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[备考交流] 《三枪拍案惊奇》:科恩经典的中国式改编

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发表于 2010-9-27 16:49 | 显示全部楼层 |阅读模式
Bai Xiaoyan/Sony Pictures Classics

白晓燕(音译)/索尼经典电影

Yan Ni, left, portrays an adulterous wife and Sun Honglei a detective hired to kill her and her lover in Zhang Yimou’s film “A Woman, a Gun and a Noodle Shop.”

在张艺谋的新片《三枪拍案惊奇》(A Woman, a Gun and a Noodle Shop)中,闫妮(左)扮演了一位与伙计私通的老板娘,孙红雷扮演了被雇佣来杀老板娘和伙计的杀手。

By A. O. SCOTT

撰文:A. O. SCOTT

Published: September 2, 2010

发表时间:2010年9月2日

Twenty-five years ago Joel and Ethan Coen, rising stars of American independent cinema, made their debut with “Blood Simple,” a twisty tale of adultery and revenge with an obvious debt to “The Postman Always Rings Twice.” Six years later Zhang Yimou, a star of China’s rising fifth generation of filmmakers, contributed his own variation on the “Postman” theme with “Ju Dou,” his second feature as sole director. And now, for no good reason but with reasonably happy (which is to say grisly) results, Mr. Zhang has honored the unlikely affinity between himself and the Coens with a faithful remake of their first movie, a replica of “Blood Simple” called (in America) “A Woman, a Gun and a Noodle Shop.”

二十年前,堪称美国独立电影后起之秀的科恩兄弟(Joel and Ethan Coen)携处女作《血迷宫》(Blood Simple)初涉影坛,《血迷宫》是一部描写捉奸与复仇的电影,其曲折的故事情节在一定程度上借鉴了电影《邮差总按两次铃》(The Postman Always Rings Twice)。六年以后,也就是1990年,崭露头角的第五代中国导演张艺谋贡献了一部近似于“邮差”情节的电影《菊豆》,这也是他作为独立导演所拍摄的第二部电影。现如今,已经大红大紫的张艺谋没由头的在自己和科恩兄弟间找到了共同语言,他以一部忠实的翻拍之作《三枪拍案惊奇》(A Woman, a Gun and a Noodle Shop)向科恩兄弟的处女作致以了敬意。

Let us leave, at least for now, the pleasures of side-by-side comparison to budding cineastes, who will learn a lot from studying the decisive difference that specific technical choices — having to do with editing, shot selection and sound design — can make with respect to the mood and meaning of a single story. Anyone who sees both “Blood Simple” and “Noodle Shop” will be struck by the obsessive formal discipline that unites these otherwise disparate filmmakers, and also by Mr. Zhang’s preservation and alteration of certain details from the original: a combination lock; tobacco-smoking paraphernalia; murder weapons.

让我们先把这种并列比较式的喜悦暂时l留给给初出茅庐的电影爱好者们,编辑、镜头选择和声效设定这些特定的技术选择与主线故事的氛围和意义紧密相关,普通影迷们通过比较两部电影之间的根本性区别,肯定能获益匪浅。同时看过这两部电影的影迷肯定会被电影中执着的形式训练所打动,而正是这种形式训练将两位风格迥异的导演联系在了一起;同时,张艺谋对原作某些细节如暗码锁、烟斗和凶器的保留和改动也让人感到印象深刻。

The most important of those is still a gun, but in the world of “Noodle Shop” this is a novelty rather than standard equipment. The action has moved from modern semisuburban Texas to a rocky and desolate valley in northwest China at some unspecified point in the feudal past. Squadrons of imperial police thunder through the mountains on horseback, but otherwise an eerie quiet predominates, throwing the deceptively simple story into sharp relief.

这些道具中最重要的莫过于枪了,但是在“面馆”的世界中,枪还只是新奇物品,离标准装备依然相去甚远。故事背景也由原作中现代德克萨斯的半郊区转移到中国西北一条布满岩石且与世隔绝的峡谷之中,时间并未特别指明,大约是在封建社会的某个时期。本来一切相安无事,但皇家铁骑惊雷般的踏过山谷,在打破宁静的同时,也将一出表面简单的故事演绎得跌宕起伏。

Instead of a roadhouse, the rich and unlucky cuckold, Wang (Ni Dahong, making Dan Hedaya from the earlier film look positively debonair), owns a noodle shop and seems to have made a handsome fortune in spite of the near-total absence of customers. (A scene that approximates a musical number in this virtually music-free film shows dough being flung, sliced and boiled to provide a free meal for the cops.)

《血迷宫》中的旅馆到了《三枪》中被换成了面馆,面馆的老板是为富不仁的王五麻子(倪大红饰)。尽管少有顾客光临面馆,但王五麻子似乎并不担心,因为他意外发了一笔横财。

The boss’s wife (Yan Ni), fed up with his boorishness and sexual sadism, is carrying on with Li (Xiao Shenyang), one of his employees, who dresses in pink and blends skittishness with a certain anxious decency. The wife steps into a long tradition of Zhang Yimou heroines, going back to the defiant, tragic women played by Gong Li in movies like “The Story of Qiu Ju,” “Shanghai Triad” and “Raise the Red Lantern.” She is stubborn, abrasive and operatically self-expressive — her emotions far too grand for her mean, tawdry surroundings. Two other workers in Wang’s shop (Cheng Ye and Mao Mao) function as Shakespearean rustics and servants of the plot, their squawking voices and exaggerated gestures blurring the line between slapstick and serious violence.

王五麻子的妻子(闫妮饰)不堪丈夫的粗鲁和虐待,与店内伙计李四(小沈阳饰)发生了私情,这位伙计身着一件粉红缎袍,喜欢大呼小叫,但基本上行事还算得体。和《秋菊打官司》、《摇啊摇,摇到外婆桥》和《大红灯笼高高挂》这类传统的张艺谋电影一样,片中的老板娘也是一位胆大却又充满悲剧色彩的女性化身,她顽固、直率,喜欢自我展示,感情丰富得与周遭的低俗环境显得格格不入。王五麻子的面店中还有另外两位伙计(程野和毛毛),他们的作用类似于莎翁戏剧中乡巴佬和仆人的角色,其台词和夸张的肢体语言模糊了闹剧和正统暴力电影之间的界限。

The threat of which arrives in the person of Zhang (Sun Honglei), a taciturn detective hired by Wang to kill the adulterous couple. The character of Zhang is both the closest point of contact between “Noodle Shop” and “Blood Simple” and the source of their greatest divergence. What he does is, from scene to scene, almost identical to what M. Emmet Walsh did as Loren Visser in the Coens’ movie, but Mr. Sun has a quiet, deadpan manner that not only contrasts with Mr. Walsh’s giggly, whispery menace but also has the effect of completely altering the tone of the story. Zhang’s actions seem to spring not, like Visser’s, from perverse, greedy corruption, but rather from adherence to a deep, unspoken code. He is a thief and a liar as well as a cold-blooded killer, but his air of quiet melancholy makes him seem like the most soulful person in the area, and also somehow the most ethical.

随着冷血杀手张三(孙红雷饰)的介入,真正的威胁降临了,此人是王五麻子雇来谋害老板娘和李四的。杀手这个角色既是这两部电影最紧密的联系点,同时也是二者之间产生分歧最多的地方。张三的所作所为与《血迷宫》中艾米特·沃尔什(M. Emmet Walsh)所扮演的洛伦·维瑟(Loren Visser)如出一辙,但孙红雷塑造的杀手有些不动声色,面无表情,而沃尔什的角色则喜欢咯咯傻笑,低声威胁他人,这种人物性格上的差异完全改变了整个故事的叙事风格。和维瑟一样,张三的杀人动机似乎并不是出自堕落和贪婪,而是源于对某种深层且无以言表的准则的坚持。他虽是一个骗人的小偷,同时又是一位冷血的杀手,但他那宁静忧郁的外表让他看起来更像是一位充满了激情又恪守准则的斗士。

From the start the Coen brothers have been clever mischief-makers, repeatedly pulling the rug from under their characters and the audience alike. Mr. Zhang’s movies, whatever their genre or style, have always seemed painstakingly earnest. Whether dealing in sweeping period drama (“To Live”), rural neorealism (“Not One Less”), swordplay (“House of Flying Daggers”) or state-sanctioned spectacle (the opening broadcast of the 2008 Beijing Olympics), he has exhibited just about every imaginable directorial trait except a sense of humor.
在电影《血迷宫》中,科恩兄弟从一开始就设下层层圈套,让观众不断颠覆对剧中人物的看法。张艺谋的电影,不论题材和风格,都真挚得近乎有些费力。从轰动一时的《活着》到农村现实题材电影《一个都不能少》,再到武侠电影《十面埋伏》或2008年北京奥运会盛大的开幕式,他都显示出对细节把握的能力,但唯独缺少幽默感。
And though it begins with some exaggerated, almost clownish business and includes a handful of clean and mordant sight gags, “A Woman, a Gun and a Noodle Shop” has a gravity that is surprising, given that it is basically the pastiche of a pastiche. But by working through the self-conscious genre imitation that was something of a novelty in “Blood Simple,” Mr. Zhang uncovers the primal, mythic intensity of the story and also changes the tone of its essential nihilism. The Coens posit a universe without order or meaning, and while Mr. Zhang does not necessarily quarrel with this view, he treats it less as a cosmic joke than as a grim folk tale.

尽管《三枪》中穿插了一些夸张到有些滑稽的幽默元素以及不太协调的形体表演,但电影的重心还是放在了悬念效果上,可惜这种悬念效果基本上是通过多次拼凑而来的。通过对《血迷宫》中颇为新奇的自我意识风格进行模仿,张艺谋展示了故事本身原始且虚构的紧张感,而且也改变了其本质虚无主义的叙事腔调。科恩兄弟假想了一个没有秩序或意义的世界,而张艺谋并不一定非要背离这种既有模式,他的故事并不搞笑,充其量只能算一出冷酷的民间故事。

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