影评：罗杰·伊伯特评《大白鲨》（1975）

影评：罗杰·伊伯特评《大白鲨》（1975）

Somewhere 2012-12-15 405

简介

《大白鲨》于1975年上映，快速成为票房收入最高的电影，并且将暑期档从扎堆的B级片和低俗烂片中永远地抢占过来。一直回避暑期档的几大好莱坞电影公司，现在都视暑期档为电影的黄金上映期；《大白鲨》也引发了大量暑期惊悚片和f/x电影。而对斯皮尔伯格来说，《大白鲨》成了美国现代电影史上一位最杰出电影导演的辉煌事业的跳板。

"You're going to need a bigger boat."

”你会需要一条更大的船。“

So the police chief famously informs the shark hunter, right after the first brief appearance of the man-eater in "Jaws." It's not simply a splendid line of dialogue, it's an example of Steven Spielberg's strategy all through the film, where the shark is more talked about than seen, and seen more in terms of its actions than in the flesh. There is a story that when producers Richard Zanuck and David Brown first approached Spielberg with an offer to direct the film of Peter Benchley's best seller, he said he would do it on one condition: that the shark not be seen for the first hour. Viewing the movie's 25th anniversary DVD, I was surprised to realize how little the shark is seen at all.

就在《大白鲨》里的食人者首次简短地露了一次面后，警察长这样语出惊人地通知捕鲨人。这不仅是一句经典台词，也是斯皮尔伯格整部电影贯穿使用策略的例证，即鲨鱼更多是被谈起，而不是被看到；而且仅在游动时被看到，而不是整条鱼出现。有传闻说，制作人理查德·扎努克(Richard Zanuck)和大卫·布朗(David Brown)第一次找斯皮尔伯格，让他导演由彼得·本奇利(Peter Benchley)的畅销小说改编的电影，斯皮尔伯格说，只要答应一个条件，他就愿意导演：即在电影开始的一个小时里看不到鲨鱼。我在看电影25周年DVD版本时，诧异电影里鲨鱼是多么的少见。

In keeping the Great White offscreen, Spielberg was employing a strategy used by Alfred Hitchcock throughout his career. "A bomb is under the table, and it explodes: That is surprise," said Hitchcock. "The bomb is under the table but it does not explode: That is suspense." Spielberg leaves the shark under the table for most of the movie. And many of its manifestations in the later part of the film are at second hand: We don't see the shark but the results of his actions. The payoff is one of the most effective thrillers ever made.

为了使白色大家伙隐身屏幕，斯皮尔伯格运用了艾尔弗雷德·希区柯克纵贯他所有电影使用的策略。“一个灯泡在桌子下面，爆炸了：这是惊讶，”希区柯克说：“而这个灯泡在桌子下面，没有爆炸：这就是悬疑。”斯皮尔伯格大多数时候让鲨鱼待在桌子下面。而在电影后半部分里，它大多数时候的显身都是间接的：我们没有看到鲨鱼，只是看到它攻击的结果。其效果成就了一部最有力的惊悚片。

The movie takes place over the Fourth of July weekend on Amity Island, a tourist resort that feeds off the dollars of its visitors. A famous opening sequence establishes the presence of a man-eating shark in the coastal waters; a girl goes swimming by moonlight and is dragged under, screaming. All evidence points to a shark, but Mayor Vaughn (Murray Hamilton) doesn't want to scare away tourists, and orders Brody (Roy Scheider), the police chief, to keep the beaches open. "If people can't swim here, they'll be glad to swim in the beaches of Cape Cod, the Hamptons, Long Island," the mayor tells Brody, who spits back: "That doesn't mean we have to serve them up a smorgasbord." But the mayor strides on the beach wearing a sport coat and tie, encouraging people to go into the water. They do, with predictable results.

故事发生在7月4日周末的阿密提岛(Amity Island)，这是个依靠游客而繁荣的旅游胜地。一个著名的开篇镜头确定在海湾附近一条食人鲨鱼的出现；一个女孩在月光下游泳，然后被拖到水下，惊声尖叫。所有的证据都指向一条鲨鱼，可是沃恩市长（墨瑞·汉密尔顿饰[Murray Hamilton]）不想把游客吓走，于是命令警察长布罗迪（罗伊·施耐德饰[Roy Scheider]）继续将海湾向游人敞开。“如果人们不在这里游泳，他们会开心地到鳕鱼岬、汉普顿、长岛去游泳。”市长如是对布罗迪说，却遭到后者愤怒地反驳：“这不等于说我们得伺候他们一顿自助餐。”可是市长穿着运动服、围着领巾，在海滩上踱步，鼓励人们下水。他们这么做了，结果可以想象。

A town meeting is interrupted by the second of the film's central characters, the rough-edged, narrow-eyed Quint (Robert Shaw). He gets attention by scraping his fingernails down a blackboard that displays a drawing of a shark and offers his services as a bounty hunter: "You all know me. Know how I make a living." Soon after, Brody sits at home paging through books on sharks, a device that allows Spielberg to establish the killer in our minds as we look at page after page of fearsome teeth, cold little eyes and victims with chunks taken out of their bodies. (One of the photos shows a shark with a diver's air tank in its mouth, possibly suggesting where Brody gets his bright idea for killing the creature.)

 小镇会议被电影第二主角——长着一对小眼睛、粗犷的奎恩特（罗伯特·肖饰[Robert Shaw]）。他用手指划过展示一条鲨鱼画像的黑板以引起别人注意，然后他提出为了赏金而去捕捉鲨鱼：“你们都知道我。知道我靠什么为生。”过后不久，布罗迪坐在家里，一页一页地翻着有关鲨鱼的书籍。通过这个手段，斯皮尔伯格能够在我们的脑海里建立起鲨鱼的形象，当我们一页一页地看到骇人的牙齿、冷酷的小眼睛以及从受害者身体撕扯下的躯干。（一张照片显示一条鲨鱼嘴里含着一个潜水员的氧气瓶，可能就是这张照片启发了布罗迪想到杀死这个动物的好办法。）

The third key character is Hooper (Richard Dreyfuss), an oceanographer, brought in as an adviser, and useful to the movie because he can voice dramatic information. ("What we're dealing with here is a perfect engine. An eating machine.") Brody is convinced the beaches must be closed and the shark killed; the mayor stalls, and then after the shark makes the TV news, a $3,000 bounty is offered, and Amity is crawling with reckless fortune hunters.

第三个关键角色是胡珀（理查德·德莱弗斯饰[Richard Dreyfuss]）一名海洋专家，他之所以对电影有用是因为他会发表戏剧性的言论。（“我们在这里对付的是一个完美的引擎。一架吃人的机器。”布罗迪确信海湾一定要关闭，鲨鱼一定要杀死；而市长迟迟不采取行动，直到鲨鱼上了电视新闻，才发出3000美金的悬赏。于是阿密提攒动着鲁莽的淘金捕鲨者。

It's here that Spielberg uses one of his most inventive visuals for suggesting the shark. Three or four men gather on a wooden pier, hoping to catch the shark. One has stolen his wife's beef roast to use as bait. They put a fearsome hook through the roast, fasten the chain to the pier, and toss in the bait. The shark simply pulls the end of the pier loose from its moorings and drags it out to sea. Effective, but even more chilling is the next shot, in which we see the floating pier turn around and move back toward shore.

这里斯皮尔伯格运用了一个最有创意的视觉手段来表现鲨鱼。三四个人聚集在一个木头桥墩边。一个人偷了妻子的烤牛肉做诱饵。他们把烤牛穿在一个可怕的钩子上，将链子固定在桥墩上，然后抛下诱饵。鲨鱼只是拽桥墩的底端，将桥墩从码头拉掉下来，然后拖着桥墩游到海里去。而更加让人胆寒的是下一个镜头，我们看到浮动的桥墩转了个圈儿又回到岸边。

Floating objects are used all through the movie to suggest the invisible shark. After Brody, Quint and Hooper put out to sea in Quint's leaky boat, they fire harpoons into the shark. The harpoons are roped to floating yellow kegs, designed to tire the shark with their lift and drag. In the crucial action sequences at the end, we are often looking at kegs and not at a shark, but the premise is so well established that the shark is there.

这部电影都用漂浮的物体来表现看不见的鲨鱼。布罗迪、奎恩特和胡珀登上奎恩特漏水的小船出海。他们朝鲨鱼射鱼叉。鱼叉连着一串黄色的浮桶。目的是等鲨鱼浮上来后，把它们拖累。在影片最后的一个关键动作场面中，我们经常盯着桶，而不是鲨鱼；但是我们已经完全确信假设，即鲨鱼就在那里。

The screenplay, by Spielberg, Benchley and Carl Gottlieb, with contributions by Howard Sackler and a crucial speech by Shaw, does not twist itself into parables. The characters all have straightforward motivations. A little dialogue goes a long way. Individual lines stand out for hard-edged terseness:

这部剧本由斯皮尔伯格、本奇利和卡尔·歌特里尔布(Carl Gottlieb)创作，霍华德·赛克勒(Howard Sackler)亦有贡献，肖想出了一段重要台词。剧本没有将自身复杂提升成寓言。角色们都有直接的动机。对话虽短，但推动着剧情的发展。每个角色的台词都体现出真实的生硬冷漠的风格。

"I'm not gonna stand here and see that thing cut open and see that little Kintner boy spill out all over the dock."

“我不打算站在这里，看着那东西给切开，然后一个码头上到处都是那个金特纳家男孩。”

"I pulled a tooth the size of a shot glass out of the wrecked hull of a boat out there, and it was the tooth of a Great White."

“我从那边一条报废的船身上拔下一颗有烈酒杯大小的牙齿，那是一条大白鲨的牙齿。”

"The thing about a shark, he's got lifeless eyes, black eyes, like a doll's eyes. When he comes after you, he doesn't seem to be living until he bites you, and those black eyes roll over white. . . ."

“关于鲨鱼，它长着一对死气沉沉的眼睛，黑洞洞的，像玩具娃娃的眼睛。当它来到你身后的时候，它看起来像个死物，直到它咬你的时候，那对黑眼睛才在眼白里转动…”

After all of the shark-establishing and curtain-raising scenes, the heart of the movie is in the long passage at sea, where Hooper and Brody (who is afraid of the water) join Quint on his boat. Brody is right, they need a bigger boat. Quint's boat is terrifyingly inadequate, leaky, with an engine that produces clouds of black smoke, a bridge that seems designed to topple a crew member overboard, and a harpooning platform jutting out from the bow so that a man standing on it looks like an appetizer on a kebab stick.

电影确定了鲨鱼的存在、正式开幕之后，核心场面主要发生在胡珀和布罗迪登上奎恩特的船，行进在海上漫长的航行中。布罗迪是对的，他们需要一条更大的船。奎恩特的船简陋得可怕，漏水、马达开动起来喷出大团大团黑雾，驾驶舱设计得好像要让船上的一名成员栽跟头，鱼叉发射台上架着弓，人站在上面就像个饕餮者啃烤肉串。

The best scene in the movie is the nighttime scene in the galley, where the men drink apricot brandy and Quint and Hooper compare scars. Finally Quint launches into a moody monologue, telling the World War II story of the sinking of the USS Indianapolis. He was one of its crew members. Of the 1,100 men who went overboard, he says, sharks ate all but 316 before rescue arrived: "They averaged six an hour."

电影中最好的一个场景发生在晚间船上的厨房，三个人喝了杏白兰地，奎恩特和胡珀比着伤疤。最后奎恩特发了一通情绪化的自述，讲了二战时候印第安纳波利斯战舰(USS Indianapolis)沉没的事。他是其中一名船员。在登船的1100名船员中，他说道，在救援赶到之前，鲨鱼吃了316人：“平均一小时六个人。”

When the shark does appear for its closeups, it is quite satisfactorily terrifying, and most audiences are too startled to ask why the shark seems prepared to inconvenience itself so greatly, at one point even attempting to eat the boat. The shark has been so thoroughly established, through dialogue and quasi-documentary material, that its actual presence is enhanced in our imaginations by all we've seen and heard.

当鲨鱼终于出现在特写镜头里的时候，它的确相当令人满意地吓人，大多数观众因太过惊吓，甚至都没有想过，为什么鲨鱼似乎准备好给自己找大麻烦，甚至要到吃掉一条船的地步。鲨鱼的形象已经通过对话和伪文件资料完全建立起来，通过我们看过的画面、听过的传闻，经过我们想象的加工，更加肯定了它的实际存在。

Spielberg's first big hit contained elements he repeated in many of his movies. A night sea hunt for the shark provides an early example of his favorite visual hallmark, a beam of light made visible by fog. He would continue to devote close attention to characters, instead of hurrying past them to the special effects, as so many 1990s f/x directors did. In "Jaws" and subsequently, he prefers mood to emotional bludgeoning, and one of the remarkable things about the picture is its relatively muted tone. The familiar musical theme by John Williams is not a shrieker, but low and insinuating. It's often heard during point-of-view shots, at water level and below, that are another way Spielberg suggests the shark without showing it. The cinematography, by Bill Butler, is at pains to tell the story in the midst of middle-class America; if Spielberg's favorite location would become the suburbs, "Jaws" shows suburbanites on vacation.

斯皮尔伯格的首部大片包含了他电影中多数重复的元素。晚上出海捕鲨为他喜爱的视觉效果标签提供一个早期例证，一束灯光由于大雾隐约可见。他会持续密切关注角色们，而不是快速绕过他们进入特效，就像许多1990年代的f/x系列导演的做法。在《大白鲨》及续集中，相比较情感爆发，斯皮尔伯格更青睐情绪渲染，电影另一个显著之处是其相对安静的风格。约翰·威廉姆斯(John Williams)创造的熟悉的主题曲无关尖叫，而是声音低沉，充满暗示，通常在水面及水面下的观点镜头(POV)时响起。这也是斯皮尔伯格提示鲨鱼而没有展示它的另一种手法。比尔·布特勒(Bill Butley)的摄像总是致力讲述美国中产阶级的故事；如果斯皮尔伯格喜欢的地点变成市郊，那么《大白鲨》展示的就是度假中的市郊居民。

"Jaws" was released in 1975, quickly becoming the highest-grossing picture made up to that time, and forever wresting the summer releasing season away from B movies and exploitation pictures. The major Hollywood studios, which had avoided summer, now identified it as the prime releasing season, and "Jaws" inspired hundreds of summer thrillers and f/x pictures. For Spielberg, the movie was the launching pad for the most extraordinary directorial career in modern movie history. Before "Jaws," he was known as the gifted young director of films such as "Duel" (1971) and "Sugarland Express" (1974), After "Jaws," "Close Encounters of the Third Kind" (1977) and "Raiders of the Lost Ark" (1981), he was the king.

《大白鲨》于1975年上映，快速成为票房收入最高的电影，并且将暑期档从扎堆的B级片和低俗烂片中永远地抢占过来。一直回避暑期档的几大好莱坞电影公司，现在都视暑期档为电影的黄金上映期；《大白鲨》也引发了大量暑期惊悚片和f/x电影。而对斯皮尔伯格来说，《大白鲨》成了美国现代电影史上一位最杰出电影导演的辉煌事业的跳板。《大白鲨》之前，他因《飞轮喋血》(Duel)（1971）、《横冲直撞大逃亡》(Sugarland Express)（1974）而被看作最具潜力的青年导演；《大白鲨》之后，《第三类接触》(Close Encounters of the Third Kind)（1977）、《夺宝奇兵》(Raiders of the Lost Ark)（1981）使他成为电影界呼风唤雨式人物。