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本帖最后由 小山林卡 于 2018-8-21 11:39 编辑
“JASON BOURNE” AND “LITTLE MEN” The latest chapter of the Bournology, starringMatt Damon, and Ira Sachs’s new film, with Greg Kinnear and Jennifer Ehle. 谍影重重系列最新的一部，由马特·达蒙出演；以及艾拉·萨克斯的新片，由格雷戈·金尼尔和詹妮弗·艾莉担任男女主角。
Matt Damon stars in Paul Greengrass’s latest installment of theBourne saga. 马特·达蒙将在由保罗·格林格拉斯导演的最新一部谍影重重中继续担当英雄伯恩。 ILLUSTRATION BY PAUL ROGERS
The obvious thing to do, should you wish toforget your troubles and just get happy, is to bind your knuckles and enjoy about of illegal fistfighting on the Greek-Albanian border. That is the chosenhobby of Jason Bourne (Matt Damon), and, for someone of his interests, there isno better way to relax. The fight lasts precisely one punch, and itsignals the start of the imaginatively titled “Jason Bourne,” which finds ourman trotting the globe in a bid to discover, once and for all, who he is andwhat he was and which of his passports to use. Will the poor guynever stop? Frankly, since Jason is already on Greek soil, it would be easierif he went looking for a golden fleece. 显而易见， 如果你想要能忘却烦恼开心起来，那就摩拳擦掌去欣赏一场发生在希腊-阿尔巴尼亚边界的真枪实弹的非法斗殴吧。这是杰森伯恩(马特•达蒙饰)特有的爱好。而且，对于像他这一类的人来说，没有什么能比这个更令人放松的了。整个比赛只持续了一拳的时间不多不少，也象征着这部富于想象力的《谍影重重》的开始，我们的主角在这次的影片中四处奔走在世界各地，终于尝试去寻找一个答案，关于他是谁，他曾做了什么，以及他到底应该用哪个护照。这个可怜的人永远不会消停吗？说实话，既然杰森登上了希腊的国土，如果他只是想要找一件金羊毛①可能更容易一点。
TheBournology, for moviegoers, runs as follows. We have three major works withDamon as the central figure: “The Bourne Identity” (2002), “The BourneSupremacy” (2004), and “The Bourne Ultimatum” (2007), known collectively toscholars as the synoptic Bournes. Then comes “The Bourne Legacy” (2012), starringJeremy Renner as a Bourne-flavored agent, which is widely viewed asnoncanonical. So, what are we to make of “Jason Bourne,” crammedas it is with flashbacks to its predecessors? Is it the fourthgospel, plumbing the mystery of the Bournian logos, or should we discard it asapocrypha? 谍影重重系列，对于那些影迷来说，是这样的一个故事顺序。我们已有三部主要作品以达蒙作为中心人物：“伯恩的身份”（2002），“神鬼疑雲”（2004），和“最後通牒”（2007），以伯恩概要而广为学术界所知。接下来的谍影重重4-“伯恩的遗产”（2012），由杰瑞米·雷纳扮演一个伯恩类型的特工，则不被认可为经典“伯恩系列”。是什么让我们认为《谍影重重》名得其所，只是一部充斥着前任回放的影片就足够了吗？这是那本第四部福音书，它是得以让伯恩品牌的神秘内涵得以被继续扩充，而我们应该只把它另算为仅仅是一部外传呢？
Either way,the new film racks up the air miles. From theBalkans, we zip to Iceland, where a former colleague of Bourne’s, Nicky Parsons(Julia Stiles), hacks into a C.I.A. mainframe (“Could be worse than Snowden,”someone says) and downloads a list of illicit programs onto a memory stick. Thelandscape of Bourne has always been littered with widgets, beginning with thetiny laser device buried in Jason’s hip, in the first film, that bore thedetails of his Swiss bank account. Then came the sim-cardswitcheroo, in “The Bourne Supremacy”—a fiddly business that lightened the loadof Bourne’s brutality. At forty-five, Damon remains in frightening fettle, buttwinned with that hunkhood is a touch as deft as apickpocket’s. The entire Bourne franchise, indeed, can be seen as aninstruction manual in the art of throwaway cool. Swipe a phone from a cafétable, make a call, dump the phone, and walk on: that’s the kind of knack wehave learned from Bourne over the years, and the new film supplies a fewlow-tech addenda, such as a Molotov cocktail snatched from the grasp of arioter, then tossed for Bourne’s advantage. He makes fire as he goes along. 不管怎么说，这部新的电影在航空里程数上获胜。影片从巴尔干半岛迅速切换到冰岛，一位伯恩之前的的同事--尼基·帕森斯 （朱莉娅•斯泰尔斯饰），黑进了一台CIA主机（有人说这“可能比斯诺登做的还要严重”）并且还把一份列有一系列非法程序的列表下载到了一个记忆卡里。伯恩的故事总是和一些被植入的小玩意儿搅和在一起，在第一部电影中，他的髋部被植入一个微型激光设备，里面有他的瑞士银行账号的详细资料。然后是“神鬼疑云”里发生在SIM卡上的一系列意想不到的事故——一系列琐碎的事件让伯恩能及的残酷程度不断被显露出来。当他四十五岁的时候，伯恩依然有着足够的震慑力，配上他魁梧之气却同时又灵巧如扒手 。确实，整个谍影重重系列都能被看作是一个一次性耍酷产品的使用艺术教导手册。在咖啡厅的桌子上顺走一部手机，打个电话，扔掉手机，继续前行：这就是这些年来我们从伯恩身上学来的小技巧，而新的电影还增加了几处低科技含量的小补充，比如从闹事者手里抓来的酒瓶燃烧弹，结果被伯恩所用。他走到哪儿，火势就波及到哪儿。
The riotoccurs in Athens’s Syntagma Square and the surrounding streets, where a crowdis raging against the government. This fits the story, because the wildness ofthe ruckus, after dark, acts as cover both for Bourne, who is meeting Nicky,and for a trained assassin (Vincent Cassel), who has been ordered—by whom Iwill not say—to take them out. But the melee also suits the director, PaulGreengrass, who specialized in drama-documentaries, on such subjects as theshooting of civilians in Northern Ireland and a racially motivated stabbing inLondon, before turning to “The Bourne Supremacy” and “The Bourne Ultimatum.” Youcan feel him itching to link the ordeals of his fictional hero to the stressesand the fractures of political reality. It’s almost as if he werefaintly ashamed at having to concoct yet more unlikely shenanigans—plots withinplots, at the C.I.A.—at a time when unfeigned drama is bursting out of theheadlines. 暴乱发生在雅典的宪法广场和周围的街道上，这符合故事的需要，因为人群无法无天的喧闹，天黑之后，能给去见尼基的伯恩和一个训练有素的杀手（文森特•卡索尔饰）起到掩饰行踪的作用。人们正在那里愤怒地反抗政府。这位杀手被命令去除掉伯恩二人——至于是谁发出的命令，我不会在这里剧透。不过这种混乱同样也符合导演保罗·格林格拉斯的风格，在转向《神鬼疑云》和《最后通牒》两部片子之前，他擅长于纪录剧的拍摄，关于一些类似于北爱尔兰枪击平民以及因激进思想促使下的伦敦持刀伤人事件这样的主题。你能感觉到他希望用他手下的虚拟英雄来强调现实中的政治状况。你甚至能略微感觉到他似乎惭愧于当一些真实而又戏剧般的事件遍布于各大头条时，他却需要把一些相比之下更不可能实现的小把戏精心编制完整——发生在CIA，环环相扣的情节。
Certainly,though the scenes in Athens come early in the movie, they mark its high point,bringing clarity to chaos and permanent damage to my nerve endings. Greengrassthen proceeds to another topical zone: Bourne is caught up in the case of AaronKalloor (Riz Ahmed), a Silicon Valley tycoon who founded a Facebook-likecorporation called Deep Dream, and who is now under pressure from the directorof the C.I.A., Robert Dewey (Tommy Lee Jones), to assist with nationalsecurity. One could argue that Internet billionaires should be humanely culled,like badgers, but Bourne’s duty, nonetheless, is to keep Kalloor safe and thecause of freedom alive. 很显然，尽管在雅典的场景场面出现的比较早，但是却是影片的高潮所在，让混乱变得明晰，也让我的神经末梢有了持续性的影响。然后葛林葛瑞斯转向了另一个与现实相关的场景:伯恩被卷入了由硅谷大亨亚伦·卡洛尔 (里兹·阿迈德饰) 创立的类似脸书（facebook)的名为深梦（Deep Dream)的公司，而他现在正在承受着来自中情局局长罗伯特·杜威(汤米·李·琼斯饰)的压力，要求他协助维护国家安全。有人说互联网亿万富翁应该被人道主义剔除，就像对待獾一样。但伯恩的责任却是保证卡洛尔的安全并且保证自由的主张得以留存。
Thepresence of Jones is always welcome, but notice how he slots into a well-wornposition, previously held by Chris Cooper, Brian Cox, and Albert Finney: theolder gentleman spy, whose machinations rouse the ire—andthe dormant idealism—of Bourne. Much of the latest filmsmacks of established routine. Any car chase in which drivers weave throughoncoming traffic is to be applauded, but the thought that Bourne pulled thatstunt in Moscow, in “The Bourne Supremacy,” does take a slight edge off itsimpact in “Jason Bourne.” True, we’re now in Las Vegas, and his nemesis is atthe wheel of an armored swat truck, butit’s still more of a key change than a brand-new tune. As for the doomyquestion that beats throughout the movie—Who is Bourne, anyway?—the issue wasraised and settled long ago. His true name is David Webb, and he was recruitedinto black ops and deprived of his memory, though not of his talent for martialarts or for falling down a stairwell and using someone else as a cushion. Allthis we know from earlier films, and “Jason Bourne” merely fills in the gaps.Greengrass is as dexterous as ever, yet the result, though abounding inthrills, seems oddly stifled by self-consciousness and, dare one say,superfluous. Come on, guys. There are so many wrongs in the world. If Bournecould tear himself away from the mirror for a moment, could he not be persuadedto go and right them? 琼斯的存在当然会很受欢迎,但是注意他是一个老生常谈的位置,以前由克里斯·库珀,布莱恩·考克斯和阿尔伯特·芬尼扮演:老谋深算的绅士间谍,用阴谋诡计唤醒伯恩休眠的愤怒和他之前暂且搁置的理想主义。大部分最新的影片都是这样的规律。任何司机在迎面开来的汽车中不停穿梭都是值得赞赏的,但是一想到在“神鬼疑云”里，伯恩在莫斯科上演这个特技,“杰森·伯恩”的形象的确因为这个而略微收到影响。没错，我们现在在拉斯维加斯,他的对手在装甲特警SWAT卡车上，但它仍然更多地只是一个关键性的变化而不是一个全新的基调。而对于那个贯穿整个系列被诅咒了一般的问题——伯恩到底是谁——而它很早就被提起并且回答过了他的真名是“大卫·韦伯”，被征入黑色行动并被剥夺记忆，但是他仍然保留着格斗上的天赋，以及在摔下楼梯时拉别人做垫底的本事。所有的这些我们都是从之前的电影里了解到了，《谍影重重》这部电影仅仅只是填补空白。这部电影一如既往地技艺纯熟，尽管仍然惊险刺激，但是最后的成果但却以一种怪异的方式被自我意识觉醒而束缚，甚至可以说这种自我觉醒是多余的。拜托，朋友们，这个世界有太多的错误存在，如果伯恩能够不过分地关注于自己，他难道就会被说服而纠正以前的错误吗？
Love and death are all very well, but if youwant to turn your life on its head nothing compares with moving house in thetristate area. That was the story of the gay couple in Ira Sachs’s “Love IsStrange” (2014), whose income fell after their marriage, and real-estate traumastrikes again in Sachs’s new movie, “Little Men.” Brian (Greg Kinnear) is anactor, and his wife, Kathy (Jennifer Ehle), is a psychotherapist. When Brian’sfather dies, they inherit his house, and that means relocating from Manhattan toBrooklyn, with their thirteen-year-old son, Jacob (Theo Taplitz). On the groundfloor of the house is a dress shop, run by a Chilean woman named Leonor(Paulina García), who was a good friend of the old man’s—so good that he didn’traise her rent for eight years. She’s still paying eleven hundred a month.Brian wants to triple it. Let the battle commence. 遭遇爱情或者死亡都是一个不错的选项，但如果你想要彻头彻尾地改变你的人生，没有什么能比搬到三洲交界的地方生活更好了。这就是艾拉·萨克斯在他的《爱，不散》（2014）里一对同性伴侣的故事，他们的收入在婚后减少，而另一个现实的冲击再次出现在萨克斯的新电影《小小人》里。 布莱恩（格雷戈·金尼尔饰）是一个演员, 他的老婆凯西（詹妮弗·艾莉饰）是一个精神治疗师。布莱恩的父亲去世以后, 他们继承了他的房子, 所以也因此他们带着他们十三岁儿子雅各布（西奥·泰普里兹饰）离开曼哈坦搬到布鲁克林。这房子底楼是一家衣服店，老板娘是一个智利女人名叫利奥诺 (宝莉娜·加西亚饰)。她以前是布莱恩爸爸的好朋友，关系好到他已经八年没有涨过她的房租了。所以她还是每个月付$1100的房租，但是布莱恩想把利奥诺的房租长三倍。然后，战争便一触即发。
To whatextent audiences elsewhere will be stirred by these agonies is hard to say, butSachs finds ways in which to counter the charge of parochialism. For one thing,we see Brian play Trigorin in a stage production of “The Seagull,” theimplication being that, since Chekhov drew our attention to the squabbles ofunregarded souls, nothing lies beyond dramatic bounds. Then there is thesad-eyed García, who earned international acclaim in the title role of “Gloria”(2013), and who, though meek of manner, has a resilience that verges on theunnerving. We are so accustomed to cranky characters undergoing a sentimentalsweetening that it’s a shock when Leonor does the opposite, as her initialgreeting slowly loses its warmth. There are times when she’s downright mean,slipping a thin jibe into the conversation like a knife between the ribs.Talking to Brian about his father, she says, “I was more his family, if youwant to know, than you were.” 很难说观众对于这些痛苦能够感同身受到什么程度，但萨克斯知道怎样去避免狭隘主义的指控，但是萨克斯用了不同的方法让观众体会到。一方面，我们看见布莱恩在舞台剧版本的《海鸥》里扮演特里戈林，里面暗含之意则是，既然契科夫已经把我们的注意力都吸引到那些被忽视灵魂间的喧杂正常，没有什么会超越那些戏剧化的麻烦事。再有就是满眼忧伤的加西亚，以一部以主人公为剧名的《格洛里亚》（2013）赢得国际赞誉，我们已经习惯于那些古怪的角色去经历一次情感上的疏导，所以利奥诺从一开始的热情问候到后来的冷淡，才会让观众感到惊讶。甚至有时候她的的言语带着彻头彻尾的刻薄，渗透着无孔不入的讥讽就像切开排骨的利刀。当她和布莱恩说到他的爸爸时，她说：“如果你想知道的话，和你相比，我更是他的家人。”
The title ofthe film, likewise, has a whetted edge. Brian can be ineffectual, and he knowsit. So does his son. “He’s not that successful or anything,” Jacob says toGloria’s son, Tony (Michael Barbieri), who is about the same age and whose ownfather is absent and unmourned. (“I realized that he’s better when he’s notaround,” Tony says.) The two boys join forces, growing closer as their parentsstart to bicker and fall out. Brian is one of the big kids, straining afteradult wisdom as if he were auditioning for a role, whereas the little men seembetter equipped to ride the bumps. Hence the lovely travelling shots of theboys—Jacob on roller blades, Tony with a scooter—as they whisk along sunlitstreets. You get a whiff of Truffaut, and a strong sense that none of thegrownups can match that gliding ease. 电影的名字，同样剑走偏锋。布莱恩知道自己是一个无用的人，他的儿子也知道这一点。“他并不是那样的成功，” 雅各布告诉格洛丽亚的儿子托尼（迈克尔·巴比饰）。托尼和雅各布一样大，他自己的父亲不在身边并且也没人因此觉得惋惜。（“我意识到他不在这里的时候才比较好。” 托尼说。）这两个小男孩儿加入了军队，在他们父母不停的争吵与分开中变的越来越亲密。布莱恩其实就是一个老小孩儿，拼命追逐着成人世界的智慧就像是在为一个角色试镜一般努力，而小男生们却看起来更适合面对生活的起伏 。因此，才有了男孩儿们可爱的旅游照片 – 雅各布穿着溜冰鞋，托尼骑着小摩托，穿梭在被阳光照射的街道上。你在里面能感受到一丝弗朗索瓦·特吕弗的风格, 并且你也能很强烈的感受到，没有一个大人能与那种滑翔的快感相匹配。
Thebest reason to watch “Little Men” is Michael Barbieri, who musters a blend ofsoulfulness and aggression that would be remarkable at any age. The danger forany Sachs movie is that its humane quietude could slide into dullness. Not withthis boy around. Tony plans to become an actor, and we observe him in dramaclass, roaring through repetition practice with his teacher—hurling back phraseafter phrase as if he were volleying at the net. So compelling is Tony that hestarts to outgrow not only Jacob, who seems wispy by comparison, but all otheraspects of the film. Presumably, that’s why n has been honored with a role inthe next Spider-Man adventure. I was hoping that it might take a little longerfor a promising young actor to fall into Marvel’s clutches. No chance. ♦
迈克尔·巴尔别里是观看《小小人》的最好的理由，他把情感的至深与敌意的融合聚集在角色之上，这种表现无论对任何年龄的演员而言都足够出色。对于萨克斯的电影，很大的险着在于它所涵盖的人性的宁静有可能会偏离成无趣与沉闷。但有这个男孩儿就不会这样。托尼想要成为一个演员，在这部电影中，我们看着他上戏剧课，在不断重复的练习里和他的老师一起呼喊——话语一句接一句地喊出，就仿佛他在球场上截空反击。所以，托尼以一种令人信服的方式不断成长，不仅仅是雅各布的参与，还有整部电影呈现出的其他所有部分，相比之下雅各布只是那千万丝线里的其中一缕。也许，这也是为什么巴尔别里会被选择出演下一部蜘蛛侠里的一个角色。我曾希望这位很有前途的年轻演员能晚一点陷入漫威的“魔爪”。 看来是不可能了。
file:///C:/Users/Joyce/AppData/Local/Packages/oice_16_974fa576_32c1d314_3d0c/AC/Temp/msohtmlclip1/01/clip_image004.png Anthony Lane has been a film critic for TheNew Yorker since1993.
Thisarticle appears in other versions of the August 8 & 15, 2016, issue, withthe headline “Find Yourself.”
注释： ①金羊毛：希腊神话中出现的一件宝物。
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发表于 2018-8-21 11:38:00
