海洋 Océans (2009)

Winged Migration co-directors Jacques Cluzaud and Jacques Perrin re-team for this documentary produced for Walt Disney Studios' Disneynature banner and exploring the many mysteries of our planet's oceans. Almost three-quarters of the earth's surface is covered by oceans, yet strangely we seem to know more about deep space than the world of the sea. There's no question that the ocean has played a crucial role in the history and sustenance of humankind, but what secrets does the underwater world hold? Follow filmmakers Cluzaud and Perrin beneath the ocean waves as they seek out the answer to this and explore the many dangers and mysteries of the deep. - Jason Buchanan, Rovi

The images in the movie can be called perfect, majestic, and exquisite, including breathtakingly beautiful marine lives and the fine soundtrack. This work is made by a 400-people team for more than four years, embodying lots of painstaking efforts. These efforts are sufficient to worth our salute.

Since the same theme is about oceans, The Cove, which won countless awards last year, is full of murderousness: dolphin’s mournful moan and that bloody bay, like a knife, straightly stab to Japanese government. This is the essay. The “Oceans” is not the case, because it presents pictures of Oceans themselves. It is more like an artless and curious exploration to the oceans, the blue planet that we never lacked interest in. There is full of tender feelings. It is a prose, more accurately, a lyrical prose.

The most important reason why I prefer the “Oceans” is that it completely returns the speaking right to oceans themselves. Watching “The Cove”, it is impossible that we do not admire creators’ courage. However, the focus of the entire film lies in the entanglements between people, the confrontation between dolphin protectors and those Japanese fishermen, as well as the local government, and the focus is also to reveal: a group of people revealed the pain of another group of people. However, the “Oceans” selected another perspective, which is broader, closer to the oceans themselves. It just shows us and tries to guide us to learn about the amazing and incredibly beautiful scenes in oceans that we cannot even imagine: tens of thousands of fish forms a spherical fish school in their corkscrewed marching; many lazy and lighting transparent jellyfish rise up religiously; and a variety of strangely shaped fish, with or without light, are also shown, as well as the fights or affection among them and their fate. One clip is that little turtles that just crawled out of the eggshells on the beach and struggled toward the sea. It is not long distance but defines life or death. The lens is aimed at these fresh lives; the sun is shining brightly, and it is full of harmonious joy of life everywhere. With a black shadow skimming over and launching on the sand, however, a small turtle is taken away. It is completely true that death attends their celebration of the birth. Watching that little turtles are quickly captured by black birds, just like the moves in martial arts films or some kind of magic, we can do nothing but mouth falls open.

The director is clever, because he shows us those beautiful, lively and interesting marine lives at first to make us praise them or smile, and then starts to tell us how they are cruelly killed. This group of lenses is very beautiful and quiet, but then uncertainties and fierce shock come, finally, water reddened by the blood. Throughout this section, there are few shots above the sea. Here we feel like fish, just like those, which are thrown back into the sea with fins cut off, entangled in the net and finally dead, shot by steel fork or guns: both of us have no idea what has happened above the water, and what we can feel is just fierce waves, distorted boats and a glance of human, then, we just fall down and fall down, directly toward the dark at the deep ocean.

影片的画面堪称完美，磅礴精致，美的令人窒息的海洋生物，配乐也同样的精美。这是一个400多人的团队耗时4年多完成的片子，凝聚了多少的心血。其用心，足够让我们向他们致敬。

同样是关于海洋，去年获奖无数的《海豚湾》杀气腾腾，凄厉的海豚哀鸣以及那积郁一湾的鲜血，像一把刀，直直刺向日本政府。这是杂文。而《海洋》不是这样，它把画面还给海洋本身，它更像是一派天真好奇的探究，探究海洋这个我们从来不乏兴趣的蔚蓝星球，并且温情脉脉。它是散文的，抒情散文。 

我更喜欢《海洋》的原因最重要在于它完全把话语权还给给了海洋本身。看《海豚湾》，不可能不佩服主创们的勇气，然而整个片子的重点还是在于人与人之间的纠葛，是保护海豚的与那些日本渔民、当地政府之间的对抗，是一种揭发，一群人揭发了另一群人的伤。而《海洋》选择了另一个视角，一个更广大更亲近海洋本身的视角，它只是展示，试图带着我们去了解，了解海洋里那些惊异而极富美感的我们根本无从想象的场景，由上万条鱼螺旋式前进的结成球形的鱼群，一只只慵懒如灯的透明水母宗教般的上升，各种奇形怪状发光不发光的鱼，它们之间的对抗、亲昵、以及命运。有一幕是沙滩上刚从蛋壳里爬出来的小乌龟奔向大海，距离不远，却是生死迢迢，镜头对准这些新鲜的生命，阳光充裕，一派生的祥和喜悦，然而黑色飞影一掠而过，落在细沙上，乌龟的小背壳上。死亡从它们出生的第一刻便亲临现场，没有半点假。你看着一个个小乌龟迅速的被黑鸟抓走，就像武侠片里的招式，像魔法，不得不张大了嘴巴。 

导演是高明的，在他已经把那些美丽、生动而有趣的海洋生物一一展现给我们，而我们或者赞叹或者莞尔之后，才开始告诉我们，我们是怎样残酷的杀死他们。这一组镜头非常美，宁静，然后暗涌，最后激烈的冲击，血染红了水。整个这一段，少有海面之上的镜头，我们仿佛也成了鱼，和那些被割掉鱼鳍然后丢回海中、被网缠住而终于死去、被钢叉、被枪打中的它们一样，看不到水面之上发生了什么，只有剧烈的水波、扭曲的船与人的一瞥，然后坠落，落向深海黑暗。