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What to Stream This Weekend: Seaside Frolics
file:///C:/Users/Joyce/AppData/Local/Temp/msohtmlclip1/01/clip_image002.jpgWes Anderson’s “Moonrise Kingdom” relatesthe nineteen-sixties’ struggle against moral and bureaucratic constraints ofwith a paradoxical, terrifying, apocalyptic, yet exuberant energy. 韦斯·安德森的《月升王国》（“Moonrise Kingdom” ）将20世纪60年代对道德约束与官僚主义枷锁的抗争与矛盾、可怕、毁灭性的却又充满生机的能量联系在一起。
Eachweek, Richard Brody picks a classic film, a modern film, an independent film, aforeign film, and a documentary for online viewing. 每一周，理查德·布罗迪（Richard Brody）都要选择一部经典电影，一部现代电影，一部独立电影，一部外国电影以及一部纪录片来做在线影评。
It’s acommonplace to think of catastrophic floods as Biblical, but it’s the raremodern movie that reaches for such a mythic dimension—and an even rarer onethat reaches it, as Wes Anderson’s “Moonrise Kingdom” (Amazon, iTunes,YouTube, and other services) does. And that’s a strange fact, since it is alsoa great summer-camp movie and a tender, graceful young-adolescent romance—and aportrait of a marriage, a tale of adventure, and an idiosyncratic reimaginationof the nineteen-sixties. Anderson’s story of the era’s struggle againstnarrow-minded constraints of morality and bureaucracy has a paradoxical,terrifying, apocalyptic, yet exuberant energy. Here, nature, human nature, anddivine purpose sublimely coincide. Also, of course, there are performances bythe Andersonian stalwarts Bill Murray and Jason Schwartzman, along with FrancesMcDormand, Tilda Swinton, Bruce Willis, Edward Norton, and Bob Balaban, plusthe two poetically precocious stars, Jared Gilman and Kara Hayward (who hadcameos last year in Jim Jarmusch’s “Paterson”). 人们总会把毁灭性的大洪水与圣经联系起来，但很少有现代电影向这个神话领域探索——像韦斯·安德森的《月升王国》（来源Amazon, iTunes, YouTube及其他）那样真正触及到这个领域的就更少了。令人惊奇的是，《月升王国》还是一部出色的夏令营电影，也是一部温柔优雅的少年浪漫故事——以及对婚姻、冒险和19世纪60年代特有的个人幻想的描绘。安德森的故事中，这个年代人们对狭隘的道德观和官僚主义约束的抗争有着一种矛盾、可怖、毁灭性却生机勃勃的力量。影片中，自然、人性和神圣意志在不知不觉中重叠在了一起。当然，本片还有安德森的御用演员班底比尔·莫瑞（Bill Murray ）和詹森·舒瓦兹曼（Jason Schwartzman），共同出演的还有弗兰西斯·麦克多蒙德（FrancesMcDormand）、蒂尔达·斯文顿（Tilda Swinton）、布鲁斯·威利斯（Bruce Willis）、爱德华·诺顿（EdwardNorton）和鲍勃·巴拉班（Bob Balaban），此外还有两位诗歌中那般早慧的童星杰拉德·吉尔曼（Jared Gilman）和卡拉·海沃德（Kara Hayward）（她还在去年参演了吉姆·贾木许（Jim Jarmusch）执导的电影《帕特森》）。
IngmarBergman’s “Summer with Monika,” from 1953 (FilmStruck, Amazon, andiTunes), is another seaside idyll for adolescents—older ones, in Stockholm, inconstrained circumstances from which they seek a rebellious liberation. Theheadstrong, free-spirited Monika (Harriet Andersson), who’s eighteen, comesfrom a poor family that’s cramped together in a tiny flat. She works in ameagre grocery store; she’s groped and pursued at work and on the street; andher romantic dreams, stoked by movies, find little outlet—until she picks up ashy, earnest, handsome young man of nineteen named Harry (Lars Ekborg), a boredshipping clerk with little focus and little ambition. Their romance becomes abig conflagration. They take Harry’s father’s motorboat and head for the wildand rocky shores, where they realize an erotic adventure that Bergman filmsrhapsodically, with shimmering and sun-streaked seascapes and intimategestures. Then nature and culture join forces, they confront the law andlawlessness alike, and the idyll veers toward romantic agony. It’s one of themost recklessly passionate yet bitterly rational love stories—and tales ofyouth—in all cinema. 英格玛·伯格曼（Ingmar Bergman）1953年导演的电影《不良少女莫妮卡》（来源FilmStruck,Amazon, 以及iTunes），是关于另一个青少年在海滨的故事——年纪稍长的主人公，在斯德哥尔摩，在枷锁重重的境遇中寻求叛逆自由的故事。个性顽固，自由不羁的莫妮卡（哈瑞特·安德森（Harriet Andersson饰演））正值18岁，来自一个挤在狭小公寓里的贫穷家庭。她在一家破落的杂货店工作；不论是上班还是在街头总是有男人们对她动手动脚或穷追不舍。而她的少女春梦，由于电影而燃烧更炽，却鲜有释放的机会——直到她找到了19岁的羞涩又诚实的英俊年轻人哈瑞（Lars Ekborg饰演），他是一个无所用心、胸无大志的码头理货员。他们的感情成了一场燎原之火。他们偷了哈瑞父亲的汽艇开往荒无人烟的岩石海岸，在那里他们进行了一次肉欲的冒险，伯格曼充满热情地用波光粼粼洒满阳光的海面和亲密的姿态摄制了这一场景。然后自然与文化合力，使他们同时面临法纪与无法无天的威胁，这首田园牧歌急转直下成了一种浪漫的痛楚。这是所有电影中最能展现不顾一切的热情却又充满痛苦理性的爱情故事，同时也是青春的故事。
“By the Bluestof Seas,” (Kanopy) is a romantic comedy made in the SovietUnion, in 1936, and directed by Boris Barnet, one of the most lyrical,delicate, hearty-humored of all filmmakers. This rowdy yet rapturous love storyis set on an enchanted island of fishermen in the Caspian Sea, off the coast ofAzerbaijan, where two seamen, Alyosha (Nikolai Kryuchkov) and Yussuf (LevSverdlin), are shipwrecked. Gazing at women laboring on the shore, they fallinto the orbit, under the sway, and head-over-heels in love with the head ofthe local kolkhoz, the porcelain-faced, sarcastic-tongued Masha (played byYelena Kuzmina, who is something of a Russian Carole Lombard or MiriamHopkins), and the two men’s rivalry—pursued with vigorous comedictrickery—threatens the well-being of the collective. Barnet hits the politicalnotes with a bluff comedic touch and integrates them into the drama’sbreath-holding tenderness; he also looks with rapt wonder at the romanticseascapes. As Alyosha makes his case to Masha, Yussuf tiptoes impishly past thedoorway, ukulele in hand. Later, Yussuf, pursuing Masha on the beach, hurts hisfoot and continues his flirtation limping and hopping along the glowing, sunlitstrand with a dancer’s grace. The film is full of full-throated singing andexuberant dancing, and one scene—of Masha tearing an ill-gotten necklace offher neck as the glass beads tumble off their string in slow motion—is pureexaltation.
《浮于碧海》（来源Kanopy）是1936年苏联拍摄的一部浪漫喜剧，由有着最丰富细腻情感和由衷幽默感的导演之一鲍里斯·巴尔涅特（BorisBarnet）执导的这个喧闹又狂热的爱情故事发生在里海靠近阿塞拜疆海岸的一座以捕鱼为主业的迷人小岛上。两个海员：由尼古拉·克留奇科夫（Nikolai Kryuchkov）扮演的阿廖沙（Alyosha）和由 列夫·斯维尔德林（Lev Sverdlin）扮演的尤瑟夫（Yussuf ）在这里遭遇了船难。他俩紧盯着海岸上劳动的妇女，沉沦在了她们的魅力中不可自拔，并且疯狂迷恋上了当地集体农场的领头人，一个白皙精致又嘴尖舌利的女人玛莎（Masha）（她由叶琳娜·库兹明娜（Yelena Kuzmina）扮演，这位演员相当于俄罗斯版的卡洛尔·隆巴德（ Carole Lombard）或米利亚姆·霍普金斯（Miriam Hopkins））。这两个小伙子的竞争——热烈而滑稽的追求把戏——威胁到了农场的安乐生活。巴尔涅特用直白的喜剧笔触展现政治主题并且将它们混合进了这个故事令人屏息的柔情之中；他还以心无旁骛的惊叹注视着浪漫的海洋风光。当阿廖沙向玛莎表明心迹时，尤瑟夫手拿着尤克里里，调皮地偷偷走过门廊。之后，尤瑟夫在沙滩上追逐玛莎时伤了脚，还是继续带着舞者的优雅姿态一瘸一拐地跳着在波光粼粼，阳光照耀的海滨与她调情。这部电影充满了洪亮的歌声和热情的舞蹈，其中一个场景——玛莎从脖子上扯下一条来路不正的项链，玻璃珠以慢动作滚落下来——显示着一种纯粹的欣喜。
Eliza Hittman’s second feature, “Beach Rats,” opens next Friday;it has a few scenes set in and around Brooklyn’s beaches, but her previousfilm, “It Felt Like Love”(iTunes, YouTube, Amazon, and Google Play), from 2013, which is also a SouthBrooklyn story, seemingly lives at the beach and virtually shrieks with thealluring and distracting power of the summer sun. Lila (Gina Piersanti) isfourteen, intellectual, socially inhibited, not yet sexually active. Her bestfriend, Chiara, who’s about to turn sixteen, has a busy social life, aboyfriend, and experience with sex. As Lila whiles away the summer at the beachand copes with family troubles, she follows Chiara into adventures and risksboth ridicule and danger in quest of sexual experience. The setup is a familiarone, but Hittman’s way with it is boldly, intimately original. Her intimatesense of the New York landscape fuses with cinematic intimacy tout court, as she films theactors’ faces and bodies with a heated, nearly tactile proximity—and adds a hard-edgedview of family relations and the quietly bruising dialogue of friends andparents. There’s a wide swath of city life condensed into the movie’s briskdrama.
伊莉莎·希特曼（ElizaHittman）的第二部故事片《沙滩鼠》将于下周五公映；这部影片只有一些场景发生在布鲁克林的沙滩以及周边，而她的上一部电影，2013年的《感觉就像爱》（来源iTunes,YouTube, Amazon, 以及 Google Play），也讲述了一个南布鲁克林的故事，似乎完全发生在海滩上，夏日阳光令人难耐的迷人力量几乎让人想高声呼喊。吉娜·贝珊蒂（Gina Piersanti）扮演的丽拉（Lila）是个聪明但不善社交、情窦未开的14岁女孩。而她最好的朋友，齐亚拉（Chiara）就要16岁了，她社交生活繁忙，交了男朋友，还有了性经验。当丽拉一边在沙滩上消磨夏日时光一边处理家里的麻烦时，她跟随齐亚拉进行了不少冒险，为了寻求性经历而遭受嘲弄和危险。影片的设置很常见，希特曼的处理手法却有着大胆而亲密的独创性。她对纽约风貌的的亲密感融合了单纯的影片的亲密感，她对演员脸庞和身体的拍摄采用了热切伸手可触的近镜头——还加入了对家庭关系锋芒毕露的展现以及与父母和朋友之间激烈的对话。 城市生活的大片图景都浓缩在了电影轻快的戏剧冲突中。
Another week, anotherfilm by Agnès Varda, and that’s as it should be: the eighty-nine-year-oldfilmmaker has a splendid film opening in October, “Faces Places.” It premièredat Cannes in May, and Cannes is one of the subjects of her color-soaked 1958short documentary “Du Côté de la Côte” (The Criterion Channel onFilmStruck). The title means, more or less, “From the Coast’s Side ofThings,” and Varda, who started out as a photographer, creates refulgent imageswith the sumptuous settings of the Riviera—the sea and the sky, thearchitecture and artifacts, the landscapes and people and cultural history.Picasso and Nietzsche crowd alongside bikinis and sunburns, straw hats andsunglasses. Varda is a heroine of style, onscreen and in person, and she revelsin the stylings of coastal towns—the forms of fashion, the shapes of foliage,the intricacies of urbanistic ornamentation, and, of course, the cinema itself,with the celebrity of Brigitte Bardot illuminating the streets of Cannes. Shotby shot, line by line, moment by moment, Varda rescues the vitality and thebeauty of the incidental, the haphazard, the easily overlooked—because shefills each detail with the ardent energy of her own exquisite sensibility. 再过一周，另一部阿涅斯·瓦尔达（Agnès Varda）的电影将要上映，应该说：这位89的电影制作人10月又有一部出色的作品公映，《脸庞，村庄》。这部影片5月在戛纳首映，而戛纳正是她1958年那部浸满色彩的纪录短片《走近蓝色海岸》（Du Côté de la Côte）（来源 FilmStruck标准频道）的主题之一。这部电影的名字，或多或少表示“以海岸的视角看待事物”。瓦尔达的职业生涯从做摄影师开始，在这部影片中她展现了里维埃拉为背景的的明艳画面——大海和天空，建筑和艺术品，风景，人情和历史文化。毕加索和尼采紧挨着比基尼与晒伤的痕迹，草帽和墨镜。瓦尔达无论在屏幕上还是在生活中都是风度女王，她陶醉于海滨城镇的风貌——时尚的形式，树叶的形状，纷繁的都市装饰，以及，当然了，还有这部伴随着影星布里吉特·巴铎（Brigitte Bardot）的对戛纳街道讲解的电影本身。用一帧帧画面，一句句台词，一个个片段，瓦尔达拯救了那些无意的、偶然的、容易被忽视的事物中的热情与美——因为她用自己细致的情感让每个细节都充满了热烈的活力。
翻译 by Joy 校对 by付辞 终校 by Gabriellaz
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发表于 2018-12-10 14:38:46
