【电影简介】

怀着好友木月自杀身亡的阴影，渡边高中毕业后进了东京的大学，在没有半个熟人的城市展开新的生活。东京的日子过得很平稳却又仿佛缺失了什么。
这天，渡边偶然与直子重逢。直子是木月的女朋友。只有木月一个朋友的渡边和直子也相熟，以前三个人经常一起玩。同病相怜的渡边和直子越走越近，渡边爱上了有着一双清澈眼眸的直子。在直子二十岁生日那天，两人共度一宵。然而渡边的感情越深，直子所抱有的丧失感越强。最终直子不辞而别住进了京都的疗养院。
渡边在大学里邂逅了绿子，一个宛如初春时节重归大地的小动物的可爱女孩。因为见不到深深思念的直子，渡边开始频繁接触与直子截然不同的绿子。绿子请渡边来家里吃饭，两人自然而然地吻在了一起，那是一个温柔平和却不知何去何从的吻。
不久后，渡边收到了来自直子的信。他前往疗养院探望直子。直子的同屋人玲
子正在用吉他弹奏披头士的《挪威的森林》，这是直子最爱的歌。
“听到这首歌，感觉自己仿佛在密林里迷了路。不知道为什么会这样。只觉我孤单一人、又冷又暗，没人来救我，但是这确确实实是我最喜欢的歌。”
听到《挪威的森林》总会流泪的直子说道：“只要有渡边在就不要紧了”，可她依然无法止住泉涌的泪水。
《挪威的森林》是村上春树的代表作，以第一人称视角讲述一名男子与两名女孩之间的爱情纠葛。这本略带忧伤，整体风格舒缓的爱情小说展现了20岁年轻人对爱情和生活的彷徨，对岁月的感伤，对未来的迷惘。电影由越南导演陈英雄执导，松山健一，菊地凛子担纲主演。其中菊地凛子凭借《通天塔》一片中的聋哑少女大放光彩，这次的表现也非常让人期待。另外这部影片也是本届威尼斯电影节商业味最浓的影片之一。

【音频文本】

Roughly ten years ago in China, Japanese writer and translator Haruki Murakami won popular acclaim when the Chinese translation of his novel Norwegian Wood was released. The Chinese probably knew Murakami better than they did the Beatles, whose song bearing the same name could have been one source of inspiration for the Japanese writer. Ten years later, Murakami's Norwegian Wood is commanding the attention of the Chineseaudience again – a film adaptation of the novel by French director Tran Anh Hung is now appealing to Chinese audiences.

The story takes place in Japan in the 1960s. It depicts the painful journey of a sensitive youth in the struggle to outgrow his insecurities. A few years after the death of his best friend in high school, the protagonist Watanabe develops a unique and intimate relationship with Naoko, the ex-girlfriend of his late best friend. While Watanabe is taking pains to get over his friend's death, he finds himself losing Naoko toan obsession with that death. Meanwhile, Watanabe's encounter with another girl, the outgoing and vivacious Midori, forces him to make a decision between the past and the future.

Those who have read the novel will be able to tell that the film is a perfect incarnation of the original story in film. The film successfully depicts the tribulations of youth, how they strive to come to terms with a number of questions involving their age, desire and death.

Perhaps owing to his Asian ancestry, Tran Anh Hung exhibits a fairly good understanding of the original work. The presentation of this understanding is boosted by the miracle worker and director of photography Mark Lee Ping Bin, his wizardry with the lens and the spectacular settings never fails to recreate the quietambience typical of Murakami stories. What's more, to live up to the author's unique taste in music, a wide range of songs are carefully selected and positioned for moviegoers to feast their ears on. All in all, the film is able to deliver the silent melancholy that haunts the original story.

However, the director goes no further than providing a recreation of the novel. There are no perceptible signs of originality on the part of the director. He obviously hasn't done anything to stray from the novelas to make the film exciting, but allows sufficient time – two hours plus – for the story to develop. Atsome points, it seems Tran Anh Hung has based the film on the premise that all viewers have read the novel, as if the Murakami fans are the only target audience. One can't help but worry: for those who haven't read the story, will they be patient enough to remain seated until the closing credits? Let's just hope the well crafted audio and visual effects can do the trick.

Directors who take on adaptations always face a thorny question: should they be allowed to tamper with theoriginal script? The question can only be answered on a case by case basis. In this case, Tran Anh Hung deserves an EIGHT.

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