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发表于 2010-7-17 10:50:57
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[罗杰伊伯特四星] [盗梦空间]
2010-07-16 16:47:32 来自: 朱时茂 ("dream is collapsing...")
Inception / 奠基的评论
提示: 有关键情节透露
据说[盗梦空间]的剧本花了克里斯托弗诺兰十年写完. 这一定需要集中惊人的注意力, 如同边走钢索边下盲棋. 影片主角用建造迷宫为题测试一名女建筑师, 而诺兰则用他构建的迷宫测试着观众. 我们必须对他的指引完全信任, 因为大多数时间我们迷失方向, 不知所措. 诺兰一定数次重写了这个故事, 发现任何线索都牵一发动全身.
故事情节也许三言两语就可讲明, 又或者没法说清. 这是一部对剧透免疫的影片: 结尾不会告诉你任何事情, 除非你也知道经过. 但复述经过会让你更为迷惘, 因为经过是这部电影的全部, 展示给我们如何奋力穿越层层迭迭的梦境和现实, 梦境中的现实和不实的梦境. 对这个令人震颤的银幕魔术来说, [记忆碎片](2000)也许是诺兰的一次热身; 那个短期记忆丧失的男人全片倒叙的故事, 显然拍摄于本片的构思之后.
正如那部电影的主角, [盗梦空间]的观众将穿行在不同的时间和维度之中. 人们永远无法度量虚幻时间的长度. 主角说一个人从不记得梦境如何开始, 而一场长梦也许只有一瞬. 没错, 但梦中人对此全然不知. 如果你身处他人之梦? 梦里的时间如何计算? 你又靠什么来确认现实?
考伯(李奥纳多迪卡普里奥)是最顶尖的企业窃贼. 他侵入目标的潜意识, 窃取他们的想法. 一名神通广大的亿万富翁请他反其道行之: 在他的对头脑里植入一个想法, 让他坚信不移. 这是考伯从未完成的犯罪, 而人的思维对外来观念的抵抗不亚于免疫系统对抗病菌. 这个名叫斋藤的巨富(渡边谦)为考伯开出了一个他无法拒绝的报价: 事成之后, 考伯就可以结束流亡, 重归故里.
考伯开始集结人马, 影片再现了经典劫案片的必备桥段, 盗梦专家悉数登场: 长期搭档亚瑟(约瑟夫戈登列维); 骗术大师伊姆斯(汤姆哈迪); 化学专家尤瑟(迪里普劳), 以及新人阿里阿德涅(艾琳佩吉), 建筑神童. 临行之前, 考伯还和对他的工作一清二楚的岳父迈尔斯(迈克凯恩)交了底. 现在只要凯恩一露脸, 观众就自动认定他是最老辣的人物. 这是他的天赋.
等等. 为什么考伯需要一个梦之建筑师? 他为她一一作答. 众所周知, 梦境不是稳定的, 它随我们不断流动. 考伯的任务是在巨商之子亿万富翁小罗伯特费舍脑中[奠基](或植入, 催生)一个念头. 斋藤希望这个念头能让他的竞争对手不战自溃. 考伯需要阿里阿德涅设计一个意识迷宫, 让新思路不被察觉地(我认为)溜进费舍脑中. 阿里阿德涅和帮助忒修斯从迷宫逃脱的希腊女神同名, 难道只是一个巧合?
考伯为阿里阿德涅讲授盗梦世界的原则, 如何操控梦境, 掌握方向. 诺兰也籍此为观众解开疑惑. 同时影片也借此机会展示其令人惊讶的特效, 在预告片里毫无意义的那些景像变得合情合理. 对我来说, 最为惊艳的场景是油毡地板般折叠卷起的巴黎街景.
费舍脑海中的保镖如同抗体一样保护着他潜意识的安全, 然而他们却是真刀真枪的人类, 但不管他们是什么, 都是为了大片必不可少的枪战, 追车和爆炸戏服务. 诺兰的过人之处在于, 他让通常无视动作场景的我也感到紧张, 为追逐者和逃跑者捏一把汗.
假如你看过任何的预告片段, 一定知道影片有许多无视重力的场景. 大楼倾斜, 街道卷曲, 人物漂浮. 这些都在影片中得到了解释. 影片的逻辑迷宫令人费解, 无捷径可走, 势必引发网络上的无穷解析.
诺兰用一条情感线索指引着我们. 考伯以身犯险进行[奠基], 是为了排解对妻子妙儿(玛丽安歌迪雅)的悲恸愧疚之情, 以及他的两个孩子. 我不能(或者, 没法)再说更多. 歌迪雅的人妻有一种臆想之美. 考伯的经历到底是回忆还是梦境令人无从辨别--包括最后一个镜头在内. 但她就像一枚情感的指南针, 将这份爱恋变为了考伯世界的常量, 不然, 他将永远漂浮, 不得安宁.
观者眼中的[盗梦空间]如同[记忆碎片]里莱纳德的世界, 我们只在当下停留. 一路尝试理解, 却始终不知身处何处. 生死和真爱都是影片的议题, 当然, 还有跨国公司. 片中的间谍犯案场面叫人目不暇给, 还包括747头等舱的一场漂亮行动(影片甚至解释了选择747的原因).
最近的影片好象集体回收自废纸篓: 续集, 重制, 系列片. [盗梦空间]选择了一条难走的路. 它无任何承袭, 独一无二, 同时借助动作场面让影片看上去比本身创意更具说服力(也许). 我认为[记忆碎片]存在一个逻辑漏洞: 一个短期记忆丧失的人怎么会记得自己有这种毛病? 也许[盗梦]也有漏洞, 但我没有找到. 克里斯托弗诺兰重新定义了[蝙蝠侠], 现在, 他不用定义别人, 只等别人模仿. 我想, 当他走出这个迷宫的时候, 就已经扔掉了地图.
译后: 诺兰新作[位面旅行者的妻子], 个人感觉没有tdk震撼, 大抵和玩命魔术持平. 不过配乐摄影和特效加分至满. 当然还有小希思莱杰和ellen的妙趣一吻.
Inception
BY ROGER EBERT / July 14, 2010
It's said that Christopher Nolan spent ten years writing his screenplay for "Inception." That must have involved prodigious concentration, like playing blindfold chess while walking a tight-wire. The film's hero tests a young architect by challenging her to create a maze, and Nolan tests us with his own dazzling maze. We have to trust him that he can lead us through, because much of the time we're lost and disoriented. Nolan must have rewritten this story time and again, finding that every change had a ripple effect down through the whole fabric.
The story can either be told in a few sentences, or not told at all. Here is a movie immune to spoilers: If you knew how it ended, that would tell you nothing unless you knew how it got there. And telling you how it got there would produce bafflement. The movie is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality. It's a breathtaking juggling act, and Nolan may have considered his "Memento" (2000) a warm-up; he apparently started this screenplay while filming that one. It was the story of a man with short-term memory loss, and the story was told backwards.
Like the hero of that film, the viewer of "Inception" is adrift in time and experience. We can never even be quite sure what the relationship between dream time and real time is. The hero explains that you can never remember the beginning of a dream, and that dreams that seem to cover hours may only last a short time. Yes, but you don't know that when you’re dreaming. And what if you're inside another man's dream? How does your dream time synch with his? What do you really know?
Cobb (Leonardo DiCaprio) is a corporate raider of the highest order. He infiltrates the minds of other men to steal their ideas. Now he is hired by a powerful billionaire to do the opposite: To introduce an idea into a rival's mind, and do it so well he believes it is his own. This has never been done before; our minds are as alert to foreign ideas as our immune system is to pathogens. The rich man, named Saito (Ken Watanabe), makes him an offer he can't refuse, an offer that would end Cobb's forced exile from home and family.
Cobb assembles a team, and here the movie relies on the well-established procedures of all heist movies. We meet the people he will need to work with: Arthur (Joseph Gordon-Levitt), his longtime associate; Eames (Tom Hardy), a master at deception; Yusuf (Dileep Rao), a master chemist. And there is a new recruit, Ariadne (Ellen Page), a brilliant young architect who is a prodigy at creating spaces. Cobb also goes to touch base with his father-in-law Miles (Michael Caine), who knows what he does and how he does it. These days Michael Caine need only appear on a screen and we assume he's wiser than any of the other characters. It's a gift.
But wait. Why does Cobb need an architect to create spaces in dreams? He explains to her. Dreams have a shifting architecture, as we all know; where we seem to be has a way of shifting. Cobb's assignment is the "inception" (or birth, or wellspring) of a new idea in the mind of another young billionaire, Robert Fischer Jr. (Cillian Murphy), heir to his father's empire. Saito wants him to initiate ideas that will lead to the surrender of his rival's corporation. Cobb needs Ariadne
to create a deceptive maze-space in Fischer's dreams so that (I think) new thoughts can slip in unperceived. Is it a coincidence that Ariadne is named for the woman in Greek mythology who helped Theseus escape from the Minotaur's labyrinth?
Cobb tutors Ariadne on the world of dream infiltration, the art of controlling dreams and navigating them. Nolan uses this as a device for tutoring us as well. And also as the occasion for some of the movie's astonishing special effects, which seemed senseless in the trailer but now fit right in. The most impressive to me takes place (or seems to) in Paris, where the city literally rolls back on itself like a roll of linoleum tile.
Protecting Fischer are any number of gun-wielding bodyguards, who may be working like the mental equivalent of antibodies; they seem alternatively real and figurative, but whichever they are, they lead to a great many gunfights, chase scenes and explosions, which is the way movies depict conflict these days. So skilled is Nolan that he actually got me involved in one of his chases, when I thought I was relatively immune to scenes that have become so standard. That was because I cared about who was chasing and being chased.
If you've seen any advertising at all for the film, you know that its architecture has a way of disregarding gravity. Buildings tilt. Streets coil. Characters float. This is all explained in the narrative. The movie is a perplexing labyrinth without a simple through-line, and is sure to inspire truly endless analysis on the web.
Nolan helps us with an emotional thread. The reason Cobb is motivated to risk the dangers of inception is because of grief and guilt involving his wife Mal (Marion Cotillard), and their two children. More I will not (in a way, cannot) say. Cotillard beautifully embodies the wife in an idealized way. Whether we are seeing Cobb's memories or his dreams is difficult to say--even, literally, in the last shot. But she makes Mal function as an emotional magnet, and the love between the two provides an emotional constant in Cobb's world, which is otherwise ceaselessly shifting.
"Inception" works for the viewer, in a way, like the world itself worked for Leonard, the hero of "Memento." We are always in the Now. We have made some notes while getting Here, but we are not quite sure where Here is. Yet matters of life, death and the heart are involved--oh, and those multi-national corporations, of course. And Nolan doesn't pause before using well-crafted scenes from spycraft or espionage, including a clever scheme on board a 747 (even explaining why it must be a 747).
The movies often seem to come from the recycling bin these days: Sequels, remakes, franchises. "Inception" does a difficult thing. It is wholly original, cut from new cloth, and yet structured with action movie basics so it feels like it makes more sense than (quite possibly) it does. I thought there was a hole in "Memento:" How does a man with short-term memory loss remember he has short-term memory loss? Maybe there's a hole in "Inception" too, but I can't find it. Christopher Nolan reinvented "Batman." This time he isn't reinventing anything. Yet few directors will attempt to recycle "Inception." I think when Nolan left the labyrinth, he threw away the map. |
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狗仔卡
发表于 2010-7-17 10:36:47
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发表于 2010-7-17 11:02:18
发表于 2010-7-17 11:39:47
发表于 2010-7-21 22:09:56
