《时代》杂志评选的过去十年最佳电影

《时代》杂志评选的过去十年最佳电影     

  

《机器人总动员》/ WALL-E (2008)

瓦力是个孤独的机器人，在人类搬到太空船中居住之后，他被留下来清理地球。每天在尽职于总也做不完的工作之余，他有着自己小小的乐趣：收集人类留下的不起眼的小财宝：一只塑料叉勺，一个魔方，一盘《我爱红娘》的老式录像带。这个敦实的机械小子满心都是爱（给他配上金属化声音的Ben Burtt是个天才的声音塑造师），因此当他遇到第一位女孩，一台叫夏娃的精致机器人时，他很自然地陷入爱河。导演安德鲁·史丹顿的这部爱情加奇遇的杰作，延续了皮克斯出品的电影风格，包括《怪兽公司》、《海底总动员》、《超人特工队》、《赛车总动员》、《美食总动员》还有《飞屋环游记》。它可以作为过去十年间皮克斯的代表作，也可以用来代表在新的电影世纪中，给人们带来无穷快乐的辉煌的动画片业（不管是电脑制作的，还是传统方式制作的，或是定格方式制作的。）

 

 

WALL-E (2008)

A solitary robot marooned on Earth to clean up after the humans have gone tolive in a spaceship, WALL-E finds small joys in doing an impossible job welland salvaging the kitsch treasures — a spork, a Rubik's Cube, a Beta tape ofthe movie Hello, Dolly! — that humans have left behind. The boxy littlerobo-guy (metallic voice supplied by genius sound-sculptor Ben Burtt) has somuch love to give, it's only natural that he should fall for the first femalehe meets: a sleek machine named EVE. A romance and an adventure, like all Pixarmovies, director Andrew Stanton's masterpiece here represents the decade's fullPixar oeuvre, including Monsters, Inc., Finding Nemo, The Incredibles, Cars,Ratatouille and Up. It also stands in for all the glories ofanimation, whether CGI, traditional or stop-motion, that provided the greatestmeasure of joy in the new cinematic millennium.

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《魔戒三部曲》/ The Lord of the Ringstrilogy (2001-03)

 “后来怎么样了？”——过去的十年里，无论是书籍、电视连续剧还是电影，都目睹了英雄化叙事风格的复兴。有时电影是受票房的指挥而拍摄续集（比如《蜘蛛侠》和《加勒比海盗》），但是更常见的则是故事本身的生命力和复杂性，迫使观众去回忆一两年前的那集里某些故事情节。（在DVD时代，做到这点并不困难）。这里我们指的是《哈利·波特》系列、昆汀·塔伦蒂诺的《杀死比尔》系列，没准还有克里斯托弗·诺兰的《蝙蝠侠》系列。当然，最出色的还是彼得·杰克逊根据J·R·R·托尔金的三部曲所改编的，九个多小时的《魔戒》系列。这位新西兰籍导演花费了七年时间，选定并指导其完美的演员阵容，结合了光彩照人的视觉特效，打造出这部跨度巨大，气势宏伟，激情充沛的魔幻史诗。同样值得称道的还有杰克逊的WETA数字工房，它把《阿凡达》中的外星生物赋予了令人信服的生命力。今年他还指导尼尔·布洛姆坎普完成了《第九区》。另外他还启用了吉尔莫·德尔·托罗（把童话挖掘出更深意味的《潘神的迷宫》的导演）来导演《霍比特》上下集（《魔戒前传》）。

 

The Lord of the Rings trilogy (2001-03)

"What happens next?" In books, on TV series and in film, thisdecade saw the triumphant return of the heroic narrative. Sometimes, as in (Spider-Manand Pirates of the Caribbean, movies had sequels because the box officetold them to, but frequently the sagas were organic and complex, obligingviewers to recall story elements from episodes a year or two before. (You cando that in the DVD era.) We mean Harry Potter, Quentin Tarantino's KillBill, maybe Christopher Nolan's Batman series and, above all, PeterJackson's 9 hr.-plus adaptation of J.R.R. Tolkien's trilogy. The New Zealanderspent seven years on the project, chose and directed its perfect cast andorchestrated the luminous effects work, all to create a fantasy epic oftremendous scope, gravity and heart. Props also to Jackson for his WETA digitalshop, which helped bring the creatures of Avatar to persuasive life; formentoring Neill Blomkamp on this year's District 9; and for choosingGuillermo Del Toro, whose Pan's Labyrinth found children's fantasy in amuch darker shade, to direct The Hobbit, the two-part prequel to TheLord of the Rings.

《唤醒梦中人》/ Talk to Her (2002)

尽管过去一年中的电影有不少是与悼亡有关的，比如《信使》、《兄弟》、《可爱的骨头》、以及皮克斯的《飞屋环游记》，甚至还有佩德罗·阿尔莫多瓦自己的《破碎的拥抱》（剧中的电影导演在自己的女主演去世15年之后依然爱着她），但是这位独具风格的西班牙导演所拍的爱而生悲的最优美篇章，无疑是《唤醒梦中人》这部爱情与死亡交织在一起的故事片。两个女子——女斗牛士莉迪亚和女舞蹈演员阿丽西亚——在马德里的某个医院里双双处于昏迷之中；两个男人——莉迪亚的男友马克和阿丽西亚的男护士本尼诺——殷勤地守在她们身边奉献着自己的爱意，为她们清洗，跟她们谈心。你可以把这称为最纯粹最无私的那种爱，也可以说这两个男人都把自己的女人理想化了，因为她们已经固化成了一个符号。他能够对她说话，是因为她无法开口回答。这部电影流畅而引人入胜，毫无压抑忧郁之感，有心碎也有救赎，甚至还有属于“法定强奸”性质的内容，影片中间对生殖过程有一段令人喷饭的讲解。《唤醒梦中人》是过去十年中，世界上最有活力的导演拍摄的最让人满意的一部电影。

 

Talk to Her (2002)

The end of the decade has brought a spate of films about mourning: TheMessenger, Brothers, The Lovely Bones, even Pixar's Up — and PedroAlmodóvar's own Broken Embraces, in which a film director still loveshis leading lady 15 years after her death. But the Spanish auteur's definitiveessay on grief, and the love that feeds it, is in this liebestod drama. Twowomen, the bullfighter Lydiaand the dancer Alicia, lie in comas in a Madridhospital. Two men, Lydia'slover Marco and Benigno, Alicia's nurse, sit in abject, adoring vigil,expressing their love by keeping them clean or just conversing. You could callthis the purest, most selfless form of love, or say that each man can idealizehis woman now that she has been petrified into her own icon; he can talk to herbecause she can't talk back. Effortlessly engrossing, never depressing, thefilm has heartbreak, redemption and what might be called statuary rape, plus ahilarious mid-movie explanation of the reproductive process. Talk to Heris the most satisfying movie this decade from the world's most vital filmmaker.

 

《贫民窟的百万富翁》/ Slumdog Millionaire(2008)

苦中作乐是许多优秀电影的特点。影片的故事不必有大量多愁善感的乐观主义，只需讲述为改变现实而奋斗的经历。假如你能讲得活灵活现，那么电影就成功了。这也是这部英印合拍的传奇故事的关键所在。影片讲述了一个男孩在极度贫困中与哥哥一起长大，因为爱上一个更不幸的女孩，他成为印度版“谁想成为百万富翁”节目的选手。西蒙·比尤弗伊的剧本以倒叙方式描写了这三个孩子的生活，折射出印度在过去15年之间纷杂动荡的历史。正如巨富与赤贫共存于孟买，丹尼·博伊尔的这部快节奏电影，融入了对比鲜明的贫民窟传奇、爱情故事、社会记录和宝莱坞歌舞这些元素。而欧美观众——包括电影学院——也热情接纳了它。

 

 

 

Slumdog Millionaire (2008)

To mine joy from misery: that's the gift of many a terrific movie. Its storyneedn't truck in sentimental optimism, just a striving for transcendence. Andif there's verve in the telling, you have yourself a winner. That's the key tothis Anglo-Indian melodrama about a boy who grew up with his brother in brutalpoverty, and whose adoration for an even unluckier girl lands him as acontestant on the Indian version of Who Wants to Be a Millionaire? SimonBeaufoy's script tells the three lives in flashbacks that illuminate India's dynamicand troubled history over the past 15 years. As gaudy wealth and abasingpoverty coexist in Mumbai, so Danny Boyle's zippy movie catches thecontradictions of slum drama, love story, social document and Bollywood musicalin its firm embrace. Audiences in Europe and U.S.— and the Motion Picture Academy— gave it a big hug too.

 

《卧虎藏龙》/ Crouching Tiger, HiddenDragon (2000)

正如《贫民窟的百万富翁》一样，这部电影的导演也是在西方成名之后，又到亚洲寻找宝藏。不过对于李安来说，这至少算是返回故乡：他生长在台湾，后来才来到伊利诺伊州上大学，并靠《喜宴》和《理智与感情》获得声誉。通过与明星阵容（周润发，杨紫琼，张震和程佩佩）的合作，以及杰出武打设计师袁和平的加盟（他是本片中真正的“藏龙”），李安巧妙糅合了东方武术的灵巧与西方表演的强度，使得高雅的艺术和高昂的精神在精妙情节的起伏中完美结合。作为冲击力十足的好影片，《卧虎藏龙》是历史上北美总收入最高的外语电影（如果讲阿拉姆语和拉丁语的《耶稣受难记》不算外语片的话）。

 

Crouching Tiger, Hidden Dragon (2000)

As with Slumdog Millionaire, so too here: a director who made hisreputation in the West plunders the genre treasures of Asia.At least for Ang Lee it was a homecoming: he was born and raised in Taiwan before going to college in Illinois and earningacclaim with The Wedding Banquet and Sense and Sensibility. Incollaboration with a starry cast (Chow Yun-fat, Michele Yeoh, Chang Chen, ChengPei-pei) and the superb martial-arts choreographer Yuen Wo-ping — the movie'strue hidden dragon — Lee created a blend of Eastern physical dexterity andWestern intensity of performance, where high art met high spirits on thetrampoline of an elaborate plot. Both a powerful film and a terrific movie, CrouchingTiger became North America's all-timehighest-grossing foreign-language release... unless you include theAramaic-and-Latin The Passion of the Christ.

《红磨坊》/ Moulin Rouge! (2001)

在巴兹·鲁尔曼拍摄这部影片之前，音乐剧这种曾经辉煌的电影形式已经沉寂了二十多年。他用自己的想象力给音乐剧打了一针强心剂，而并不是简单地复原它。这部电影是《第42街》和《茶花女》的结合，里面由妮可·基德曼扮演的夜总会歌女，在观众头上荡着秋千唱“钻石是女孩的最好朋友”的样子，让人想起梦露和麦当娜。伊万·麦克格雷格扮演爱上这个歌女的穷作家，则活脱脱是个新的金凯利——健壮潇洒，笑容灿烂，像《一个美国人在巴黎》那样念念不忘《左岸》，像《雨中曲》那样挥舞着雨伞。充满激情的合唱队哼着“今晚和我去红磨坊”表演康康舞。一段类似“印度的春天”的歌舞，向印度宝莱坞音乐剧表示了充分的致意，眼花缭乱得令人晕眩。通过把浪漫与扭曲混和到一起，加上米高梅与MTV风格的歌曲，以及两位风华正茂的明星，鲁尔曼为我们创造了一部红色狂想曲，一部怀旧而又时尚的音乐剧。

 

 

 

Moulin Rouge! (2001)

From left to right, John Leguizamo, Garry McDonald, MatthewWhittet, Jim Broadbent, Nicole Kidman and Jacek Koman in Moulin Rouge!

Fox / Everett

The musical, that grand old film form, had been dormant for a couple of decadeswhen Baz Luhrmann, rather than just reviving the musical, attached it to thedefibrillator of his wild imagination. In this mash-up of 42nd Street and Camille,the nightclub chanteuse played by Nicole Kidman evokes Marilyn and Madonna asshe swings above the crowd warbling "Diamonds Are a Girl's BestFriend." Ewan McGregor, as the poor writer who falls for the courtesan, isa nouveau Gene Kelly — a hunky Joe with a radiant smile, haunting the Left Bank like An American in Paris, twirling anumbrella a la Singin' in the Rain. A sultry chorus line coos,"Moulin Rouge-ez avec moi ce soir?" and performs a tantric cancan. Anall-out tribute to India'sBollywood musical — a kind of "Springtime for Hindu" — has enough eyecandy to give the viewer diabetes. Mixing the romantic and the grotesque, thesongs of MGM and MTV, and two stars at the peak of their appeal, Luhrmanncreated a rhapsody in red, a musical that is both retro and now-tro.

 

《拆弹部队》/ The Hurt Locker (2009)

细心的读者会注意到，这10部电影里没有美国独立制片人的作品——也就是属于桑丹斯类的那种紧贴现实、嗅觉灵敏的剧情片。我觉得它们中的大部分影片都过于孤芳自赏，而在结构上与电影技巧上又不够大胆。（但这当中不包括《纽约浮世绘》与《鱿鱼与鲸》，这两部非常好。）我希望能选到带有冲击力的自然主义影片，这就是为什么我选了《拆弹部队》。它是一部惊心动魄的战争片，描写的是2005年一个美军炸弹拆除小分队在伊拉克的故事。马克·波尔的剧本张力十足，核心情节是一名言语不多的士兵（杰瑞米·雷纳扮演，非常出色）坚持做他的本职工作，也就是让巴格达的各个角落不要发生爆炸。这部电影在2008年九月的威尼斯电影节上首映，过了一段时间才在美国国内引起注意。到了年底，这部电影及其导演凯瑟琳·毕格罗广受评论家的褒奖。如果她最终能成为第一名获得奥斯卡最佳导演奖的女性（并击败她的前夫詹姆斯·卡梅隆），那也是一件挺美好的事。

 

 

The Hurt Locker (2009)

Jeremy Renner stars in The Hurt Locker.

SummitEntertainment

Careful readers will note the absence here of American independent films ofthe Sundance stripe — those sensitive dramas in which an outsider connects withhome truths. I find most of them a little too aware of their worthiness, aswell as structurally and cinematically timid. (No, not you two, Synecdoche, New York and TheSquid and the Whale; you were swell.) I want my naturalism with a bang, andI got it with this scary, thrilling war movie about a U.S. Army bomb-defusingsquad in Iraq,c. 2005. Mark Boal's taut script focuses on one GI (Jeremy Renner, superb) whotersely insists on doing his own thing, which is to keep little pieces of Baghdad from blowing up.First shown in Sept. 2008 at the Venice Film Festival, The Hurt Lockertook a while to make its impact in the U.S., but the movie and itsdirector, Kathryn Bigelow, have dominated the year-end critics' awards. If theshower of prizes ends with her becoming the first woman to win an Oscar as bestdirector (over her ex-husband, James Cameron), that'd be OK too.

《白钻石》/ White Diamond （2005）

沃纳·赫尔佐格可以作为一部他的纪录片的好题材。这位导演是位雄心过人、离经叛道的冒险家。在过去的四十年里，他考察与描绘的只有一个大主题：某个魅力非凡的人，心中有了一个宏大的构想，在实现它的过程中，他把自己快要逼疯，也把他周围的人逼入绝望之中。《阿基尔，上帝的愤怒》和《陆上行舟》的主人公就是这样的典型。在过去的10年里，赫尔佐格找到了另外两个题材，拍摄了两部与众不同的电影。一部是《灰熊人》，主人公提摩西·崔德威在阿拉斯加南部与野熊生活在一起，记录它们和他自己的奇行怪迹。另一部是《白钻石》，主人公葛雷·道林顿是伦敦大学的一位航空工程师。他试图驾驶自己建造的充气飞船飞越圭亚那的热带雨林。“我们能实现自己的梦想！”他喊道。“我们开始飞吧！”当道林顿终于起飞之后，这份感受不仅具有了感染力，而且也变得庄严神圣起来。与詹姆斯·卡梅隆的《阿凡达》一样，赫尔佐格梦幻般的纪录片表明，人类在驯服自然与融入自然的征途中所展现出来的美丽与危险，才是最动人心魄的冒险。

 

 

White Diamond （2005）

Werner Herzog would make a great subject for a Werner Herzog documentary;the director is an adventurer of outsize ambitions and eccentric appetites. Forfour decades, he has examined and embodied one grand theme: a charismatic manis seized by some magnificent idea, and his pursuit often drives himself towardmadness and those around him near despair. The protagonists of Aguirre, theWrath of God and Fitzcarraldo are two such obsessives. In thisdecade Herzog found two other suitable subjects, who inspired two extraordinaryfilms. One is Grizzly Man's Timothy Treadwell, who lived among wildbears in southern Alaska,recording their strange behavior, and his. The other is The White Diamond'sGraham Dorrington, a London University aeronautical engineer who has built anairship he wants to pilot over the rainforest canopy in Guyana."We can realize our dreams!" he exclaims. "Let's go fly!"When Dorrington finally gets up in the air, the feeling is not only contagious,it is sacramental. Like James Cameron's Avatar, Herzog's hallucinatorydocs prove that the most thrilling adventures are those that illuminate thebeauty and the peril in man's quest both to tame nature and become one with it.

 

《华氏9/11》/ Fahrenheit 9/11 (2004)

所谓“右翼把持着电台和电视的脱口秀，左翼靠的是纪录片”这个说法是有一定道理的。纪录片这种电影散文被用来说服自由派观众更加坚信他们已经相信的东西。迈克尔·摩尔是个教条的左派，他的电影反复强调的都是那些众所周知的论点：伊拉克战争——很糟；美国医疗体系——危害你的健康；资本主义——工人阶级的死敌。摩尔在他的电影中采用的宣传手法和突出自我的方式，使得许多同意他观点的观众也在批评他的表现形式。尽管如此，《华氏9/11》这部声讨美国入侵伊拉克的电影，毕竟还是一部罕见地对美国总统选举产生了影响的纪录片。它并没有为民主党赢得任何竞争激烈的州或赢得很多选票。恰恰相反，这部影片的流行——国内票房达1.19亿美元（这超过了任何不由企鹅主演的纪录片的三倍以上）——说明了那一年反战情绪足够广泛和强烈，假如约翰·克里能把他的反战观点像摩尔这样有力的表达出来，他很可能会赢得大选。不过话说回来，克里从来不是摩尔那样充满激情的演说家、星气十足的娱乐专家或经验丰富的政客。

 

Fahrenheit 9/11 (2004)

It's a truism that the right wing owns talk radio and TV, and the left winghas documentaries — those film essays designed to convince liberal audiences ofwhat they already believe. Michael Moore is a doctrinaire Leftie, and hismovies hammer home familiar points: Iraqwar, bad; U.S.medical care, dangerous to your health; capitalism, the curse of the workingclass. But Moore'spropagandistic brio and his central place in his films' limelight assure thatmany people who agree with his policies condemn his methods. That said, Fahrenheit9/11, his screed against the U.S.invasion of Iraq, is rareamong documentaries for being crucial to a U.S. Presidential election. Notthat it earned the Democrats any close states, or many votes. On the contrary:the film's popularity — $119 million at the domestic box office, or more thanthree times the take of any documentaries not starring penguins — indicatedthat antiwar sentiment was broad and strong enough that year that John Kerrymight have won if he'd articulated his opposition to the occupation asforcefully as Moore did. Then again, Kerry was never the passionate orator,showman-entertainer or, for that matter, savvy politician that Moore is.

 

  

《阿凡达》/ Avatar (2009)

对于这部我两个星期之前才看、一共看了两遍而且第一次看并没有什么强烈感受的电影，很难把它放在10年的跨度上进行比较。但是如果《阿凡达》真的像我预计的那样在电影技术上带来解放性的影响，那么它毫无疑问应该在这个名单上占据一席之地。这部影片既不是迪斯尼世界动物王国主题公园的玄幻再现，也不是豪华预算版的《最后的雨林》。它创造了一种完整的环境感受。所有景观都像《极速赛车手》里的车道一样完全是人造出来的，但是让观众更觉得享受。他们不仅是在参观潘多拉星球的雨林，而且也能像影片中腿部瘫痪的英雄杰克一样，在那里找到自己的双腿并很快适应环境。保守派也许会谴责这是一部带有环保主义者色彩的战争片，把美国士兵刻画为敌人；自由派也许会质问为什么会让一位美国白人成为身体与道德都高于人类的蓝色潘多拉人的救星。但是作为一次身临其境引人入胜的电影体验，《阿凡达》的确已经超越了詹姆斯·卡梅隆的上一部票房大片。这部电影是真正的泰坦巨人。

 

 

Avatar (2009)

It's hard to have a decade's perspective on a picture I saw twice, just twoweeks ago, and didn't feel strongly about on first viewing. But if Avatarhas the liberating impact on movie technology that I suspect it will, it richlydeserves the last spot on this list. Neither a fantasy rendition of DisneyWorld's Animal Kingdom nor a megabudget version of Ferngully, the filmcreates a total environmental experience. It's as totally fabricated alandscape as the Speed Racer ovals, and much more enticing for viewers.They don't just visit the Pandora rainforest; like the movie's paraplegic heroJake, they find their legs and are quickly at home there. Conservatives maydecry the tree-hugger sentiments in a war movie where U.S. soldiersare the enemy; liberals may wonder why a white American should be the savior ofthe physically and ethically superior blue Pandorans. But for a sensational,seductive movie immersion, Avatar has it all over James Cameron's lastblockbuster. This one really is titanic.

 

 

  —— 摘自 译言网