 You have an opinion, probably, on which of the two most common species of household pet you deem superior — and an opinion, possibly, on the fastidious filmography of Wes Anderson. 关于那种家养宠物是最棒的你可能会有自己的想法，还有就是关于韦斯.安德森的精选的影片集锦。 But this much, at least, is fact: Nobody ever made a good movie about the nobility of cats. 不过至少事实上：没有人拍过关于猫的高贵的电影。 Not even Anderson, who certainly seems like he might be a cat person, with his velvet-and-tweed blazers and his indoor scarves and his arched-eyebrow worldview. 连安德森都还没有拍过，尽管他看起来很像是个爱猫的人，他总穿花呢丝绒外套，戴着室内围巾，还拥有独特的世界观。 But no one will question his right-thinking canine-supremacy bone-a-fides after Isle of Dogs. (Go on, say the title out loud.) 不过在《犬之岛》（对了，大声念出这个名字吧）没有人会质疑他其实是更爱狗的人了。 His dizzying new stop-motion epic is so visually rich, so narratively ambitious and so openhearted in its admiration for Japanese culture and the unshakable loyalty of doggos that it'll likely roll right over the familiar cries that Anderson is too fussy or whatnot like a Corgi rolling over for a belly rub. 他炫目的最新定格史诗电影视角效果是如此多样，叙事精彩，公开表达了对日本文化的敬仰和对狗的无法动摇的爱，以至于给那些认为安德森太挑剔或者像一只躺在地上等着人挠肚肚的柯基一样的人一个漂亮的反击。 It's a gorgeous mutt of a movie, all right, mashing up Akira Kurosawa — not just his samurai epics (and their scores), but his urban crime pictures, too — and postapocalyptic survival flicks like Mad Max into a wholly original adventure that'll leave you wanting to pet every dog you meet, its bloody warnings about the hazards of petting strange dogs be damned. 这是一次精彩的混搭电影，不错，混合了黑泽明—不仅是他的武士电影（和配乐）还有他的都市犯罪电影—还有劫后幸存电影比如《疯狂麦克斯》形成一种全新独创的冒险，看完以后你会无视电影里对亲近流浪狗的警告，只想好好爱抚一下你遇到的每一只狗狗。 Set in Japan "20 years from now," Isle of Dogs posits a Snout Fever outbreak in fictional Megasaki City that compels authoritarian Mayor Kobayashi (Kunichi Nomura) — a descendant of the cat-loving Kobayashi dynasty, whose inhumanity to Man's Best Friend goes back to before "The Age of Obedience" — to order all dogs in the prefecture deported to Trash Island. 影片将情景设置于20年后的日本，《犬之岛》假设在长崎城里爆发了一次流感，迫使独裁的市长小林（野村饰演）将辖区内所有的狗驱赶到了垃圾岛上，小林是爱猫的小林时代的后人，他对狗的残暴从“驯服之纪”就开始了。 (Nomura is also part of the writing team, along with Anderson and frequent collaborators Roman Coppola and Jason Schwartzman.) （野村也是写作团队成员之一，一起创作的还要安德森和他的老伙伴罗曼.科波拉以及杰森.施瓦茨曼） First to go: Spots (Liev Schreiber), elite guard-dog to the Mayor's 12-year-old nephew Atari (newcomer Koyu Rankin). 首先：斑点狗（列夫.施赖伯），一直贵族护卫犬被送到市长家十二岁的侄子阿塔瑞（新人演员卡佑.兰金）那里。 The double-whammy of a reactor meltdown and a volcanic eruption have left Trash Island unfit for human habitation. 在经历了反应堆融化和火山喷发的接连打击后，垃圾岛不再适合人类居住。 There, sneezing, starving mongrels fight over rotten scraps amid abandoned theme parks and rusted-out power plants. 在那里，饥肠辘辘四处搜寻的流浪狗为一些残根剩饭和遗弃了的主题公园以及破旧的发电厂而争夺打斗。 Chief (Bryan Cranston), a stray who's used to scrounging for his supper, encounters a pack of fallen pets struggling to adapt to life in the wild. 首领（布莱恩.克兰斯顿），是一只经常到处搜寻晚餐的流浪狗，遇到了一群被遗弃的努力适应野外生活的宠物狗。 "I've seen cats with more balls than you dogs," he spits. “我见过有些猫都比你们有种，”他骂道。 Voicing the pampered pups are the Wes Anderson Players: Rex (Edward Norton); baseball team mascot Boss (Bill Murray), Puppy Chop Puppy Chow spokesdog King (Bob Balaban) and Duke (Jeff Goldblum), for whom gossip is the one comfort that exile to a radioactive garbage dump can't take away. 给这些傲娇的狗狗配音的是韦斯.安德森的伙伴们：雷克斯（爱德华.诺顿）；棒球队吉祥物老大（比尔.穆雷），狗吃狗嚼发言狗国王（鲍勃.巴拉班）以及公爵（杰夫.哥德布鲁姆），对他们来说哪怕被放逐到垃圾堆里也阻止不了他们享受八卦的乐趣。 The dogs' stop-motion fights, charmingly rendered in "dust clouds" that are in fact wads of cotton, draw stop-motion blood, which is perhaps why this profanity-free doggy cartoon carries a PG-13 rating. 狗狗们定格拍摄的打斗，被生动地用“灰云”来表示，事实上是棉花团，会流出定格拍摄的血液，这也是为什么这部充满敬意的狗狗卡通电影会被分级为13岁以下儿童需要陪同观看吧。 It's not for little kids, who may be entranced by the visuals — stop-motion has an analog character and dimensionality that even the best computer animation can't replicate — while finding the film's conspiracy plot baffling. 这不是拍给小孩看的，虽然看起来会吸引小孩—定格拍摄模拟的特征和维度甚至最好的电脑动漫也无法复制—小孩可能会觉得这部电影复杂的情节过于难懂。 Nine features and 22 years into his career, Anderson's pungent cocktail of childlike wonder and grown-up ennui no longer feels as jarring as it once did. 在九次出演和入行22年后，安德森融合了儿童的好奇和成人的无聊的辛辣鸡尾酒式的电影不再像以前那样冲突了。 His sensibility arrived fully formed with 1996's Bottle Rocket, and by 2004's The Life Aquatic with Steve Zissou — which used stop-motion to depict its exotic specimens of marine life — some critics were accusing him of being less an artist than a walking assemblage of tics. 他的感觉在1996年的《脱线冲天炮》和2004年的《水中生活》—用定格拍摄手法展现水下异域情调的生活样本—里得到了完全的呈现，有的人批评他不像艺术家倒像是行走的无厘头大王。 "In 12 years he'll be eleven-and-a-half," Cate Blanchett's character says at The Life Aquatic's climax, looking down at her pregnant belly. “12年后他就该十一岁半了，”凯特.布兰切特在《水下生活》里扮演的角色低头看着自己隆起的腹部说。 "That was my favorite age," Bill Murray's Steve replies. “这是我最喜欢的年纪，”比尔.穆雷扮演的史蒂夫回答到。 The line finds an echo in Anderson's new film, when Nutmeg, a former show dog voiced by Scarlett Johansson, tells Chief that he should stick his flea-bitten neck out for young Atari because "he's a 12-year-old boy. Dogs love those." 这些台词在安德森的新电影了也有再次出现，其中Nutmeg，一只之前的表演狗，由斯嘉丽.约翰逊配音，告诉首领说他愿意让年轻的阿塔瑞给他挠脖子痒痒，因为“他是个十二岁大的男孩。狗狗都喜欢这个年纪的小孩。” It's true: Anderson is obsessed with the transition from late boyhood to young manhood, and that obsession has been a barrier-to-entry for some. 确实如此：安德森痴迷于从少年时代到青年的过渡，而且对于一些人来说，痴迷是一个障碍。 His prior opus, 2014's The Grand Budapest Hotel, brought a lot of skeptics around, eventually scoring him an Oscar nomination for Best Director and another for Best Picture. 他之前的作品，2014年的《布达佩斯大饭店》，引发了很多质疑，最终他获得了奥斯卡最佳导演奖和最佳影片奖。 His only other fully stop-motion feature, 2009's Fantastic Mr. Fox, dropped us into a world of wild animals under mortal threat from humans, even as George Clooney's Mr. Fox struggled to master the feral impulses that kept putting his family and his community at risk. 他唯一的另一个定格动画电影，2009年的《了不起的狐狸爸爸》，让我们陷入了受到来自人类的威胁的野生动物世界，尽管乔治克鲁尼扮演的福克斯先生努力控制使他的家人和他的群体陷入风险的野性冲动。 Like every Anderson movie regardless of the age (or species) of its protagonist, it was a story about how painful it is to grow up. 像所有安德森电影一样，无论其主角的年龄（或种类）如何，这都是一个关于成长之苦的故事。 Atari, the preteen hero of Dogs, is already virtuous and honorable when the story begins. 雅达利是狗的小英雄，在故事开始的时候就很有道德感。 It's Chief and Spots, primarily, who're forced to grow. 首领和斑点狗，首先来说，是被迫成长的狗。 And these remarkable puppets, their bulbous eyes frequently spilling over with emotion, have no difficulty stoking our empathy. 而这些出色的木偶，他们的球状眼睛经常充满激情，毫不费力地激起我们的同情心。 As is often the case with Anderson's work, the movie's formalism is itself a refined pleasure, especially with its approach to language. 与安德森的作品一样，电影的形式主义本身就是一种高雅的享受，尤其是对语言的态度。 Courtney B. Vance's stentorian voice-over is in English, and the dogs speak English, but all the Japanese human characters speak Japanese and are performed by Japanese actors. 考特尼·万斯用洪亮的英文配音，狗说英语，而所有日本人的角色说日语，并由日本演员表演。 (Rankin, who was all of eight years old when he recorded his dialogue, is half-Japanese, born in Canada to a Japanese mother.) （兰金在录制他的对话时年仅8岁，是半个日本人，是他的日本母亲在加拿大生下的他。） All onscreen text, including the credits and the judiciously deployed subtitles, is shown in English and Japanese, and when Anderson translates the Japanese speech, he uses a number of ingenious methods, including an onscreen interpreter voiced by Frances McDormand. 所有屏幕文本，包括学分和明智部署的字幕都以英文和日文显示，当安德森翻译日文演讲时，他使用了许多巧妙的方法，其中包括弗朗西斯·麦克多曼的屏幕口译。 Equally inventive is the way that all video feeds seen in this stop-motion world display hand-drawn animation. 同样具有创造性的是，在这个定格动画世界中看到的所有影像都是手绘的。 It's too bad that Tracy — Greta Gerwig's American exchange student — gets to drive the conspiracy plot instead of one of her Japanese classmates, but at least she has a more active role than female characters tend to get, in Anderson films. 特蕾西——格蕾塔·葛韦格的美国交换生——使用阴谋诡计代替她的另一个日本同学获得了这个角色，但至少她在安德森电影里获得了比其他女性更为活跃的角色。 But by the time Anderson's animators show us a meal of sushi being prepared in meticulous close-up, I was ready for any trick Anderson wanted to perform for me. Isle of Dogs takes Best in Show. 但是当安德森的动画师向我们展示了一顿以细致的特写准备的寿司餐时，我对安德森想为我表演的任何伎俩都做好了心理准备。《犬之岛》展现了最完美的表演。 感谢关注 跟amber一起看世界 |
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