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发表于 2008-4-15 22:21
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你很急的话，就造搬了，呵呵
是谁像Virginia Woolf那样惶恐 STEPHEN HOLDEN 导演
In 'The Hours' Nicole Kidman tunnels like a ferret into the soul of a woman besieged by excruciating bouts of mental illness. As you watch her wrestle with the demon of depression, it is as if its torment has never been shown on the screen before. Directing her desperate, furious stare into the void, her eyes not really focusing, Ms. Kidman, in a performance of astounding bravery, evokes the savage inner war waged by a brilliant mind against a system of faulty wiring that transmits a searing, crazy static into her brain.
影片当中，Nicole Kidman就像雪貂那样深入女性灵魂深处，剖析她们如何为心理疾病所困，痛苦反复。当你在荧幕上看到她与内心的惶恐之魔抗争，仿佛如此的痛楚是你从未在电影中领略过的。绝望而炽烈地凝视空中，眼神没有交点－－这就是Ms. Kidman勇敢的反抗－－由智慧心灵主宰下精神之战，即使这场反抗错误心灵布线所燃起的静电冲击将带给她嫉妒的狂乱和痛楚。
But since that woman is the English writer Virginia Woolf (a prosthetic nose helps Ms. Kidman achieve an uncanny physical resemblance), her struggle is a losing battle. On March 28, 1941, Woolf, hounded by inner voices while in the throes of her fourth breakdown, put a stone in her pocket and drowned herself in the Ouse River near the English country house she shared with her husband, Leonard. And in the opening scene of 'The Hours,' the eloquent, somber screen adaptation of Michael Cunningham's meditation on that suicide (it won the 1998 Pulitzer Prize for fiction), Woolf scrawls an anguished farewell letter to her husband, then hurries into the muddy water like Joan of Arc embracing the fire, accompanied by the churning, ethereal strains of Philip Glass's score.
然而，她扮演的是英国女作家Virginia Woolf（鼻子上补过妆的Nicole看起来满像Virginia的），她的反抗也就注定了失败。1941年3月28日，Woolf终于难以抵挡内心深处某种声音的追逼，在第四次使人崩溃般的极度痛苦来临时怀石于衣袋自沉于Ouse河中。这之前，她和她的丈夫Leonard就住在河畔的一所乡间小屋中。本片伊始，便把Michael Cunningham笔下Woolf的自杀场景，肃穆动容地展现在观众面前。Virginia潦草地手书了一封痛苦的诀别信给Leonard,然后就匆匆自沉于混浊的河水里。伴之Philip Glass的配乐缥缈细腻地萦绕，整颗心都溶在了那氛围里。这场景仿佛圣女贞德无畏地拥抱焚烧她躯体的大火。
The deeply moving film, directed by Stephen Daldry ('Billy Elliot') from a screenplay by David Hare that cuts to the bone, is an amazingly faithful screen adaptation of a novel that would seem an unlikely candidate for a movie. A delicate, layered reflection that skips around through time, 'The Hours,' which opens today in New York, is Mr. Cunningham's homage to Woolf's first great novel, 'Mrs. Dalloway,' published in 1925.
?这部强烈感染你我的影片是由Stephen Daldry(Billy Elliot的导演)导演的。它取材于一部被认为很难以电影的方式去诠释的小说，不过David Hare的剧本确是令人叹为观止地忠实于原著，并恰好抓住了其本质。今天，在纽约所上映的“时时刻刻”还蕴藏了一层细微的长久以来未被人们发掘的深意，这就是Mr. Cunningham对Woolf于1925年发表的她的首部巨作《Mrs. Dalloway》崇高的敬意。
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?Woolf's novel details a day in the life of Clarissa Dalloway, a conventional upper-class Englishwoman giving a party, who experiences nagging intimations of the more adventurous life she might have led. On the same day, Septimus Warren Smith, a character in the novel whom she never meets but with whom she shares some of the same observations, commits suicide. Five years ago 'Mrs. Dalloway' was adapted into a shallow, unsatisfying film starring Vanessa Redgrave. In accomplishing the virtually impossible feat of bringing to the screen that novel's introspective essence, the director and the screenwriter of 'The Hours' have righted a wrong, albeit by proxy, through Mr. Cunningham's intuitive channeling.
?Woolf的小说细述了Clarissa Dalloway--一个典型的英国上层妇女--一天的生活。Dalloway正在举办一个宴会，唠唠叨叨地向人讲述或许她确实经历过的刺激事。而就在这一天小说中一个和Dalloway并不认识的人物Septimus Warren Smith杀了。五年前，小说《Mrs. Dalloway》被拍成电影，由Vanessa Redgrave主演。影片较为肤浅，难以令人满意。事实上，要在荧幕上呈现出小说里内醒自省的本质是很难做到的。然而，为了有这样的效果，本片导演和剧本借助了Mr. Cunningham对原小说《Mrs. Dalloway》直觉上的转述来导引主题表达。
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?A central idea animating 'Mrs. Dalloway' and embodied in its stream-of-consciousness language is that people who never meet, like Clarissa Dalloway and Septimus Warren Smith, are connected by experiencing the same external events. 'The Hours' extends that idea through the decades to celebrate the timelessness of great literature by placing the author, her fictional alter ego and two of her latter-day readers in the same sphere of consciousness.
?Clarissa Dalloway和Septimus Warren Smith并不认识，却经历着相同的周遭事物。这样的手法不仅赋予了小说主题以生命力，也很好地诠释了小说中意识流般的语言。而《时时刻刻》则通过让Woolf本人,她小说中的人物同时也是她的精神密友Septimus Warren Smith，以及她的两位读者处于相同的意识心境来诠释这一主题的，并借此赞美了《Mrs. alloway》这部文学巨作的不朽。
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?Interweaving flashbacks from Woolf's life as she was writing 'Mrs. Dalloway' with scenes from the lives of Laura Brown (Julianne Moore), a Southern California housewife and mother in 1951, and Clarissa Vaughan (Meryl Streep), a New York book editor living in contemporary Greenwich Village, their stories blend into a lofty, mystical theme and variations on Woolf's novel.
?影片中，Woolf小说创作时的生活镜头反复闪回，加之Laura Brown（生活于1951年南加州的家庭主妇和母亲，由Julianne Moore饰演）和Clarissa Vaughan（住在当代纽约格林威治社区的图书编辑，由Meryl Streep饰演）生活场景的穿插。这些处理手法使得她们的故事比之Woolf的原著更富神秘深刻的内涵色彩。
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?Laura, who is depressed and agitated, is reading 'Mrs. Dalloway' on the same day she is baking a birthday cake for her husband, Dan (John C. Reilly), a blunt, hale World War II veteran who dotes on her and barely notices her anguish. Observing and absorbing Laura's distress is her timid, fiercely clinging young son, Richie (Jack Rovello). While baking the cake, Laura receives a surprise visit from a brightly perky neighbor, Kitty (Toni Collette), who is about to go into the hospital to be tested for cancer and admits she's frightened.
?Laura是一个忧郁而消沉的女子。那天她正在为她的丈夫Dan（John C. Reilly饰演）作生日蛋糕，一边又在读小说《Mrs. Dalloway》。Dan是名二战退伍老兵，为人直率且老当益壮。他很宠爱自己的妻子，但却少有留意到她精神上的痛苦。Richie(由Jack Rovello扮演)是Laura可爱的儿子，年纪尚小，整天缠着妈妈。只有他注意到了母亲的悲伤，并被这种情绪深深地感染。做蛋糕的时候，laura的邻居--活泼的 Kitty（由Toni Collette扮演）意外来访。她告诉Laura自己就要去医院接受癌症检查，并坦言内心的恐惧。
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?Meanwhile, in New York, Clarissa Vaughan (named after Woolf's character) is planning a celebration for her closest friend, Richard Brown (Ed Harris), a poet in the advanced stages of AIDS who has just won a prestigious award. As the movie folds these stories together, it emerges that Richard is Laura's grown-up son. And in a huge risk that pays off, the movie gives the dying poet a sudden flashback to the scared little boy he was (and fundamentally still is). Another bold surreal touch imagines Laura lying on a bed that's suddenly engulfed by the river that took Woolf.
?同时，在纽约，Clarissa Vaughan(和Woolf小说中的人物同名)正筹划为他的好友Richard Brown（由Ed Harris扮演）举办一个庆功会。Richard是位濒临艾滋病晚期的诗人，并刚刚赢得一个著名奖项。当这三个故事最终串起来的时候，你会发现原来Richard是Laura成年后的儿子。影片中有一处运用的很成功的冒险尝试--当拍摄奄奄一息的诗人的时候，镜头突然闪回到那个惊恐的小男孩（如今诗人仍旧生活在恐惧中）。另一处大胆的超现实手法是想象Laura躺在床上，突然被夺走Woolf生命的河水吞没。
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?Clarissa and Richard were lovers when they were younger, but both eventually chose partners of the same sex. Richard had a long affair with Louis Waters (Jeff Daniels), now a college professor in San Francisco, who shows up for the celebration of the award. Clarissa has lived for years with a woman, Sally Lester (Allison Janney), and has a college-age daughter, Julia (Claire Danes), from an unknown sperm donor.
?Clarissa和Richard年轻时是恋人，却最终都想选择了同性作人生伴侣。Richard曾和现任大学教授的Louis Waters(由Jeff Daniels扮演)长时间相处而Richard也来参加Richard的庆功会。Clarissa则和另一位女性Sally Lester(由Allison Janney扮演)厮守数年，并通过精子捐献养育了女儿Julia(由Claire Danes扮演)。Julia现正在上大学。
Woolf herself was attracted to both men and women, and although her literary alter ego, Mrs. Dalloway, is married to a member of Parliament, on the day of the party her mind darts back to a kiss exchanged with another woman years earlier. In the movie, Woolf's sister Vanessa Bell (Miranda Richardson) visits from London with her family. And Woolf, in a moment of panic, plants a desperate, passionate kiss on Vanessa's mouth. In California, Laura Brown spontaneously reaches out to Kitty with a lingering kiss that is more than polite.
Wollf则是双性恋者。她小说中的密友Dalloway嫁给了一名国会议员。就在宴会那天，Dalloway突然想起了曾经与另一位女性的互吻。而Woolf的姐姐Vanessa Bell (由Miranda Richardson扮演)及其家人从伦敦来访。出于某一瞬间的恐惧，Woolf绝望而强烈地吻了Vanessa。在加州，Laura也情不自禁地给了Kitty一个留恋的长吻，而这已经不是仅仅出于礼仪了。
Some of the movie's most wrenching moments show Leonard Woolf (Stephen Dillane) frantically reaching out to his troubled wife and being rebuffed. It's not that the Woolfs don't love each other, but the agony Virginia is enduring can't be touched by love or reason. These moments bring home the film's deepest and most intimidating insight about the essential aloneness of the individual and its feminist corollary: that appearances to the contrary, women in their deepest selves do not and should not define themselves in terms of men.
影片中有一些很使人伤感的片断。Leonard疯狂地跑出家门寻找处于困境的妻子，确遭到Virginia的冷遇。并不是Woolf夫妇彼此不爱对方，而是Virginia所正在承受的痛苦即使有爱亦无可解救，也很难以理性去理解。这些片断让观众感触到影片对“人本孤独”这一主题最深层也是最震撼的挖掘和“女性在最本质上不应以男人来定义自身”这样的女权推论。
Clarissa is the most grounded character, probably because she has been the truest to her instincts and has the most love to give back. When Richard, whose good days have dwindled to none, accuses Clarissa (whom he calls Mrs. Dalloway) of forcing him to stay alive, it's obviously true. Mr. Harris, more than matching his tumultuous performance in ''Pollock,'' creates a wrenching, incendiary portrait of a man ravaged with illness, who thrashes with rage and bitterness, his emotions burning out of control like a torched oil slick on a contaminated lake.
Clarissa是最接近平民的的角色，这或许是因为她最忠实于自己的本性，也最关怀他人。当Richard那些美好的时光逐渐远逝而尽，他指责Clarissa硬要他继续存活下去。这一切都是如此的真实。Mr Harris塑造了一位极富感染力深陷痛楚的角色。诗人病魔缠身，一点点地被吞噬。暴怒，痛苦抽打着他，内心的情感猛烈地燃烧最终难以自制，犹如污染的湖面上漂浮的一层油膜。本片中Harris的演出远胜于他在''Pollock''一片里喧闹的表演。
Ms. Streep's frayed, moody Clarissa is no hovering, haloed angel of mercy but an intensely self-aware, vulnerable urbanite worn down by her efforts to do the right thing. Through Ms. Streep's performance, the movie captures, like no film I can remember, the immediate, continuing interaction of experience and memory in the instinctive human drive to infuse the moment with meaning and value.
Ms. Streep所饰演的Clarissa是个有些烦躁有些情绪化的都市人。但她并不是头上有光环，只会走来走去博人同情的天使。她很有自我意识，有些脆弱，愿以自己的努力去帮助别人，去做一些正确的事情，但总是不顺心，结果弄得身心疲惫。通过Streep的表演，影片捕捉住了这样一层含义，即人们本能地希望每时每刻的生命都有意义有价值的意愿以及因这种意愿而生成的经历和记忆之间直接不间断的冲突。在我记忆中，还没有哪部影片就这一点做过挖掘。
Ms. Moore's Laura, although a reader, lacks Clarissa's or Richard's literary armament and is the more vulnerable for it. A wistful, frightened creature embarrassed by her own china-doll fragility, she longs to escape a life that feels all wrong but has little notion of where to go or what to do. Ms. Moore brings to the role the same luminous demureness that colors her portrayal of an innocent, well-meaning Connecticut housewife whose world shatters in ''Far From Heaven.''
Ms. Moore饰演Laura是小说的读者，不像Clarissa和Richard有个能写的好笔头，却更不具防御力。她只是个惆怅惊恐的弱女子，深深地因内心瓷器娃娃般的脆弱而痛苦。面对全部出错，找不到出路，不知该做些什么的生活，Laura只想逃。Moore刻画出了一位纯真，善良而孤独的家庭主妇。她的世界因“远离天堂”而完全破碎。Moore的表演更给这个角色平添了一份娴静与庄重，犹如黑暗里的夜明珠闪闪发亮。
All these brooding, complicated people are prototypical Woolfian figures blessed and afflicted with the same feverish imaginations, perplexing ambiguities and brightly etched memories of their younger, more hopeful selves. Yet for all its sexual complexity, ''The Hours'' is not really about sex. The film, like the novel, is a sustained meditation on connection, human possibility, the elusive dream of happiness and the sometimes seductive call of death.
所有这些想得太多太复杂的人们都是Woolf式角色的雏形。疯狂的想象，令人困惑的处世模糊，以及记忆里蚀刻着的年轻满怀希望的自己,深深萦绕在他们脑海，折磨着他们。而对于性方面的混乱，并不是本片真正关注的。和小说一样，影片一直在思索探寻人与人之间的关系，人身上将要发生的事情，对于难以抓牢的幸福的渴望和时不时来自死亡的诱惑。
Although suicide eventually tempts three of the film's characters, ''The Hours'' is not an unduly morbid film. Clear eyed and austerely balanced would be a more accurate description, along with magnificently written and acted. Mr. Glass's surging minimalist score, with its air of cosmic abstraction, serves as ideal connective tissue for a film that breaks down temporal barriers.
虽然最终影片中有三个角色自杀了，但本片还谈不上极端，病态。清晰的主题和严肃而恰当的表达是较为准确的评价。剧本改编和演员都很棒。Mr. Glass简洁的配乐蕴藏着汹涌的情感，营造出一种极度抽象的氛围，犹如一层薄纱，将这部超凡脱俗的影片完美的串了起来。
Appropriately it is Woolf who has the definitive final word on the questions lurking in the backs of the minds of the film's characters with their flickering life forces.
很自然地，对于影片中那些生命之火闪烁摇曳的人物心中潜藏的疑云，Woolf最终得出了确凿的结论。
Leonard Woolf, querying his wife about her decision to kill off a character in ''Mrs. Dalloway,'' asks her why.
She answers carefully, ''Someone has to die that the rest of us should value life more.''
当Leonard向妻子问起为什么她决定让小说里的某个角色死去。
Virginian深思熟虑地回答说“有人死去，活着的人才会更加珍惜生命” |
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