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禁闭岛:恐惧紧贴着低沉的天空,暴风雨就要来了

(2010-04-11 14:49:52)
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Shutter Island 禁闭岛
Horror under lowering skies
with a storm approaching

恐惧紧贴着低沉的天空,暴风雨就要来了

禁闭岛:恐惧紧贴着低沉的天空,暴风雨就要来了

Release Date: 2010 公映:2010

Ebert Rating: ***½     艾伯特评级:3星半

By Roger Ebert Feb 17, 2010 罗杰.艾伯特 2010年2月17日

"Shutter Island" starts working on us with the first musical notes under the Paramount logo's mountain, even before the film starts. They're ominous and doomy. So is the film. This is Martin Scorsese's evocation of the delicious shuddering fear we feel when horror movies are about something and don't release all the tension with action scenes.

甚至在“禁闭岛”开始之前,只看到派拉蒙LOGO中山峰的时候,第一段音符便对我们起作用了。它们预示着灾难。影片也一样。马丁斯科塞斯唤起的颤抖令人愉悦,正如惊悚电影刚刚开始,所有紧张与不安蓄势待发时,我们所感到的恐惧。

In its own way it's a haunted house movie, or make that a haunted castle or fortress. Shutter Island, we're told, is a remote and craggy island off Boston, where a Civil War-era fort has been adapted as a prison for the criminally insane. We approach it by boat through lowering skies, and the feeling is something like the approach to King Kong's island: Looming in gloom from the sea, it fills the visitor with dread. To this island travel U.S. marshal Teddy Daniels (Leonardo DiCaprio) and his partner Chuck Aule (Mark Ruffalo).

这是一部构思独特的鬼屋电影,或者说营造的一座幽灵出没的城堡,一处毛骨悚然的要塞。据说,禁闭岛离波士顿不远,岛上有许多岩石,曾是南北战争时期的要塞,后来改造成为监狱,关押犯了罪的精神病患者。我们乘船向它驶去,天阴沉沉的,感觉像去金刚栖身的岛屿:从海上向前逼近,来访者畏惧不已,阴森可怖让人沮丧。前往小岛的是美国联邦法院执行官泰德.丹尼尔斯(莱昂纳多.迪卡普里奥)和他的搭档查克.奥尔(马克.鲁弗罗)。

It's 1954, and they are assigned to investigate the disappearance of a child murderer (Emily Mortimer). There seems to be no way to leave the island alive. The disappearance of one prisoner might not require the presence of two marshals unfamiliar with the situation, but we never ask that question. Not after the ominous walls of the prison arise. Not after the visitors are shown into the office of the prison medical director, Dr. Cawley, played by Ben Kingsley with that forbidding charm he has mastered.

这是1954年,他们受命调查一桩儿童谋杀犯(艾米莉.莫迪默)失踪案。此行似乎凶多吉少。两名执法官不了解情况,囚犯失踪并不需要他们介入,不过,我们从未产生怀疑。监狱围墙让人不安,他们来到治疗负责人考利博士的办公室,考利博士由本.金斯利扮演,本的表演令人生畏,但很有魅力。

It's clear that Teddy has no idea what he's getting himself into. Teddy -- such an innocuous name in such a gothic setting. Scorsese, working from a novel by Dennis Lehane, seems to be telling a simple enough story here; the woman is missing, and Teddy and Chuck will look for her. But the cold, gray walls clamp in on them, and the offices of Cawley and his colleagues, furnished for the Civil War commanding officers, seem borrowed from a tale by Edgar Allan Poe.


显然,泰德并不知道自己陷入怎样的境地。泰德这个的名字,在哥特式1情节中,显得很普通。斯科塞斯似乎要把丹尼尔斯.利汉的小说打造成足够简单的故事;一个女人失踪了,泰德和查克寻找她。然而,冰冷,灰质的围墙挡在其中,同时,考利和同事的办公室,曾经为内战时期指挥官布置过,似乎借鉴了埃德加·爱伦·坡2的故事。


Scorsese the craftsman chips away at reality piece by piece. Flashbacks suggest Teddy's traumas in the decade since World War II. That war, its prologue and aftermath, supplied the dark undercurrent of classic film noir. The term "post-traumatic shock syndrome" was not then in use, but its symptoms could be seen in men attempting to look confident in their facades of unstyled suits, subdued ties, heavy smoking and fedoras pulled low against the rain. DiCaprio and Ruffalo both affect this look, but DiCaprio makes it seem more like a hopeful disguise.

斯科塞斯以精湛的电影手法,一点一点地剥去了真实的外衣。影片在倒叙中暗示,泰德自二战以来的十年间,所遭受的精神创伤。自始至终,战争元素都在描绘黑色经典电影3中的阴暗面。那个年代,人们并不知道“创伤后休克障碍”,但是,这一征状仍能从他们故作镇静中可见一斑:不得体的套装,暗色调的领带,不停地抽烟,把软呢帽沿拽得很低用来挡雨。迪卡普里奥和鲁弗罗都在装样子,不过,迪卡普里奥似乎对伪装更为看重。


The film's primary effect is on the senses. Everything is brought together into a disturbing foreshadow of dreadful secrets. How did this woman escape from a locked cell in a locked ward in the old fort, its walls thick enough to withstand cannon fire? Why do Cawley and his sinister colleague Dr. Naehring (Max von Sydow, ready to play chess with Death) seem to be concealing something? Why is even such a pleasant person as the deputy warden not quite convincingly friendly? (He's played by John Carroll Lynch, Marge's husband in "Fargo," so you can sense how nice he should be.) Why do the methods in the prison trigger flashbacks to Teddy's memories of helping to liberate a Nazi death camp?

影片挑战了观众的感受。每一件事汇集到一起,预示着一个惊天的秘密,让人惶恐不安。在废弃的要塞,监狱戒备森严,牢房上了锁,厚厚的围墙也坚不可摧,一个女人怎么会逃掉?为什么考利和邪恶的博士(马克斯·冯·西多,已经准备好与死神下棋了)似乎要隐瞒什么?甚至讨人喜欢的人扮演副典狱长,为什么也如此充满敌意?(由约翰·卡洛·林奇扮演,他在“冰风暴”中饰演玛芝的丈夫,你能看到他有多和蔼。)为什么监狱秩序触动了泰德对死亡集中营的回忆?

These kinds of questions are at the heart of film noir. The hero is always flawed. Scorsese showed his actors the great 1947 noir "Out of the Past," whose very title is a noir theme: Characters never arrive at a story without baggage. They have unsettled issues, buried traumas. So, yes, perhaps Teddy isn't simply a clean-cut G-man. But why are the others so strange? Kingsley in particular exudes menace every time he smiles.

这些问题正中黑色影片的要害。主人公总是有性格缺陷。斯科塞斯给演员们看了1947年经典黑色电影“漩涡之外”,片名就很典型,是黑色主题:没有精神负担,就没有主人公的这个故事。他们麻烦不断,心事重重,还要隐瞒伤痛。同样,是的,也许泰德就不是一个形象鲜明、简单的美国联邦调查局官员。可其他人为什么如此奇怪呢?特别是金斯利,每当笑的时候,都流露出威胁的神态。

There are thrilling visuals in "Shutter Island." Another film Scorsese showed his cast was Hitchcock's "Vertigo," and we sense echoes of its hero's fear of heights. There's the possibility that the escaped woman might be lurking in a cave on a cliff, or hiding in a lighthouse. Both involve hazardous terrain to negotiate, above vertiginous falls to waves pounding on the rocks below. A possible hurricane is approaching. Light leaks out of the sky. The wind sounds mournful. It is, as they say, a dark and stormy night. And that's what the movie is about: atmosphere, ominous portents, the erosion of Teddy's confidence and even his identity. It's all done with flawless directorial command. Scorsese has fear to evoke, and he does it with many notes.

“禁闭岛”中有许多扣人心弦的场面。斯科塞斯又给演职员们看了一部影片 – 希区柯克的“迷魂记”,同时,我们感觉到这是对影片主人公患恐高症的效仿。有可能,逃跑的女囚在悬崖下的洞穴藏身,也许躲在灯塔里。两处都是危险地带,需要历险,(尤指因在高或陡处而)令人眩晕的峭壁下,海浪拍打着下面的岩石。龙卷风也许正要袭来。天空只有一丝光亮。海风吹过,让人悲痛欲绝。这是,正如他们所说的,黑暗的、暴风雨的夜晚。并且,这正是电影所要描述:气氛,不祥之兆,泰德遭侵蚀的信心,甚至还有他的身份。这一切在导演的掌控下,显得无懈可击。斯科塞斯唤起了恐惧,对此,他加进了许多暗示。

You may read reviews of "Shutter Island" complaining that the ending blindsides you. The uncertainty it causes prevents the film from feeling perfect on first viewing. I have a feeling it might improve on second. Some may believe it doesn't make sense. Or that, if it does, then the movie leading up to it doesn't. I asked myself: OK, then, how should it end? What would be more satisfactory? Why can't I be one of those critics who informs the director what he should have done instead?

也许,你读了许多关于“禁闭岛”的影评,抱怨结尾太出其不意了。它所引发的不安避免了第一次观看时产生尽善尽美的感觉。我感到,也许在第二次看的时候,能有所不同。有些人可能觉得,(这种结局的设置)没多大意义。或者说,如果有意义的话,那么,电影也把它引向平淡了。我问自己:好吧,它应该怎样结尾呢?会更令人满意呢。为什么我不能像其他影评人一样告诉导演他应该做什么来代替呢?

Oh, I've had moments like that. Every moviegoer does. But not with "Shutter Island." This movie is all of a piece, even the parts that don't appear to fit. There is a human tendency to note carefully what goes before, and draw logical conclusions. But -- what if you can't nail down exactly what went before? What if there were things about Cawley and his peculiar staff that were hidden? What if the movie lacks a reliable narrator? What if its point of view isn't omniscient but fragmented? Where can it all lead? What does it mean? We ask, and Teddy asks, too.

唉,我也有过类似的情况。每个电影迷都会有的。但是,“禁闭岛”却例外。这部电影无论从整体,还是从部分来说,似乎都不在此列。在得出理性判断之前,小心注意发生过的事情,这是人的本性。但是,如果你不能确定之前发生过什么呢?要是影片中,考利和他古怪的同事被抹去,又会怎样呢?如果电影没有一个可靠的叙述者呢?要是这种观点不是无所不知而是支离破碎呢?那会把影片引向何方呢?它有什么意义呢?我们问,同时泰德也在问。

Cast & Credits

Teddy Daniels Leonardo DiCaprio
Chuck Aule Mark Ruffalo
Dr. Cawley Ben Kingsley
Dr. Naehring Max von Sydow
Dolores Michelle Williams
Rachel 1 Emily Mortimer
Rachel 2 Patricia Clarkson
George Jackie Earle Haley
Warden Ted Levine

Paramount Pictures presents a film directed by Martin Scorsese. Written by Laeta Kalogridis, based on the novel by Dennis Lehane. Running time: 138 minutes. Rated R (for disturbing violent content, language and some nudity).

备注:

1.哥特式小说:通常描写神秘冒险故事。

 

特征有,故事常常发生在遥远的年代和荒僻的地方,人物被囚禁在狭窄的空间和鬼魂出没的建筑内,悬疑和爱情交织在一起。惯常的悬疑手段有神秘的继承权、隐秘的身世、丢失的遗嘱、家族的秘密、祖传的诅咒,等等。到最后,悬疑解开,歹徒暴露,男女主人公的爱情障碍扫除。

 

2.埃德加·爱伦·坡:侦探小说鼻祖、科幻小说先驱之一、恐怖小说大师、短篇哥特小说巅峰、象征主义先驱之一,唯美主义者。

 

受到爱伦·坡影响的主要人物有:柯南·道尔等。

 

3.黑色电影:一种阴郁、情绪悲观的影片风格,表现出愤世嫉俗和人性危机.

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