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在任何一年里,如果你看过的电影足够多 — 出于习惯、狂热或责任 — 你都会开始注意到一些模式与类聚。到了12月,从这一数据产生出的诱惑将会达到近乎无法抗拒的地步,将巧合变成趋势,再将趋势变成世界性的历史重大事件。专题、随感、周复一周的电影样片和图片,必须得总结出点什么东西来,是吧?否则的话,何必自取烦恼呢?
IN any given year, if you see enough movies — out of habit, ardor or obligation — you will start to notice patterns and clusters. By December the temptation will be nearly overwhelming to generalize from this data, to turn coincidences into trends and trends into matters of world-historical significance. The ad hoc, arbitrary, week-in-week-out sampling of stories and pictures must add up to something, right? Otherwise why bother?
One reason you do bother, of course, is precisely to find experiences that defy expectations and break patterns: movies that challenge your assumptions or alter your habits of perception. How often does that happen? Just enough. (At the end of this article you’ll find 30 examples — 10 best and 20 runners-up — selected from more than 600 movies reviewed in The New York Times in 2010.)
The ritual of year-end list making is a way of sifting through scattered, memorable moments and forcing them briefly into focus. A handful of movies from 2010 will still be interesting in the future, in which case the date of their first appearance will be little more than the answer to a trivia question. Was it a good year for movies? A great year? Hard to say, and finally, who cares? The movies — good and bad alike — shed a blinking, blurry light on the times, illuminating our collective fears, fantasies and failures of will. An attempt at synthesis can only fail, so in lieu of a comprehensive theory of Cinema Now, I offer a handful of postulates on the Cinematic State of Things. I trust they will stimulate sober discussion and principled argument as well as outright ridicule.
1. 我们都是莱昂纳多·迪卡普里奥臆想中的虚构人物。 或者是娜塔莉·波特曼的,要不就是马克·扎克伯格的、班克斯(Banksy)的。存在与表象、理性与疯狂、真实与虚构的界限一直是模糊不清的,但今年尤其是梦境、恶作剧与迷局的富饶之年,他们当中许多饰演的角色都与身份认同的根本问题有关。《禁闭岛》中的迪卡普里奥先生究竟是一位经正当任命的司法官呢,抑或是一位精神病院的居民?《画廊外的天赋》究竟是班克斯精心构造的一部观念艺术的恶作剧,还是有关艺术世界欺诈的揭露?还有就是 《鲶鱼》,我们真正的自我是不是生活在Facebook上?还是说仅仅我们真正的朋友如此?
1. We are all figments of Leonardo DiCaprio’s imagination. Or Natalie Portman’s. Or Mark Zuckerberg’s. Or Banksy’s. The lines between reality and appearance, reason and madness, truth and fiction have always been blurry, but this was an especially fertile year for dreams, hoaxes and puzzles, many of them playing with fundamental questions of identity. Was Mr. DiCaprio, in “Shutter Island,” a duly appointed federal marshal or loony-bin resident? Awake or asleep in “Inception?” Was“Exit Through the Gift Shop” an elaborate conceptual-art prank by Banksy or an exposé of art-world fraud? And what about “Catfish”? Do our real selves live on Facebook? Or just our real friends?
2. 都是妈妈的错。2010对于女导演和女演员来说都是非常不错的一年,但也是妈妈们糟糕的一年。在母系怪物类电影当中 —— 毫无疑问,在《珍爱》一片中有突破演出的莫妮克(Mo’Nique)当之无愧可获此殊荣 —— 来自《斗士》的梅丽莎·李奥(Melissa Leo)以及《黑天鹅》中的芭芭拉·赫希(Barbara Hershey)则将面临《长发公主(魔发奇缘)》里的卡通女恶棍Gothel妈妈(Mother Gothel,唐娜·墨菲配音)和澳大利亚电影《动物王国》中杰姬·维沃尔(Jacki Weaver)的犯罪教主的强劲挑战。
2. It’s all mom’s fault. 2010 was a very good year for female directors, and for actresses, but also a bad year for mothers. In the maternal monster category — surely Mo’Nique, who broke the mold in “Precious,” should present this award — Melissa Leo from “The Fighter” and Barbara Hershey in “Black Swan” will face stiff competition from the cartoon villainess Mother Gothel (Donna Murphy) in “Tangled” and Jacki Weaver’s criminal matriarch in the Australian film“Animal Kingdom.”
3. 但妈妈也是不幸的。 有太多的母性受苦受难,足以抵消这种妖魔化之患。如果没有安妮特·贝宁(Annette Bening)、 凯丽·华盛顿(Kerry Washington)以及娜奥米·沃茨(Naomi Watts)在这出有关期盼与失去的错综复杂的情节剧中的倾情演出,罗德里格·加西亚的《母与子》 将一无是处。但若论起痛苦之深,无人能与歌剧式电影《我是爱》中的 蒂尔达·斯文顿(Tilda Swinton)相比,或若论起哀婉动人的程度,则批判性的《情不自禁爱上你(Applause)》中的帕普丽卡·斯汀(Paprika Steen)无人能及。
3. But mom is miserable. There was plenty of maternal suffering to counteract such demonization. Rodrigo García’s “Mother and Child” was about nothing else, with Annette Bening, Kerry Washington and Naomi Watts acting out a braided melodrama of longing and loss. But no one suffered as grandly as Tilda Swinton in the operatic “I Am Love,” or as pathetically as Paprika Steen in the unsparing “Applause.”
4. 还好,孩子们都很好。 尤其是女孩。这是女孩和姑娘们的年份,勇敢、坚韧、喜欢冒险,有时候还有点鲁莽,包括《魔发奇缘》中无畏的长发公主,她还是一位相当出色的歌手(感谢曼迪·摩尔(Mandy Moore)的献声以及艾伦·孟肯(Alan Menken)的谱曲),还有范宁(Fanning)姐妹:弗洛莉亚·塞吉斯蒙迪(Floria Sigismondi)被低估的《逃亡乐队》中的达科塔(Dakota),以及索菲亚·科波拉(Sofia Coppola)明眸善睐、令人难以忘怀的《在某处》中的艾丽(Elle)。 更不消说詹妮弗·劳伦斯(Jennifer Lawrence)在《冬天的骨头》里那大无畏的欧扎克(Ozark)少年,海莉·斯坦菲尔德(Hailee Steinfeld)在《大地惊雷》中扮演的那个昔日西部勇敢的复仇者,还有科洛·莫瑞兹(Chloë Grace Moretz)在《生人勿进(Let Me In)》中扮演的孤独的吸血鬼。也许她们当中最勇敢的一个当属闷闷不乐、一根接着一根不停地抽烟的思帕·萨兰德(Lisbeth Salander),由劳米·拉佩斯(Noomi Rapace)饰演(由斯泰格·拉尔森(Stieg Larsson)最畅销书改编的瑞典电影)。
4. Still, the kids are all right. The daughters in particular. It was a year of brave, tough, adventurous and sometimes reckless girls and young women, including the fearless Rapunzel in “Tangled,” who was also a pretty good singer (thanks to the voice of Mandy Moore and the songs of Alan Menken), and both Fanning sisters: Dakota in Floria Sigismondi’s underrated “Runaways,” and Elle in Sofia Coppola’s haunting, clear-sighted “Somewhere.” Not to mention Jennifer Lawrence’s fearless Ozark teenager in “Winter’s Bone,” Hailee Steinfeld’s plucky Old West avenger in “True Grit” and Chloë Grace Moretz’s lonely vampire in “Let Me In.” Perhaps the bravest of all was the sullen, chain-smoking Lisbeth Salander, incarnated (in the Swedish film versions of Stieg Larsson’s best sellers) by Noomi Rapace.
5. 还有,孩子们已长大成人。 不仅仅是《哈里·波特》。 是的,司空见惯、沉湎于男孩发育迟滞的老套情节仍在继续上演,一如既往的漫画人物嫌犯 (亚当·桑德勒(Adam Sandler)、威尔·法瑞尔(Will Ferrell)、扎克·加利费安纳基斯(Zach Galifianakis))出现在稀松平常的幼稚喜剧上(其中一部就叫做《长大成人》)。但至少有两部影片 — 《在某处》以及 《爱上草食男(Greenberg)》 — 对于其不成熟的男主人公采取了强硬的爱情态度,为其被耽搁的成熟以及延长的青春期付出了感情上的代价(可以说《社交网络》一片亦是如此)。而将孩子送去大学的经历,这个在过去几乎难以成为电影的常见主题的桥段,似乎已经成为了一块试金石。要不起码来一部跨流派潮流的官方三部曲电影,感谢 《玩具总动员3》、 《孩子们都很好》,还有《长大成人》:一部卡通片、一部喜剧片,还有一部纪录片(与此同时,反映年轻人大学与毕业后飘忽不定、充满矛盾的生活的点点滴滴都记载进了《暴烈女孩》 以及《微型家具》中)。
5. And the kids grow up. Not just Harry Potter. Yes, the general wallowing in male arrested development continued, with the usual comic suspects (Adam Sandler, Will Ferrell, Zach Galifianakis) appearing in the usual puerile comedies (one of them called“Grown Ups”). But at least two films — “Somewhere” and “Greenberg” — took a tough-love attitude toward their immature male protagonists, reckoning the emotional costs of delayed maturity and extended adolescence. (The same might be said of “The Social Network.”) And the experience of sending a child off to college, hardly a common theme in movies before now, seems to have become a touchstone. Or at least an official three-film, cross-genre trend, thanks to “Toy Story 3,” “The Kids Are All Right” and “The Kids Grow Up”: a cartoon, a comedy and a documentary. (Meanwhile the drift and ambivalence of the mid- and post-collegiate young was minutely captured in “The Exploding Girl” and “Tiny Furniture.”)
6. 超级英雄歇歇吧。是,我们有 《钢铁侠2》,但是就算是这一部,也已从过去10年间统治了大部分银幕的那些怒目而视、自命不凡的动作寓言中抽身出来,喘上一口气。在某些领域,正邪之争愈演愈烈,但是大多数都呈现出自觉、自我戏拟的形式。在类似奇怪的儿童动画喜剧《卑鄙的我》和《超级大坏蛋(Megamind)》中,英雄和恶棍都是具有自我意识的角色演员,而且恶棍实际上都很棒,相对于其偶露峥嵘的宽下巴复仇者形象要来得有趣得多。这可能反映出旧风格气数已尽(尽管另一轮的超级英雄大片已然浮出水面),或者是成为衡量现实世界玩世不恭态度的一种尺度。今年调查型纪录片的蔓延(《监守自盗》、《9号客人》、《杰克老大和美国金钱》)表明,腐败和犯罪事实上已经超出了正义力所能及的范围。
6. Superheroes take a break. Yes, there was “Iron Man 2,” but even that offered a respite from the glowering, pretentious action allegories that have dominated screens for most of the past decade. The battle between good and evil rages on in some quarters, but mostly in self-conscious, self-parodic form. In the strangely similar animated kiddie comedies “Despicable Me” and “Megamind” the heroes and villains are self-conscious role players, and the villains are actually nice as well as more interesting than their occasional square-jawed nemeses. This may reflect genre exhaustion (though another round of superhero blockbusters is already on the horizon), or a measure of real-world cynicism. The investigative documentaries that proliferated this year ("Inside Job," “Client 9,” “Casino Jack and “The United States of Money”) suggest that corruption and criminality exist virtually beyond the reach of justice.
7. 布什时代尚未终结。 《绿区》、 《公平游戏(Fair Game)》、《政客杰克》(纪录片版和凯文·斯派西(Kevin Spacey)的复出之作 )、《监守自盗》、《9号客人》、 《影子写手》。这堆烂摊子有太多的事情有待解决。
7. The Bush era is not over. “Green Zone,” “Fair Game,” “Casino Jack” (both the documentary version and the Kevin Spacey comeback vehicle), “Inside Job,” “Client 9,” “The Ghost Writer.” So many scores left to settle.
8. 但是上世纪九十年代、或者说八十年代、或者说那些比我们现在所处的年代更好的时代难道就不能回归吗? 《爱情与灵药》、《爱上草食男》、 《热澡盆时光机》、 《逃亡乐队》、 《嚎嚣(Howl)》,还有任何你叫得出名字的音乐纪录片。
8. But can’t the ’90s come back, or the ’80s, or some era more appealing than the one we’re in? “Love and Other Drugs,” “Greenberg,” “Hot Tub Time Machine,” “The Runaways,” “Howl,” any music documentary you can name.
9. 只有伟大的导演能制作得出伟大的电影,但是一名好演员能让一部糟糕的或者是平庸的或者是不那么伟大的电影更加出彩。 比如说:《暴风雨》中的海伦·米伦(Helen Mirren),《超危险特工(RED)》中的米伦(Mirren)女士,《巴尼的版本》中的保罗·吉亚马提(Paul Giamatti)先生 ,《政客杰克》中的斯派西(Spacey)先生,《爱情与灵药》中的 安妮·海瑟薇(Anne Hathaway)以及杰克·吉伦希尔(Jake Gyllenhaal),《美错(Biutiful)》中的 贾维尔·巴登(Javier Bardem),《大地惊雷》里面的所有人,《给朱丽叶的信》中的凡妮莎·蕾格列芙(Vanessa Redgrave),在自己出演的任何影片中的连姆·尼森(Liam Neeson),《早间主播(Morning Glory)》中的 瑞秋·麦克亚当斯(Rachel McAdams) ,《夜晚吞噬了我们》中的 安东尼·马奇(Anthony Mackie)。
9. Only a great director can make a great movie, but a good actor can make a bad or mediocre or not-quite-great movie much better. For instance: Helen Mirren in “The Tempest,” Ms. Mirren in “RED,” Paul Giamatti in “Barney’s Version,” Mr. Spacey in “Casino Jack,” Anne Hathaway and Jake Gyllenhaal in “Love and Other Drugs,” Javier Bardem in “Biutiful,” everyone in “True Grit,” Vanessa Redgrave in “Letters to Juliet,” Liam Neeson in anything he was in, Rachel McAdams in “Morning Glory,”Anthony Mackie in “Night Catches Us.”
10. 讨论电影往往比电影本身更有趣。 读一读有关《盗梦空间》的那些慷慨激昂、极客化的争执要比耐住性子再看一遍该片更有乐趣。早期有关《社交网络》的精确性乃至于其是否无关紧要的争论都无关紧要了,这些都得让位于有关Facebook、企业家精神、友谊、商业、精英统治,以及常青藤联盟的一系列评论、短评与辩论文章,对于当代生活来说,与阿伦·索尔金(Aaron Sorkin)伶牙俐齿的剧本或者大卫·芬奇(David Fincher)的优雅气氛相比,这些文章要更为有骨有肉、更具相关性。不做思考,控制感情,戴维斯·古根海姆(Davis Guggenheim)的纪录片《等待超人》 虽仍一如既往,但其关注重点已经放在极富争议的美国教育所面临的问题上了。
10. The discussion of movies is frequently more interesting than the movies themselves. It was more fun to read the impassioned, geeky arguments about“Inception” than to endure a second viewing of that film. Early arguments about the accuracy of “The Social Network” and whether that even mattered gave way to a series of reviews, essays and debates about Facebook, digital entrepreneurship, friendship, business, meritocracy and the Ivy League far richer and more relevant to contemporary life thanAaron Sorkin’s glib script or David Fincher’s elegant atmospherics. And as intellectually lazy and emotionally manipulative as it was, Davis Guggenheim’s “Waiting for Superman” nonetheless focused serious polemical attention on the problems facing American education.
The 10 Best Movies of 2010
1. 《监守自盗》 (查尔斯·弗格森(Charles Ferguson))一部将资本主义金融危机当做一个伟大的犯罪故事来讲的电影。
1. INSIDE JOB (Charles Ferguson) The crisis of finance capitalism as a great crime story.
2. 《玩具总动员3》 (李·昂克里奇) 一部将消费资本主义胜利当做一场史诗爱情故事来讲的电影。
2. TOY STORY 3 (Lee Unkrich) The triumph of consumer capitalism as an epic love story.
3. 《卡洛斯》 (奥利维耶·阿萨耶斯(Olivier Assayas)) 把全球革命的失败当做闹剧、情节剧、色情惊悚片以及音乐录影带来演的电源。
3. CARLOS (Olivier Assayas) The failure of global revolution as farce, melodrama, erotic thriller and music video.
4. 《在某处》 (索菲亚·科波拉(Sofia Coppola)) 有关声誉、孤独以及两代人需求的一首古怪、完美的诗篇。
4. SOMEWHERE (Sofia Coppola) An eccentric, perfect poem about fame, loneliness and cross-generational need.
5. 《孩子们都很好》 (丽莎·查罗登科(Lisa Cholodenko))有关爱、背叛以及两代人困惑的一出古怪、完美的喜剧。
5. THE KIDS ARE ALL RIGHT (Lisa Cholodenko) An eccentric, perfect comedy about love, betrayal and cross-generational confusion.
6. 《爱上草食男》 (诺亚·鲍姆巴赫(Noah Baumbach)) 有关偏离爱的轴心、逃避背叛以及在两代人困惑中折腾的一部深思熟虑的不完美喜剧。
6. GREENBERG (Noah Baumbach) A deliberately imperfect comedy about an eccentric fleeing from love, running from betrayal and wallowing in cross-generational confusion.
7. 《127小时》 (丹尼·博伊尔(Danny Boyle)) 它带给我们的只有乐趣,直到某人失去一条手臂。然后,奇怪的是,它甚至变得更有趣了。
7. 127 HOURS (Danny Boyle) It’s all fun until someone loses an arm. And then, strangely enough, it’s even more fun.
8. 《归途列车》 (范立欣) 全球资本主义的未来,在中国或别的地方:一出纪录片形式的家庭悲剧,一如阿瑟·米勒(Arthur Miller)的一部剧作般充满愤怒、尊严与悲怆。
8. LAST TRAIN HOME (Lixin Fan) The future of global capitalism, in China and elsewhere: a family tragedy in the form of a documentary, as full of anger, dignity and pathos as a play by Arthur Miller.
9. 《密阳》 (李沧东) 采用戏剧化的犯罪故事形式表述的一起韩国的家庭悲剧。拥有一部伟大小说所具备的那种缜密与扣人心弦。
9. SECRET SUNSHINE (Lee Chang-dong) A family tragedy from South Korea, in the form of a melodramatic crime story. As dense and gripping as a great novel.
10. 《画廊外的天赋》 (班克斯) 以上皆是。以上皆非。包罗万象却又一切皆空,神马都是浮云。 纪录片形式的一场艺术界制作精良的特技表演。反之亦然。
10. EXIT THROUGH THE GIFT SHOP (Banksy) All of the above. None of the above. Everything and nothing. An elaborate art-world stunt in the form of a documentary. Or vice versa.
亚军 《一切都会好起来》、 《又一年(Another Year)》、《黑天鹅》、《搏击健身房》、 《我孩子的父亲》、《斗士》、《未完成的电影》、 《鱼缸》、《四头狮子》、《影子写手》、《嚎嚣(Howl)》、《我是爱》、《生人勿进》(美版)、《请给予》、《孤独的人》、《长发公主》、《微型家具》、《征服》、 《白色物质》 、《冬天的骨头》。
RUNNERS-UP “And Everything Is Going Fine,” “Another Year,” “Black Swan,” “Boxing Gym,” “The Father of My Children,” “The Fighter,” “A Film Unfinished,” “Fish Tank,”“Four Lions,” “The Ghost Writer,” “Howl,” “I Am Love,” “Let Me In,” “Please Give,”“Solitary Man,” “Tangled,” “Tiny Furniture,” “Vincere,; “White Material,” “Winter’s Bone.”
标签:电影 主题
2010-12-23 23:11 编辑:kuaileyingyu