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《纽约时报》2013年度“十佳”电影

Feasts for the Eyes, 1,001 Nights’ Worth
《纽约时报》2013年度“十佳”电影

By the time midnight strikes on Dec. 31, The New York Times will have reviewed almost 900 movies in the course of 2013. This number, which grows every year, nonetheless represents a tiny fraction of the moving-picture entertainment made available to the public over the previous 12 months on television, video on demand and streaming services and at the festivals that span the globe and the calendar. In such circumstances, the traditional 10-best list, always arbitrary, seems downright cruel — to filmmakers, to readers and to the overwhelmed critic who must kill, or at least neglect, some of his darlings and subject himself to the self-flagellation of second-guessing. (Oh dear: “Kill Your Darlings” — shouldn’t I have made room for that one?)

截止到12月31日午夜,《纽约时报》在2013年里评论过的电影将达到900部。这个数字每年都在增加,但是仅代表了全球观众过去12个月里通过电视、视频点播、在线播放和电影节看到的众多电影中的一小部分。在这种情况下,带有主观色彩的传统十佳影片榜单变得十分残酷。对电影制作人,对读者以及对我这个惶恐的评论家来说都是如此,因为我必须扼杀,或者说至少要忽略我特别喜爱的一些电影,让自己经受再三斟酌的折磨(哦,我亲爱的《杀死汝爱》[Kill Your Darlings],我是不是该给你留个位置?)

Making it worse (to continue in the vein of self-pity, since no one else will feel sorry for me) is that this was also a year of superabundant quality. Anyone who laments the death or decrepitude of movies just isn’t paying attention. Yes, there are great shows on cable, and dreary franchise action fare clogs the multiplexes in the warmer months. Animation, a bright spot in Hollywood over the past decade, has entered a creative slump as the studios discover that they can sell tickets and tie-in merchandising without taking the creative risks that generate masterpieces. But everywhere else, from the legacy studios and their indie-dependent subsidiaries to the hothouse cottage industries of micro-releasing and self-distribution, the art of cinema is thriving.

更糟糕的是(我继续用着自怜自悯的口气,因为没人会替我难过),今年影片的总体质量还非常好。谁要是悲叹电影已死或者已经没落,那他是没认真看。是的,有线电视上有很多精彩剧集,沉闷的漫画改编动作大片在夏季里挤满了多影厅影院。动画片在过去十年里是好莱坞的亮点,但是现在进入了创意低谷期,因为电影公司发现他们不用冒着创意风险也能把票和周边商品卖出去,但是只有创意才能孕育杰作。但在其他地方,不管是在老牌电影公司及其独立经营的子公司,还是在小规模独立发行的脆弱的小公司,电影艺术正在繁荣发展。

Earlier this year, when Manohla Dargis and I set out to compile a roster of promising filmmakers 40 and younger, we had no trouble finding candidates, only in winnowing them to a list of 20. But we were troubled by the lack of recognition many of these directors have found, and the difficulties they encounter as they try to make good on their promise. The movie business has always been rough, of course, but at present there seems to be a growing disjunction — a chasm, really — between the quality of the work being produced and the intensity of its reception.

今年早些时候,我和曼诺拉·达吉斯(Manohla Dargis)着手整理40岁以下的有前途的电影制作人名单时,不费吹灰之力就找到了候选人,只是在压缩到20位时稍微费了点力气。但是让我们苦恼的是,其中很多导演缺乏知名度,在他们努力实现抱负时遇到了诸多困难。当然,电影业一向残酷,但是如今电影的叫好与叫座之间似乎出现了更多的不一致,或者说:鸿沟。

There are many reasons this is so, including the daunting numbers mentioned above, the logjam of awards-season releases (more than 90 titles a month reviewed by the Times in September, October and November this year) and the water-cooler ascendance of cable television. But in the spirit of the season, let me be blunt. The problem is you. A vital art form requires an engaged — which is to say a skeptical and demanding as well as enthusiastic — audience to ensure its economic viability and encourage its aesthetic development.

造成这种现象的原因很多,包括上面提到的令人生畏的数字,电影在颁奖季扎堆上映(在今年9月、10月和11月,《纽约时报》每个月都要评论90多部电影),以及有线电视的支配地位。但是本着颁奖季的精神,让我说得直白一点吧。问题就在你身上。任何有活力的艺术形式都需要热心的观众,需要他们既持怀疑态度,要求很高,又满怀热情,这样它才能在经济上生存下去,在审美上继续发展。

So think of the list as a nagging reminder, a second chance and a place to start. There are 35 titles, a robust but hardly unmanageable number: a Top 10 with an absurd (but eminently justified) six-way tie for the 10th spot; 15 runners-up, any one of which could have easily claimed a slot in the top tier and five documentaries, from a crowded and eclectic field.

所以,请把下面的名单看做一个唠叨的提醒,看做第二次机会和新的起点。这个名单中总共有35部影片(这个数字有些残酷,但还不至于让人处理不了):“十大”最佳影片,第十位列出了六部电影,这看上去有点荒谬,实际上是合乎情理的;15部优秀入围影片,其中每部堪称一流;五部最佳纪录片,它们是从众多风格迥异的影片中挑选出来的。

1. ‘Inside Llewyn Davis’ The musical performances — especially from Oscar Isaac, who plays the title character — are hauntingly lovely, and they anchor Joel and Ethan Coen’s exploration, at once mordant and melancholy, of the early-’60s New York folk scene. A ballad of bad luck and squandered talent that already seems, like the music it celebrates, to have been around forever.

1.《醉乡民谣》(Inside Llewyn Davis):片中的音乐表演——特别是主演奥斯卡·伊萨克(Oscar Isaac)的表演——特别可爱,十分难忘,它们给乔尔和伊桑·科恩(Joel and Ethan Coen)的这部讲述60年代早期纽约民谣境况的辛辣而忧伤的影片奠定了基础。这部关于坏运气和流浪天才的影片,就像它纪念的民谣一样,会一直萦绕在人们心头。

2. ‘12 Years a Slave’ Its historical seriousness and topical resonance are considerable but should not distract attention from Steve McQueen’s artistry. Suspenseful and dramatic in the best Hollywood tradition — and full of first-rate performances — this story of bondage and the longing for freedom unfolds with startling clarity and immediacy.

2.《为奴十二年》( 12 Years a Slave):它的历史严肃性和主题共鸣当然十分重要,但是我们不能因此忽视史蒂夫·麦昆(Steve McQueen)的艺术性。秉承好莱坞的最佳传统,该片紧张悬疑,激动人心,充满一流的表演。这个关于奴役和渴望自由的故事以惊人的坦率和直接展现出来。

3. ‘Blue Is the Warmest Color’ Yes, the sex scenes are explicit, but they are both necessary to the love story and tangential to the film’s main ambition, which is to illuminate the life of its young protagonist, played by Adèle Exarchopoulos, in full. So yes, Abdellatif Kechiche’s Cannes prize winner is about sex, but it’s also about everything else: food, work, art, social class, education and, perhaps above all, France.

3.《阿黛尔的生活》(Blue Is the Warmest Color):是的,片中的性爱场面很直白,但是对这个爱情故事来说它们是必需的,对该片的主要目的来说则是间接相关的。该片的主要目的是全面展现阿黛尔·艾克阿切波洛斯(Adèle Exarchopoulos)扮演的年轻女主人公的生活。是的,阿卜杜勒-拉蒂夫·柯奇许(Abdellatif Kechiche)的这部获得戛纳奖的影片是关于性爱的,但它也是关于其他各种主题的:美食,工作,艺术,社会阶层和教育,也许最重要的是,关于法国。

4. ‘Enough Said’ Nicole Holofcener’s midlife romantic comedy, starring Julia Louis-Dreyfus and James Gandolfini, spins what at first seems like an anecdotal premise into a rich and insightful examination of the peculiarities and contradictions of courtship and parenthood in 21st century America.

4.《无须多言》(Enough Said):妮科尔·哈罗芬瑟(Nicole Holofcener)的这部中年浪漫喜剧由朱莉娅·路易斯-德雷弗斯(Julia Louis-Dreyfus)和詹姆斯·甘多尔菲尼(James Gandolfini)主演,刚开始看上去像是一段轶事的背景介绍,后来演变为对21世纪美国人求爱和为人父母的独特和矛盾之处的审视,丰富而深刻。

5. ‘A Touch of Sin’ Jia Zhangke’s angry, meticulous collection of violent vignettes paints a somber picture of modern China as a place of inequality, greed and indifference. And not only China.

5.《天注定》(A Touch of Sin):贾樟柯的这部电影愤怒而谨慎选择了几个暴力故事,描绘了现代中国不公、贪婪而冷漠的阴郁画面。这种情况其实不只在中国发生。<纽约时报中英文网 http://www.qqenglish.com/>

6. ‘All Is Lost’ An old story — man against the elements — grandly and thrillingly told by J. C. Chandor. Robert Redford commands the screen with barely a word.

6. 《一切尽失》(All Is Lost):一个关于人类对抗恶劣天气的古老故事,由J·C·尚多尔(J. C. Chandor)宏大而震撼地讲述出来。罗伯特·雷德福(Robert Redford)几乎没说一句话就掌控了整个画面。

7. ‘Frances Ha’ With its nouvelle vague black-and-white imagery and its eye for the pleasures and foibles of young-bohemian New York, Noah Baumbach’s lightest and loosest feature, written with and starring Greta Gerwig, is a sweet bedtime story for anxious millennials.

7.《弗兰西丝·哈》(Frances Ha):诺亚·鲍姆巴赫(Noah Baumbach)这部轻松、松散的故事片采用新浪潮的黑白画面,描绘了放荡不羁的纽约年轻人的快乐和癖好。格蕾塔·葛韦格(Greta Gerwig)是该片的联合编剧和主演。对焦虑的千禧一代来说,该片是个甜蜜的睡前故事。

8. ‘Hannah Arendt’ Those who complain that movies can’t think don’t really know how to think about movies. This one, focusing on the controversy surrounding its subject’s 1963 book “Eichmann in Jerusalem,” brilliantly dramatizes the imperative at the center of her life as a writer and philosopher, which was to compel the world to yield to the force of the mind.

8.《汉娜·阿伦特》(Hannah Arendt):那些抱怨电影不能思考的人并不真正懂得如何去思考电影。这部电影把重点放在主人公1963年出版的图书《艾希曼在耶路撒冷》(Eichmann in Jerusalem)引发的争论上,巧妙地把这位作家和哲学家人生中至关重要的事——迫使这个世界屈服于思想的力量——改编成了剧本。

9. ‘Lee Daniels’ The Butler’ Movies about American history tend to be somber, responsible and pious, even as the history itself is completely crazy — violent, tragic, ridiculous and contradictory. Lee Daniels, never known for his restraint, turns America’s most agonized and contentious subject (that would be race) into an opera of wild melodrama, canny naturalism and political camp. None of it should have worked, and yet nearly all of it does.

9.《白宫管家》(Lee Daniels’ The Butler):关于美国历史的电影总是阴郁的、有责任感的、虔诚的,尽管美国历史本身是彻底的疯狂——充满暴力和悲剧,荒谬,自相矛盾。从不以克制闻名的李·丹尼尔斯(Lee Daniels)把美国最痛苦而有争议的主题(种族问题)变成了疯狂的传奇剧、精明的自然主义和政治坎普的结合体。所有这些好像都行不通,但是它们几乎都做到了。

10. ‘The Great Gatsby’/‘The Wolf of Wall Street’/‘The Bling Ring’/‘Spring Breakers’/‘Pain and Gain’/‘American Hustle’ Six variations on the big theme of our times: “Just look at all my stuff!” It’s capitalism, baby! Grab what (and who) you can, and do whatever feels good. We’re all going to hell (or jail, or Florida) anyway.

10.《了不起的盖茨比》(The Great Gatsby)/《华尔街之狼》(The Wolf of Wall Street)/《珠光宝气》(The Bling Ring)/《春假》(Spring Breakers)/《付出与收获》(Pain and Gain)/《美国骗局》(American Hustle):这六部电影讲述的都是我们这个时代的一个重大主题:“看看我拥有的所有这些东吧西!”这就是资本主义,宝贝!攫取所有你能攫取的东西(或者人),做你想做的任何事情。反正我们都要去地狱(或者监狱,或者佛罗里达)。

And: “Before Midnight,” “Beyond the Hills,” “Caesar Must Die,” “Computer Chess,” “Fill the Void,” “Fruitvale Station,” “The Great Beauty,” “Her,” “In a World, ” “Much Ado About Nothing,” “Museum Hours,” “Nebraska,” “An Oversimplification of Her Beauty,” “Viola,” “You Ain’t Seen Nothin’ Yet.”

其他优秀影片包括《午夜之前》(Before Midnight),《山之外》(Beyond the Hills),《凯撒必须死》(Caesar Must Die),《电脑棋局》(Computer Chess),《填补空白》(Fill the Void),《弗鲁特维尔车站》(Fruitvale Station),《绝美之城》(The Great Beauty),《她》(Her),《在世间》(In a World),《无事生非》(Much Ado About Nothing),《博物馆时光》(Museum Hours),《内布拉斯加》(Nebraska),《对她的美的过度简化》(An Oversimplification of Her Beauty),《薇奥拉》(Viola),以及《你们见到的还不算什么》(You Ain’t Seen Nothin’ Yet)。

Documentaries

纪录片

1. ‘The Act of Killing’ Joshua Oppenheimer’s harrowing, hallucinatory visits with unrepentant mass murderers in Indonesia.

1.《杀戮行为》(The Act of Killing):约书亚·奥本海默(Joshua Oppenheimer)的影片令人痛心,产生不真实感,它回顾了印度尼西亚那些不思悔改的大规模屠杀者。

2. ‘Stories We Tell’ Sarah Polley’s sly, sensational investigation of family secrets and the camera’s ability to reveal and invent the truth.

2.《我们讲述的故事》(Stories We Tell):这部纪录片是莎拉·波利(Sarah Polley)对家庭秘密的狡猾的、感人的调查,同时表明摄像机既能揭露事实,也能捏造假象。

3. ‘The Square’ Jehane Noujaim’s on-the-scene, up-to-the minute chronicle of the Egyptian revolution and its aftermath.

3.《广场》(The Square):耶菡·妮珍(Jehane Noujaim)在现场详细记录了埃及革命及其余波。

4. ‘Let the Fire Burn’ Jason Osder’s reconstruction — entirely from archival video, — of the 1985 bombing of Move headquarters in Philadelphia.

4.《让烈火燃烧》(Let the Fire Burn):詹森·奥斯德(Jason Osder)完全依靠档案视频重现了1985年费城激进组织"Move"总部的爆炸案。

5. ‘Cutie and the Boxer’ Zachary Heinzerling’s lovely and surprising portrait of the marriage of Ushio and Noriko Shinohara, two Japanese artists who have lived in New York for more than 40 years.

5.《小可爱与拳击手》(Cutie and the Boxer):扎卡里·海因策林(Zachary Heinzerling)优美而令人意外地描绘了在纽约居住了40多年的两位日本艺术家丑雄和则子·信原(Ushio and Noriko Shinohara)的婚姻。

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