2014年十大影片之選——時(shí)報(bào)金牌影評(píng)人推薦

 

時(shí)報(bào)金牌影評(píng)人的2014年十大影片之選

I’ll skip the usual laments about the cruel arbitrariness of list making. There were a lot of movies this year — more than 950 reviewed in these pages — and quite a few good ones. Here are 21, a 10 Best list followed by runners-up, arranged alphabetically. It is, as always, a highly personal selection. These are the movies that touched, excited, challenged and haunted me most in 2014.

我通常會(huì)抱怨列榜單是一種殘忍的專斷，不過這次暫且略去。今年出了不少電影(本報(bào)影評(píng)版評(píng)論了950多部影片)，其中不乏佳作。下面是今年的21部佳片，包括10大最佳影片和按字母順序排列的11部其他佳作，和往常一樣，這是非常個(gè)人化的選擇，是2014年最令我感動(dòng)和興奮，讓我感覺受到挑戰(zhàn)，讓我久久難以忘懷的電影。

1. In my 15 years of professional movie reviewing, I can’t think of any film that has affected me the way “Boyhood” did. It is not just that I was moved — I’m frequently moved — but that my critical impulse seemed to collapse, along with my ability to find the boundary between art and life. Some of this is a matter of coincidence. Arriving in the summer that my only son and oldest child graduated from high school and prepared to fly the parental nest, this chronicle of a boy’s life from 6 to 18 would have wrecked me even if it had been more conventional. As it happened, it took a second and a third viewing for me to appreciate the ingenuity of Richard Linklater’s idea and the artistry of his methods.

1.在我15年的職業(yè)影評(píng)生涯中，還沒有一部電影像《少年時(shí)代》(Boyhood)這樣打動(dòng)我。我不僅僅是被感動(dòng)了——我經(jīng)常被感動(dòng)——它似乎瓦解了我的批判沖動(dòng)，讓我難以判斷藝術(shù)與生活之間的界限。這有點(diǎn)像是巧合。今年夏天，我最年長(zhǎng)的孩子，也是我唯一的兒子從高中畢業(yè)，準(zhǔn)備離開父母的庇護(hù)，而這部影片按時(shí)間順序記述了一個(gè)男孩從六歲到18歲的生活，就算它更平庸一點(diǎn)，也肯定會(huì)深深打動(dòng)我的。就這樣，我看了第二次，第三次，去欣賞導(dǎo)演理查德·林克萊特(Richard Linklater)的新穎創(chuàng)意與藝術(shù)手段。

Filming the story over 12 years was a bold and brilliant gamble. Mr. Linklater’s discovery of Ellar Coltrane to play the lead role of Mason was serendipitous. Watching his character grow in fairly ordinary circumstances is endlessly intriguing and surprisingly suspenseful. But “Boyhood,” while rigorously faithful to Mason’s perspective, is as much about his world and the people in it as it is about him. The film is a sympathetic critique of manhood and a critical tribute to motherhood (and also a chance to watch Ethan Hawke and Patricia Arquette grapple with the passage of time as no actors before them have). It opens on American life and offers a progress report on our spiritual condition. There are missing pieces, of course, but that’s part of the point. A movie, like an individual’s life, is a singular thing. It can’t be comprehensive; it can only be, as comprehensively as possible, itself.

用12年來(lái)拍攝這個(gè)故事是一場(chǎng)勇敢而精彩的賭博。林克萊特發(fā)現(xiàn)片中飾演主角馬森(Mason)的艾拉·柯川(Ellar Coltrane)純屬偶然。他觀察著這個(gè)角色在相當(dāng)普通的環(huán)境下成長(zhǎng)，這非常有趣，而且令人意外地保持了懸念。但《少年時(shí)代》嚴(yán)格地從馬森的視角出發(fā)，既是關(guān)于他，也是關(guān)于他的世界，以及這個(gè)世界里的人們。這部影片是對(duì)成人世界充滿同情的批評(píng)，也是對(duì)母愛帶有批評(píng)性質(zhì)的致敬(另外在片中還可以看到伊桑· 霍克[Ethan Hawke]和帕特里西亞·阿凱特[Patricia Arquette]以前所未有的方式同時(shí)間的流逝做斗爭(zhēng))。它對(duì)美國(guó)方式開火，呈上了一份美國(guó)人精神狀態(tài)的進(jìn)度報(bào)告。當(dāng)然，片中也有缺失的環(huán)節(jié)，但這也是主旨的一部分。一部電影就像一個(gè)人的生活一樣，是一樁單獨(dú)的事件。它不能是復(fù)雜的，只能是盡可能地復(fù)雜，它只能是它自身。