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[转载]悼香魂——为伊丽莎白.泰勒辞行

(2011-04-09 14:10:55)
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[转载]悼香魂——为伊丽莎白.泰勒辞行[转载]悼香魂——为伊丽莎白.泰勒辞行

美国著名影星、迈克杰克逊的红颜知己伊丽莎白泰勒逝世,终年79岁。她一生个性张扬,毫不掩饰自己对珠宝的热爱、对个人幸福的追求。

1. I've only slept with men I've been married to. How many women can make that claim?

   我只和我正式结婚了的丈夫睡过觉。有多少女人敢这么宣布?

2. I feel very adventurous. There are so many doors to be opened, and I'm not afraid to look behind them.

   我是一个很有冒险精神的人。有那么多门等着人开启,而我,从不害怕看门背后的东西。

3. Marriage is a great institution.

   婚姻是一所好大学。

4. I have a woman's body and a child's emotions.

   我有一个女人的身体和一颗孩子的心。

5. 我一生爱过七个男人,有过八次婚姻。上帝给了我美貌、声名、成功和财富,所以没有给我幸福。

——伊丽莎白.泰勒

 

悼香魂

——逍遥白鹤,为伊丽莎白.泰勒辞行

 

早春

斜刺里

乍暖还寒的风紧

冷雨纷纷。

季节没有暖透

畏寒的花苞们仍倦缩于泥土的梦枕

寥落旷野酣睡未醒

不见姹紫嫣红。

 

人间忽闻花谢

在不是落花的时分

一个曾经活脱脱的洛神驾云而去

等不及多一季的明媚

等不及再一个春天的降临,

她带走了

好莱坞美轮美奂时代最后的尾声。

 

作别生命里所有的奢华凌乱,

作别生命里所有的鲜花和掌声。

诱惑的明艳

生命的余光

早已被重重病魇湮没。

熙熙攘攘

曾为伊断箭折戟的裙下之臣们

如今踪迹全无。

冰冷的病榻上

相伴惟有

孤单与凄惶

垂老与臃肿。

时间的鞭笞之下

不分美丑

无论贫富,

当死神叩响门环

恐惧和脆弱

让所有的人归于平等。

 

彼岸,

利比亚遍地瓦砾,熊熊战火,

凄惨的日本岛还在余震中抖瑟。

 

伊丽莎白泰勒

这个世界影坛美女中的至美象征

终于咽下

她红唇间最后一缕游丝般的呼吸

无力顾及这个纷乱的世界

径自香消玉殒。

 

她曾经拥有

大理石般皎洁的肌肤

玫瑰红唇

迷人婀娜,

她曾经拥有

飘然美发

倾泻落肩时

犹如山涧奔突的墨色瀑布。

那双独一无二的紫罗兰色眸子啊,

亮过夏夜里最明灿的星辰,

蓦然一瞥

颠倒众生!

年少的她被唤作“玉女”,

年迈的她被尊为“玉婆”,

世间再刻薄的审美

也不能不为她姣好无暇的容颜所折服!

 

美,值得怀念、值得敬畏,

美,不是没有残缺、不是没有落魄,

美,在于她辉煌的银幕形象,

美,在于她终生乐善好施,

美,在于她从不吝惜传递友情。

更因为,颠簸不平的情感苦旅

从没有磨损掉她追逐真爱的勇气,

为爱焚身

无惧作奋而扑火的灯蛾……

 

云遮月,月缺,月仍有圆时,

玉藏于粗砺,仍可瑕不掩瑜透出碧翠玲珑。

 

今夜,云淡风轻

何处飘零

伊丽莎白的香魂?

何处雕栏玉砌

掩藏伊丽莎白的香塚?

 

送你一程,送美一程,

我燃一炳红烛向月光祈求:

愿你在天上青春重塑

容颜美艳如初;

愿你在天上寻到真爱——

两情相悦,长长久久。

 

                   ***********************

Taylor was an outsized presence in a petite frame

一束喷薄欲放的生命之光——伊丽莎白.泰勒

—By CHRISTY LEMIRE, AP Movie Critic Christy Lemire, Ap Movie Critic

—拙译/逍遥白鹤

 

LOS ANGELES – In death, she is being heralded for her great beauty, iconic and legendary persona, tireless humanitarian work, and the compassion and optimism she exuded despite decades of physical ailments.

发自洛杉矶——随着她生命的终结,一个非凡美丽的世间尤物、好莱坞黄金时代的标志之一:伊丽莎白泰勒,结束了她七十九年跌宕起伏的传奇人生。而今,她终生不懈为之投入的人道主义工作告一段落,也终于令她从数十年来多种疾患缠身的挣扎里彻底解脱。

 

But Elizabeth Taylor was, above all else, a performer — a three-time Oscar winner, a radiant child star whose best work as an adult was her most splashy and scenery-chewing. While she may not have been the greatest actress of her generation in terms of pure talent and technique, she had an irresistible screen presence that kept audiences ravished by her films.

伊丽莎白最为显著的成就,首先在于她是一位优秀的电影演员——三次奥斯卡奖获得者,从一颗闪亮的童星到一位散发成熟光彩的明星。即使在她同辈的女演员中,她未见得仅以纯熟的演技取胜,但她不可抗拒的银幕形象魅力四射,令无数热爱她的观众曾为她出演的电影趋之若鹜。

 

The contradictions alone were fascinating: She could seem demure yet seductive, aristocratic yet bawdy. That tiny voice and petite stature seemed at odds with the intimidating femininity that would define her glamorous aura.

多重个性因素的集成构筑了她的特殊魅力:她时而端庄不可近狎,时而充满诱惑的花样;她即可体现高贵傲慢,又能表现豪爽放荡;若非亲身感受,你很难想象那种慑人的光辉和咄咄逼人的气场可以从她那样一个娇小的身体和柔弱的嗓音里迸发而出!

 

When she was young, though — in early, family-friendly films such as "Lassie Come Home" (1943) and especially "National Velvet" (1944) — she possessed a startling and mature beauty for someone her age. Those mesmerizing eyes that luxurious dark hair and flawless skin — they were all there, even back then. It's as if she never had to suffer through an awkward period like the rest of us.

在她早期的家庭题材电影中,例如《少女归家》(1943年出品)和《玉女神驹》(1944年出品)——豆蔻年华的她就已呈现出超越同龄人的早熟和美丽,那魅惑的眼神、如瀑的浓发、光洁平滑的肌肤,如此幸运地集造物者所有偏爱于一身,五官、肢体仿佛被安排得纤毫未差——哪里像我们凡人,总会对自己的长相充满种种缺憾。

 

Under Vincente Minnelli's direction in "Father of the Bride" (1950), she got a rare chance to show off some comic ability as a young woman trying to put on the perfect wedding, even though Spencer Tracy, as her beleaguered father, gets the majority of the big laughs.

在文森特导演的电影 《新娘的父亲》(1950年出品)里,泰勒少有地显现出她诠释喜剧角色的能力,将一个追求完美婚礼的年轻女孩的心理表现得淋漓尽致。以至于多次将扮演她对立面父亲的演员斯宾塞逗得大笑不止。

 

The following year, opposite a blue-collar Montgomery Clift in "A Place in the Sun" (1951), she was gorgeous, sophisticated, a vibrant image of idealized womanhood. When they first meet and she asks flirtatiously, "Do I make you nervous?" as he's trying to play billiards, there's really only one answer.

继年,在另一部风格迥异的反映蓝领阶层的电影 《郎心如铁》(1951年出品)中,泰勒以精湛的演技扮演了一个纤弱妩媚的女人,当她初遇情郎时一句脉脉含情的问话“我是不是有点让你感到不自在了?”,那个正要去打台球的小伙子,对她只能有一种本能的回答。

 

But an evolution was occurring during this time in Taylor's career. The sweetness and freshness of her looks collided with the pain and anger that seethed within many of her characters.

随着她表演生涯的丰盛,她所扮演的角色更加具有深度,在她甜美清新的容貌之下,为角色填充了更多复杂的内心冲突和饱涨的激情。

 

One of her strongest performances came in "Cat on a Hot Tin Roof" (1958), as the fragile and damaged but volatile Maggie. She was all curves, dressed in clingy white, alternately playing and pleading in that breathy Southern drawl. Watching her exchange Tennessee Williams' banter with Paul Newman in his peak made you want to hold your own breath.

将泰勒推向事业巅峰期的是一部叫做《铁皮屋顶上的猫》(1958年出品)的电影,她所扮演的极易受伤害的女性玛吉,性情脆弱、反复无常。影片中的她着一件紧紧裹身的白色裙装,勾络出她全部的性感线条。她以南方特色慵懒扭捏的腔调和当时的大牌男星保罗纽曼在片中调情的段落,其精彩足以令观众屏住呼吸。

 

The next year found her in another Williams adaptation, "Suddenly, Last Summer" (1959), as a young woman in danger after witnessing a tragedy (opposite Clift again). The playwright's work suited her — the tormented characters, the great, gothic theatricality of it all.

后一年,泰勒又出演了电影 夏日痴魂》(1959年出品),剧本改编自著名剧作家田纳西·威廉斯的作品。她扮演了一位悲惨事件的见证人,将人物充满戏剧性的扭曲和纠结展示无遗。

 

"I'm not like anyone, I'm me," she announces in a moment of defiant confidence in "BUtterfield 8" (1960). But as Gloria, the sassy, brassy, boozy, trashy, model-call girl, she also famously acknowledges, "I was the slut of all time!" Taylor is over the top in her big, confessional scene with Eddie Fisher, but still riveting to watch, the way she works the highs and lows of it. The performance would earn her the first of her two Academy Awards for best actress.

“我不是任何人的翻版,我就是我,”这段她在电影《青楼艳妓》(1960年出品)中自信而充满挑衅的台词,恰如其分地表达了她坦率的个性。(此片1961年为她赢得了第三十三届奥斯卡最佳女主角的奖项)。 泰勒从不拘泥于某些固定的女性类型,她既可以出神入化地饰演光彩照人的贵妇、单纯可爱的淑女,也可以活灵活现地化身为一个酒鬼或厚颜无耻的荡妇。

 

And then ... there was the 1963 Joseph L. Mankiewicz epic "Cleopatra," which would become infamous not just for its scope (it's the most expensive movie ever made — $44 million — if you adjust for inflation) but for providing the place where Taylor's path scandalously crossed Richard Burton's. They'd go on to marry and divorce twice in real life and co-star in several movies together; this first on-screen pairing, however, was less than auspicious. When Taylor (as Cleopatra) demands that Burton (as Mark Antony) kneel before her, it's a moment that should be fraught with tension. Instead, it's impossible not to laugh out loud. The outlandish makeup and costumes were also a hoot.

1963年,泰勒主演了当时耗资四千四百万(相当于今天的四个亿)的鸿篇巨制电影《埃及妖后》,此片场面浩大,动用人数众多,却遭遇了票房惨败——无异于一场好莱坞名导名演的滑铁卢。不过,在此片中演对手戏的伊丽莎白·泰勒和英国影星理查·波顿于拍摄过程中日久生情,假戏真做。此后,两个人又合演了多部电影,曾两度结婚又离婚,演绎出一段缠绵悱恻的爱情传说。

 

But it was Mike Nichols who would get the best work out of Taylor in "Who's Afraid of Virginia Woolf?" (1966). She and Burton tear each other apart as the boozy and bickering husband and wife George and Martha. And Nichols, making his directing debut in an adaptation of Edward Albee's painfully honest play, gets up close and personal for the carnage. The glamour girl was long gone here, and the performance earned Taylor her second best actress Oscar. (She also received an honorary Academy Award for her humanitarian work in 1993.)

迈克.尼克尔斯导演的电影灵欲春宵》 (1966年出品),内容反映了教授和他的妻子发生了矛盾冲突,妻子设下圈套,几乎毁了一对很有才华的年轻夫妇,并揭示了美国社会、家庭、婚姻关系中存在的问题。通过展现上流社会知识分子阶层的虚伪和丑行,探讨了道德的标准和界限的争议。影片有很浓郁的话剧表演风格,扮演教授妻子的伊丽莎白泰勒此时的演技更臻成熟。此片为她赢得了第二尊奥斯卡小金人——最佳女主角奖。(1993年她又荣获了学院奖为她颁发的人道主义工作者终身成就奖)

 

Screen work was scarce in the 1980s. But even in her last film role — which, sadly enough, was the 1994 live-action version of "The Flintstones" — that big personality was on full display. Her performance as Fred's mother-in-law earned her a Razzie Award nomination for worst supporting actress, but she definitely livens things up. She bursts into a party, all hair and fur and jewels, flashing those famous eyes and calling for a conga line when the situation gets awkward.

1980年代以后,伊丽莎白泰勒逐渐减少了银幕工作。1994年她扮演了最后一个角色——电影《打火石》中男主角弗雷德的丈母娘。虽然她倾情出演,却不幸因为这个角色成为当时一个“RAZZIE ”颁奖礼中最差配角奖的候选人。伊丽莎白泰勒并未因此而沮丧气馁,她光彩照人地参加了那次颁奖仪式,头发和皮毛外衣上缀满了晶亮闪烁的宝石,那双著名的美目熠熠发亮,她还在现场提议来一段康佳舞曲。她就这样高调而诙谐地化解了一次可能出现的尴尬。

 

She was still irresistible, even then.

即使经历了事业和爱情的高低起落,伊丽莎白泰勒的魅力仍然无可阻挡。

 

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