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《墨攻 | A Battle of Wits》主題解析（中文）https://www.youtube.com/watch?v=kV9H6Kba56s?
導演： 張之亮（Jacob Cheung）
主演： 劉德華（革離）、安聖基、範冰冰、王誌文、崔始源
背景： 戰國時期，梁城對抗趙國一支15000人的大軍
核心思想源自： 墨子與“墨家學說”（非攻、兼愛、尚賢、守城術）
一、小國如何以“智”勝“暴”：整部電影的主軸
影片呈現一個核心命題：
弱小的梁國如何憑借墨家智慧與倫理，抵擋強國的暴力與征服？
勝利不來自：
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武力
-
血統
-
貴族權勢
而來自：
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墨家嚴密的守城技術與軍事工程學
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墨子“非攻”“兼愛”與“尚賢”的倫理與政治哲學
電影不僅是一部戰爭片，更是一部政治哲學與人性考驗的寓言。
二、革離（劉德華）：理想主義者的孤獨與宿命
革離是墨家學說的化身：
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以保護百姓為最高原則
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反對攻伐、反對殺戮
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運用邏輯、紀律與協作能力抵抗侵略
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不貪權、不求名、不求利
他用一人之力改變梁城的命運，將瀕臨滅絕的國家從絕望中救起。
但影片鋒利地揭示：
理想主義者能戰勝敵國，卻無法戰勝人心。
外敵可防，內心深處的貪婪、恐懼與權力欲卻無法防。
三、政治悲劇的核心：救國者終被棄於國
梁王（王誌文飾）對革離的恐懼與敵意，是全片最深刻的政治批判。
梁王的心理：
-
恐懼革離的人望超過自己
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恐懼“尚賢”動搖世襲製
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恐懼權力會流向真正有才能的人，而非王族
因此：
拯救國家的人，反而成為統治者最先要除掉的對象。
這揭示了中國傳統政治哲學的一個古老命題：
忠臣多死於亂前，賢者常不容於君側。
四、範冰冰（逸悅）：人性溫度與墨家“無私”的矛盾
逸悅象征普通百姓，同時也代表“情感”的力量。
她的出現凸顯：
-
墨家嚴格的情感克製
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理想主義的代價：革離壓抑自我、壓抑人性
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戰爭與哲學之間的縫隙：勝利不等於幸福
逸悅與革離的情感線說明：
當大義壓倒個人情感時，人性會受到撕裂。
理想主義者往往是在人性層麵最孤獨的。
五、電影的倫理核心：墨子“非攻”思想的實踐與困境
墨家最具革命性的價值是：
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反對侵略戰爭
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以最小傷亡實現最大保護
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以倫理規範軍事行動
革離的行動貫徹：
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不主動殺戮
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不濫用暴力
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戰勝敵人後仍寬待俘虜
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拒絕功名
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堅持道德高於權力
這使他成為一種罕見的“哲人武士”（philosopher-warrior）。
六、終極命題：道德能否戰勝權力？
即使革離贏得了戰爭，梁國的內部危機卻將他推向犧牲。
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統治者的不安與猜忌
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民眾的善變
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墨家同道未能如期而至
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理念無法在現實政治中紮根
影片向觀眾發問：
正義的哲學可以贏得一場戰役，卻未必能贏得一個國家的政治結構。
權力是地方性的，道德是普世性的，而普世性常被視為威脅。
七、影片的哲學挽歌：墨家之興衰與革離之悲劇
結局隱含一個曆史事實：
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戰國晚期後，墨家逐漸從曆史舞台淡出。
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墨家強調“兼愛”“非攻”“尚賢”，對統治階層來說過於危險。
-
革離的命運象征整個墨家體係的曆史宿命：
理想主義強大但不受權力歡迎。
影片因此是一曲：
致敬古代中國最理性、最人道卻最孤獨的一支哲學傳統。
主題總結（表格版）
| 核心主題 | 解讀 |
|---|---|
| 智慧勝於暴力 | 弱國依靠墨家思想與技術，不靠血統與權勢生存。 |
| 政治的諷刺：救國者最不被容 | 權力對賢者的恐懼，是革離悲劇的根源。 |
| 理想主義的孤獨 | 理念可以戰勝外敵，卻難以改變人性與權力結構。 |
| 情感與倫理的衝突 | 逸悅的角色讓“無私”顯得更悲劇更真實。 |
| 墨家衰落的隱喻 | 影片反映了墨家在曆史中的宿命：理念太先進，故難存。 |
Theme Analysis of 《墨攻 | A Battle of Wits》
Director: 張之亮 (Jacob Cheung)
Starring: 劉德華（革離）、安聖基、範冰冰、王誌文、崔始源
Setting: Warring States period, ca. 400–300 BCE
Core Reference: 墨子（Mozi）and the Mohist philosophy of defensive strategy, impartial care, anti-aggression.
1. The Central Theme: 小國如何以“智”勝“暴”
The film dramatizes how the weak state Liang (梁城) survives a siege from a 15,000-strong Zhao army, not through power but through:
-
Mohist military science — anti-siege engineering, logical strategy, collective defense.
-
Mozi’s moral doctrine — 非攻 (condemnation of offensive war), 兼愛 (impartial concern), 尚賢 (meritocracy).
The story tests whether philosophy can stand firm when confronted with human fear, ambition, betrayal, and political reality.
2. Ge Li (革離, played by Andy Lau): The Mohist Idealist in a Broken World
Ge Li embodies Mozi’s strict ethical discipline:
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Protect the innocent
-
Reject aggression
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Value life above power
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Use intellect, not slaughter, to achieve victory
His arrival in Liang turns the hopeless city into a disciplined, modernized defense machine.
Yet the more he saves them, the more the film exposes a paradox:
A lone idealist can defend a state from external enemies, but not from internal human nature.
3. The Political Tragedy: “救城者終被城棄”
One of the deepest themes is the political loneliness of the righteous.
King of Liang (王誌文) distrusts Ge Li:
-
He fears the people admire Ge Li more than himself.
-
He fears that merit, not bloodline, will determine loyalty.
-
He fears Mozi’s ideology of “尚賢” threatens the monarchy.
Thus:
The hero who saves the state becomes the threat the ruler most wants to eliminate.
This theme echoes classical Chinese political philosophy:
賢者不容於君，忠臣多死於亂前.
4. Fan Bingbing’s Character: Humanity, Affection, and the Limits of Mohist Detachment
Fan Bingbing plays Yi Yue (逸悅), a civilian woman who admires Ge Li.
Her character highlights:
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Mohist emotional discipline — Ge Li represses attachments to remain impartial.
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The human cost of idealism — Yi Yue shows that victory without compassion is hollow.
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A contrast between “philosophy” and “human life.”
Her arc reveals that love and moral duty often collide in wartime ethics.
5. The Moral Core: 非攻 (Against Aggression)
Mozi’s most radical doctrine is “condemning offensive war.”
The film dramatizes this as a continuous moral test:
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Ge Li refuses to kill unnecessarily.
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He spares defeated soldiers.
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He fights to protect, not to conquer.
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He rejects all offers of political power after the victory.
This positions him as a philosopher-warrior, unlike typical Warring States strategists (Sunzi, Wu Qi).
6. The Larger Question: Can Morality Survive Power?
Even after Liang is saved:
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Internal politics turn paranoid.
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The ruler betrays the one who defended him.
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The people who praised Ge Li soon fear him.
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Ge Li’s Mohist allies never come — signifying the decline of Mohism in later history.
The film argues:
A just philosophy can win battles, but may not win the hearts of rulers.
Power is local; morality is universal — and therefore threatening.
7. The Final Theme: The Decline of Mohism and the Cost of Idealism
The ending reveals the historical truth:
-
Mohism once rivaled Confucianism in influence.
-
But its strict doctrine (impartial love, antiwar, egalitarianism) made it politically inconvenient.
-
Idealists like Ge Li are admired by the people, but distrusted by kings.
-
This is why Mohism ultimately faded, despite its military genius.
The film thus becomes a philosophical elegy:
A tribute to a lost Chinese school of thought grounded in universal compassion and practical engineering.
Summary: The Film’s Core Themes
| Theme | Explanation |
|---|---|
| Non-aggression & moral defense | Weak states can survive through ethical strategy, not brutality. |
| Righteousness vs. political power | Heroes are often sacrificed after they save the state. |
| Idealism vs. human nature | Fear, jealousy, and ambition inevitably challenge philosophical purity. |
| Love vs. duty | Emotional attachment conflicts with Mohist impartiality. |
| The loneliness of integrity | Ge Li’s tragedy reflects the historical decline of Mohism. |
