《东极岛》：用顶级中国电影工业，致敬不能忘却的历史

摘要：1942年10月，载有1800多名英国战俘的日本运输船“里斯本丸”号行驶到浙江舟山以东海域时，因遭遇鱼雷袭击，不幸沉没。而在沉没的过程中，有10多艘日军舰艇陆续赶到现场，救出了日本军人和乘客，但却堵住了关押战俘的三个船舱的舱门，试图让战俘们随“里斯本丸”号一起

去年，纪录片《里斯本丸号》上映，向世界讲述一段尘封已久的惨痛历史。

1942年10月，载有1800多名英国战俘的日本运输船“里斯本丸”号行驶到浙江舟山以东海域时，因遭遇鱼雷袭击，不幸沉没。而在沉没的过程中，有10多艘日军舰艇陆续赶到现场，救出了日本军人和乘客，但却堵住了关押战俘的三个船舱的舱门，试图让战俘们随“里斯本丸”号一起葬身海底。在这至暗时刻，198名中国渔民挺身而出，冒着生命危险救回了384个战俘。

In October 1942, the Japanese cargo ship Lisbon Maru, carrying more than 1,800 British prisoners of war(POW), was torpedoed off the coast east of Zhoushan, Zhejiang province, and sank. As the vessel went down, over ten Japanese ships arrived one after another — not to save the prisoners, but to rescue Japanese soldiers and passengers. The hatches to the three holds containing the POWs were sealed, as if attempting to entomb them with the ship. At this darkest hour, 198 Chinese fishermen braved the perilous waters to rescue 384 prisoners, risking their own lives.

当去年6月，管虎和费振翔执导的《东极岛》(Dongji Rescue）传出开拍消息时，影迷们颇为期待。这些年，中国电影工业的高歌猛进，为拍摄这种海难场面的大制作夯实了基础。

影片从70天的水下实拍，到顶风迎浪的海上拍摄调度，全新开发一套“海洋”系统。

The film involved 70 days of underwater shooting and complex maritime scheduling against wind and waves, with the development of a brand new system tailored for ocean-set scenes.

《东极岛》的拍摄，是位于扬州的高科技恒温水景棚，占地达9000平方米，目前为亚洲最大规模。剧组辗转5个深度与功能各异的水棚，精心搭建16处水下置景。拍摄前的准备工作更堪称繁复，历经水下摄影机、威亚、动作、逆流器、光线与置景安全等测试，涉及提前走戏、调度测试等多项环节。

这部影片自8月8日上映以来，已斩获票房1亿。

舟山渔民自发营救英军战俘的这段荡气回肠的历史往事，其细枝末节虽已在新闻报道和纪录片中被反复剖析，但那些被时光打碎的历史残片，却在这部影片，以全新的视角被重新拼凑、凝视与沉思。

The stirring tale of Zhoushan fishermen's spontaneous rescue of British POWs has been dissected time and again in news reports and documentaries. Yet, in Dongji Rescue, the fragmented remnants of history are pieced together anew — examined and contemplated through a fresh lens.

每一个角色都有自己的高光时刻。朱一龙与吴磊饰演的海盗后代阿赑、阿荡，演绎了乱世中的手足情深。倪妮塑造的阿花，展现了中国人不屈的血性与骨气。倪大红饰演的吴老大，以生命守护村民的凛然令人动容。而威廉·弗兰克林-米勒刻画的英军战俘，为不连累渔民甘愿再度被俘的抉择，更显悲壮。

Every character has their defining moment. Zhu Yilong and Wu Lei portray pirate descendants A'bi and A'dang, embodying unbreakable fraternal bonds in turbulent times. Ni Ni's portrayal of A'hua captures the unyielding courage and resilience of the Chinese people. Ni Dahong's Mr Wu, who sacrifices his life to protect the villagers, delivers a performance of solemn dignity. Meanwhile, William Franklin-Miller's depiction of a British POW — who willingly surrenders himself again to spare the fishermen — adds a layer of tragic heroism.