“The Taking of Tiger Mountain,” a protracted, oddly proportioned Chinese war picture from the director Tsui Hark, celebrated for his action movies, begins in New York, as Jimmy (Han Geng), about to leave for a Silicon Valley job, attends a farewell party.
著名动作片导演徐克执导的《智取威虎山》(The Taking of Tiger Mountain)是一部漫长的、比例失调的中国战争电影，故事从纽约开始，韩庚饰演的吉米即将去硅谷工作，他参加了一场告别派对。
The movie then flashes back — for reasons not clarified until a closing-credits sequence — to 1946 China, where a squad of the Communist People’s Liberation Army works to root out bandits. The premise, with fighters helping villagers, bears a resemblance to that of “Seven Samurai.”
之后电影就闪回到1946年的中国——这个闪回的原因直到最后播放片尾字幕时才说明——当时有一支中国人民解放军的小分队正在剿匪。影片的引子是解放军战士在帮助村民，这有点像是《七武士》。

The source of the residents’ terror is Hawk (Tony Leung Ka-fai), a bandit leader who plots to rule northeast China. An investigator from the soldiers’ group, Yang (Zhang Hanyu), infiltrates Hawk’s fortress as a spy. His success is rarely in doubt: Even before he arrives at the bandits’ lair, he single-handedly fights a tiger to the death.
为居民们带来恐惧的是土匪头子座山雕（梁家辉饰），他打算统治整个中国东北。解放军小队的侦察员杨子荣（张涵予饰）作为间谍打入座山雕的要寨。他的本领绝对不成问题：潜入匪穴之前，他还徒手打死过一只老虎。
That sequence has clearly been designed for 3-D, but in North America the film is being released in 2-D. And you cannot help but feel shortchanged by this as the movie unfolds with a swooping camera, spurting blood, flying bullets, airborne knives, falling rocks, cannon fire and — most spectacularly — a covert raid by ski.
这段插曲显然是为3-D设计的，但在北美，这部影片以2-D形式放映。当电影中出现一个俯拍镜头，血花四溅、子弹乱飞、刀光剑影、石头崩裂、大炮开火，这时你忍不住会觉得自己受到了亏待，更何况还有最壮观的一幕——一场滑雪奇袭。
The material is adapted from Qu Bo’s novel “Tracks in the Snowy Forest,” the basis for “Taking Tiger Mountain by Strategy,” one of eight model operas produced during the Cultural Revolution. With its fanfare score, the movie has a nationalistic, didactic flavor and a tiresome devotion to spectacle. Even the climax is staged two ways.
影片改编自曲波的小说《林海雪原》，“文化大革命”中的八个样板戏之一《智取威虎山》(Taking Tiger Mountain by Strategy)也是根据这部小说改编的。影片有着喧闹的配乐，显示出一种民族主义的迂腐趣味，对大场面的追求亦令人厌倦。甚至影片的高潮也是以两种方式呈现的。