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【HSK5】怎么点评电影?

alicezhang 2016-08-31 1317

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1

穆赫兰道

Mulholland Drive (2001)

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Lynch’s film is so gorgeous and so painful, so mysterious and, in many ways, so recognisable that, whatever theory you ascribe to it, the picture does indeed reflect a reality that moves beyond southern California and parks itself in our brains, tapping into our dreams, deepest fears, inscrutable natures, and erotic desires.

林奇的这部电影华美之极又痛苦之极,神秘诡谲又莫名熟悉,无论你套以何种解释,那些画面都能超越南加州,反观现实,并驻留在我们的脑海里,钻进我们的睡梦之中、恐惧深处,潜入我们无法名状的性情和肉欲中。

– Kim Morgan, Sunset Gun, US

2

花样年华

In the Mood for Love (2000)

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Wong Kar-wai is one of world cinema’s most notorious perfectionists, but he earned every moment of editing-room indecision with In the Mood for Love, the rare movie that draws much of its melancholy power from what it leaves off-screen.

王家卫是世界影坛最臭名昭著的完美主义者,不过他耗在剪辑室里的每一个无法决断的瞬间,在《花样年华》中都值了。这是一部罕见的用留白来积蓄忧郁力量的电影。


We never see the faces of the spouses whose affair pulls two lonely neighbours into their delirious romantic spiral. We never see the sex scene that Wong shot but omitted, all the better to heighten the erotic charge of every swaying hip and every voluptuous swirl of the camera.

我们从未见到那两个出轨的配偶,正是他们的婚外情把两个孤独的邻居卷入一场意乱情迷的浪漫旋涡。我们也从未看到王家卫拍了又剪掉的床戏,这让每一次腰肢的摇曳和撩人的镜头都充满情色张力。


And we never hear the lost, whispered words at the climax, which would be superfluous in any case: never before has a film spoken so fluently in the universal language of loss and desire.

我们也从没听到过高潮部分那些无从知晓的喃喃细语,就算听到了,也是多余,因为从来没有哪部电影能将失落和欲望的普遍主题讲述得如此流畅。

– Justin Chang, Los Angeles Times

3

血色将至

There Will Be Blood (2007)

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From its near-wordless opening scene, Paul Thomas Anderson’s There Will Be Blood feels like something forged, not filmed.

几乎无声的开场使得保罗·托马斯·安德森这部《血色将至》像是锻造出来的,而不是拍出来的。


Daniel Day-Lewis, as turn-of-the-century prospector Daniel Plainview, grunts, spits and scrapes his way into a hole under baked Western earth; he strikes silver, drags his half-broken body to certify his claim, winds up discovering oil.

丹尼尔·戴·刘易斯饰演的矿工丹尼尔·普莱恩惟尤咕哝着、吐着唾沫星子,在炎热的西部地下开采。他找到了银矿,拖着自己半残的身体确认所得,竟意外发现了石油。


The rest of the movie – a sprawling, half-mad testament to greed, industry, moral hypocrisy and ballyhoo at their most elementally American – could be watched with no sound at all and still be perfectly understood.

接下来的电影蔓延伸展,半带疯狂地见证着最具美国特色的贪欲、工业、虚伪和喧嚣。同样可以完全不带声音地看下去,且丝毫不影响理解。

– Ann Hornaday, The Washington Post

4

千与千寻

Spirited Away (2001)

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It’s hard to place any one of Studio Ghibli’s sweet, passionate animated films above the others, but Hayao Miyazaki’s Spirited Away does particularly stand out for its visual sophistication and elaborate themes of determination, courage and good cheer.

从吉卜力工作室诸多的甜美、富于激情的动画电影中选出一部最棒的并不容易,但宫崎骏的《千与千寻》确实以其高度成熟的画面语言、精心阐述的决心、勇气与乐观等主题而显得更加出彩。


Miyazaki’s story of a young girl trying to rescue her parents, feels like a throwback to an earlier age of hand-drawn animation. Made at a point where CGI was taking over animated features in theUS, Spirited Away has a lovingly handmade feel. It’s a traditional fairy tale turned into an exciting narrative of transformation and discovery.

宫崎骏这个关于小女孩努力解救父母的故事就像是带我们回到一个手绘动画的时代。在当时的美国,动画长片已基本上都由电脑绘图,但《千与千寻》却带着可爱的手绘质感。这部电影将传统神话打造为关于转变与发现的激动人心的叙事。

– Tasha Robinson, The Verge, US

5

少年时代

Boyhood (2014)

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This 21st Century masterpiece took most of the 21st Century to make. For more than a decade, Richard Linklater spent a few weeks each year chronicling the life of Mason.

这部21世纪的杰作耗费了这个世纪的很长一段时间来制作。12年来,导演林克莱特每年花几个星期来记录男孩梅森的生活。


Watching the cast, which also includes Ethan Hawke and a remarkable Patricia Arquette, age before our eyes, adds an extra layer of poignancy to every single scene.

我们看着整个剧组,包括伊桑·霍克和出色的帕特丽夏·阿奎特,在眼前慢慢成长、老去,每一帧画面都因此增添了一抹辛酸滋味。


In an era when every aspect of society was accelerating, Linklater slowed down to tell the one of the definitive stories of our time.

在这样一个时代,社会的方方面面都在快节奏发展,而林克莱特却慢下步伐,耐心讲述了一个带有我们这个时代强烈印记的故事。

– Matt Singer, ScreenCrush, US

6

美丽心灵的永恒阳光

Eternal Sunshine of the Spotless Mind (2004)

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The story of a breakup gone wrong, Eternal Sunshine of the Spotless Mind could easily have gone wrong itself. But this wasn't your average whimsical tale of romantic yearning.

这是一个分手分出一堆问题的故事,而电影本身也极有可能出问题。但它绝不是一部普通的浪漫幻想爱情片。


Jim Carrey boldly pushed against type to portray a perennially sad man literally trapped by his grievances and eager to let them unravel.

影片主演金•凯瑞这次跳脱了他一贯无厘头喜剧的风格,饰演了一个长期陷入忧郁和茫然,并努力想逃离这一切的男人。


But the movie belongs just as much to Kate Winslet, whose character's decision to erase her own memories of the ex-couple's time together sets the drama in motion.

这部电影同样属于女主凯特•温丝莱特,她想把与前男友的记忆从脑海中彻底抹去的决定,推动着剧情戏剧性地发展。

– Eric Kohn, Indiewire, US

7

生命之树

The Tree of Life (2011)

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Like a great poem, The Tree of Life opens itself to a thousand interpretations, as director Terrence Malick takes a spiritual and lyrical journey through time, from a dusty 1950s childhood in Texas back to the beginnings of the cosmos itself.

这是一部充满诗意的电影。从1950年代的少年时光到宇宙的起源,导演泰伦斯·马力克带领观众的心灵在时空中优雅地穿梭跳跃。


This strange new pillar in the cathedral of US cinema stars Brad Pitt as an authoritarian father and Jessica Chastain as a tender and deeply religious mother of three sons.

这部电影怪诞却无疑是挺立在美国电影殿堂中的新支柱。布拉德·皮特出演了一位父权至上,拥有三个孩子的父亲,杰西卡·查斯坦饰演了温柔但一丝不苟遵循宗教信条的母亲。


Emmanuel Lubezki’s cinematography is sun-dappled, or oozes images of boiling lava, dinosaurs and exploding planets, all to a soundtrack of Preisner’s Requiem — in this case a requiem to a dead son. The joys and aching losses of parenting become transcendent, even Biblical, in Malick’s hands.

在艾曼努尔·卢贝兹基镜头下的电影语言被日光照耀的斑驳陆离,充斥着滚滚岩浆、恐龙和爆炸的星体,与泽贝纽·普瑞斯纳的安魂曲完美结合,那是为死去的孩子演奏的安魂曲。在马力克的剧本中,这对父母亲的愉悦与悲伤被无限放大,甚至有些《圣经》的风格。

– Kate Muir, The Times, UK

8

一次别离

A Separation (2011)

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If there is a film that makes you take a deep look at yourself in the mirror again and again, this is it. Asghar Farhadi’s searing relationship drama does not make a judgement about its characters. Rather, it pitches the situations so realistically that the viewer ends up sympathising with both protagonists even though they are pitted against each other.

如果说有哪部电影能让你在看完后对着镜子陷入深深思考,那毫无疑问就是它了。阿斯哈·法哈蒂强烈的戏剧冲突没有对任何角色进行完全的褒贬。他将电影中的场景刻画得自然真实,到头来还让观众为了相互折磨的主人公们胸口发闷。

– Utpal Borpujari, Freelance, India


9

老无所依

No Country for Old Men (2007)

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Readers of Cormac McCarthy’s No Country for Old Men put down the novel possessing a distinct image of its villain. The Anton Chigurh on the page became vividly seared into our consciousness. That image, though, is not Javier Bardem in the Coen Brothers’ Oscar-winner for best picture.

读过科马克·麦卡锡的小说《老无所依》的人都会对书中那个反派有一个鲜明印象。书中的冷血杀手安东·齐格已经深深烙进我们的意识中,那并不是科恩兄弟这部奥斯卡获奖影片主演哈维尔·巴登的形象。


Yet Bardem’s film characterisation is so powerful, so splendidly overwhelming in his random application of violence, that he manages to extinguish whatever preceded it in the mind of the audience.

然而,巴登的演绎太有力度,他用随意不经心的暴力表达华丽丽地将我们制服,把观众脑海中先前的印象一抹而光。


Set in West Texas in 1980, No Country for Old Men’s sense of time and place are unparalleled. There’s a hypnotic quality to the movie’s pace, watching characters you can’t help but like make a series of catastrophic decisions that bring each into Chigurh’s universe, a world soaked in blood with a predetermined outcome.

《老无所依》背景是1980年的德州西部。整部电影的节奏带着催眠般的效力,你看着那些你无法不爱的角色做出一系列灾难性的决定,把自己送进杀手齐格的世界,而那是一个用血腥浸染的世界,一切结果都已预知。

– Ben Mankiewicz, Turner Classic Movies, US


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