帶“一些知識分子的端莊，一點點晚來風急的人性化”的《萬象》，對稍具文人意趣的讀者來說并不陌生。它當年曾經(jīng)是張愛玲、傅雷、鄭逸梅、柯靈等許多文化名人會聚的雅舍，新時期《萬象》復刊，自然也少不了舊雨新知，黃裳、舒蕪、王蒙、夏志清、李歐梵、黃仁宇、董橋、林行止、王安憶、巴宇特、愷蒂、毛尖等等，亦都濟濟一堂常在《萬象》雅聚。

少壯派毛尖在《萬象》舞臺上的好戲是電影筆記，她將世界浩如煙海的電影膠卷中值得點評的精彩片斷拉出來點評，揭示星光燦爛背后的黯然，讓人在驚嘆中不知不覺沉迷于作者的文字，于是毛尖文名就這樣從《萬象》生發(fā)開去。

如今在海外的華文讀者群中毛尖很受追捧，香港《信報》《明報月刊》、臺北《聯(lián)合報》《中國時報》、新加坡《聯(lián)合早報》都開設(shè)了她的專欄，她的著作也一本接一本出來：《非常罪 非常美——毛尖電影筆記》《當世界向右的時候》《慢慢微笑——毛尖自選集》《沒有你不行，有你也不行——毛尖文化生活筆記》以及譯作李歐梵教授的《上海摩登——一種新都市文化在中國》等。

出了名的毛尖很忙，因上海事多她不能回寧波，我的訪談就通過網(wǎng)絡(luò)、電話進行。

寧波、上海、香港的人和事

毛尖18歲考入上海華東師范大學后離開寧波，今年36歲。毛尖愛故土，至今她做的很多夢，夢境全是寧波老家的。她說：“那時住在解放橋下的寶記巷，記得我們家的門一直是開著的，吃夜飯的時候，總有鄰居在旁邊看，一邊傳播新聞和里巷流言，一邊拉些家?！，F(xiàn)在回頭想想，那個時代的確是挺文學的，而且當時文學啊、作家啊，這些名詞都是有光芒的。記得小時候說理想，我們許多人都會說長大后做老師當作家什么的?！?/p>

毛尖終于實現(xiàn)了自己的理想。其實，她的作文很早就顯山露水了，在寧波效實中學讀書時毛尖曾擔任學校北斗文學社社長，她還和同學一起辦刊物，取名《野草》，自己畫畫自己刻字，她笑著說：“那個不知天高地厚的年齡實在是有激情啊，我們給當時的一些知名作家寫信寄刊物，包括王安憶、陳村。后來遇到他們，談到少年時候等待他們回信的心情，還能回憶起當年的心跳。不過，也應(yīng)該感謝那個年代，那個不那么功利的年代，我的小學和中學還沒有被升學率這些東西纏住，還有很多空間可以做‘沒用’的夢?！?/p>

如果說寧波是毛尖文學的夢懷，那上海就是毛尖文學的夢鄉(xiāng)了。在隨筆中毛尖經(jīng)常寫上海。她說，上海給我很大的影響，我的青春期在這里度過，在這個城市戀愛、結(jié)婚、生子，我的人生最重要的一些階段都和這個城市有關(guān)。因為愛上海，她也批評上海，常挑剔它的陋習，戲說它的圓滑。在毛尖固有的印象中，上海應(yīng)該是部好看的電影，但現(xiàn)在“越來越令人擔憂其走向了”。

香港是毛尖的一個驛站，毛尖曾到那里讀博深造，雖然只有短短的三年，但無疑是很有意義的，而這種意義是在離開香港以后才逐漸呈現(xiàn)出來的。她回到上海，文化和生活對照系中就多了一個參數(shù)，多了一個“香港格式塔”。她曾在《香港制造》一文中寫道：“香港的時空感的確和其他城市不同。港人追求每一寸每一分的利用率，在香港生活慣了的人，跑到別的城市感覺就像被按了一個‘慢放鍵’?！北M管毛尖自稱在港三年書沒好好讀，電影倒看了不少，但多多少少這個城市的節(jié)拍對她是有促進的。李歐梵著作《上海摩登——一種新都市文化在中國》就是那時翻譯的。李先生上課用的是英文初稿，毛尖一邊聽課一邊譯，這也是沾了港人精打細算時間的習氣呢！

到香港求學更重要的還是拓展了視野。正如她的評論所言“經(jīng)歷久了，觀人論世，自然比鄉(xiāng)原輩通情達理。”

從《射雕》到癡情電影

毛尖癡情電影，小時便不知看了多少電影，連片前加映的科教片都舍不得錯過。她在《光影歲月匆匆過》一文中寫道：“如果誰問我少年時代最難忘的記憶，看《射雕》和《上海灘》的經(jīng)歷可以算。這兩部連續(xù)集全面替代了《青少年修養(yǎng)》，成為我們行動的綱領(lǐng)。一個兒時朋友說，他后來戀愛，心中始終交戰(zhàn)，是應(yīng)找黃蓉還是該覓位馮程程？他說，當年只要在電視上看見翁美玲和趙雅芝，他就魂飛魄散，并真正理解‘顫抖’是什么。還說有一回，《上海灘》看到中途，馮程程教堂結(jié)婚，許文強后來趕到，就在這緊要關(guān)頭他的小腳奶奶慢騰騰打電視機前走過，他便一把上前把奶奶推倒，這事后來讓他爹揍了整整半小時。”

看電影是要破費的，從前毛尖都是老老實實地把一毛二毛一元二元的零錢積攢起來，然后去買一張張電影票。香港念書時毛尖擁有獎學金，看電影條件也好了。她說母?？萍即髮W有最好的電影收藏，我總泡在那里，一天三部的流量，管理員都以為我是放電影的。

毛尖的電影不是白看的，后來終于化成了電影筆記。她開篇就來個《立即做愛》，寫的是大導演斯丹利·庫比利克的最后歲月，發(fā)在《萬象》雜志上。當談到她將電影筆記連續(xù)寫下去的動力時，毛尖說那是因為《萬象》掌柜陸灝先生逼得很緊，當然自己多年的影迷生涯，也有些“色膽包天”，自以為有些見解了，所以一發(fā)而不可收。

對于電影毛尖確實有見解?！斗浅Ｗ?非常美》一文，寫的是雷妮·瑞芬舒丹，這位德意志第三帝國時代才華橫溢的女人，就因為受希特勒之邀，拍了紀錄片《意志的勝利》和《奧林匹亞》而一生受嚴懲，然而這兩部影片藝術(shù)之經(jīng)典又一直讓世人嘆為觀止。美國評論界稱：“這部影片是攝影機的勝利，是銀幕的史詩?！?/p>

毛尖在電影筆記中的一些文章標題，看上去都很觸目驚心：《屁股、帝國大廈和高度孤獨》《立即做愛》《照亮黛德麗的臉！照亮黛德麗的腿！》《對不起，親愛的，我要殺你！》等等。其實看了書后，人們都覺得這些題目十分妥帖?！镀ü?、帝國大廈和高度孤獨》原來是三部影片名的排列，我對毛尖說：“虧你想得出來，不怕把人嚇壞？”據(jù)說毛尖的父親看到《立即做愛》后，吃驚不小，他老人家趕緊把在寧波所看到的這一期《萬象》雜志統(tǒng)統(tǒng)收藏到自己家里去。毛尖笑呵呵道：“一個孩子的寫作和她的成長是一樣的，所有的父母都擔驚受怕，尤其像我這樣不是特別循規(guī)蹈矩的，父母擔的心就更多一些吧?！?/p>

率真的筆墨顯示獨特個性

毛尖個性爽直，筆墨率真。讀她的文章尤其是人物側(cè)記，有時會覺得其出言不遜，稍一回味卻又覺得妥善到位，真是歪打正著。

《不良老年》寫的是出版界大佬、編了幾十年《讀書》雜志的沈昌文先生。她劈頭就這樣唐突他：“第一次見到沈昌文先生吃了一驚，他看上去太不像知識分子，不儒不雅不清高，整個人暖乎乎興沖沖，散發(fā)著我們寧波湯團的熱氣?！崩^而筆鋒一轉(zhuǎn)，恭維道：“武俠小說中的那些不世高手，一出場，常常讓人誤以為是少林寺的燒火僧?！彼鑼憽栋胂蓜⒐犯潘粒骸八鲩T往右，野眼看看，紳心撞撞，地鐵里的后生哥后生女，全然不顧劉公思想準備不夠，摟定青山不放松，劉公一邊感嘆乍乍泄出的地鐵春光，一邊設(shè)計心眼壞壞的情節(jié)：一剎車，香吻旁落?！泵馊绱嗽齑蝿⒔B銘教授為的是啥？“都是因為讀了他的自選集《煙雨平生》，有葷有素，有人有仙，好看得緊。”好家伙，原來她替劉公做了一個廣告。

毛尖敢于“撒野”。她玩笑說，朋友圈里若要問一些尷尬問題，常常是自己傻大姐一般出場，所以，實話實說的她，常會犯點“禁忌”。

今年5月毛尖應(yīng)新加坡華語文化論壇之邀前往演講，有讀者圍攻不同意毛尖的觀點，毛尖說引起爭論是良性效應(yīng)。

寫都市，論電影，未免被貼上小資標簽。曾經(jīng)有時尚雜志給毛尖做專訪，題目就叫《毛尖：小資教母》，這是指她比較擅長寫“聲色犬馬”類文章的緣故。但現(xiàn)在毛尖冒“尖”了，她的文章較多關(guān)注起社會問題。

毛尖任教于華東師范大學對外漢語系，寫文章是業(yè)余的。她說，只是有了孩子以后明顯覺得精力不夠，曾經(jīng)一度一個星期寫七八個專欄，一天寫六七篇也有，不過那比較像青春期寫作，有說不完的廢話，現(xiàn)在不敢了，而且專欄寫久了有自我復制的感覺，這需要特別警惕，但有時也避免不了。

眼下，毛尖除了給香港《信報》《明報月刊》、臺北《聯(lián)合報》《中國時報》、新加坡《聯(lián)合早報》寫專欄外，也為港臺的《亞洲周刊》《香港文學》《印刻文學月刊》《文訊》《字花》和內(nèi)地的《上海一周》《新民周刊》等寫文章。談到創(chuàng)作計劃，她說現(xiàn)在要寫一本新的電影書，手頭還有兩個課題有待完成，一個是關(guān)于英國文學的，一個是關(guān)于上海文化的。

Eminent Writer Keeps a Busy Schedule

By Bao Danhong

As Panorama， a monthly literary review which was first published in the 1940s and made its comeback in 1998， has regained national fame among the Chinese literati and won overseas readership， many of its regular contributors have become well known.

My friend Maojian (her penname)， a film critic， is one of the younger writers whose literary talents have been established through their reviews published in Panorama.

At present， she writes columns for two newspapers in Taiwan， two in Hong Kong and one in Singapore and has four books published.

My interview with her was made possible by Internet instant messaging and telephone， for I am in Ningbo and she is in Shanghai.

Shanghai and Hong Kong

Maojian， a 36-year-old native of Ningbo， left for Shanghai at the age of 18 where she studied at the East China Normal University. She has been in Shanghai ever since. A life away from Ningbo gives her an opportunity to develop and enjoy a sweet nostalgia for the hometown. She has vivid memories of her younger years in Ningbo: her home in a narrow lane， neighbors， small talks and rumors， her playmates' ambitions for a lifelong writing career and literary glories， etc.

Her talent showed in her middle school days. She was the president of a student literary club. She published a student literary magazine named \"Wild Grass\"， wrote letters and sent the magazines to the authors she and her fellow students admired. Her ambition in childhood years has come true. She is a writer.

If Maojian frequently revisits Ningbo in dreams， now Shanghai is the dreamland for her literary career. The thriving metropolis is a frequent subject of her writings. She explains the importance of Shanghai this way: \"Shanghai has exerted a big impact on me. My youth flourished in Shanghai. I fell in love， got married， and gave birth to my baby in Shanghai. Some important phases in my life have had close association with the city. I love Shanghai， criticize its defects and lampoon its street smartness.\" She comments that Shanghai should be a thriller film getting more and more breathtaking as plots unfolds. But she is now seriously concerned with its future.

She spent three years in Hong Kong studying for Ph.D. The three years are now playing an increasingly important role in her life. Back in Shanghai， she views Hong Kong as an additional frame of reference to examine the life in Shanghai. The fast pace of Hong Kong gives her a new way to look at the issue of efficiency. What is more， the three years in Hong Kong gave her golden opportunities to watch movies and opened her to academic studies that broadened her horizons.

Passion for Cinema

Maojian was a film fan even as a young girl. Her education of silver fantasies started with two Hong Kong television hits which were all the rage on the mainland in the 1980s. One was \"The Legend of the Condor Heroes\"， which was adapted from Luis Cha's kongfu novel， and the other was \"Shanghai Bund\". The two fantasies even became guidelines for her and her teenage fellows to develop values.

In order to watch films， the young girl saved every penny of her pocket money. She was so fascinated with films that she even wouldn't miss any short news documentaries and science and educational films before a feature film was screened. In Hong Kong， her scholarship made her life easy and made it possible for her to access the university's large film collection. She watched films at the university library so frequently that some staffers there even mistook her as a projectionist at the library's movie house.

Film Criticism

The films she had watched prepared her for film criticism. Maojian's first review published in Panorama was about the last few years of the British film director Stanley Kubrick. Explaining her writings for the literary review， Maojian said she owes her reviews to Mr. Lu Hao who constantly presses her for contributions. Since she knew she had something to say about films， she has not been able to stop writing about them.

Many of her reviews have attention-grabbing titles that may seem offensive at first sight. But they are not indecent and they are not claptraps. These highly readable reviews offer insights and good-taste good-class criticism. After reading her reviews， one would agree that these seemly alarming titles fit contents perfectly and that the reviews are decent. But her father cannot stop worrying. One day， so freaked by a startling title by his sensation-seeking daughter， the old man rushed out hurriedly and bought all the copies of that issue of Panorama he could find in Ningbo. Maojian later learned her father's response and said she understood her parents' concern.

Maojian is a candid and honest writer. Her essays are sensuous and hilarious， especially those that offer moving and convincing literary sketches of the scholars she knows well.

Now a teacher at the Chinese-as-a-Foreign Language Department of the East China Normal University， she writes in her spare time. In her younger days， she wrote six or seven weekly columns simultaneously and sometimes produced six or seven reviews within a day. Unwilling to be that prolific now， she guards against repeating herself and tries to stay away from nonsense. Moreover， part of her attention has shifted to important social issues. But her schedule as a writer and teacher is still fully loaded. In addition to writing columns for five overseas Chinese-language newspapers， she also writes regularly for some literary magazines in Hong Kong， Taiwan and Shanghai. She is planning to write a book on cinema and has two academic studies to complete.

(Translated by David)