2007-12-28 20:55:24喬治鎊
奧斯卡最佳影片入圍(一)─贖罪 Atonement
贖罪 (喬萊特，英，2007)
Atonement (Joe Wright, UK, 2007)
像許多故事一樣，這個故事有一個說書人，但在這個故事中他不只是旁白，更是整個故事的始作俑者。英國名作家伊恩麥克伊旺這本再度呈現生命中的微小事件對命運造成重大影響的暢銷書，延續他所編劇的「危險小天使」裡對兒童幽微心理的探討，也與另一本著作「愛無可忍」(改編電影譯名為「紅氣球之戀」)中的宿命論相互呼應。
身為一個千金小姐，生活毫無憂慮的白朗妮其實身懷高度的文學天份，同時也具有身為一個青少年的無窮幻想力，但也因為她對世事的懵懂，她的幻想力導致一個令她終生後悔的結果。女傭之子羅比和白朗妮姊姊西莉雅的互相愛慕，和白朗妮對羅比那種青澀的仰慕，類似「龍鳳配」的角色設定，只是性別互換且寫實得多。
新星詹姆斯麥艾維在這部第二部主演的作品中有更純熟的表現，早已嘗試過各種不同類型角色的綺拉奈特莉也有精采而內斂的演出。分別飾演白朗妮13、18歲和老年的莎柔絲羅南、蘿莫拉嘉萊和凡妮莎瑞葛瑞芙，雖戲份有限卻各有一脈相承的細膩詮釋，這也代表著一個英國演員界世代傳承的意義。
上一部作品就展現在技術層面不凡眼光的喬萊特，本片可謂更上一層樓，除了上半段的豪宅和精緻的服裝，下半段戰時的場景及軍服和護士服，都極具美感且有相當的考究，本片的攝影在上半段表現曖昧情愫的遠焦鏡頭，和下半段在戰場的高難度長鏡頭都極為出色，保持影片張力及虛實轉換的非線性跳躍式剪輯也十分清楚流暢，不同於「傲慢與偏見」的清新寫意，本片配樂的綿長繚繞同樣與每個畫面緊密結合。
至今僅完成兩部電影作品的喬萊特，以本片再度證明他駕馭改編文學作品的天賦，配合早已享譽國際的克里斯多佛漢普頓的劇本，造就這部在敘事上非常細膩的影片，除了忠於原著的堅持，也成功地傳達各角色的心理狀態和人物行為的對機。我們都像白朗妮一樣有著一些悔不當初卻又難以言喻的微小舉動，或許只能用無可避免的命運來安慰自己，在歷史的洪流中，創造這種宿命的也正是人性本身。
Like many stories, this story has a storyteller. But in this one the person is not only a narrator but further more, the creator of the entire story. This bestseller presents the immense influence on fate caused by the trivial events once again by the acclaimed British writer Ian McEwan, continues the discovery of the delicate children psychology in his earlier screenplay “The Good Son,” and reflects the destiny theory with another work “Enduring Love” mutually.
As a mistress comes from a wealthy family, Briony, who lives without any worries, actually has a high gift in literature and also the limitless imagination of a teenager. But also because of the misunderstanding of things, her imagination causes a result that makes her regret for all her life. The mutual affection of the son of the maid, Robbie, and Briony’s sister, Cecilia, and the immature admiration that Briony has for Robbie are similar to the character setting of “Sabrina,” only the sex is exactly the opposite and much more realistic.
The new star James McAvoy gave a more mature performance with this second leading role. Already trying every sort of roles, Keira Knightly still has a great and inward acting. Saoirse Ronan, Romola Garai and Vanessa Redgrave who each plays Briony in 13, 18 and aged have continuously exquisite interpretations. It also symbols the meaning of passing generations of the British actor society.
Joe Wright has shown his extraordinary vision on technical levels in the last piece, and it’s even better in this one. Except the mansion and the exquisite costumes in the first half of the movie, the soldiers’ and nurses’ wear are also very elegant and quite precisely researched. The far focus shots that show the ambiguous feelings and the extremely difficult long shot on the battle field of the cinematography are very brilliant. The jumping film editing that keeps the intensity and the transition of reality and fiction is also very fluent and clear. Unlike the lightness and joyful of “Pride & Prejudice,” the endless and haunting of the score combines with every frame equally perfect.
Only finished two works by far, Joe Wright proves his talent of controlling literature adaptations with this film once more. With the screenplay by the already internationally acclaimed Christopher Hampton outcomes this piece which is very sensitive in storytelling. Except the insisting of true to the original, it also delivers the mental states of each character and the motivations of individual behaviors successfully. We all like briony, have some regretful and indescribable tiny reactions. Maybe we can only comfort ourselves with the inevitable fate. In the current of the history, what creates this kind of destiny is exactly humanity itself.
Atonement (Joe Wright, UK, 2007)
像許多故事一樣，這個故事有一個說書人，但在這個故事中他不只是旁白，更是整個故事的始作俑者。英國名作家伊恩麥克伊旺這本再度呈現生命中的微小事件對命運造成重大影響的暢銷書，延續他所編劇的「危險小天使」裡對兒童幽微心理的探討，也與另一本著作「愛無可忍」(改編電影譯名為「紅氣球之戀」)中的宿命論相互呼應。
身為一個千金小姐，生活毫無憂慮的白朗妮其實身懷高度的文學天份，同時也具有身為一個青少年的無窮幻想力，但也因為她對世事的懵懂，她的幻想力導致一個令她終生後悔的結果。女傭之子羅比和白朗妮姊姊西莉雅的互相愛慕，和白朗妮對羅比那種青澀的仰慕，類似「龍鳳配」的角色設定，只是性別互換且寫實得多。
新星詹姆斯麥艾維在這部第二部主演的作品中有更純熟的表現，早已嘗試過各種不同類型角色的綺拉奈特莉也有精采而內斂的演出。分別飾演白朗妮13、18歲和老年的莎柔絲羅南、蘿莫拉嘉萊和凡妮莎瑞葛瑞芙，雖戲份有限卻各有一脈相承的細膩詮釋，這也代表著一個英國演員界世代傳承的意義。
上一部作品就展現在技術層面不凡眼光的喬萊特，本片可謂更上一層樓，除了上半段的豪宅和精緻的服裝，下半段戰時的場景及軍服和護士服，都極具美感且有相當的考究，本片的攝影在上半段表現曖昧情愫的遠焦鏡頭，和下半段在戰場的高難度長鏡頭都極為出色，保持影片張力及虛實轉換的非線性跳躍式剪輯也十分清楚流暢，不同於「傲慢與偏見」的清新寫意，本片配樂的綿長繚繞同樣與每個畫面緊密結合。
至今僅完成兩部電影作品的喬萊特，以本片再度證明他駕馭改編文學作品的天賦，配合早已享譽國際的克里斯多佛漢普頓的劇本，造就這部在敘事上非常細膩的影片，除了忠於原著的堅持，也成功地傳達各角色的心理狀態和人物行為的對機。我們都像白朗妮一樣有著一些悔不當初卻又難以言喻的微小舉動，或許只能用無可避免的命運來安慰自己，在歷史的洪流中，創造這種宿命的也正是人性本身。
Like many stories, this story has a storyteller. But in this one the person is not only a narrator but further more, the creator of the entire story. This bestseller presents the immense influence on fate caused by the trivial events once again by the acclaimed British writer Ian McEwan, continues the discovery of the delicate children psychology in his earlier screenplay “The Good Son,” and reflects the destiny theory with another work “Enduring Love” mutually.
As a mistress comes from a wealthy family, Briony, who lives without any worries, actually has a high gift in literature and also the limitless imagination of a teenager. But also because of the misunderstanding of things, her imagination causes a result that makes her regret for all her life. The mutual affection of the son of the maid, Robbie, and Briony’s sister, Cecilia, and the immature admiration that Briony has for Robbie are similar to the character setting of “Sabrina,” only the sex is exactly the opposite and much more realistic.
The new star James McAvoy gave a more mature performance with this second leading role. Already trying every sort of roles, Keira Knightly still has a great and inward acting. Saoirse Ronan, Romola Garai and Vanessa Redgrave who each plays Briony in 13, 18 and aged have continuously exquisite interpretations. It also symbols the meaning of passing generations of the British actor society.
Joe Wright has shown his extraordinary vision on technical levels in the last piece, and it’s even better in this one. Except the mansion and the exquisite costumes in the first half of the movie, the soldiers’ and nurses’ wear are also very elegant and quite precisely researched. The far focus shots that show the ambiguous feelings and the extremely difficult long shot on the battle field of the cinematography are very brilliant. The jumping film editing that keeps the intensity and the transition of reality and fiction is also very fluent and clear. Unlike the lightness and joyful of “Pride & Prejudice,” the endless and haunting of the score combines with every frame equally perfect.
Only finished two works by far, Joe Wright proves his talent of controlling literature adaptations with this film once more. With the screenplay by the already internationally acclaimed Christopher Hampton outcomes this piece which is very sensitive in storytelling. Except the insisting of true to the original, it also delivers the mental states of each character and the motivations of individual behaviors successfully. We all like briony, have some regretful and indescribable tiny reactions. Maybe we can only comfort ourselves with the inevitable fate. In the current of the history, what creates this kind of destiny is exactly humanity itself.