Peng Sanyuan’s “Lost and Love” could ably serve as a travelogue of China: glowingly verdant trees, winding roads, fishing shacks, ribbonlike bridges, cafes and grubby city intersections, all shot by Mark Lee Ping Bin, the cinematographer who has helped the great director Hou Hsiao-hsien sculpt time in images.
彭三源的电影《失孤》可以成功充当一部中国旅行纪录片：葱翠的树木、蜿蜒的道路、渔民小屋、彩带般的桥梁、小饭馆和污秽的城乡结合部……本片摄影师李屏宾曾与大导演侯孝贤合作，把时光凝聚为画面。

But this is unhappy sightseeing: Ms. Peng’s film centers on a man on a decade-plus search for his lost son, a victim of the scourge of child trafficking in China. What results is ample fodder for a stop-and-go tear-jerker featuring the Hong Kong star Andy Lau, suitably rumpled like a piece of distressed clothing, as the poor, bereft father, Lei.
但这是一次不幸的旅行：彭三源的这部电影讲述一个中国男人花十几年的时间寻找被拐卖的儿子。这个题材足够拍出一部时时催人泪下的影片，香港影星刘德华饰演片中痛失亲人、贫穷的父亲雷泽宽，脸上的皱纹就像一件破旧的衣服，与角色颇为相称。
On a mountain leg of his province-by-province dragnet, Lei is joined by a young mechanic, Zeng (Boran Jing), after repairs on his bike, which flies a flag of his missing child. When the younger, well-coiffed man reveals he was kidnapped as a child, the film begins a potentially poignant drama of two people in need, both clinging to grief.
雷泽宽一个省一个省地搜寻，在走一段山路时，他遇到年轻的修车工曾帅（井柏然饰），曾帅帮他修好了摩托车，也让他想起自己走失的儿子。这个留着时髦发型的年轻人透露，自己也是在小时候被拐卖的，至此影片开始成为一部有可能十分辛酸的剧情片：两个有着同样悲伤的男人需要对方。
Their bond feels awkwardly developed, as typified by a shouting match over the bike and a playful car-washing scene. Ms. Peng, a novelist and screenwriter, keeps lurching into wide shot to show off the landscape (especially the bridges that tap into Zeng’s vague memories of childhood) and cutting away to wispy stories about a baby trafficker and a distraught mother.
他们之间的关系有些笨拙地发展着，最有代表性的一幕就是在摩托车上大声呼喊的戏，以及一幕有趣的洗车场面。彭三源是小说家兼编剧，她持续使用广角镜头来展示风景（特别是曾帅模糊的童年记忆中的那些桥梁），同时切入拐卖婴儿以及发狂的母亲这样一些依稀往事。
“Lost and Love” (“Lost Orphan” in the original Chinese title) confronts serious problems but is too busy reaching for epic sweep and soaring moments to nail the fine detail of main characters’ fraught give-and-take.
《失孤》直面重大问题，但太急于表现宏大的景象和升华的时刻，未能很好捕捉主人公之间令人忧伤的情感纠葛的细节。