗的天空中升起。瑞典生活的片段被北欧的背景覆盖——拿着链锯的伐木工人正在指挥一架近代的外形干净利落，双引擎螺旋桨飞机起飞，一个站在田里的孤独的小提琴演奏者思考着城市的入侵。在站台的最后端是一个标志。“停！”这个标志警示着，“未授权人员不得踏入轨道”。
It was just the type of place that the young man, a 36-year-old Swedish journalist and Oscar-winning film director named Malik Bendjelloul, might have found intriguing.
这儿就是这个年轻人喜欢的那种地方，36岁的瑞典记者及奥斯卡获奖影片导演，马利克•本德杰鲁可能会感兴趣的地方。
The Stockholm metro system is reputed to be the largest display of public art anywhere in the world — 68.3 miles of paintings, mosaics, installations and sculptures. The station was an artistic, humane endeavor, an urban fairy-tale landscape that might have piqued his curiosity and fueled his imagination.
斯德哥尔摩地铁系统因成为全世界最大的公众艺术展所而出名——68.3英里的绘画，镶嵌画，装置和雕塑。这个艺术的，人文奋进，都市童话风景的车站可能激起了他的好奇心，助燃了他的想象力。
But on that day, as the train neared, the picturesque station was transformed into a devastating scene of the director’s final moments. With a crowd of Tuesday-afternoon commuters looking on from benches or standing against walls, Bendjelloul flung himself into the path of an oncoming train.
但是在那天，当火车靠近的时候，这个如画的车站变成了一个导演最终毁灭的现场。一大群周二下午坐着长椅或者靠着墙的通勤乘客都看到，本德杰鲁跳进了一辆正开进来的列车的轨道。
Almost immediately, Bendjelloul’s suicide, just over a year after his 2013 Academy Award for the documentary Searching for Sugar Man — a soulful, wrenching account of a forgotten Detroit folk musician named Sixto Rodriguez — threw Sweden and much of the rest of the world into stunned disbelief. How could such a talented artist choose to take his life at the height of his creative powers, when anything seemed possible and probably was? And how did a positive, happy person fall into the depths of despair with almost no one being the wiser?
几乎是他凭借《寻找小糖人》——一部充满灵魂的痛苦的再现被忘记的底特律民谣音乐人西斯托•罗德里格斯的纪录片，获得2013年奥斯卡金像奖后刚好一年，本德杰鲁的自杀，令瑞典和这个世界都感到错愕。一个如此充满天赋的艺术家怎么会在他创造力如此巅峰的时候结束自己的生命呢，一个任何事都将成为可能可以办到的时候？一个积极，快乐的人怎么会跌进绝望的深渊，却没有一个人知道为什么呢？
The first press reports from Swedish media outlets repeated the police’s initial statements that Bendjelloul had died in an “incident” of indeterminate nature. “The police do not suspect any foul play in his death,” said Mats Eriksson, press officer of Stockholm’s western police district. On that Wednesday, Johar Bendjelloul, a radio journalist and the director’s older brother, clarified that it indeed had been a suicide, the result, he said, of the recent onset of mental illness. Stockholm police officials later confirmed to THR the details of Bendjelloul’s death on the tracks. 最初来自瑞典媒体的报道大量重复着警察初步判断本德杰鲁死于一场性质不明的“事故”。“警方排除死于他杀的怀疑”，斯德哥尔摩西警区新闻发布官马茨•埃里克松说道。那个周三，电台记者及导演的哥哥乔哈尔•本德杰鲁澄清了事实，他说，根据最近开始的精神疾病方面的检测结果，的确是自杀。斯德哥尔摩警方官方稍后向《好莱坞报道》证实了本德杰鲁在铁轨上死亡的细节。
“He jumped in front of a fast-moving metro train,” one police official said. “It traumatized both the train conductor and witnesses. The SL [Metro Co.] is working with trauma and crises handling with the train conductor.” Johar Bendjelloul, meanwhile, went further. “He had been depressed,” the elder Bendjelloul told reporters, adding that he had been by his brother’s side “almost constantly” in the days before his death. “I know he had been depressed for a short period, and depression is something you can die from,” he said. “But the question of why, no one can answer; it will ache in my chest the rest of my life.”
“他跳在一辆快速行驶的地铁前”，一位警官说。“这让列车员和目击者都受到心理创伤。处理创伤和危机的SL（地铁有限公司）正在负责列车员的创伤。” 同时，更进一步，乔哈尔•本德杰鲁说道：“他很抑郁，”本德杰鲁哥哥告诉记者，他在死前几乎一直在哥哥身边，“我知道他已经抑郁了一段日子了，而抑郁是一种会让人死亡的东西。”他说，“但是问题是为什么，没有人能回答；这会让我的余生都很痛心。”
The sense of bewilderment was no less acute among the people who had worked alongside Bendjelloul for years and called him a friend. “If I think of every person I’ve met in my whole life, he was the least likely to take his life — the least,” said Karin af Klintberg, a producer for a Swedish arts and culture program called Kobra and the first person to encourage Bendjelloul to turn Rodriguez’s story into the film that would become his abiding passion for five years. “He was the happiest person I knew.”
这种困惑的感觉在和本德杰鲁曾经一起工作多年并称他为朋友的人中也丝毫没有减少。“如果我比较下我这辈子认识的每个人，他是最不可能结束自己的生命的——最不可能的。”卡琳•阿芙•克林伯格，瑞典艺术与文化项目眼镜蛇的制片人，她是第一个鼓励本德杰鲁将罗德里格斯的故事拍成电影从而使他充满热忱持续工作了五年的人。“他是我认识的最快乐的人。”
Many of his friends struggled to accept it. Simon Chinn, who co-produced Searching for Sugar Man and shared an Academy Award with Bendjelloul, snapped at a reporter from the Associated Press for even asking about suicide because the idea seemed so preposterous and out of character to him.
他的许多朋友都难以接受这个事实。西蒙•钦，与本德杰鲁一同分享了奥斯卡奖的《寻找小糖人》联合制片人，训斥了来自美联社记者关于自杀的询问，因为这个猜测看起来如此荒谬，根本不是他的性格。
When someone updated Bendjelloul’s Wikipedia page to reflect his death that Tuesday, Klintberg just stared at it, thinking the author had made a mistake. When the truth finally sunk in, she stayed home from work for four days and wept. “I just made up with him for a few days,” she said.
当有人更新本德杰鲁的维基百科页面反应出周二那天他的死亡时，克利伯格盯着看着，觉得编者犯了一个错误。当终于了解这是真相，她留在家里哭泣，四天没去上班。“我和他吵了才和好几天。”她说。
Death, especially when it is violent and unexpected, often leaves a hazy, and sometimes unwarranted, glow around the deceased. But Malik Bendjelloul, by all accounts, stood out as exceptionally talented, creative and for the most part also happy and well-adjusted. Over the course of the past several months, however, friends say he also had become increasingly lonely and isolated.
死亡，特别当其是猛烈和意外的，通常留下朦胧的，有时是没有根据的光芒笼罩着逝者。然而，马利克•本德杰鲁，根据大家所说，因天赋秉异富有创造力而杰出，而且大多是时候都是快乐且适应力强的。经过了几个月后，也有朋友说，他也变得越来越孤独和隔离。
The Oscar win had catapulted him into the upper reaches of the New York and Los Angeles art worlds, away from his best friends and family.
赢得奥斯卡将他送上了更高一层的纽约和洛杉矶艺术世界，远离了他最好的朋友和家人。
For the past several months, he had been living in New York, writing a script for a feature-length film about a South African conservationist named Lawrence Anthony, who had traveled to Baghdad in 2003 to rescue wounded and abandoned zoo creatures. However, writing for movies was harder than Bendjelloul had anticipated, and he apparently had grown frustrated and anxious. He developed insomnia while in New York. He also had lost touch with some of the people he had been closest to in Sweden and confessed to at least one close friend that he felt lonely.
在过去的几个月，他住在纽约，写一部关于南非自然资源保护者劳伦斯•安东尼的长篇电影手稿，描述了他在2003年到巴格达救治受伤和被抛弃的动物园动物。然而，为电影写作比本德杰鲁预想的困难，他明显为此越来越挫折和焦虑。在纽约的时候他开始失眠。他和一些在瑞典时曾经亲密的人们失去了联系，并且至少向一位好友坦陈他觉得很孤独。
Experts in the psychology of celebrity say that the sudden onset of stardom of the type Bendjelloul experienced can be traumatic, akin to a physical accident or violent encounter. “Fame is experienced as an impact, like a car crash,” says Donna Rockwell, a Michigan psychologist who did her doctoral dissertation on the effects of celebrity, interviewing A-list actors, sports figures and others for her research. “For a person who has lived an ordinary life, to all of a sudden be thrust into a world of the spotlight, it can be quite overwhelming.”
名人心理学方面的专家认为本德杰鲁突然变成明星的这种经历是一种创伤，近似于一种身体上的事故或者遭受暴力。“名声带给人的影响，就像一场车祸。”唐娜•洛克威尔，密歇根心理学家，其博士论文是名声的影响，采访过一流的演员，运动界名人和其他人进行研究。“对一个过着普通生活的人来说，突然被扔到聚光灯下，会是非常难以应付的。”
Bendjelloul had poured every ounce of energy and artistic flair he had into Sugar Man, and now that it was over, he was struggling to find a new passion, say his friends. In the final weeks, he told those closest to him, a fear had taken hold that somehow, inexplicably, he had “lost his creativity.” So, when spring arrived, Bendjelloul decided to travel home to Sweden. The dark Nordic winter was lifting, and the days soon would grow longer and lighter. He wanted to see old friends. And there was something else: Bendjelloul’s mother, painter and translator Veronica Schildt Bendjelloul, would be turning 70 on May 20.
他的朋友说，本德杰鲁已经将他每一点能量和艺术天分投入到了小糖人中，现在这一切结束了，他不得不努力找到新的热情。在最后几周，他告诉那些他亲近的人，一种莫名的害怕抓住了他，说不清楚为什么，他“失去了他的创造力”。因此，当春天到了的时候，本德杰鲁决定回家去瑞典。北欧阴沉的冬天就要走了，白天会变得越来越长越来越亮。他希望看看老朋友。还有一些事：本德杰鲁的妈妈，画家和翻译维罗妮卡•希尔特•本德杰鲁在五月二十日就七十岁了。
Bendhelloul was born in Ystad, in the south of Sweden, the second of two sons. His father, Hacene, was a physician who emigrated from Algeria; his mother a Swedish artist and translator of books.
本德杰鲁生于瑞典南部的伊斯塔德，家里两个儿子中的第二个。他的爸爸哈桑是一位从阿尔及利亚移民的医生，他的妈妈是一个瑞典艺术家和书籍翻译者。
As a child, Bendjelloul acted in a popular Swedish television drama called Ebba and Didrik, about two siblings whose idyllic family is upended by domestic disputes and romantic intrigue.
还是孩子的时候，本德杰鲁参演了非常出名的瑞典电视喜剧《艾巴和迪德里克》，一部讲述两兄弟田园般的家庭生活被内战和浪漫阴谋颠倒的故事。
After high school in Angelholm, Bendjelloul enrolled in a visual media program at Kalmar University. During the late ’90s, television producer Per Sinding Larsen visited the school to give a talk and review the students’ work. Bendjelloul’s clips immediately jumped out at him.
在安格赫尔姆读完高中后，本德杰鲁参加了卡马尔大学的一个可视媒体项目。90年代后期，电视制作人佩尔•辛丁•拉森访问该校进行演讲，在看过学生们的作品后，本德杰鲁的片子一下就吸引了他。
They demonstrated a creative power and tenacity he never had seen before. Bendjelloul was using tools that even professionals hadn’t yet mastered. “I couldn’t figure out how he [did it],” says Larsen. “He didn’t have the money or the means to do the things he was doing already at the time.”
这些片子展示了一种他以前从未见过的创造力和韧劲。本德杰鲁使用的工具是专业人员都没有完全掌握的。“我说不出他怎么（办到的）”，拉森说，“他没有资金或者手段去做他当时已经完成的事情。”
A few years later, Larsen ran into Bendjelloul at a production company in Stockholm where the young man had gotten a job. “There were quite a few talents, but he was something special,” recalls Larsen during an interview in Stockholm. “I think I was a bit jealous — he knew the media in a way I didn’t.” Larsen was so impressed with Bendjelloul and liked him so much, he kept in touch.
几年后，拉森偶然在斯德哥尔摩本德杰鲁工作的制作公司遇到了他。“有天分的人不少，但他有一些特别。”拉森在斯德哥尔摩接受采访时回忆：“我承认我有点嫉妒——他以一种我办不到的方式理解媒体。”拉森对本德杰鲁印象深刻，也非常喜欢，因此保持着联系。
In subsequent years, Larsen would become a casual mentor to Bendjelloul, helping him develop professionally in the rough-and-tumble world of deadline journalism but also personally. Bendjelloul, in turn, befriended Larsen’s family, regularly attending birthdays and family events. Often late at night, in the studio or out in Stockholm, the two would have long, meandering conversations. Bendjelloul often questioned his own life path, wondering whether he should settle down and with whom; whether he should have kids.
接下来几年，拉森成为了本德杰鲁的导师，帮助他在这个新闻业末日混乱的世界成为行家也在生活上帮助他。本德杰鲁，相应的，成为拉森家的朋友，定期参加生日会和家庭聚会。经常是深夜了，在斯德哥尔摩的工作室或外面，两个人进行长时间的漫谈。本德杰鲁经常询问他人生的道路，会想他是否该和谁安定下来，是否该生孩子。
More passionately than most, he thought about the ideas that went into his work; he wanted to change the way that television was made. Sometimes, it seemed to Larsen that his sensitive young friend risked being swallowed up by the frenetic, fast-paced environment of the world of media. He wanted to protect him.
比大多数人更充满热情，他思考那些进入到他工作中的灵感；他试图改变电视制作的方法。有时候，拉森觉得他这位敏感年轻的朋友冒着被媒体所在的疯狂的，快速的世界环境吞噬的风险。他试图保护他。
But if Bendjelloul was worried about something more serious, Larsen never attributed more than a passing importance to it; everybody, concluded Larsen, needed to grow up, and Bendjelloul was no different. “We had talks regularly, and I tried to tell him you can’t separate those two sides,” recalls Larsen. “You can’t just forget what you have at home. Or you can, but you’ll have to deal with it.”
但是假如本德杰鲁对什么问题更加担心，拉森从未认为它不重要。每个人，拉森认为，都需要成长，本德杰鲁也不例外。“我们会定期的讨论，我试图告诉他你不能把两边分开。”拉森回忆着：“你不能忘记你在家有什么，或者你能，但是你不得不去应付它。”
During the early 2000s, Bendjelloul went to work for Kobra, which aired on publicly funded Swedish TV (SVT). From the start, he established himself as the in-house creative wizard and set the bar for other reporters to meet. 2000年早期，本德杰鲁为眼镜蛇项目工作，通过瑞典电视台（SVT）向公众播出。从那开始，他已经成为了内部创造的奇才并为其他记者设定了标准。
He had a spirited, frenetic energy and often would bounce up and down from one foot to the other as he excitedly pitched story after story to his editors. They reciprocated, giving him plenty of room to explore his passions.
他精神饱满，有着疯狂的精力，经常兴奋地一步一步上下蹦跳着把他的故事一个接一个扔给他的编辑。作为报答，他们给他更多的空间释放他的激情。
During work lunches, he would order huge salads accompanied by sandwiches and ferociously nibble his way through them, consuming little but leaving a detritus of crumbs and shredded napkins on the table — like Fantastic Mr. Fox, says one friend.
他的一个朋友说，工作午饭时间，他会点一份巨大的沙拉配三明治，极其小口的从中间吃掉，吃的很少却留下了一大堆面包碎屑和撕碎的餐巾纸在桌上，就像《了不起的狐狸爸爸》。
His energy was infectious, his ideas wild and exciting. Reporting trips took him all over Sweden but also abroad. He traveled to Iran, Ethiopia and South America.
他的活力充满感染力，他的想法狂野而令人振奋。报道的旅行带他走遍了瑞典也去了国外。他去过伊朗，埃塞俄比亚和南美。
Back in the vast hallways of SVT, he would disappear down a long hallway and into a cavernous editing vault called R6, where he would remain for days and sometimes weeks, perfecting his work.
回到SVT的巨大的门厅，他消失在一条长长的走廊末端，进入了像洞穴一样的R6编辑室，他会在这儿带上几天有时甚至几周，完善他的作品。
Bendjelloul relied on paper, glue, scissors and a huge appetite for endless hours of work. He knew his way around a computer, but he much preferred the more antiquated methods and being able to see his work in front of him, to play with it in a tactile way. Few people bothered him in the editing vault. “We always knew that whatever he came back with would be perfect,” says Jane Magnusson, a Kobra colleague. “We called him our genius-in-residence.”
本德杰鲁靠的是纸张、胶水、剪刀和对无数个小时工作的欲望。他知道使用电脑的方法，但他更偏爱这种老方法，能够看到他的作品展现在他眼前，一种可以触摸得到的方式。几乎没有人会去编辑室打扰他。“我们都知道无论他带什么回来都会是完美的。”简•芒努松，眼镜蛇项目的同事说到：“我们把他称为我们的常驻天才。”
Many of these early short films showcased Bendjelloul’s burgeoning artistry. He could be fascinated by ominous signs and strange portents and fashioned a clever piece about the brief 1960s obsession with clues in Beatles paraphernalia alluding to Paul McCartney’s imminent death — only to debunk it all later.
这些早期短片都展示了本德杰鲁艺术的迅速成长。他陶醉于把各种预兆和奇怪的迹象构成一条巧妙的线索，用一个简短的20世纪60年代痴迷的披头士用品的线索暗指保罗•马卡特尼将要死亡，——直到后来才全部揭穿。
He loved the French analog master Michel Gondry and spent hours cutting, pasting and fashioning cardboard cutouts into miniature sets in R6.
他喜欢法国模拟大师米歇尔•冈瑞，花了好几个小时剪辑，粘贴，加工了一个硬纸板的剪纸图案做成微缩模型里放在R6编辑室。
He stunned his colleagues with a movie short that would be played at the beginning of each Kobra episode; it had been shot in one very long, very carefully orchestrated take, with actors jumping in and out of scenes on Bendjelloul’s cue.
他用一个电影短片震惊了他的同事，这个短片可以放在眼镜蛇项目片段的任何一个章节的开始；拍摄成了一个非常长，非常精心编制的镜头，演员可以在本德杰鲁的线索里跳进跳出。
In another short piece from those days, a Swedish-Hungarian designer ruminates on the beauty of dead stuffed animals versus live ones. Bendjelloul interjects a question: “Is death more beautiful than life?”
同时期的另一个短片里，一个瑞士裔匈牙利设计师对一个美丽的死亡动物填充和一个活着的进行比对思考。本德杰鲁插入一个问题：“死亡比生命更美吗？”
Bendjelloul then edited it in such a way that as the designer responds, saying that a photograph is “like a picture of a hero … the best representation,” a mirror slides across the frame and Bendjelloul himself appears — thin and smiling — nodding placidly in agreement.
然后本德杰鲁做了一个对设计师的回答，一个镜像的幻灯片穿过画面，本德杰鲁本人出现了——很瘦并且笑着——平静的点头表示同意，他说那照片“像一个英雄的画像……最好的代言”。
Skeptical that Bendjelloul was harboring any thoughts of suicide at the time, another SVT producer, Emelie Persson, nonetheless recalled that very clip several times in the days after Bendjelloul’s death, wondering, as those left behind by suicides often do, if she had missed something.
有人怀疑本德杰鲁那时候就抱着关于自杀的想法，尽管如此，另一个SVT制作人，艾米丽•佩尔松，在本德杰鲁死后几天好几次回忆这个片段，思考着，就像那些自杀者死后人们通常做的那样，想她是不是漏了什么。
Faced with the overwhelming suddenness of his death, others wondered the same thing. But again and again, the answer came back a resounding no. Bendjelloul’s zest for life had been huge, his enthusiasm infectious and all-encompassing. In 2006, after several years working at Kobra, Bendjelloul grew restless and decided to travel. 面对他压倒性的突如其来的死亡，其他人也在想同样的事情。但是一遍又一遍，这个问题的答案总是得到一个响亮的否定。本德杰鲁对生活的热爱是强烈的，他的热情是那么的具有感染力那么的无所不在。在2006年，经过在眼镜蛇项目几年的工作，本德杰鲁越来越无法满足决定去旅行。
Reluctant to lose his talent, another producer secured him some money and asked him to send in reports from abroad. It was during a trip to South Africa in 2006 that he walked into a record store off Kloof Street in Cape Town and met the owner, Stephen Segerman, who told him a story that would change his life. It involved an American musician named Rodriguez, who had shaped an entire generation of South Africans with his mournful, rebellious ballads during the long years of apartheid only to disappear without a trace. People assumed he had died. 不愿失去这个才华横溢的人，另一个制作人付给他一些钱请他从国外发回报道。2006年在南非旅行期间，他走进开普敦峡谷街的唱片店见到了店主斯蒂芬•瑟吉曼，店主告诉他一个改变了他人生的故事。故事关于一个叫做罗德里格斯的美国音乐人，用他悲伤的，反叛的民歌在长年的种族隔离时期影响了南非整整一代人，却突然消失得无影无踪。人们以为他死了。
Rodriguez had been a megastar in South Africa, where his hit song “Sugarman,” off a debut album titled Cold Fact, was a staple for hundreds of thousands of young people. The singer was all but unknown at home in the U.S. Bendjelloul sent the idea to Klintberg, who very quickly realized that seven short minutes on Kobra wasn’t going to be nearly enough. She encouraged him to make a movie.
罗德里格斯已经成为南非的巨型，他首张专辑《冷酷的事实》主打歌曲“小糖人”，是成百上千年轻人的最爱。这个歌手却在美国的家里毫不知情。本德杰鲁把这个想法发给了克林伯格，她马上意识到眼镜蛇项目的七分钟短片远远不够。她鼓励他拍一部电影。
Bendjelloul leapt at the chance, knowing he had stumbled onto the story of a lifetime. He had no money, but he made do. He stayed at Segerman’s house, and they drove around Cape Town in a cheap car. They listened to one of Bendjelloul’s favorite groups, Slow Dive, as they drove along the picturesque cliffs of Chapman’s Peak one day, waiting for the perfect shot. And as the months passed, they bonded; with each revolution of the unfolding tale, they often said to each other, “This story always has happy endings.”
本德杰鲁抓住了这个机会，知道他遇到了一个千载难逢的故事。他没有钱，但是他要做。他留在瑟吉曼的家，他们开着便宜的车在开普敦到处转。他们听着本德杰鲁喜欢一个乐队，慢潜乐队，沿着查普曼峰陡峭如画的峭壁开一天，等着拍摄最美的瞬间。几个月过去了，他们连在了一起。每一次对这个故事展开的探讨，他们常常向对方说：“这个故事总是会有一个圆满的结局。”
Bendjelloul’s ensuing search for the mysterious “Sugar Man,” which took five years, all of his money and a considerable part of his emotional energy, went on to become one of the most celebrated films of the year, garnering Bendjelloul every significant award of the season and culminating in the Academy Award for best documentary feature.
接下来本德杰鲁搜寻神秘的“小糖人”花了五年，他所有的钱和他相当大部分的感情精力，转变成了当年最著名的电影之一，让本德杰鲁获得了该季度每一个重大的奖项，最终获得了奥斯卡最佳记录片。
During the early editing, he had told Klintberg, “I don’t understand why I wouldn’t aim for an Oscar.” Responded Klintberg, “Are you crazy?” But Bendjelloul knew what he wanted and set about making it happen with a passion that soon took over his life.
在编辑的早期，他告诉克林伯格：“我不知道我为什么不以奥斯卡为目标。”克林伯格回应道：“你疯了吧？”但是本德杰鲁知道他想要什么并且用一种占据了他全部生命的热情去促使这一切发生。
It was a mark of his generosity that he brought along everyone who had helped him. Segerman recalls a dinner at the 2012 Sundance Film Festival, just before the premiere, where Bendjelloul’s sensitivity was on full display. “He stood up and thanked everyone, and he talked about each person in particular who helped him get there. There is not one person who had any problems with that guy.” When he took the stage to accept his Oscar, the drive that had gotten him there was replaced in an instant by the characteristic charm and innocence that had endeared him to so many. “Oh, boy,” he said, with a huge grin.
他慷慨的一种表现就是带来所有帮助过他的人。瑟吉曼回忆2012年圣丹斯电影节的一场宴会，在首映前，本德杰鲁的敏感表现得淋漓尽致。“他站起来感谢了每一个人，他特别谈论了每一个帮助他走到这一步的人。”当他走上台接受奥斯卡奖的时候，那种驱使他到达这一步的动力瞬间变成了一种吸引人的特色，变成一种让惹人喜爱的纯粹。“哦，天哪。”他说，咧着嘴大大的笑着。
Bendjelloul’s mind, like that of so many artistic geniuses, also had an obsessive quality. As creative as he was, he also could be rigid and uncompromising — “anal,” in the words of several friends who knew him well. He created elaborate routines and rituals that helped channel and direct his creativity.
本德杰鲁的心智，像许多艺术天才一样，也带有一种强迫的特质。如他拥有的创造力一样，他也非常的严格和固执——“直肠子”了解他的几个朋友这么形容。他规定了精细的日常活动规则和固定程序帮助他开发和直达他的创造力。
While editing Sugar Man at his Stockholm apartment, for instance, he began work only once he had completed one full lap walking around his apartment; he signaled the end of the work day with the same single loop.
比如，他在斯德哥尔摩的公寓编辑小糖人的时候，他只在完整绕公寓散步一圈后才开始工作；他也用同样的一个圈来标志一天工作的结束。
He gave himself exactly 1,000 days to edit Sugar Man and held himself close to it. He could be quirky and fun with his self-imposed rules.
他给自己整整1000天去编辑小糖人并帮助自己接近这个设定。他非常古怪而有趣的给自己强加规则。
Last summer, during a radio series called Summer Talks in which prominent Swedes take to the airwaves and speak about their lives, Bendjelloul informed listeners that they would hear only songs whose titles began with the letter “I”: “I Am the Walrus” and “I Hate You Forever.”
去年夏天，在一档叫做夏日闲谈的电台广播系列节目里，瑞典名人会参与讲述他们的生活，本德杰鲁告诉听众他们只听歌名开头是“我”的歌曲，比如“我是海象”和“我永远用恨你”。
He said his favorite film was Lars von Trier’s The Five Obstructions, in which one director challenges another to make “the perfect human” five times with a different obstruction each time.
他说他最喜欢的电影是拉斯•冯•提尔的《五道障碍》，在这部电影里一个导演向另一个导演提出挑战要求在五种不同的障碍下分别重拍《完美的人》。
More recently, he concocted an elaborate work schedule for writing, which involved four hours of uninterrupted work, from 8 a.m. to noon. But sometimes he would begin later, in which case he would set his clock back to the 8 a.m. hour so that no matter the actual time of day, he would be able to work in the time he allotted himself.
最近，他精心制作了一个写作时间表，包含了四个小时不受打扰的工作，从早上八点到下午。但是有时候他开始的晚了，他就把钟调到早上八点不管那天实际上是几点，他才能在他分派给自己的时间里工作。
These habits extended to his personal life as well. He would, for example, force himself to eat exactly the same breakfast for six months straight simply for the joy of, finally, one day changing breakfasts.
这些习惯也延伸到他的私人生活。比如，他会强迫自己在六个月里吃一模一样的早饭就为了终于有一天换了早饭的欢乐。
There was, for a long time, a particular brand of canned tomato sauce in Sweden that he loved, and when he learned that it was going out of production, he called up every single shop in Stockholm and bought out their remaining stock. He was perfectly happy to eat pasta with this particular brand of tomato sauce every night.
有很长一阵子，他都喜欢吃瑞典某一个牌子的罐装番茄酱，当他听说这个牌子要停产了，他就给斯德哥尔摩的每个店打电话买光他们的库存。他就是超级喜欢每天晚上沾着这个牌子的番茄酱吃意大利面。
One day he told Klintberg that he had decided to break up with a girlfriend because they had been going out for exactly four years, four months and four days. “It always seemed totally reasonable when he said it,” recalls Klintberg. “He was very convincing.”
有一天他告诉克林伯格他决定和女友分手因为他们已经约会了刚好四年四个月四天。“他说的时候就好像这是非常合理的，”克林伯格回忆着，“他非常具有说服力。”
To Klintberg and others, these eccentricities seemed like the harmless, even charming quirks of an artist for whom life itself was a tableau that could be played with or manipulated to enhance its power — or perhaps dull its ability to inflict pain.
对克林伯格和其他人来说，这些怪癖看起来没什么坏处，对一个艺术家来说反而有点迷人的小古怪，生活就像一出可以玩耍的戏剧或者可以通过控制强化能力——或者变得麻木可以减少痛苦。
“It was like he was creating ways to not be disappointed,” says Klintberg, “so he wasn’t disappointed, until now. And when it came, it struck him so hard because he wasn’t used to it. I think that this [depression] was a total shock for him and very unexpected. He didn’t have the tools to handle this situation. It was like a psychosis, I think.”
“就好像他在创造不失望的方法，”克林伯格说，“因此他不会失望，直到现在。当真的来了的时候，给他的打击太大了因为他根本不习惯。我认为这个（压抑）对他来说完全是个打击而且是意料之外的。他没有处理这种情形的方法。这就像精神错乱，我觉得。”
He also was sensitive and, like many artists, complicated. To the people closest to him, Bendjelloul sometimes showed a temper. While working on Sugar Man, Bendjelloul often was broke, or nearly so. His old friend and mentor Per Larsen offered to get him a job to help with the bills. It didn’t pay much, but Larsen figured something was better than nothing.
他还非常敏感，就像其它艺术家，非常复杂。对那些亲近他的人，本德杰鲁有时候会发脾气。在摄制小糖人的时候，本德杰鲁常常身无分文，或者近乎如此。他的老朋友和导师佩尔•拉森给他一份工作可以付账单。工作的收入不高，但是拉森觉得有点总比没有好。
Bendjelloul thought otherwise and exploded over the phone, berating Larsen for thinking such an ill-paying job was worth it and making it clear that he felt patronized. It did no lasting damage to the friendship, but it belied another, deeper level to the man “everybody loved.”
本德杰鲁却不这么想，还在电话里发飙，骂拉森觉得这么低廉的工作也值得去做，说这让他觉得被施舍了。这对他们的友谊没有遗留什么损害，但是这证明了其实这个人内在其实不是一个“人见人爱”的类型。
When Bendjelloul first applied to the Swedish Film Academy for funding, a consultant there viewed an early version of Sugar Man and told Bendjelloul it was “s—-.” This episode understandably provided the grist for repeated late-night sessions with Larsen in which Bendjelloul raged against the established arbiters of culture and taste. “What kind of films do they fund?” he lamented.
本德杰鲁第一次申请瑞典电影奖的赞助，咨询顾问看了小糖人的早期版本后告诉本德杰鲁这个片子是个“S——-”。这件事成了本德杰鲁和拉森深夜会议发火的原料，他指责审查员的文化和品位：“他们到底赞助的都是什么电影？”
Over the years of their friendship, Larsen had begun to probe gently into Bendjelloul’s past and his family. Bendjelloul often told Larsen stories about his father. They were almost as fantastical as some of his short films — fairy tales about his roots and land and perhaps a lost family fortune, a bygone nobility to which he nonetheless felt a certain attachment. In the end, Bendjelloul never told Larsen anything that was cause for major concern. And Larsen, like so many of Bendjelloul’s friends, was in the dark right up until the last moment, at which point it was too late.
有着多年的友谊，拉森开始试探的了解本德杰鲁的过去和他的家庭。本德杰鲁常常告诉拉森一些关于他父亲的故事。这些故事就跟他的短片一样不可思议——关于他的根源和故乡的神话故事，也许还有失去的家庭财富，失去了但是他仍能感觉到流淌的贵族血液。到头来，本德杰鲁从未告诉拉森任何需要关心的事情。而拉森，像本德杰鲁其他朋友一样，一直不明实情直到最后一刻，已经为时过晚。
Looking back now, many of his friends wonder what combination of factors — genetic, professional, artistic — collided so violently to cast Bendjelloul into such an abysmal despair. “In depression, it’s the darkness, it’s completely like there’s no hope,” says Larsen. “I was wondering if there was something that made him go up and down, with his family or his genes, but which he dealt with through his work, his movie — and suddenly there wasn’t anything. So the darkness comes up.”
回过头来，他的许多朋友都在想到底是什么因素——遗传，专业，艺术——猛烈的碰撞在一起将本德杰鲁扔进了绝望的深渊。“绝望的时候是一片黑暗的，完全毫无希望的感觉。”拉森说，“我在想如果有什么让他忽上忽下，他的家庭或者他的天性，但是他通过他的工作，他的电影解决，突然什么都没了。于是黑暗完全笼罩了他。”
By all accounts, Bendjelloul tried his best to keep the flush of success in check. Segerman recalls how, at Vanity Fair's Oscar party, he and Bendjelloul stood off to the side taking everything in while everybody else seemed, on the face of it, to be working, planning the next thing, making the next big deal. Bendjelloul wanted to remain connected to his friends.
据说，本德杰鲁试图保持不断的成功。瑟吉曼回忆，他如何和本德杰鲁在奥斯卡名利场派对上带着所有远远呆在一边而其他人看起来，表面看来，都有工作，计划下一件事，有下一件大事要做。本德杰鲁想要和他的朋友们保持联系。
When reporters asked Johar whether success had contributed to his brother’s demise, Johar replied, “He was a very straightforward person when it came to success,” he said. “Admirably earthy and relaxed. Unimaginably relaxed about [his] successes, I cannot see any such links.”
记者问乔哈尔他弟弟的死是否跟成功有关系，乔哈尔回答：“说到成功他是一个非常坦率的人。”他说：“非常朴实和放松。他对成功难以想象的放松，我不觉得这个是原因。”
But while Bendjelloul might have put on a good face, the toll of success might have been greater than even he had realized. “To achieve such widespread and unparalleled acclaim and then to have to ask yourself, ‘Now what?’ ” says Rockwell. “In that world of Hollywood and New York, you really have to keep producing. You can’t just have a work of art. It’s always, ‘What’s next?’ And the pressure, coupled with the onslaught and impact of fame, can be quite challenging terrain to navigate.”但是可能本德杰鲁只是看起来不错，成功的代价可能比他意识到的还要大。“获得了如此广泛和空前的喝彩，接下来你就不得不问问自己‘现在呢？’”洛克威尔说到：“在好莱坞和纽约，你真的不得不一直创造。你不能只有一个艺术作品。总是‘接下来呢？’。压力和名声的猛攻和影响，是一个需要克服的巨大挑战。”
In hindsight, several of his friends wondered whether achieving such massive success at such a young age might have placed Bendjelloul in an uncomfortable quandary.
事后看来，他的一些朋友觉得那么年轻就获得了如此巨大的成功可能让本德杰鲁处于一个非常不适的困境。
“After a huge success, maybe the best way is to produce something small,” says Klintberg. “Instead of aiming even bigger, he could have come and worked for me and made small things instead of aiming to make a bigger film.”
“巨大的成功之后，最好的方式就是做点小事情。”克林伯格说：“不要找那些更大的目标，他可以为我工作，做一些简单的事，而不是去做一部更大的电影。”
By early May of this year, Bendjelloul had returned to Sweden and already was contacting friends. He texted Klintberg with a message: “Karin, I miss you and how are you?” On May 2, he and Klintberg met for lunch. Bendjelloul seemed happy. They spoke about his script; his girlfriend Brittany Huckabee, an American documentary filmmaker; where he was going to live — the usual things. Meanwhile, however, his sleeping problems had continued and were leaving him anxious and depressed. He told people close to him that he was convinced that he had lost his creativity and would never get it back.
今年五月份上旬，本德杰鲁回到瑞典已经联系了朋友。他发信息给克林伯格：“卡琳，我很想你，你好吗？”五月二日，他和克林伯格见面吃了个午饭。本德杰鲁看起来很开心。他们聊了他的手稿；他的女友布列塔尼•赫卡比，一个美国的记录片电影制作人；他打算搬到哪儿去住——都是些日常的事情。不过同时，他也还是失眠，这让他很焦虑和压抑。他告诉亲近的人们他觉得他已经失去了他的创造力，并且可能再也没有了。
To Klintberg, Bendjelloul had said he wanted to get to work right away, and she happily had obliged and offered him a project to take on. When she asked how long he would stay in Stockholm, he told her that “if and when Hollywood called,” he would have to go. She immediately wished he had just said “when Hollywood called” and wondered to herself whether the sudden rise to fame was too much for Bendjelloul.
对克林伯格来说，本德杰鲁说过他想马上开始工作，她很高兴的给他了一个项目去做。当她问他能在瑞典呆多久时，他告诉她“如果好莱坞什么时候要我，”他就不得不走了。她立即就希望他说的是“好莱坞什么时候要我”并心里想着突来的名声对本德杰鲁来说是不是太多了。
On Monday, May 5, Klintberg was out of town, and Bendjelloul showed up to work anyway despite her assurances that he could take his time getting back into his rhythm. But by Tuesday, May 6, Bendjelloul had changed his mind. He called Klintberg and told her he didn’t want to be part of the project. He didn’t like the approach they were taking, he explained: It was too repetitive. “I can’t come in to do this,” Bendjelloul told her. “I want to have a small challenge, not too big a challenge.” She said she understood and, in a sad irony, later realized he had been right about the show’s faults. They agreed to meet up again soon. But Klintberg never saw him again.
五月五日周一，克林伯格出了镇，本德杰鲁露面出来工作尽管她说他可以根据自己的情况回来工作。但是五月六日周二，本德杰鲁改变了他的主意。他打电话给克林伯格说他不想参与这个项目。他不喜欢他们做事的方式，他解释说：这太重复了。“我不能来做这个，”本德杰鲁告诉她：“我想做一些小点的挑战，不要太大的挑战。”她说她理解，讽刺而又令人难过的是，她后来意识到他对这个秀有错的看法是正确的。他们说好不久再见一次。但是克林伯格再也见不到他了。
Klintberg looks back on their encounters and remains convinced that her friend, the former childhood actor, was not acting at all, but that his happiness was genuine and his commitment to life authentic. But in the shadow of his death, every little thing now has taken on a greater significance. All those arbitrary, live-by-numbers rules now, in hindsight, leave her with an uneasy feeling. “Now, with this end? No, they seem more serious,” she says. “What was a small, little joke or a small thing — now it feels bigger.”
克林伯格回头看看他们的相遇还是相信她的朋友，前儿童演员，没有在演戏，他的快乐是真的，他对生命的承诺是可靠的。但是在他死亡的笼罩下，所有的小事现在都变得更加重大。所有那些武断的，生活的那些准则，现在看来，都给她留下了难受的感觉。“现在，这样的结局？不，他们看起来更严肃，”她说：“不论多小的笑话或者小事——现在都变得更严重了。”
While still in New York, Bendjelloul had invited Larsen to come for a visit. He missed talking to his mentor and in a phone conversation had expressed his desire to get Larsen’s advice on several projects. But family obligations kept Larsen from traveling, and in any event, the news of Bendjelloul’s impending return to Sweden meant the two could reunite at home. But Larsen never saw him, either.
还在纽约的时候，本德杰鲁邀请拉森去探访。他想跟他的导师谈话并在电话里说他希望在一些项目上得到拉森的建议。但是家里的事情让拉森走不开，而且不管怎样，本德杰鲁即将回瑞典的消息意味着两人可以在家见面。但是拉森也再没能见到他。
The void left by Bendjelloul’s disappearance is such that Larsen has found himself looking in the oddest places, like astrology, for answers to his endless questions. Every day, he casts himself into abstractions as a way to try and find his friend. He wonders whether the messiness of life without a movie like Searching for Sugar Man to keep Bendjelloul’s attention focused contributed to his death. The director had grown up a lot under Larsen’s careful gaze, evolving from a happy kid to a mature, developed artist. But there still were so many unanswered questions.
本德杰鲁的离开留下了如此一大片空白令拉森觉得他自己总是在看奇怪的领域，比如占星术，为了回答他无尽的问题。每一天，他把自己投进抽象里试图寻找他的朋友。他想知道是否因为没有了像寻找小糖人这样让本德杰鲁专注的电影，混乱的生命导致了他的死亡。这位导演在拉森的关心下已经成长了很多，从一个快乐的孩子变成了一个成年人，成熟的艺术家。但是仍然还有那么多未解答的问题。
By the second week of May, only a few people in the very inner sanctum had access to Bendjelloul — his brother, his girlfriend, another female friend and some of his extended family. To distant friends like Stephen Segerman in Cape Town, Bendjelloul responded to emails and texts with enthusiastic but short replies. “Wow!” he replied to an email Segerman had sent him about a recent lawsuit that had emerged as a result of the movie and Rodriguez’s record sales.
五月的第二周，只有几个人能在非常内部场所见到本德杰鲁——他的哥哥，他的女友，另一位女性朋友和他家里的亲戚。像史蒂芬•瑟吉曼这样在开普敦的遥远的朋友，本德杰鲁回复了热情但是简短的电子邮件。他给瑟吉曼发给他最近因为电影的结果和罗德里格斯的唱片销售而发生的一场诉讼的回复是：“喔！”
The news of Bendjelloul’s death hit Segerman with brutal force. Bendjelloul always had seemed so centered. But there was no way to know what was roiling underneath. “We said this story always has happy endings, but unfortunately we can’t say that anymore,” says Segerman. “It’s been a wonderful journey, but this is just too sad; it’s absolutely shocking.”
本德杰鲁死亡的新闻十分打击瑟吉曼。本德杰鲁总是一切的中心。但是不知道现在下面涌动着什么了。“我们说这个故事总是有个圆满的结局，但不幸的是我们再也不能这么说了。”瑟吉曼说：“本来是个很精彩的履行，但现在太难过了。实在是太震惊了。”
There is a small shrine of sorts for Malik Bendjelloul in the downtown Stockholm offices of Swedish Television, near a blue neon sign that says Kobra — a memento that Bendjelloul himself bought for his colleagues years ago. 瑞典电视台在斯德哥尔摩市中心办公室有一个小小的马利克•本德杰鲁纪念处，靠近一个蓝色的霓虹灯牌写着眼镜蛇项目——一个本德杰鲁自己几年前为他的同事买的纪念品。
The shrine consists of two small pictures, three candles and a black condolence book whose pages are empty. “Nobody dares sign it because we all think he’s going to come back,” says his former colleague Magnusson. But the real shrine is elsewhere — in that massive, soundproofed room at the end of a series of hallways that feels more like an airline hangar: the R6 editing vault.
纪念处有两个小画组成，三根蜡烛和一个黑色的空白的哀悼簿。他的前同事芒努松说：“没有人敢在上面写因为我们都觉得他会回来的。” 但是其实真正的纪念无处不在——在那一串更像是一个航空公司的飞机棚的门廊尽头的巨大的，隔音的房间：R6编辑室。
Inside there are two pianos, a table with an editing suite in a corner, a large mirror and a mortarboard where pictures can be tacked and hung. Once the doors close, the room is utterly silent, a womb for creativity and reflection. It was here that Bendjelloul spent the years of his apprenticeship as a visual artist, perfecting the craft that ultimately would allow him to undertake his epic search for “Sugar Man” and, because all great art is a reflection of the artist, too, the search for himself with such force of will and unerring exactitude. The silence and isolation of R6 was both Bendjelloul’s refuge and his inspiration. And as soon as time permits, the staff of Kobra, many of whom accompanied him on his journey, will place a single brass plaque there with the room’s new name.
里面有两架钢琴，角落里放着一张右编辑设备的桌子，一个大镜子和一个钉放悬挂图片的灰板。一旦把门关上，房间就完全的安静，创造力和沉思的温床。就是在这儿本德杰鲁做了数年的视觉艺术学徒，练就了他最终可以制作史诗般的寻找小糖人的技艺，因为所有伟大的艺术也都是艺术家的映像，用这种意志的力量和不容偏差的精准寻找他自己。安静和隔绝的R6是本德杰鲁的避难所也是他的灵感所在。只要时间允许就和他一起旅行的眼镜蛇项目的员工，将会给这个房间放一个黄铜色的小牌上面是这个房间的新名字。
It will say, very simply: Studio Malik.
牌子上写的是，很简单：马利克工作室。
//ca.movies.yahoo.com/news/oscar-to-suicide-in-one-year--tracing-the--searching-for-sugar-man--director-s-tragic-final-days-123437558.html
Oscar to Suicide in One Year: Tracing the 'Searching for Sugar Man' Director's Tragic Final Days
一年从奥斯卡到自杀：追寻《寻找小糖人》导演之死的最后几日
The Hollywood Reporter
好莱坞报道
Jun 12, 2014
2014年6月12日
This story first appeared in the June 20 issue of The Hollywood Reporter magazine.
本文第一次发表在6月20日发行的《好莱坞报道》杂志
By Scott Johnson
作者 斯科特•约翰逊
In the late afternoon on May 13, a young man with a mop of soft brown hair and a delicate frame stood on the platform of the Solna Centrum metro stop in Stockholm, Sweden, waiting for the Blue Line.
5月13日下午晚些时候，一个有着一头蓬松柔软的棕色头发、轮廓精致的年轻人站在位于瑞典，斯德哥尔摩，索尔纳中心地铁站的站台上，等待蓝线地铁。
It was rush hour, and the station, one of the deepest in Stockholm’s rail system, was filling up with commuters leaving the city. At the bottom of a long escalator, cave-like tunnel walls had been painted with elaborate pastoral scenes from the 1970s: 现在是高峰时间，斯德哥尔摩地铁系统最远的车站之一，塞满了正要离开这个城市的通勤乘客。在一段长长的扶梯底部，像洞穴一样的隧道墙壁上描绘着20世纪70年代的田园景色：
lush green hillsides studded with fir trees and a giant yellow moon rising against a vast, dark red sky. Vignettes of Swedish life were overlaid against this Nordic backdrop — chain-saw-wielding loggers presiding over a recent clear-cut, a twin-engine prop plane taking flight, and a solitary violinist standing in a field pondering the city’s encroachment. At one end of the platform was a sign. “Stop!” it warned. “Unauthorized people prohibited on the tracks.”
苍翠繁茂的绿色山坡点缀着冷杉树，一轮巨大的黄色的月亮在一片广阔而黑暗的天空中升起。瑞典生活的片段被北欧的背景覆盖——拿着链锯的伐木工人正在指挥一架近代的外形干净利落，双引擎螺旋桨飞机起飞，一个站在田里的孤独的小提琴演奏者思考着城市的入侵。在站台的最后端是一个标志。“停！”这个标志警示着，“未授权人员不得踏入轨道”。
It was just the type of place that the young man, a 36-year-old Swedish journalist and Oscar-winning film director named Malik Bendjelloul, might have found intriguing.
这儿就是这个年轻人喜欢的那种地方，36岁的瑞典记者及奥斯卡获奖影片导演，马利克•本德杰鲁可能会感兴趣的地方。
The Stockholm metro system is reputed to be the largest display of public art anywhere in the world — 68.3 miles of paintings, mosaics, installations and sculptures. The station was an artistic, humane endeavor, an urban fairy-tale landscape that might have piqued his curiosity and fueled his imagination.
斯德哥尔摩地铁系统因成为全世界最大的公众艺术展所而出名——68.3英里的绘画，镶嵌画，装置和雕塑。这个艺术的，人文奋进，都市童话风景的车站可能激起了他的好奇心，助燃了他的想象力。
But on that day, as the train neared, the picturesque station was transformed into a devastating scene of the director’s final moments. With a crowd of Tuesday-afternoon commuters looking on from benches or standing against walls, Bendjelloul flung himself into the path of an oncoming train.
但是在那天，当火车靠近的时候，这个如画的车站变成了一个导演最终毁灭的现场。一大群周二下午坐着长椅或者靠着墙的通勤乘客都看到，本德杰鲁跳进了一辆正开进来的列车的轨道。
Almost immediately, Bendjelloul’s suicide, just over a year after his 2013 Academy Award for the documentary Searching for Sugar Man — a soulful, wrenching account of a forgotten Detroit folk musician named Sixto Rodriguez — threw Sweden and much of the rest of the world into stunned disbelief. How could such a talented artist choose to take his life at the height of his creative powers, when anything seemed possible and probably was? And how did a positive, happy person fall into the depths of despair with almost no one being the wiser?
几乎是他凭借《寻找小糖人》——一部充满灵魂的痛苦的再现被忘记的底特律民谣音乐人西斯托•罗德里格斯的纪录片，获得2013年奥斯卡金像奖后刚好一年，本德杰鲁的自杀，令瑞典和这个世界都感到错愕。一个如此充满天赋的艺术家怎么会在他创造力如此巅峰的时候结束自己的生命呢，一个任何事都将成为可能可以办到的时候？一个积极，快乐的人怎么会跌进绝望的深渊，却没有一个人知道为什么呢？
The first press reports from Swedish media outlets repeated the police’s initial statements that Bendjelloul had died in an “incident” of indeterminate nature. “The police do not suspect any foul play in his death,” said Mats Eriksson, press officer of Stockholm’s western police district. On that Wednesday, Johar Bendjelloul, a radio journalist and the director’s older brother, clarified that it indeed had been a suicide, the result, he said, of the recent onset of mental illness. Stockholm police officials later confirmed to THR the details of Bendjelloul’s death on the tracks. 最初来自瑞典媒体的报道大量重复着警察初步判断本德杰鲁死于一场性质不明的“事故”。“警方排除死于他杀的怀疑”，斯德哥尔摩西警区新闻发布官马茨•埃里克松说道。那个周三，电台记者及导演的哥哥乔哈尔•本德杰鲁澄清了事实，他说，根据最近开始的精神疾病方面的检测结果，的确是自杀。斯德哥尔摩警方官方稍后向《好莱坞报道》证实了本德杰鲁在铁轨上死亡的细节。
“He jumped in front of a fast-moving metro train,” one police official said. “It traumatized both the train conductor and witnesses. The SL [Metro Co.] is working with trauma and crises handling with the train conductor.” Johar Bendjelloul, meanwhile, went further. “He had been depressed,” the elder Bendjelloul told reporters, adding that he had been by his brother’s side “almost constantly” in the days before his death. “I know he had been depressed for a short period, and depression is something you can die from,” he said. “But the question of why, no one can answer; it will ache in my chest the rest of my life.”
“他跳在一辆快速行驶的地铁前”，一位警官说。“这让列车员和目击者都受到心理创伤。处理创伤和危机的SL（地铁有限公司）正在负责列车员的创伤。” 同时，更进一步，乔哈尔•本德杰鲁说道：“他很抑郁，”本德杰鲁哥哥告诉记者，他在死前几乎一直在哥哥身边，“我知道他已经抑郁了一段日子了，而抑郁是一种会让人死亡的东西。”他说，“但是问题是为什么，没有人能回答；这会让我的余生都很痛心。”
The sense of bewilderment was no less acute among the people who had worked alongside Bendjelloul for years and called him a friend. “If I think of every person I’ve met in my whole life, he was the least likely to take his life — the least,” said Karin af Klintberg, a producer for a Swedish arts and culture program called Kobra and the first person to encourage Bendjelloul to turn Rodriguez’s story into the film that would become his abiding passion for five years. “He was the happiest person I knew.”
这种困惑的感觉在和本德杰鲁曾经一起工作多年并称他为朋友的人中也丝毫没有减少。“如果我比较下我这辈子认识的每个人，他是最不可能结束自己的生命的——最不可能的。”卡琳•阿芙•克林伯格，瑞典艺术与文化项目眼镜蛇的制片人，她是第一个鼓励本德杰鲁将罗德里格斯的故事拍成电影从而使他充满热忱持续工作了五年的人。“他是我认识的最快乐的人。”
Many of his friends struggled to accept it. Simon Chinn, who co-produced Searching for Sugar Man and shared an Academy Award with Bendjelloul, snapped at a reporter from the Associated Press for even asking about suicide because the idea seemed so preposterous and out of character to him.
他的许多朋友都难以接受这个事实。西蒙•钦，与本德杰鲁一同分享了奥斯卡奖的《寻找小糖人》联合制片人，训斥了来自美联社记者关于自杀的询问，因为这个猜测看起来如此荒谬，根本不是他的性格。
When someone updated Bendjelloul’s Wikipedia page to reflect his death that Tuesday, Klintberg just stared at it, thinking the author had made a mistake. When the truth finally sunk in, she stayed home from work for four days and wept. “I just made up with him for a few days,” she said.
当有人更新本德杰鲁的维基百科页面反应出周二那天他的死亡时，克利伯格盯着看着，觉得编者犯了一个错误。当终于了解这是真相，她留在家里哭泣，四天没去上班。“我和他吵了才和好几天。”她说。
Death, especially when it is violent and unexpected, often leaves a hazy, and sometimes unwarranted, glow around the deceased. But Malik Bendjelloul, by all accounts, stood out as exceptionally talented, creative and for the most part also happy and well-adjusted. Over the course of the past several months, however, friends say he also had become increasingly lonely and isolated.
死亡，特别当其是猛烈和意外的，通常留下朦胧的，有时是没有根据的光芒笼罩着逝者。然而，马利克•本德杰鲁，根据大家所说，因天赋秉异富有创造力而杰出，而且大多是时候都是快乐且适应力强的。经过了几个月后，也有朋友说，他也变得越来越孤独和隔离。
The Oscar win had catapulted him into the upper reaches of the New York and Los Angeles art worlds, away from his best friends and family.
赢得奥斯卡将他送上了更高一层的纽约和洛杉矶艺术世界，远离了他最好的朋友和家人。
For the past several months, he had been living in New York, writing a script for a feature-length film about a South African conservationist named Lawrence Anthony, who had traveled to Baghdad in 2003 to rescue wounded and abandoned zoo creatures. However, writing for movies was harder than Bendjelloul had anticipated, and he apparently had grown frustrated and anxious. He developed insomnia while in New York. He also had lost touch with some of the people he had been closest to in Sweden and confessed to at least one close friend that he felt lonely.
在过去的几个月，他住在纽约，写一部关于南非自然资源保护者劳伦斯•安东尼的长篇电影手稿，描述了他在2003年到巴格达救治受伤和被抛弃的动物园动物。然而，为电影写作比本德杰鲁预想的困难，他明显为此越来越挫折和焦虑。在纽约的时候他开始失眠。他和一些在瑞典时曾经亲密的人们失去了联系，并且至少向一位好友坦陈他觉得很孤独。
Experts in the psychology of celebrity say that the sudden onset of stardom of the type Bendjelloul experienced can be traumatic, akin to a physical accident or violent encounter. “Fame is experienced as an impact, like a car crash,” says Donna Rockwell, a Michigan psychologist who did her doctoral dissertation on the effects of celebrity, interviewing A-list actors, sports figures and others for her research. “For a person who has lived an ordinary life, to all of a sudden be thrust into a world of the spotlight, it can be quite overwhelming.”
名人心理学方面的专家认为本德杰鲁突然变成明星的这种经历是一种创伤，近似于一种身体上的事故或者遭受暴力。“名声带给人的影响，就像一场车祸。”唐娜•洛克威尔，密歇根心理学家，其博士论文是名声的影响，采访过一流的演员，运动界名人和其他人进行研究。“对一个过着普通生活的人来说，突然被扔到聚光灯下，会是非常难以应付的。”
Bendjelloul had poured every ounce of energy and artistic flair he had into Sugar Man, and now that it was over, he was struggling to find a new passion, say his friends. In the final weeks, he told those closest to him, a fear had taken hold that somehow, inexplicably, he had “lost his creativity.” So, when spring arrived, Bendjelloul decided to travel home to Sweden. The dark Nordic winter was lifting, and the days soon would grow longer and lighter. He wanted to see old friends. And there was something else: Bendjelloul’s mother, painter and translator Veronica Schildt Bendjelloul, would be turning 70 on May 20.
他的朋友说，本德杰鲁已经将他每一点能量和艺术天分投入到了小糖人中，现在这一切结束了，他不得不努力找到新的热情。在最后几周，他告诉那些他亲近的人，一种莫名的害怕抓住了他，说不清楚为什么，他“失去了他的创造力”。因此，当春天到了的时候，本德杰鲁决定回家去瑞典。北欧阴沉的冬天就要走了，白天会变得越来越长越来越亮。他希望看看老朋友。还有一些事：本德杰鲁的妈妈，画家和翻译维罗妮卡•希尔特•本德杰鲁在五月二十日就七十岁了。
Bendhelloul was born in Ystad, in the south of Sweden, the second of two sons. His father, Hacene, was a physician who emigrated from Algeria; his mother a Swedish artist and translator of books.
本德杰鲁生于瑞典南部的伊斯塔德，家里两个儿子中的第二个。他的爸爸哈桑是一位从阿尔及利亚移民的医生，他的妈妈是一个瑞典艺术家和书籍翻译者。
As a child, Bendjelloul acted in a popular Swedish television drama called Ebba and Didrik, about two siblings whose idyllic family is upended by domestic disputes and romantic intrigue.
还是孩子的时候，本德杰鲁参演了非常出名的瑞典电视喜剧《艾巴和迪德里克》，一部讲述两兄弟田园般的家庭生活被内战和浪漫阴谋颠倒的故事。
After high school in Angelholm, Bendjelloul enrolled in a visual media program at Kalmar University. During the late ’90s, television producer Per Sinding Larsen visited the school to give a talk and review the students’ work. Bendjelloul’s clips immediately jumped out at him.
在安格赫尔姆读完高中后，本德杰鲁参加了卡马尔大学的一个可视媒体项目。90年代后期，电视制作人佩尔•辛丁•拉森访问该校进行演讲，在看过学生们的作品后，本德杰鲁的片子一下就吸引了他。
They demonstrated a creative power and tenacity he never had seen before. Bendjelloul was using tools that even professionals hadn’t yet mastered. “I couldn’t figure out how he [did it],” says Larsen. “He didn’t have the money or the means to do the things he was doing already at the time.”
这些片子展示了一种他以前从未见过的创造力和韧劲。本德杰鲁使用的工具是专业人员都没有完全掌握的。“我说不出他怎么（办到的）”，拉森说，“他没有资金或者手段去做他当时已经完成的事情。”
A few years later, Larsen ran into Bendjelloul at a production company in Stockholm where the young man had gotten a job. “There were quite a few talents, but he was something special,” recalls Larsen during an interview in Stockholm. “I think I was a bit jealous — he knew the media in a way I didn’t.” Larsen was so impressed with Bendjelloul and liked him so much, he kept in touch.
几年后，拉森偶然在斯德哥尔摩本德杰鲁工作的制作公司遇到了他。“有天分的人不少，但他有一些特别。”拉森在斯德哥尔摩接受采访时回忆：“我承认我有点嫉妒——他以一种我办不到的方式理解媒体。”拉森对本德杰鲁印象深刻，也非常喜欢，因此保持着联系。
In subsequent years, Larsen would become a casual mentor to Bendjelloul, helping him develop professionally in the rough-and-tumble world of deadline journalism but also personally. Bendjelloul, in turn, befriended Larsen’s family, regularly attending birthdays and family events. Often late at night, in the studio or out in Stockholm, the two would have long, meandering conversations. Bendjelloul often questioned his own life path, wondering whether he should settle down and with whom; whether he should have kids.
接下来几年，拉森成为了本德杰鲁的导师，帮助他在这个新闻业末日混乱的世界成为行家也在生活上帮助他。本德杰鲁，相应的，成为拉森家的朋友，定期参加生日会和家庭聚会。经常是深夜了，在斯德哥尔摩的工作室或外面，两个人进行长时间的漫谈。本德杰鲁经常询问他人生的道路，会想他是否该和谁安定下来，是否该生孩子。
More passionately than most, he thought about the ideas that went into his work; he wanted to change the way that television was made. Sometimes, it seemed to Larsen that his sensitive young friend risked being swallowed up by the frenetic, fast-paced environment of the world of media. He wanted to protect him.
比大多数人更充满热情，他思考那些进入到他工作中的灵感；他试图改变电视制作的方法。有时候，拉森觉得他这位敏感年轻的朋友冒着被媒体所在的疯狂的，快速的世界环境吞噬的风险。他试图保护他。
But if Bendjelloul was worried about something more serious, Larsen never attributed more than a passing importance to it; everybody, concluded Larsen, needed to grow up, and Bendjelloul was no different. “We had talks regularly, and I tried to tell him you can’t separate those two sides,” recalls Larsen. “You can’t just forget what you have at home. Or you can, but you’ll have to deal with it.”
但是假如本德杰鲁对什么问题更加担心，拉森从未认为它不重要。每个人，拉森认为，都需要成长，本德杰鲁也不例外。“我们会定期的讨论，我试图告诉他你不能把两边分开。”拉森回忆着：“你不能忘记你在家有什么，或者你能，但是你不得不去应付它。”
During the early 2000s, Bendjelloul went to work for Kobra, which aired on publicly funded Swedish TV (SVT). From the start, he established himself as the in-house creative wizard and set the bar for other reporters to meet. 2000年早期，本德杰鲁为眼镜蛇项目工作，通过瑞典电视台（SVT）向公众播出。从那开始，他已经成为了内部创造的奇才并为其他记者设定了标准。
He had a spirited, frenetic energy and often would bounce up and down from one foot to the other as he excitedly pitched story after story to his editors. They reciprocated, giving him plenty of room to explore his passions.
他精神饱满，有着疯狂的精力，经常兴奋地一步一步上下蹦跳着把他的故事一个接一个扔给他的编辑。作为报答，他们给他更多的空间释放他的激情。
During work lunches, he would order huge salads accompanied by sandwiches and ferociously nibble his way through them, consuming little but leaving a detritus of crumbs and shredded napkins on the table — like Fantastic Mr. Fox, says one friend.
他的一个朋友说，工作午饭时间，他会点一份巨大的沙拉配三明治，极其小口的从中间吃掉，吃的很少却留下了一大堆面包碎屑和撕碎的餐巾纸在桌上，就像《了不起的狐狸爸爸》。
His energy was infectious, his ideas wild and exciting. Reporting trips took him all over Sweden but also abroad. He traveled to Iran, Ethiopia and South America.
他的活力充满感染力，他的想法狂野而令人振奋。报道的旅行带他走遍了瑞典也去了国外。他去过伊朗，埃塞俄比亚和南美。
Back in the vast hallways of SVT, he would disappear down a long hallway and into a cavernous editing vault called R6, where he would remain for days and sometimes weeks, perfecting his work.
回到SVT的巨大的门厅，他消失在一条长长的走廊末端，进入了像洞穴一样的R6编辑室，他会在这儿带上几天有时甚至几周，完善他的作品。
Bendjelloul relied on paper, glue, scissors and a huge appetite for endless hours of work. He knew his way around a computer, but he much preferred the more antiquated methods and being able to see his work in front of him, to play with it in a tactile way. Few people bothered him in the editing vault. “We always knew that whatever he came back with would be perfect,” says Jane Magnusson, a Kobra colleague. “We called him our genius-in-residence.”
本德杰鲁靠的是纸张、胶水、剪刀和对无数个小时工作的欲望。他知道使用电脑的方法，但他更偏爱这种老方法，能够看到他的作品展现在他眼前，一种可以触摸得到的方式。几乎没有人会去编辑室打扰他。“我们都知道无论他带什么回来都会是完美的。”简•芒努松，眼镜蛇项目的同事说到：“我们把他称为我们的常驻天才。”
Many of these early short films showcased Bendjelloul’s burgeoning artistry. He could be fascinated by ominous signs and strange portents and fashioned a clever piece about the brief 1960s obsession with clues in Beatles paraphernalia alluding to Paul McCartney’s imminent death — only to debunk it all later.
这些早期短片都展示了本德杰鲁艺术的迅速成长。他陶醉于把各种预兆和奇怪的迹象构成一条巧妙的线索，用一个简短的20世纪60年代痴迷的披头士用品的线索暗指保罗•马卡特尼将要死亡，——直到后来才全部揭穿。
He loved the French analog master Michel Gondry and spent hours cutting, pasting and fashioning cardboard cutouts into miniature sets in R6.
他喜欢法国模拟大师米歇尔•冈瑞，花了好几个小时剪辑，粘贴，加工了一个硬纸板的剪纸图案做成微缩模型里放在R6编辑室。
He stunned his colleagues with a movie short that would be played at the beginning of each Kobra episode; it had been shot in one very long, very carefully orchestrated take, with actors jumping in and out of scenes on Bendjelloul’s cue.
他用一个电影短片震惊了他的同事，这个短片可以放在眼镜蛇项目片段的任何一个章节的开始；拍摄成了一个非常长，非常精心编制的镜头，演员可以在本德杰鲁的线索里跳进跳出。
In another short piece from those days, a Swedish-Hungarian designer ruminates on the beauty of dead stuffed animals versus live ones. Bendjelloul interjects a question: “Is death more beautiful than life?”
同时期的另一个短片里，一个瑞士裔匈牙利设计师对一个美丽的死亡动物填充和一个活着的进行比对思考。本德杰鲁插入一个问题：“死亡比生命更美吗？”
Bendjelloul then edited it in such a way that as the designer responds, saying that a photograph is “like a picture of a hero … the best representation,” a mirror slides across the frame and Bendjelloul himself appears — thin and smiling — nodding placidly in agreement.
然后本德杰鲁做了一个对设计师的回答，一个镜像的幻灯片穿过画面，本德杰鲁本人出现了——很瘦并且笑着——平静的点头表示同意，他说那照片“像一个英雄的画像……最好的代言”。
Skeptical that Bendjelloul was harboring any thoughts of suicide at the time, another SVT producer, Emelie Persson, nonetheless recalled that very clip several times in the days after Bendjelloul’s death, wondering, as those left behind by suicides often do, if she had missed something.
有人怀疑本德杰鲁那时候就抱着关于自杀的想法，尽管如此，另一个SVT制作人，艾米丽•佩尔松，在本德杰鲁死后几天好几次回忆这个片段，思考着，就像那些自杀者死后人们通常做的那样，想她是不是漏了什么。
Faced with the overwhelming suddenness of his death, others wondered the same thing. But again and again, the answer came back a resounding no. Bendjelloul’s zest for life had been huge, his enthusiasm infectious and all-encompassing. In 2006, after several years working at Kobra, Bendjelloul grew restless and decided to travel. 面对他压倒性的突如其来的死亡，其他人也在想同样的事情。但是一遍又一遍，这个问题的答案总是得到一个响亮的否定。本德杰鲁对生活的热爱是强烈的，他的热情是那么的具有感染力那么的无所不在。在2006年，经过在眼镜蛇项目几年的工作，本德杰鲁越来越无法满足决定去旅行。
Reluctant to lose his talent, another producer secured him some money and asked him to send in reports from abroad. It was during a trip to South Africa in 2006 that he walked into a record store off Kloof Street in Cape Town and met the owner, Stephen Segerman, who told him a story that would change his life. It involved an American musician named Rodriguez, who had shaped an entire generation of South Africans with his mournful, rebellious ballads during the long years of apartheid only to disappear without a trace. People assumed he had died. 不愿失去这个才华横溢的人，另一个制作人付给他一些钱请他从国外发回报道。2006年在南非旅行期间，他走进开普敦峡谷街的唱片店见到了店主斯蒂芬•瑟吉曼，店主告诉他一个改变了他人生的故事。故事关于一个叫做罗德里格斯的美国音乐人，用他悲伤的，反叛的民歌在长年的种族隔离时期影响了南非整整一代人，却突然消失得无影无踪。人们以为他死了。
Rodriguez had been a megastar in South Africa, where his hit song “Sugarman,” off a debut album titled Cold Fact, was a staple for hundreds of thousands of young people. The singer was all but unknown at home in the U.S. Bendjelloul sent the idea to Klintberg, who very quickly realized that seven short minutes on Kobra wasn’t going to be nearly enough. She encouraged him to make a movie.
罗德里格斯已经成为南非的巨型，他首张专辑《冷酷的事实》主打歌曲“小糖人”，是成百上千年轻人的最爱。这个歌手却在美国的家里毫不知情。本德杰鲁把这个想法发给了克林伯格，她马上意识到眼镜蛇项目的七分钟短片远远不够。她鼓励他拍一部电影。
Bendjelloul leapt at the chance, knowing he had stumbled onto the story of a lifetime. He had no money, but he made do. He stayed at Segerman’s house, and they drove around Cape Town in a cheap car. They listened to one of Bendjelloul’s favorite groups, Slow Dive, as they drove along the picturesque cliffs of Chapman’s Peak one day, waiting for the perfect shot. And as the months passed, they bonded; with each revolution of the unfolding tale, they often said to each other, “This story always has happy endings.”
本德杰鲁抓住了这个机会，知道他遇到了一个千载难逢的故事。他没有钱，但是他要做。他留在瑟吉曼的家，他们开着便宜的车在开普敦到处转。他们听着本德杰鲁喜欢一个乐队，慢潜乐队，沿着查普曼峰陡峭如画的峭壁开一天，等着拍摄最美的瞬间。几个月过去了，他们连在了一起。每一次对这个故事展开的探讨，他们常常向对方说：“这个故事总是会有一个圆满的结局。”
Bendjelloul’s ensuing search for the mysterious “Sugar Man,” which took five years, all of his money and a considerable part of his emotional energy, went on to become one of the most celebrated films of the year, garnering Bendjelloul every significant award of the season and culminating in the Academy Award for best documentary feature.
接下来本德杰鲁搜寻神秘的“小糖人”花了五年，他所有的钱和他相当大部分的感情精力，转变成了当年最著名的电影之一，让本德杰鲁获得了该季度每一个重大的奖项，最终获得了奥斯卡最佳记录片。
During the early editing, he had told Klintberg, “I don’t understand why I wouldn’t aim for an Oscar.” Responded Klintberg, “Are you crazy?” But Bendjelloul knew what he wanted and set about making it happen with a passion that soon took over his life.
在编辑的早期，他告诉克林伯格：“我不知道我为什么不以奥斯卡为目标。”克林伯格回应道：“你疯了吧？”但是本德杰鲁知道他想要什么并且用一种占据了他全部生命的热情去促使这一切发生。
It was a mark of his generosity that he brought along everyone who had helped him. Segerman recalls a dinner at the 2012 Sundance Film Festival, just before the premiere, where Bendjelloul’s sensitivity was on full display. “He stood up and thanked everyone, and he talked about each person in particular who helped him get there. There is not one person who had any problems with that guy.” When he took the stage to accept his Oscar, the drive that had gotten him there was replaced in an instant by the characteristic charm and innocence that had endeared him to so many. “Oh, boy,” he said, with a huge grin.
他慷慨的一种表现就是带来所有帮助过他的人。瑟吉曼回忆2012年圣丹斯电影节的一场宴会，在首映前，本德杰鲁的敏感表现得淋漓尽致。“他站起来感谢了每一个人，他特别谈论了每一个帮助他走到这一步的人。”当他走上台接受奥斯卡奖的时候，那种驱使他到达这一步的动力瞬间变成了一种吸引人的特色，变成一种让惹人喜爱的纯粹。“哦，天哪。”他说，咧着嘴大大的笑着。
Bendjelloul’s mind, like that of so many artistic geniuses, also had an obsessive quality. As creative as he was, he also could be rigid and uncompromising — “anal,” in the words of several friends who knew him well. He created elaborate routines and rituals that helped channel and direct his creativity.
本德杰鲁的心智，像许多艺术天才一样，也带有一种强迫的特质。如他拥有的创造力一样，他也非常的严格和固执——“直肠子”了解他的几个朋友这么形容。他规定了精细的日常活动规则和固定程序帮助他开发和直达他的创造力。
While editing Sugar Man at his Stockholm apartment, for instance, he began work only once he had completed one full lap walking around his apartment; he signaled the end of the work day with the same single loop.
比如，他在斯德哥尔摩的公寓编辑小糖人的时候，他只在完整绕公寓散步一圈后才开始工作；他也用同样的一个圈来标志一天工作的结束。
He gave himself exactly 1,000 days to edit Sugar Man and held himself close to it. He could be quirky and fun with his self-imposed rules.
他给自己整整1000天去编辑小糖人并帮助自己接近这个设定。他非常古怪而有趣的给自己强加规则。
Last summer, during a radio series called Summer Talks in which prominent Swedes take to the airwaves and speak about their lives, Bendjelloul informed listeners that they would hear only songs whose titles began with the letter “I”: “I Am the Walrus” and “I Hate You Forever.”
去年夏天，在一档叫做夏日闲谈的电台广播系列节目里，瑞典名人会参与讲述他们的生活，本德杰鲁告诉听众他们只听歌名开头是“我”的歌曲，比如“我是海象”和“我永远用恨你”。
He said his favorite film was Lars von Trier’s The Five Obstructions, in which one director challenges another to make “the perfect human” five times with a different obstruction each time.
他说他最喜欢的电影是拉斯•冯•提尔的《五道障碍》，在这部电影里一个导演向另一个导演提出挑战要求在五种不同的障碍下分别重拍《完美的人》。
More recently, he concocted an elaborate work schedule for writing, which involved four hours of uninterrupted work, from 8 a.m. to noon. But sometimes he would begin later, in which case he would set his clock back to the 8 a.m. hour so that no matter the actual time of day, he would be able to work in the time he allotted himself.
最近，他精心制作了一个写作时间表，包含了四个小时不受打扰的工作，从早上八点到下午。但是有时候他开始的晚了，他就把钟调到早上八点不管那天实际上是几点，他才能在他分派给自己的时间里工作。
These habits extended to his personal life as well. He would, for example, force himself to eat exactly the same breakfast for six months straight simply for the joy of, finally, one day changing breakfasts.
这些习惯也延伸到他的私人生活。比如，他会强迫自己在六个月里吃一模一样的早饭就为了终于有一天换了早饭的欢乐。
There was, for a long time, a particular brand of canned tomato sauce in Sweden that he loved, and when he learned that it was going out of production, he called up every single shop in Stockholm and bought out their remaining stock. He was perfectly happy to eat pasta with this particular brand of tomato sauce every night.
有很长一阵子，他都喜欢吃瑞典某一个牌子的罐装番茄酱，当他听说这个牌子要停产了，他就给斯德哥尔摩的每个店打电话买光他们的库存。他就是超级喜欢每天晚上沾着这个牌子的番茄酱吃意大利面。
One day he told Klintberg that he had decided to break up with a girlfriend because they had been going out for exactly four years, four months and four days. “It always seemed totally reasonable when he said it,” recalls Klintberg. “He was very convincing.”
有一天他告诉克林伯格他决定和女友分手因为他们已经约会了刚好四年四个月四天。“他说的时候就好像这是非常合理的，”克林伯格回忆着，“他非常具有说服力。”
To Klintberg and others, these eccentricities seemed like the harmless, even charming quirks of an artist for whom life itself was a tableau that could be played with or manipulated to enhance its power — or perhaps dull its ability to inflict pain.
对克林伯格和其他人来说，这些怪癖看起来没什么坏处，对一个艺术家来说反而有点迷人的小古怪，生活就像一出可以玩耍的戏剧或者可以通过控制强化能力——或者变得麻木可以减少痛苦。
“It was like he was creating ways to not be disappointed,” says Klintberg, “so he wasn’t disappointed, until now. And when it came, it struck him so hard because he wasn’t used to it. I think that this [depression] was a total shock for him and very unexpected. He didn’t have the tools to handle this situation. It was like a psychosis, I think.”
“就好像他在创造不失望的方法，”克林伯格说，“因此他不会失望，直到现在。当真的来了的时候，给他的打击太大了因为他根本不习惯。我认为这个（压抑）对他来说完全是个打击而且是意料之外的。他没有处理这种情形的方法。这就像精神错乱，我觉得。”
He also was sensitive and, like many artists, complicated. To the people closest to him, Bendjelloul sometimes showed a temper. While working on Sugar Man, Bendjelloul often was broke, or nearly so. His old friend and mentor Per Larsen offered to get him a job to help with the bills. It didn’t pay much, but Larsen figured something was better than nothing.
他还非常敏感，就像其它艺术家，非常复杂。对那些亲近他的人，本德杰鲁有时候会发脾气。在摄制小糖人的时候，本德杰鲁常常身无分文，或者近乎如此。他的老朋友和导师佩尔•拉森给他一份工作可以付账单。工作的收入不高，但是拉森觉得有点总比没有好。
Bendjelloul thought otherwise and exploded over the phone, berating Larsen for thinking such an ill-paying job was worth it and making it clear that he felt patronized. It did no lasting damage to the friendship, but it belied another, deeper level to the man “everybody loved.”
本德杰鲁却不这么想，还在电话里发飙，骂拉森觉得这么低廉的工作也值得去做，说这让他觉得被施舍了。这对他们的友谊没有遗留什么损害，但是这证明了其实这个人内在其实不是一个“人见人爱”的类型。
When Bendjelloul first applied to the Swedish Film Academy for funding, a consultant there viewed an early version of Sugar Man and told Bendjelloul it was “s—-.” This episode understandably provided the grist for repeated late-night sessions with Larsen in which Bendjelloul raged against the established arbiters of culture and taste. “What kind of films do they fund?” he lamented.
本德杰鲁第一次申请瑞典电影奖的赞助，咨询顾问看了小糖人的早期版本后告诉本德杰鲁这个片子是个“S——-”。这件事成了本德杰鲁和拉森深夜会议发火的原料，他指责审查员的文化和品位：“他们到底赞助的都是什么电影？”
Over the years of their friendship, Larsen had begun to probe gently into Bendjelloul’s past and his family. Bendjelloul often told Larsen stories about his father. They were almost as fantastical as some of his short films — fairy tales about his roots and land and perhaps a lost family fortune, a bygone nobility to which he nonetheless felt a certain attachment. In the end, Bendjelloul never told Larsen anything that was cause for major concern. And Larsen, like so many of Bendjelloul’s friends, was in the dark right up until the last moment, at which point it was too late.
有着多年的友谊，拉森开始试探的了解本德杰鲁的过去和他的家庭。本德杰鲁常常告诉拉森一些关于他父亲的故事。这些故事就跟他的短片一样不可思议——关于他的根源和故乡的神话故事，也许还有失去的家庭财富，失去了但是他仍能感觉到流淌的贵族血液。到头来，本德杰鲁从未告诉拉森任何需要关心的事情。而拉森，像本德杰鲁其他朋友一样，一直不明实情直到最后一刻，已经为时过晚。
Looking back now, many of his friends wonder what combination of factors — genetic, professional, artistic — collided so violently to cast Bendjelloul into such an abysmal despair. “In depression, it’s the darkness, it’s completely like there’s no hope,” says Larsen. “I was wondering if there was something that made him go up and down, with his family or his genes, but which he dealt with through his work, his movie — and suddenly there wasn’t anything. So the darkness comes up.”
回过头来，他的许多朋友都在想到底是什么因素——遗传，专业，艺术——猛烈的碰撞在一起将本德杰鲁扔进了绝望的深渊。“绝望的时候是一片黑暗的，完全毫无希望的感觉。”拉森说，“我在想如果有什么让他忽上忽下，他的家庭或者他的天性，但是他通过他的工作，他的电影解决，突然什么都没了。于是黑暗完全笼罩了他。”
By all accounts, Bendjelloul tried his best to keep the flush of success in check. Segerman recalls how, at Vanity Fair's Oscar party, he and Bendjelloul stood off to the side taking everything in while everybody else seemed, on the face of it, to be working, planning the next thing, making the next big deal. Bendjelloul wanted to remain connected to his friends.
据说，本德杰鲁试图保持不断的成功。瑟吉曼回忆，他如何和本德杰鲁在奥斯卡名利场派对上带着所有远远呆在一边而其他人看起来，表面看来，都有工作，计划下一件事，有下一件大事要做。本德杰鲁想要和他的朋友们保持联系。
When reporters asked Johar whether success had contributed to his brother’s demise, Johar replied, “He was a very straightforward person when it came to success,” he said. “Admirably earthy and relaxed. Unimaginably relaxed about [his] successes, I cannot see any such links.”
记者问乔哈尔他弟弟的死是否跟成功有关系，乔哈尔回答：“说到成功他是一个非常坦率的人。”他说：“非常朴实和放松。他对成功难以想象的放松，我不觉得这个是原因。”
But while Bendjelloul might have put on a good face, the toll of success might have been greater than even he had realized. “To achieve such widespread and unparalleled acclaim and then to have to ask yourself, ‘Now what?’ ” says Rockwell. “In that world of Hollywood and New York, you really have to keep producing. You can’t just have a work of art. It’s always, ‘What’s next?’ And the pressure, coupled with the onslaught and impact of fame, can be quite challenging terrain to navigate.”但是可能本德杰鲁只是看起来不错，成功的代价可能比他意识到的还要大。“获得了如此广泛和空前的喝彩，接下来你就不得不问问自己‘现在呢？’”洛克威尔说到：“在好莱坞和纽约，你真的不得不一直创造。你不能只有一个艺术作品。总是‘接下来呢？’。压力和名声的猛攻和影响，是一个需要克服的巨大挑战。”
In hindsight, several of his friends wondered whether achieving such massive success at such a young age might have placed Bendjelloul in an uncomfortable quandary.
事后看来，他的一些朋友觉得那么年轻就获得了如此巨大的成功可能让本德杰鲁处于一个非常不适的困境。
“After a huge success, maybe the best way is to produce something small,” says Klintberg. “Instead of aiming even bigger, he could have come and worked for me and made small things instead of aiming to make a bigger film.”
“巨大的成功之后，最好的方式就是做点小事情。”克林伯格说：“不要找那些更大的目标，他可以为我工作，做一些简单的事，而不是去做一部更大的电影。”
By early May of this year, Bendjelloul had returned to Sweden and already was contacting friends. He texted Klintberg with a message: “Karin, I miss you and how are you?” On May 2, he and Klintberg met for lunch. Bendjelloul seemed happy. They spoke about his script; his girlfriend Brittany Huckabee, an American documentary filmmaker; where he was going to live — the usual things. Meanwhile, however, his sleeping problems had continued and were leaving him anxious and depressed. He told people close to him that he was convinced that he had lost his creativity and would never get it back.
今年五月份上旬，本德杰鲁回到瑞典已经联系了朋友。他发信息给克林伯格：“卡琳，我很想你，你好吗？”五月二日，他和克林伯格见面吃了个午饭。本德杰鲁看起来很开心。他们聊了他的手稿；他的女友布列塔尼•赫卡比，一个美国的记录片电影制作人；他打算搬到哪儿去住——都是些日常的事情。不过同时，他也还是失眠，这让他很焦虑和压抑。他告诉亲近的人们他觉得他已经失去了他的创造力，并且可能再也没有了。
To Klintberg, Bendjelloul had said he wanted to get to work right away, and she happily had obliged and offered him a project to take on. When she asked how long he would stay in Stockholm, he told her that “if and when Hollywood called,” he would have to go. She immediately wished he had just said “when Hollywood called” and wondered to herself whether the sudden rise to fame was too much for Bendjelloul.
对克林伯格来说，本德杰鲁说过他想马上开始工作，她很高兴的给他了一个项目去做。当她问他能在瑞典呆多久时，他告诉她“如果好莱坞什么时候要我，”他就不得不走了。她立即就希望他说的是“好莱坞什么时候要我”并心里想着突来的名声对本德杰鲁来说是不是太多了。
On Monday, May 5, Klintberg was out of town, and Bendjelloul showed up to work anyway despite her assurances that he could take his time getting back into his rhythm. But by Tuesday, May 6, Bendjelloul had changed his mind. He called Klintberg and told her he didn’t want to be part of the project. He didn’t like the approach they were taking, he explained: It was too repetitive. “I can’t come in to do this,” Bendjelloul told her. “I want to have a small challenge, not too big a challenge.” She said she understood and, in a sad irony, later realized he had been right about the show’s faults. They agreed to meet up again soon. But Klintberg never saw him again.
五月五日周一，克林伯格出了镇，本德杰鲁露面出来工作尽管她说他可以根据自己的情况回来工作。但是五月六日周二，本德杰鲁改变了他的主意。他打电话给克林伯格说他不想参与这个项目。他不喜欢他们做事的方式，他解释说：这太重复了。“我不能来做这个，”本德杰鲁告诉她：“我想做一些小点的挑战，不要太大的挑战。”她说她理解，讽刺而又令人难过的是，她后来意识到他对这个秀有错的看法是正确的。他们说好不久再见一次。但是克林伯格再也见不到他了。
Klintberg looks back on their encounters and remains convinced that her friend, the former childhood actor, was not acting at all, but that his happiness was genuine and his commitment to life authentic. But in the shadow of his death, every little thing now has taken on a greater significance. All those arbitrary, live-by-numbers rules now, in hindsight, leave her with an uneasy feeling. “Now, with this end? No, they seem more serious,” she says. “What was a small, little joke or a small thing — now it feels bigger.”
克林伯格回头看看他们的相遇还是相信她的朋友，前儿童演员，没有在演戏，他的快乐是真的，他对生命的承诺是可靠的。但是在他死亡的笼罩下，所有的小事现在都变得更加重大。所有那些武断的，生活的那些准则，现在看来，都给她留下了难受的感觉。“现在，这样的结局？不，他们看起来更严肃，”她说：“不论多小的笑话或者小事——现在都变得更严重了。”
While still in New York, Bendjelloul had invited Larsen to come for a visit. He missed talking to his mentor and in a phone conversation had expressed his desire to get Larsen’s advice on several projects. But family obligations kept Larsen from traveling, and in any event, the news of Bendjelloul’s impending return to Sweden meant the two could reunite at home. But Larsen never saw him, either.
还在纽约的时候，本德杰鲁邀请拉森去探访。他想跟他的导师谈话并在电话里说他希望在一些项目上得到拉森的建议。但是家里的事情让拉森走不开，而且不管怎样，本德杰鲁即将回瑞典的消息意味着两人可以在家见面。但是拉森也再没能见到他。
The void left by Bendjelloul’s disappearance is such that Larsen has found himself looking in the oddest places, like astrology, for answers to his endless questions. Every day, he casts himself into abstractions as a way to try and find his friend. He wonders whether the messiness of life without a movie like Searching for Sugar Man to keep Bendjelloul’s attention focused contributed to his death. The director had grown up a lot under Larsen’s careful gaze, evolving from a happy kid to a mature, developed artist. But there still were so many unanswered questions.
本德杰鲁的离开留下了如此一大片空白令拉森觉得他自己总是在看奇怪的领域，比如占星术，为了回答他无尽的问题。每一天，他把自己投进抽象里试图寻找他的朋友。他想知道是否因为没有了像寻找小糖人这样让本德杰鲁专注的电影，混乱的生命导致了他的死亡。这位导演在拉森的关心下已经成长了很多，从一个快乐的孩子变成了一个成年人，成熟的艺术家。但是仍然还有那么多未解答的问题。
By the second week of May, only a few people in the very inner sanctum had access to Bendjelloul — his brother, his girlfriend, another female friend and some of his extended family. To distant friends like Stephen Segerman in Cape Town, Bendjelloul responded to emails and texts with enthusiastic but short replies. “Wow!” he replied to an email Segerman had sent him about a recent lawsuit that had emerged as a result of the movie and Rodriguez’s record sales.
五月的第二周，只有几个人能在非常内部场所见到本德杰鲁——他的哥哥，他的女友，另一位女性朋友和他家里的亲戚。像史蒂芬•瑟吉曼这样在开普敦的遥远的朋友，本德杰鲁回复了热情但是简短的电子邮件。他给瑟吉曼发给他最近因为电影的结果和罗德里格斯的唱片销售而发生的一场诉讼的回复是：“喔！”
The news of Bendjelloul’s death hit Segerman with brutal force. Bendjelloul always had seemed so centered. But there was no way to know what was roiling underneath. “We said this story always has happy endings, but unfortunately we can’t say that anymore,” says Segerman. “It’s been a wonderful journey, but this is just too sad; it’s absolutely shocking.”
本德杰鲁死亡的新闻十分打击瑟吉曼。本德杰鲁总是一切的中心。但是不知道现在下面涌动着什么了。“我们说这个故事总是有个圆满的结局，但不幸的是我们再也不能这么说了。”瑟吉曼说：“本来是个很精彩的履行，但现在太难过了。实在是太震惊了。”
There is a small shrine of sorts for Malik Bendjelloul in the downtown Stockholm offices of Swedish Television, near a blue neon sign that says Kobra — a memento that Bendjelloul himself bought for his colleagues years ago. 瑞典电视台在斯德哥尔摩市中心办公室有一个小小的马利克•本德杰鲁纪念处，靠近一个蓝色的霓虹灯牌写着眼镜蛇项目——一个本德杰鲁自己几年前为他的同事买的纪念品。
The shrine consists of two small pictures, three candles and a black condolence book whose pages are empty. “Nobody dares sign it because we all think he’s going to come back,” says his former colleague Magnusson. But the real shrine is elsewhere — in that massive, soundproofed room at the end of a series of hallways that feels more like an airline hangar: the R6 editing vault.
纪念处有两个小画组成，三根蜡烛和一个黑色的空白的哀悼簿。他的前同事芒努松说：“没有人敢在上面写因为我们都觉得他会回来的。” 但是其实真正的纪念无处不在——在那一串更像是一个航空公司的飞机棚的门廊尽头的巨大的，隔音的房间：R6编辑室。
Inside there are two pianos, a table with an editing suite in a corner, a large mirror and a mortarboard where pictures can be tacked and hung. Once the doors close, the room is utterly silent, a womb for creativity and reflection. It was here that Bendjelloul spent the years of his apprenticeship as a visual artist, perfecting the craft that ultimately would allow him to undertake his epic search for “Sugar Man” and, because all great art is a reflection of the artist, too, the search for himself with such force of will and unerring exactitude. The silence and isolation of R6 was both Bendjelloul’s refuge and his inspiration. And as soon as time permits, the staff of Kobra, many of whom accompanied him on his journey, will place a single brass plaque there with the room’s new name.
里面有两架钢琴，角落里放着一张右编辑设备的桌子，一个大镜子和一个钉放悬挂图片的灰板。一旦把门关上，房间就完全的安静，创造力和沉思的温床。就是在这儿本德杰鲁做了数年的视觉艺术学徒，练就了他最终可以制作史诗般的寻找小糖人的技艺，因为所有伟大的艺术也都是艺术家的映像，用这种意志的力量和不容偏差的精准寻找他自己。安静和隔绝的R6是本德杰鲁的避难所也是他的灵感所在。只要时间允许就和他一起旅行的眼镜蛇项目的员工，将会给这个房间放一个黄铜色的小牌上面是这个房间的新名字。
It will say, very simply: Studio Malik.
牌子上写的是，很简单：马利克工作室。
3 ) 会不会有二次文艺复兴和该不该有二次文艺复兴，这是两个毫无关系的问题
第一次被推荐这部“纪录片”的时候，我从sugar man这个名字里感到了一丝微妙。高端一点的西方文艺作品里，通常跟糖啊、甜啊、暖啊有关的title，一般都有一个相对凄凉的结局。影片本身略显粗糙，并不是因为情节不丰富，也不是因为摄制组外行，而是因为Rodriguez看似单调的传奇中，可玩味的东西远非一部影视作品就可以表达完全的。或者说，真正的戏剧在这个人伟大的灵魂里日复一日地运行，而那种趣味却很难通过影视作品这种媒介来体现。不过依然感谢有人讲了这么一个故事，无论对于讲故事和听故事的人来说，这都是一个好故事。
Rodriguez是一个高人，放在中文世界里，就是“大隐于市朝”。虽然在南非成为明星为他人所喜这件事会感动他，但他并不会执着于此；作建筑工人也不会有分毫影响到他内心世界观的坚定。她的女儿说，来到南非后他们住在豪华的酒店，早上起来发现父亲蜷缩在椅子上睡着，因为父亲并不希望麻烦打扫卫生的人去为了他整理一次床铺。他的工友描述他为甚至可以穿着燕尾服来上班，把事情做得妥帖干净。
如果一定要定性，这才是高贵的灵魂。人是不分贵贱的，但灵魂分。有的人有所谓贵族的名分或血统，却内心卑鄙；有的人来自社会的下层，却懂得悲悯他人，Rodriguez就是这么一种人。在他的世界里，作一个普通人和作一个名人并不冲突，那两个世界都是属于他的，他在其中穿梭自如。只有这样澄净的人能明眼看透，然后描绘出世界的本质，恰好Rodriguez有制作音乐的天赋，可以通过这种抽象的艺术形式把他看到的东西展示给他人。这是Rodriguez个人的一面，无论他成功与否，他只是要做这件事，他一定没有期待成功，因为只要做了，就是圆满，至于结果如何，那是别人的事情。
他的音乐为什么在美国并不成功，而在南非却深入人心？这关系到别人想要某件东西的时候，你能不能给。而他根本就不关心这样的问题，他的音乐本质就是传达，而不是揣测听众的喜好。这不符合消费社会的世界观，因此他在美国的唱片市场惨遭冷遇，也是正常。美国是一个消费社会，任何不能用来娱乐的东西都会被贴上没有商业价值的标签，因此严肃文学和严肃音乐依然只能是小众的爱好——因为它太累人——思考和判断太累人，工作了一天的人们希望笑笑，而不是深思到欲哭无泪。但七十年代的南非并非如此，那里经历着表面上看起来比消费社会这种软性糟粕可怕得多的东西：专制。那里的人们渴望也需要听到一些“不同”的声音，Rodriguez的音乐正是机缘巧合出现在了南非人需要听到它的时候，因此，它红了。某些歌曲比如Sugar Man中，他传达了相对开放的看法和政治意见，因此居然遭到了当局的查禁，套用剧中一名南非人的话，这就像十七八岁的孩子。如果被禁，那就意味着越要探寻其中有什么不可告人的隐情。
而南非的听众又究竟听懂了Rodriguez多少，也许Rodriguez自己都并不期待。他们只是拣选自己希望听到的东西来听，而他们理解到的，和Rodriguez想表达的之间，也许依然有无尽的落差。
但无论如何，南非人民在他的音乐中找到了某种启蒙。世界的运行就是这样的，真理永远都只能被得道之人揭开一角，而究竟大幕之后藏了什么，看不看得懂，看懂之后导向的是悲还是喜，也只能看众生的造化了。启蒙是不是个好事，这依然是个问题。比如开放了的南非是不是会被硬性地拉进资本主义体系中，同化成消费社会的意识形态，这恐怕是我最忧惧的。因为这个过程让我仿佛又一次地看到了八十年代中国的失败，我们怀有那么多的憧憬，而我们却被深深地背叛。八十年代之所以美，因为那时的艺术和周遭环境，都反映了人们的生活态度：求知，求真，却又带着无尽的盲目。这就是我在标题里想讨论的事，虽然它看上去过于隐晦。
被剧透该片的时候，我就想：米国向封闭专制的国家输出自由的世界观，这个还真是政治正确。后来又听说原来是得了奥斯卡（我实在是不怎么关心奥斯卡），不禁哑然失笑。歌者本人是否喜欢这样的结局，不得而知，但我想，他也许完全无所谓。而作为一个反乌托邦人士的我，看到Rodriguez又被学院派利用了一把，觉得这才是Sugar Man甜蜜中最苦的一丝回味吧。
Rodriguez是一个高人，放在中文世界里，就是“大隐于市朝”。虽然在南非成为明星为他人所喜这件事会感动他，但他并不会执着于此；作建筑工人也不会有分毫影响到他内心世界观的坚定。她的女儿说，来到南非后他们住在豪华的酒店，早上起来发现父亲蜷缩在椅子上睡着，因为父亲并不希望麻烦打扫卫生的人去为了他整理一次床铺。他的工友描述他为甚至可以穿着燕尾服来上班，把事情做得妥帖干净。
如果一定要定性，这才是高贵的灵魂。人是不分贵贱的，但灵魂分。有的人有所谓贵族的名分或血统，却内心卑鄙；有的人来自社会的下层，却懂得悲悯他人，Rodriguez就是这么一种人。在他的世界里，作一个普通人和作一个名人并不冲突，那两个世界都是属于他的，他在其中穿梭自如。只有这样澄净的人能明眼看透，然后描绘出世界的本质，恰好Rodriguez有制作音乐的天赋，可以通过这种抽象的艺术形式把他看到的东西展示给他人。这是Rodriguez个人的一面，无论他成功与否，他只是要做这件事，他一定没有期待成功，因为只要做了，就是圆满，至于结果如何，那是别人的事情。
他的音乐为什么在美国并不成功，而在南非却深入人心？这关系到别人想要某件东西的时候，你能不能给。而他根本就不关心这样的问题，他的音乐本质就是传达，而不是揣测听众的喜好。这不符合消费社会的世界观，因此他在美国的唱片市场惨遭冷遇，也是正常。美国是一个消费社会，任何不能用来娱乐的东西都会被贴上没有商业价值的标签，因此严肃文学和严肃音乐依然只能是小众的爱好——因为它太累人——思考和判断太累人，工作了一天的人们希望笑笑，而不是深思到欲哭无泪。但七十年代的南非并非如此，那里经历着表面上看起来比消费社会这种软性糟粕可怕得多的东西：专制。那里的人们渴望也需要听到一些“不同”的声音，Rodriguez的音乐正是机缘巧合出现在了南非人需要听到它的时候，因此，它红了。某些歌曲比如Sugar Man中，他传达了相对开放的看法和政治意见，因此居然遭到了当局的查禁，套用剧中一名南非人的话，这就像十七八岁的孩子。如果被禁，那就意味着越要探寻其中有什么不可告人的隐情。
而南非的听众又究竟听懂了Rodriguez多少，也许Rodriguez自己都并不期待。他们只是拣选自己希望听到的东西来听，而他们理解到的，和Rodriguez想表达的之间，也许依然有无尽的落差。
但无论如何，南非人民在他的音乐中找到了某种启蒙。世界的运行就是这样的，真理永远都只能被得道之人揭开一角，而究竟大幕之后藏了什么，看不看得懂，看懂之后导向的是悲还是喜，也只能看众生的造化了。启蒙是不是个好事，这依然是个问题。比如开放了的南非是不是会被硬性地拉进资本主义体系中，同化成消费社会的意识形态，这恐怕是我最忧惧的。因为这个过程让我仿佛又一次地看到了八十年代中国的失败，我们怀有那么多的憧憬，而我们却被深深地背叛。八十年代之所以美，因为那时的艺术和周遭环境，都反映了人们的生活态度：求知，求真，却又带着无尽的盲目。这就是我在标题里想讨论的事，虽然它看上去过于隐晦。
被剧透该片的时候，我就想：米国向封闭专制的国家输出自由的世界观，这个还真是政治正确。后来又听说原来是得了奥斯卡（我实在是不怎么关心奥斯卡），不禁哑然失笑。歌者本人是否喜欢这样的结局，不得而知，但我想，他也许完全无所谓。而作为一个反乌托邦人士的我，看到Rodriguez又被学院派利用了一把，觉得这才是Sugar Man甜蜜中最苦的一丝回味吧。
4 ) 木匠耶稣
没有从事过体力劳动，何以谈人生？低到尘埃里，才更能看透尘世。向上，不是阶层的晋升，而是精神的不断飞升，无论是何种身份背景都能通过精神的自强，抵达彩虹的阶梯。最好的作品没有作者名字，如诗经如圣经。或许他更愿意你们称他糖人或者街头仔，人们总是想要更多，固然也是美好，那只是另一个故事。
再单纯听了一遍他小糖人那张专辑，似乎并非绝顶之好。时间和时空的转换赋予他熠熠光环。这是缘分，不是什么智力竞赛。有那么多人为之振奋，较之水平在其上却无知音的作品幸运得多。这幸运又这么千转百折。多难得。
再单纯听了一遍他小糖人那张专辑，似乎并非绝顶之好。时间和时空的转换赋予他熠熠光环。这是缘分，不是什么智力竞赛。有那么多人为之振奋，较之水平在其上却无知音的作品幸运得多。这幸运又这么千转百折。多难得。
5 ) 感谢《寻找小糖人》
《寻找小糖人》中，罗德里格斯简直是圣者。
年轻时，他发行了两张几近完美的专辑却在国内无人问津，再加上生活窘迫，按照大多数人的逻辑他的确会向所有孤独的天才一样自杀了。可在纪录片的后段却告诉我们他没死！不仅没死，竟还一直以一个最最平常的方式活着，天才怎可忍受自己过一辈子平庸的生活！可他以一种虔诚和认真的态度对待那些枯燥，甚至好像从不觉得枯燥。他替别人整修房屋，以此为生，并自愿多做，还主动揽下粗活累活。在这个过于情绪化的时代，每个人都太自以为是，每个人都太脆弱。可他一直活在普通人眼中所谓的人生低谷，就这样活过大半辈子，并且在日后得知自己唱片在他国受赏，并去他国巡回演出，获得了世俗就界定的所谓成功以后。回到国内，依然继续他那对于一个天才来说太过于平凡的生活，依然没有钱，依然替人整修房屋来维持生活。可他却说，每个人都有自己选择的权利，这就是我的选择。何其存在主义！我相信他的内心是真正自由的，无论是在飘泊的少年时光，还是平静的中年，还是在受万众瞩目的南非的舞台上。他始终平静，心里有着自己的打算。他的成功受益了很多身边的人，他却不变。依旧是在底特律，在街道上慢慢走着。他不知他已完成了一种不朽。
他的故事是真实的，真实更加剧了故事的力量，真实也带来希望。这就是纪录片的最大魅力所在。而作为纪录片，《寻找小糖人》的制作又是如此精致，略带悬疑的叙事方式，故事情节恰到时机的推进，与音乐完美契合的画面，无一不给这部片子加分。而同时最可贵的是，导演找到了这个故事，并历经千辛万难最终以这么一种完美的方式呈现给我们，每个人看了这个片子，都会得到一种心灵的救赎与释放，每一颗脆弱的有着梦想的心都会因此更强壮坚强。这是这部纪录片最大的意义所在，至少，对于我来说是这样！感谢《寻找小糖人》。
年轻时，他发行了两张几近完美的专辑却在国内无人问津，再加上生活窘迫，按照大多数人的逻辑他的确会向所有孤独的天才一样自杀了。可在纪录片的后段却告诉我们他没死！不仅没死，竟还一直以一个最最平常的方式活着，天才怎可忍受自己过一辈子平庸的生活！可他以一种虔诚和认真的态度对待那些枯燥，甚至好像从不觉得枯燥。他替别人整修房屋，以此为生，并自愿多做，还主动揽下粗活累活。在这个过于情绪化的时代，每个人都太自以为是，每个人都太脆弱。可他一直活在普通人眼中所谓的人生低谷，就这样活过大半辈子，并且在日后得知自己唱片在他国受赏，并去他国巡回演出，获得了世俗就界定的所谓成功以后。回到国内，依然继续他那对于一个天才来说太过于平凡的生活，依然没有钱，依然替人整修房屋来维持生活。可他却说，每个人都有自己选择的权利，这就是我的选择。何其存在主义！我相信他的内心是真正自由的，无论是在飘泊的少年时光，还是平静的中年，还是在受万众瞩目的南非的舞台上。他始终平静，心里有着自己的打算。他的成功受益了很多身边的人，他却不变。依旧是在底特律，在街道上慢慢走着。他不知他已完成了一种不朽。
他的故事是真实的，真实更加剧了故事的力量，真实也带来希望。这就是纪录片的最大魅力所在。而作为纪录片，《寻找小糖人》的制作又是如此精致，略带悬疑的叙事方式，故事情节恰到时机的推进，与音乐完美契合的画面，无一不给这部片子加分。而同时最可贵的是，导演找到了这个故事，并历经千辛万难最终以这么一种完美的方式呈现给我们，每个人看了这个片子，都会得到一种心灵的救赎与释放，每一颗脆弱的有着梦想的心都会因此更强壮坚强。这是这部纪录片最大的意义所在，至少，对于我来说是这样！感谢《寻找小糖人》。
6 ) 从《寻找小糖人》展望21世纪商业纪录片发展趋势
电影史之初，卢米埃尔兄弟曾断言电影是项“没有未来的发明创造”，从我们今天的眼光看来，这是因为他们拍摄的纪录片在内容与形式上日渐重复，没有及时创新，因而再也无法引起观众的兴趣。因此，笔者希望通过对去年奥斯卡最佳纪录长片《寻找小糖人》（Searching for Sugar Man）的分析，得到对于21世纪的纪录片发展趋势的展望，全文充当抛砖引玉之用。
对于《寻找小糖人》的独特之处，我将主要从三个方面谈起。
1、故事片的讲述方式
在本片里，瑞典籍导演马利克•本德让劳尔（Malik Bendjelloul）讲述了一个被埋没的音乐天才罗德里格兹又重新被世人关注的真实故事，导演采用的是悬疑片通常会采取的递进式叙事结构，按照线性的时间进程进行推移，使这次《公民凯恩》式的探求沿着时空维度来结构全片。
本片基本遵循了好莱坞故事片常常采用的三幕式故事讲述模式，即“建置-对抗-结局”的方式 ，这样的结构方式不仅对于剧情片而言是适用的，而且当纪录片也采用这种方式时，也非常有利于所要表达的内容和观点的展开。近年来大多数斩获国际大奖的纪录片，大多不是仅仅因为主题的深刻与激昂，而往往是由于它们采用了这种故事讲述方式，带领观众经历了一次难忘的旅程 ，讲述了一个扣人心弦的故事，比如《生于妓院》（Born into Brothels）、《超码的我》（Super Size Me）、《不可击败》（Undefeated）、《华氏9•11》（Fahrenheit9/11）及《海豚湾》（The Cove）等等。
影片一开头，史蒂芬•西格曼（Stephen Segerman）驾车行驶在山路上，他的歌声应合着车内音响播放的《小糖人》（Sugar Man）的旋律，并且告诉了我们有关他的绰号“老糖”的来历，这个称呼与罗德里格兹的关系带出了全片的叙事动机——追寻罗德里格兹的传奇人生。传说中的他的惊世骇俗的死亡方式令人啧啧称奇，这个在舞台上自焚的神秘人的人生真相到底是什么？
罗德里格斯在最初出道时未受到应有的关注，因此导演本德让劳尔缺少1998年之前有关主人公的真实画面资料，根据导演接受媒体采访时的阐述，导演表示自己由于受到2008年动画片《和巴什尔跳华尔兹》的启发（对于此片是否属于纪录片的范畴，曾引起学术界的热议），采用了动画的方式再现了罗德里格斯过去在底特律的生活场景，这段画面穿插在导演一开始对他的首张专辑《冷事实》（Cold Fact）的两位制作人丹尼斯•科菲（Dennis Coffey）和迈克•西奥多（Mike Theodore）的采访中，此外，还用长镜头拍摄这个城市诗人孑然一人行进在小镇的街道中的场景，怀旧的色调与他的那首《小糖人》的旋律把观众带到了他最初追求音乐梦想的日子里。
然后，导演采访了当年的酒保和瓦工，他们回忆说当年的罗德里格兹就像一个无家可归的人，而这个观点也在丹尼斯•科菲的叙述中得到了证实，这样的叙述看似只是对他当时生活状态的回忆，实则与本片后面他目前的生活方式遥遥相望。接下来，导演来到了罗德里格兹第二张专辑《从现实来》（Coming From Reality）的制作人史蒂夫•罗兰（Steve Rowland）的家中，他为本德让劳尔展示了罗德里格兹当年的照片，并对他的才华予以高度评价，他播放了他认为《从现实来》这张专辑中最为悲伤的歌曲：《因为》（Cause）。这首歌叙述的是一个在圣诞节前两周丢掉工作的人的苦闷，而这也正是罗德里格兹当年在公司录制的最后一首歌，这首歌的歌词也真的成为了他命运的预言。
镜头转至南非开普敦，导演进一步对他的专辑传播到遥远的南非的原因再次设置悬念，没有在美国得到关注的罗德里格兹的音乐居然在南非收到疯狂追捧，这样的现象自然也会让观众愈发感到好奇。罗德里格兹在南非的影响之广，但最初却是以盗版的方式进行传播，除了他在专辑封面上的头像，他的忠实爱好者们甚至对他本人依然是一无所知。
音乐人威廉•莫勒（William Moller） 回忆自己第一次听到《I Wonder》时所受到的震撼，罗德里格兹在那个特殊的年代开启了民智，那些想要逃离工业化城市、追求自我的歌词，被南非受到政府压制的人们赋予了反体制的含义。他们齐声高唱着他的歌曲走上街头，开启了轰轰烈烈的“自由运动”。
导演采访了音乐记者克雷格•巴索罗缪-史其顿，他回忆道，当时国家所有事情的目的都是保护种族隔离制度，而这张专辑，把压抑的民众解放了，他的歌曲成为“自由运动”的圣歌，也正是由于他的音乐，带动了南非的音乐革命，歌手们利用自己的嗓音唱出对政府的不满。采访至此，画面中想起了他的《反体制蓝调》（Establishment Blues），画面中是当年民众反抗的资料片，或黑白或彩色，都充满了激荡人心的力量。
导演再次建置悬念，让“老糖”现身讲述他当年听说罗德里格兹在美国名不见经传时的心理震动，这引发了他的兴趣，促使他试图从罗德里格兹的专辑中寻找少得可怜的信息。克雷格•巴索罗缪-史其顿讲述了他自己听来的一个关于罗德里格兹自杀的故事，但随之而来的诙谐的音乐似乎在暗示着并不是罗德里格兹的真正的结局。
96年，南非的发行公司在正式发行《从现实来》时邀请史蒂芬•西格曼撰写专辑的小册子，他在这些文字里提出寻找“音乐侦探”的想法，而克雷格•巴索罗缪-史其顿恰好看到这份小册子，自告奋勇地成为了“音乐侦探”。他对真相的追踪从罗德里格兹的专辑的版税的去向开始，他替导演对观众提出这个疑问：如果罗德里格兹死了，那么，他的钱到底落入了谁的腰包呢？这样敏感的话题，可想探究的难度有多大。几家南非发行公司的高层都把矛头指向了发行了罗德里格兹两张专辑但当年在圣诞节前与他解约的苏赛克斯（Sussex）公司的前老板克拉伦斯•阿凡特（Clarence Avant），面对质疑，他强调自己的公司已经倒闭了，并且表现出恼羞成怒的态度。人物真相只有当一个人在出于压力之下做出的选择时才能得到揭示——压力越大，揭示越深，该选择便越真实地表达人物的本性。 而在这段采访中，人性中对于金钱的追逐暴露出来，这也与影片后面对于罗德里格兹及其家人对于金钱的态度截然不同。
这条线索断开后，观众的胃口又被吊了起来，但问题得到了解决，克雷格•巴索罗缪-史其顿恰好在一次聆听《内城布鲁斯》（Inner City Blues）时偶然注意到了Dearborn这个地名，他在黄页中找到了它的所在地是底特律，他联系到了迈克•西奥多，一切真相大白，罗德里格兹根本就没死。
接下来，罗德里格兹的大女儿伊娃回忆起了当她看到那篇关于寻找他父亲的报道时的情景，在这个铺垫下，男主人公罗德里格兹终于以现在进行时的状态出现在影片中，出人意料的是，出现在镜头前，不是我们想象中的一个愤世嫉俗的人，而是一个温和平静的人，由于生存状态是人的存在方式的本质显现，当一种社会环境造就了人的特殊存在时，这种显现就带有明显的文化内涵 ，他以这种不卑不亢的精神面对生命中的成败得失，纵使被音乐工业暂时抛弃，但他的精神还在，他充分将艺术修养的培养放置在陪伴女儿们长大的过程中，甚至表达了对于在常人眼里辛苦低卑的体力劳动的热爱。
女儿回忆了1998年3月2日，全家陪伴罗德里格兹前往南非演出的经历，画面是动画片与家庭DV的结合，导演用简洁的方式提供给观众清晰明了的信息，而后面演唱会的盛况则剪辑了当年的演出纪录片，他说，“谢谢你们让我活着”，歌迷们唱着他们早已烂熟于心的歌，五千人的演出场激情洋溢， 最后，画面上是演唱会实况的升格画面，观众泪流满面，伴随着画外音的叙述，他在这里，终于找到了“家”，这次一次独一无二的演唱会。至此，导演已通过“情景再现”的方式，把历史影像与现实画面相结合，将前两幕应完成的内容交代清楚了，因果、时间及空间，对于纪录片的重要性不亚于剧情片，随意拼凑的事件不会成就一部优秀的纪录片，而本德让劳尔却成功完成了纪录片对于叙事完整性的实现。
这部纪录片甚至还有一个好莱坞式的大团圆结尾，对于一部优秀的纪录片而言，讲好故事的要素包括：富有感染力的人物、强大的戏剧张力计一个令人信服的结局 ，而这三者都被包含在了本片中。在结尾里，罗德里格兹的大女儿伊娃与演唱会的一位保安喜结连理，罗德里格兹当了外祖父，我们还知道，1998年，他在南非举办了6场演唱会，门票都被销售一空，当然，导演不忘借助被访者之口再次提出版税的问题，并以暗示他将回归平凡生活的歌曲《我要逃离》（Rodriguez I'll Slip Away）做结尾，在他和家人看来，他的南非的演唱会上的火爆也许是一个美丽的梦，生活还要继续，他们不会沉迷于此。背着工具包的罗德里格兹在横移镜头的跟随下一直向画面右边走，这与影片开始他向画面左边走的情景形成呼应，似乎在向观众告别，他的双面生活又将继续了。
2、音乐先行
从电影史的发展历程来看，听觉的加入开创了爱森斯坦所说的“感官合成”（synchronization of senses）的可能性，积极影响观众对影像内容的诠释。按照美国电影理论家大卫•波德维尔（David Bordwell）对纪录片的分类方式，本片属于策略式纪录片，因此，导演必然会在提供采访实录的同时通过各种方式诉诸观众的情感，在本片中，罗德里格兹的音乐之旅是表现的重点，因此配乐的重要性更是不言而喻的。音乐几乎贯穿了整部影片，在每段故事的节点，几乎都有符合叙事内容的音乐适时响起，这不仅起到了烘托气氛、渲染情绪的作用，更是对罗德里格兹的音乐成就的极大肯定。
而当本片获得奥斯卡奖项之后，不仅影片本身引起了观众们观影兴趣，连他的音乐也再度得到了传唱。索尼旗下的“传奇”（Legacy）发行了影片的原声专辑，里面收录了他在40多年前录制的14首歌，这张专辑获得了比影片更为广泛的传播。
类似的纪录片，还有日本NHK拍摄的《Another Hey Jude》，1989年年底，在天鹅绒革命胜利后的捷克斯洛伐克，到处都能听到披头士的名曲《Hey，Jude》，影片探索的主题也是：为什么这首歌会在“布拉格之春”时，如此受捷克人的青睐？
这种“经典歌曲背后的故事”式的纪录片，是一种极佳的拍摄素材，全球被广为传唱的优秀歌曲非常之多，其中的许多歌曲在创作和传播过程中都发生了一些或有趣或离奇的故事，希望纪录片创作者们可以充分利用好这块素材宝藏，创作出更多的优质纪录片。
3、致敬真实电影
真实电影（Cinéma vérité)兴起于20世纪60年代的法国，代表人物是人类学电影工作者让•鲁什，这一风格的名称源于他的作品《夏日纪事》的副标题“真实电影的一次实验”，这部影片表达了新的纪录片观念，即纪录片创作者应积极参与被摄者的生活，促使他们表达自己的真实想法，这与同时期在美国兴起的直接电影（Direct Cinema）有着明显不同。
虽然真实电影不是近年来才有的纪录片形式，但是对真实电影风格的延续的纪录片，已经成为目前全球纪录片创作的主流倾向，近年来引发观众关注和学界热议的影片几乎全是这种形式，比如埃罗尔•莫里斯的《细细的蓝线》、奥利弗•斯通的《刺杀肯尼迪》、摩根•斯伯力克的《超码的我》及迈克•摩尔的《华氏911》和《资本主义：一个爱情故事》……在这些影片中，导演都不再仅仅充当纯客观的“隐形人”，而是积极参与到拍摄过程中去了。
其实从弗拉哈迪的“搬演”开始，许多纪录片的导演都在拍摄过程中自觉不自觉地影响着观众的情感体验，真实电影的特点之一就是表达创作者的思想意志，本片贯穿始终的就是对于罗德里格兹的敬意，而音频被索尼电影公司发行之后，获得85届奥斯卡最佳纪录长片的奖项，罗德里格兹的音乐终于真正得到了全美的关注，他在美国的演艺事业完全复活了，这也是真实电影所追求的对于现实的干预所产生的效果的表现。更何况，在片尾的演职人员表里，导演的名字也出现在了演员的行列中，这更能直接体现导演的意图，这样的干预影片内容的方式，相必将是将来纪录片的创作趋势之一。
从目前中国乃至全世界的纪录片发展现状而言，纪录片与故事片相比在产业方面几乎处于边缘状态 ，纪录片在内容与形式上的创新迫在眉睫，“纪录片是最好的电影”，虽然纪录片有着各自各样的局限，导致其无法在叙事和蒙太奇语言上有重大突破，通过对于在电影节上获得大奖的纪录片的研究，可以吸取成功作品的经验，力求纪录片在票房和口碑上都可以不断提高，以实现纪录片的繁荣发展。
本文已收录至《“纪录片中的中国与世界”——首届高校主题学术论坛论文集》2013年11月。
对于《寻找小糖人》的独特之处，我将主要从三个方面谈起。
1、故事片的讲述方式
在本片里，瑞典籍导演马利克•本德让劳尔（Malik Bendjelloul）讲述了一个被埋没的音乐天才罗德里格兹又重新被世人关注的真实故事，导演采用的是悬疑片通常会采取的递进式叙事结构，按照线性的时间进程进行推移，使这次《公民凯恩》式的探求沿着时空维度来结构全片。
本片基本遵循了好莱坞故事片常常采用的三幕式故事讲述模式，即“建置-对抗-结局”的方式 ，这样的结构方式不仅对于剧情片而言是适用的，而且当纪录片也采用这种方式时，也非常有利于所要表达的内容和观点的展开。近年来大多数斩获国际大奖的纪录片，大多不是仅仅因为主题的深刻与激昂，而往往是由于它们采用了这种故事讲述方式，带领观众经历了一次难忘的旅程 ，讲述了一个扣人心弦的故事，比如《生于妓院》（Born into Brothels）、《超码的我》（Super Size Me）、《不可击败》（Undefeated）、《华氏9•11》（Fahrenheit9/11）及《海豚湾》（The Cove）等等。
影片一开头，史蒂芬•西格曼（Stephen Segerman）驾车行驶在山路上，他的歌声应合着车内音响播放的《小糖人》（Sugar Man）的旋律，并且告诉了我们有关他的绰号“老糖”的来历，这个称呼与罗德里格兹的关系带出了全片的叙事动机——追寻罗德里格兹的传奇人生。传说中的他的惊世骇俗的死亡方式令人啧啧称奇，这个在舞台上自焚的神秘人的人生真相到底是什么？
罗德里格斯在最初出道时未受到应有的关注，因此导演本德让劳尔缺少1998年之前有关主人公的真实画面资料，根据导演接受媒体采访时的阐述，导演表示自己由于受到2008年动画片《和巴什尔跳华尔兹》的启发（对于此片是否属于纪录片的范畴，曾引起学术界的热议），采用了动画的方式再现了罗德里格斯过去在底特律的生活场景，这段画面穿插在导演一开始对他的首张专辑《冷事实》（Cold Fact）的两位制作人丹尼斯•科菲（Dennis Coffey）和迈克•西奥多（Mike Theodore）的采访中，此外，还用长镜头拍摄这个城市诗人孑然一人行进在小镇的街道中的场景，怀旧的色调与他的那首《小糖人》的旋律把观众带到了他最初追求音乐梦想的日子里。
然后，导演采访了当年的酒保和瓦工，他们回忆说当年的罗德里格兹就像一个无家可归的人，而这个观点也在丹尼斯•科菲的叙述中得到了证实，这样的叙述看似只是对他当时生活状态的回忆，实则与本片后面他目前的生活方式遥遥相望。接下来，导演来到了罗德里格兹第二张专辑《从现实来》（Coming From Reality）的制作人史蒂夫•罗兰（Steve Rowland）的家中，他为本德让劳尔展示了罗德里格兹当年的照片，并对他的才华予以高度评价，他播放了他认为《从现实来》这张专辑中最为悲伤的歌曲：《因为》（Cause）。这首歌叙述的是一个在圣诞节前两周丢掉工作的人的苦闷，而这也正是罗德里格兹当年在公司录制的最后一首歌，这首歌的歌词也真的成为了他命运的预言。
镜头转至南非开普敦，导演进一步对他的专辑传播到遥远的南非的原因再次设置悬念，没有在美国得到关注的罗德里格兹的音乐居然在南非收到疯狂追捧，这样的现象自然也会让观众愈发感到好奇。罗德里格兹在南非的影响之广，但最初却是以盗版的方式进行传播，除了他在专辑封面上的头像，他的忠实爱好者们甚至对他本人依然是一无所知。
音乐人威廉•莫勒（William Moller） 回忆自己第一次听到《I Wonder》时所受到的震撼，罗德里格兹在那个特殊的年代开启了民智，那些想要逃离工业化城市、追求自我的歌词，被南非受到政府压制的人们赋予了反体制的含义。他们齐声高唱着他的歌曲走上街头，开启了轰轰烈烈的“自由运动”。
导演采访了音乐记者克雷格•巴索罗缪-史其顿，他回忆道，当时国家所有事情的目的都是保护种族隔离制度，而这张专辑，把压抑的民众解放了，他的歌曲成为“自由运动”的圣歌，也正是由于他的音乐，带动了南非的音乐革命，歌手们利用自己的嗓音唱出对政府的不满。采访至此，画面中想起了他的《反体制蓝调》（Establishment Blues），画面中是当年民众反抗的资料片，或黑白或彩色，都充满了激荡人心的力量。
导演再次建置悬念，让“老糖”现身讲述他当年听说罗德里格兹在美国名不见经传时的心理震动，这引发了他的兴趣，促使他试图从罗德里格兹的专辑中寻找少得可怜的信息。克雷格•巴索罗缪-史其顿讲述了他自己听来的一个关于罗德里格兹自杀的故事，但随之而来的诙谐的音乐似乎在暗示着并不是罗德里格兹的真正的结局。
96年，南非的发行公司在正式发行《从现实来》时邀请史蒂芬•西格曼撰写专辑的小册子，他在这些文字里提出寻找“音乐侦探”的想法，而克雷格•巴索罗缪-史其顿恰好看到这份小册子，自告奋勇地成为了“音乐侦探”。他对真相的追踪从罗德里格兹的专辑的版税的去向开始，他替导演对观众提出这个疑问：如果罗德里格兹死了，那么，他的钱到底落入了谁的腰包呢？这样敏感的话题，可想探究的难度有多大。几家南非发行公司的高层都把矛头指向了发行了罗德里格兹两张专辑但当年在圣诞节前与他解约的苏赛克斯（Sussex）公司的前老板克拉伦斯•阿凡特（Clarence Avant），面对质疑，他强调自己的公司已经倒闭了，并且表现出恼羞成怒的态度。人物真相只有当一个人在出于压力之下做出的选择时才能得到揭示——压力越大，揭示越深，该选择便越真实地表达人物的本性。 而在这段采访中，人性中对于金钱的追逐暴露出来，这也与影片后面对于罗德里格兹及其家人对于金钱的态度截然不同。
这条线索断开后，观众的胃口又被吊了起来，但问题得到了解决，克雷格•巴索罗缪-史其顿恰好在一次聆听《内城布鲁斯》（Inner City Blues）时偶然注意到了Dearborn这个地名，他在黄页中找到了它的所在地是底特律，他联系到了迈克•西奥多，一切真相大白，罗德里格兹根本就没死。
接下来，罗德里格兹的大女儿伊娃回忆起了当她看到那篇关于寻找他父亲的报道时的情景，在这个铺垫下，男主人公罗德里格兹终于以现在进行时的状态出现在影片中，出人意料的是，出现在镜头前，不是我们想象中的一个愤世嫉俗的人，而是一个温和平静的人，由于生存状态是人的存在方式的本质显现，当一种社会环境造就了人的特殊存在时，这种显现就带有明显的文化内涵 ，他以这种不卑不亢的精神面对生命中的成败得失，纵使被音乐工业暂时抛弃，但他的精神还在，他充分将艺术修养的培养放置在陪伴女儿们长大的过程中，甚至表达了对于在常人眼里辛苦低卑的体力劳动的热爱。
女儿回忆了1998年3月2日，全家陪伴罗德里格兹前往南非演出的经历，画面是动画片与家庭DV的结合，导演用简洁的方式提供给观众清晰明了的信息，而后面演唱会的盛况则剪辑了当年的演出纪录片，他说，“谢谢你们让我活着”，歌迷们唱着他们早已烂熟于心的歌，五千人的演出场激情洋溢， 最后，画面上是演唱会实况的升格画面，观众泪流满面，伴随着画外音的叙述，他在这里，终于找到了“家”，这次一次独一无二的演唱会。至此，导演已通过“情景再现”的方式，把历史影像与现实画面相结合，将前两幕应完成的内容交代清楚了，因果、时间及空间，对于纪录片的重要性不亚于剧情片，随意拼凑的事件不会成就一部优秀的纪录片，而本德让劳尔却成功完成了纪录片对于叙事完整性的实现。
这部纪录片甚至还有一个好莱坞式的大团圆结尾，对于一部优秀的纪录片而言，讲好故事的要素包括：富有感染力的人物、强大的戏剧张力计一个令人信服的结局 ，而这三者都被包含在了本片中。在结尾里，罗德里格兹的大女儿伊娃与演唱会的一位保安喜结连理，罗德里格兹当了外祖父，我们还知道，1998年，他在南非举办了6场演唱会，门票都被销售一空，当然，导演不忘借助被访者之口再次提出版税的问题，并以暗示他将回归平凡生活的歌曲《我要逃离》（Rodriguez I'll Slip Away）做结尾，在他和家人看来，他的南非的演唱会上的火爆也许是一个美丽的梦，生活还要继续，他们不会沉迷于此。背着工具包的罗德里格兹在横移镜头的跟随下一直向画面右边走，这与影片开始他向画面左边走的情景形成呼应，似乎在向观众告别，他的双面生活又将继续了。
2、音乐先行
从电影史的发展历程来看，听觉的加入开创了爱森斯坦所说的“感官合成”（synchronization of senses）的可能性，积极影响观众对影像内容的诠释。按照美国电影理论家大卫•波德维尔（David Bordwell）对纪录片的分类方式，本片属于策略式纪录片，因此，导演必然会在提供采访实录的同时通过各种方式诉诸观众的情感，在本片中，罗德里格兹的音乐之旅是表现的重点，因此配乐的重要性更是不言而喻的。音乐几乎贯穿了整部影片，在每段故事的节点，几乎都有符合叙事内容的音乐适时响起，这不仅起到了烘托气氛、渲染情绪的作用，更是对罗德里格兹的音乐成就的极大肯定。
而当本片获得奥斯卡奖项之后，不仅影片本身引起了观众们观影兴趣，连他的音乐也再度得到了传唱。索尼旗下的“传奇”（Legacy）发行了影片的原声专辑，里面收录了他在40多年前录制的14首歌，这张专辑获得了比影片更为广泛的传播。
类似的纪录片，还有日本NHK拍摄的《Another Hey Jude》，1989年年底，在天鹅绒革命胜利后的捷克斯洛伐克，到处都能听到披头士的名曲《Hey，Jude》，影片探索的主题也是：为什么这首歌会在“布拉格之春”时，如此受捷克人的青睐？
这种“经典歌曲背后的故事”式的纪录片，是一种极佳的拍摄素材，全球被广为传唱的优秀歌曲非常之多，其中的许多歌曲在创作和传播过程中都发生了一些或有趣或离奇的故事，希望纪录片创作者们可以充分利用好这块素材宝藏，创作出更多的优质纪录片。
3、致敬真实电影
真实电影（Cinéma vérité)兴起于20世纪60年代的法国，代表人物是人类学电影工作者让•鲁什，这一风格的名称源于他的作品《夏日纪事》的副标题“真实电影的一次实验”，这部影片表达了新的纪录片观念，即纪录片创作者应积极参与被摄者的生活，促使他们表达自己的真实想法，这与同时期在美国兴起的直接电影（Direct Cinema）有着明显不同。
虽然真实电影不是近年来才有的纪录片形式，但是对真实电影风格的延续的纪录片，已经成为目前全球纪录片创作的主流倾向，近年来引发观众关注和学界热议的影片几乎全是这种形式，比如埃罗尔•莫里斯的《细细的蓝线》、奥利弗•斯通的《刺杀肯尼迪》、摩根•斯伯力克的《超码的我》及迈克•摩尔的《华氏911》和《资本主义：一个爱情故事》……在这些影片中，导演都不再仅仅充当纯客观的“隐形人”，而是积极参与到拍摄过程中去了。
其实从弗拉哈迪的“搬演”开始，许多纪录片的导演都在拍摄过程中自觉不自觉地影响着观众的情感体验，真实电影的特点之一就是表达创作者的思想意志，本片贯穿始终的就是对于罗德里格兹的敬意，而音频被索尼电影公司发行之后，获得85届奥斯卡最佳纪录长片的奖项，罗德里格兹的音乐终于真正得到了全美的关注，他在美国的演艺事业完全复活了，这也是真实电影所追求的对于现实的干预所产生的效果的表现。更何况，在片尾的演职人员表里，导演的名字也出现在了演员的行列中，这更能直接体现导演的意图，这样的干预影片内容的方式，相必将是将来纪录片的创作趋势之一。
从目前中国乃至全世界的纪录片发展现状而言，纪录片与故事片相比在产业方面几乎处于边缘状态 ，纪录片在内容与形式上的创新迫在眉睫，“纪录片是最好的电影”，虽然纪录片有着各自各样的局限，导致其无法在叙事和蒙太奇语言上有重大突破，通过对于在电影节上获得大奖的纪录片的研究，可以吸取成功作品的经验，力求纪录片在票房和口碑上都可以不断提高，以实现纪录片的繁荣发展。
本文已收录至《“纪录片中的中国与世界”——首届高校主题学术论坛论文集》2013年11月。
一个人的伟大之处在于上得了天堂，下得了地狱，耐得住人间平凡
一个人是要有多么诚实，谦逊，同时又对人生有着深邃的感悟，才能始终不被名利左右，不迷失自己。坚持从事体力劳动的生活方式很让我触动。我认同劳动的确是让人保持清醒，诚实做人的最好途径。
你永远无法理解一个乐观的悲观主义者看了这片后会有多么的激动。就算对全世界悲观，对全人类绝望，也无法阻止我对生活的热爱。世界上有一种人，他就是可以活得像电影一样精彩。不，远远地比电影还要精彩。他的心中永远怀揣着梦想，不管这个梦想被现实操得如何七零八落。推荐给所有我爱的人和爱我的人。
一个国家的神，引领几代人的精神领袖，三十年来，却对此一无所知，默默无闻的在另一个国度里忍受贫穷，颠沛流离，卖苦力，挣扎在社会最底层，却又生活的充满诗意。当年迈的他终于站上舞台，开口唱歌，我也好想同台下的歌迷一起站起来，为他尖叫，为他跳跃，为他流泪，那歌声真的太美好。
这个故事告诉我们大学万万不能选哲学专业，不然只能去搬砖了！“Jumpers, coke, sweet mary jane.”
是不是也该拍一部《寻找班得瑞》？
东边不亮西边亮，造化弄人最传奇，太他妈励志了，文艺青年们不要妄自菲薄，加油加油。
同一个人，此处默默无闻，彼处如日中天，真是传奇。
不少人还在继续追寻那些版权费最终流到了谁手里；Rodriguez的妻子也成了一个谜，很多人想一探究竟；拍这个片子的导演居然也因为抑郁症自杀了……感觉围绕这个纪录片发生的一切，可以另外再拍一个纪录片了。
在美国默默无闻的歌手，却在南非人尽皆知，甚至启迪民智掀起革命。这样传奇的人生相信不会有第二个人拥有，但他仍旧默默生活在住了四十多年的底特律家中。衔接动画做得美。歌儿真是太好听了，听得要哭了，看完电影第一想法就是赶快亚马逊买碟啊啊
大概就是一觉醒来发现被点了50万个赞的感觉吧。
“我在圣诞节前两周丢了工作，我向下水道里的耶稣倾诉，教皇说关他屁事”。连从不懂诗为何物的我都一下子湿了眼眶。
说实话音乐一般好，而这正是吊诡所在。听说这个导演为拍片子倾家荡产，如果他没拿奖片子默默无闻，他又会怎么样呢？这个世界有无数的艺术家竭尽才华却一无所有。。在对彼岸的消费中，歌手传奇式的点火自杀来圆满神话。establishment‘s blues这首不错，激进而又没有现在的网络传播，就只能埋没了。
线索安排和与音乐的结合都可圈可点。传奇本人在镜头前是安静内敛的。他的确是个了不起的吟唱诗人，拥有强大的精神内力，在命运的起伏前不卑不亢。这就是文艺的力量。
这五星其实是想打给上帝的……您老人家真能弄……
American Zero, South African Hero. 难以描述的感动，大过于音乐本身，大过于完美的叙事，大过于名誉、财富的诱惑：因为它本是这样的一段人生传奇，起落沉浮，终归于平和淡定的人生态度，平凡的人坐拥传奇的人生，不平凡的人格。
纯是一个不可思议的故事，热爱音乐的人看的热泪盈眶
高潮真感人，看完这个的第一念头就是重看Anvil，那片子有更棒的角色
了不起的灵魂，神奇的故事。Rodriguez并非是“拿得起，放得下”，或许他是未曾拿起，谈何放下。面对一切，他从容和接受，面对物质，他宽容和无私，他有他的音乐，却从未想过要靠它们过得更好，从而使得他本身成为一个传奇，造就不可思议的奇迹。
“在南非，你比猫王还要受欢迎” 就像有一天我们曾经崇拜的已逝偶像突然复活，那该是多么让人兴奋和美好的事情，这个纪录片的意义正在于此。一些人眼里的无人问津，另一些人心里的梦想和信仰，然而对于造梦者，他依然孑然一身、继续漂泊。年度最佳纪录长片，2012的《画廊外的天赋》+《金属精神》。