雙語(yǔ)新聞：細(xì)節(jié)控獨(dú)家解析《霍比特人3：五軍之戰(zhàn)》

雙語(yǔ)新聞：細(xì)節(jié)控獨(dú)家解析《霍比特人3：五軍之戰(zhàn)》

由彼得·杰克遜執(zhí)導(dǎo)，馬丁·弗瑞曼、伊恩·麥克萊恩、理查德·阿米蒂奇、奧蘭多·布魯姆、凱特·布蘭切特等主演的《霍比特人》系列電影終結(jié)篇《霍比特人3：五軍之戰(zhàn)》已經(jīng)于1月23日在全國(guó)公映，成為2015開(kāi)年“最猛大片”，有影迷甚至為了與中土告別而連刷幾遍。好評(píng)不斷中，也有“愛(ài)之深責(zé)之切”的資深影迷從各種角度挑刺，看看這篇細(xì)節(jié)控寫(xiě)的獨(dú)家影評(píng)吧！

“You are only quite a little fellow in a wide world, after all,” Gandalf reminds his companion at the end of “The Hobbit: The Battle of the Five Armies.” The avuncular line has a cozy feel that evokes the bedtime-storytelling of J. R. R. Tolkien’s 1937 children’s classic — now better known as the trilogized prequel to a 21st-century fantasy phenomenon. Gandalf’s sentiment is also all too apt for Peter Jackson’s vexing conclusion to his oddly apportioned adaptation: Bilbo Baggins is indeed quite a little fellow in Mr. Jackson’s wide world here — less a central hero on a quest than a supporting player in a film bookended by destruction and war in gray, grim lands.

“在這廣大的世界上，你畢竟只是個(gè)小家伙，”在《霍比特人3：五軍之戰(zhàn)》(The Hobbit: The Battle of the Five Armies)結(jié)尾處，甘道夫(Gandalf)這樣提醒他的伙伴。這句長(zhǎng)輩般慈愛(ài)的臺(tái)詞帶給人一種舒適安心的感覺(jué)，感覺(jué)就像J·R·R·托爾金(J. R. R. Tolkien)在床邊講起這部1937年的童書(shū)經(jīng)典。如今這個(gè)故事已經(jīng)被改編為21世紀(jì)奇幻電影現(xiàn)象級(jí)大作的三部曲前傳。而甘道夫的情緒也適用于彼得·杰克遜(Peter Jackson)這部改編作品令人惱火的結(jié)局，它的比例有些怪異地失調(diào)——在杰克遜宏偉的世界里，比爾博·巴金斯(Bilbo Baggins)的確是一個(gè)小家伙，在這部發(fā)生在陰郁冷酷國(guó)土之中，以破壞開(kāi)始，以戰(zhàn)爭(zhēng)終結(jié)的電影里，他不像是一個(gè)探險(xiǎn)的英雄，更像是里面的一個(gè)小配角。

“The Hobbit: The Battle of the Five Armies” follows hot on the heels of last year’s film, with the dragon Smaug giving Lake-town its promised end by fiery devastation. It’s a rip-roaring opening spectacle of burning buildings and refugee villagers, with Smaug (voiced by Benedict Cumberbatch with baroque cruelty) thundering over streets like a runaway bomber, until he is felled by Bard the bargeman. Bilbo (Martin Freeman) watches from a distance beside the dwarfs he traveled with to Erebor.

《霍比特人3：五軍之戰(zhàn)》的情節(jié)緊跟去年的前作，巨龍史矛革給長(zhǎng)湖鎮(zhèn)帶來(lái)了命中注定的大破壞。影片開(kāi)頭是喧鬧的大場(chǎng)面，建筑被燒毀，村民成為難民，史矛革（本尼迪克特·康伯巴奇[Benedict Cumberbatch]配音，帶著奇異的殘忍）像失去控制的轟炸機(jī)一樣咆哮著飛過(guò)街道，最后被船夫巴德射殺。比爾博（馬丁·弗里曼[Martin Freeman]飾演）身在孤山，和矮人們?cè)谝黄�，他從遠(yuǎn)處目睹了這一幕。

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There, the headstrong leader Thorin Oakenshield will install himself in hoarding splendor, a slave to “that terrible need” for treasure. And so on, and so forth. Mr. Jackson returns to the variably hirsute action figures of Middle-earth for the latest, and presumably last, adventure. Gandalf (Ian McKellen) makes his way back to center stage from imprisonment, with Cate Blanchett and Christopher Lee swooping in to lend supporting gravitas. The Elves and the Orcs converge on Erebor, as seemingly everyone — though especially Thorin — feels the pull of the dragon’s riches, which seem to attract all possible conflicting parties to the Lonely Mountain and neighboring Dale in dire preparation for the film’s title.

在孤山，剛愎自用的領(lǐng)袖索林·橡木盾置身財(cái)寶之中，成了對(duì)財(cái)富“狂熱渴求”的奴隸。之后發(fā)生了諸如此類的情節(jié)。在這部最新，或許也是最后的中土故事中，杰克遜再次回到頭發(fā)胡須蓬亂的角色大打出手的場(chǎng)面。甘道夫（伊恩·麥克凱倫[Ian McKellen]飾演）從囚困中脫身，返回舞臺(tái)中央，凱特·布倫切特(Cate Blanchett)和克里斯托弗·李(Christopher Lee)也加入進(jìn)來(lái)，為影片增色。精靈與半獸人匯聚孤山，似乎所有人——特別是索林——都感受到巨龍財(cái)富的誘惑，它吸引著一切有可能產(chǎn)生沖突的各種勢(shì)力來(lái)到孤山和附近的河谷鎮(zhèn)，以便湊齊影片標(biāo)題中的“五軍之戰(zhàn)”。

Part of the problem with Mr. Jackson’s accordion-expanded “Hobbit” is just that gravitational pull: At the film’s core is not really the engaging Mr. Freeman as Bilbo, ever twitchingly alive, as you might expect. Instead, the story insists upon the hoary sentiment of filthy lucre’s overriding all reason and friendship, like an opera without song. Erebor is an imposing castlelike (or cathedral-like) stronghold, containing Thorin like a crazed Macbeth in the labyrinth of his desire, but outside, the gathering of armies feels like a hurry-up-and-wait stage setting by another cast of computer-generated thousands.

《霍比特人》被杰克遜大大加長(zhǎng)了，它的問(wèn)題可能有一部分是來(lái)自于其重心：影片的核心并不是集中在弗里曼飾演的比爾博身上，盡管如你所料，這個(gè)角色更加生動(dòng)鮮明了。相反，這個(gè)故事建立在一種古老的情感之上：不義之財(cái)戰(zhàn)勝了所有理性與友誼，就像一首沒(méi)有歌詠的歌劇。威嚴(yán)的孤山像是一座城堡（或教堂）般的要塞，把索林拘禁在里面，就像麥克白被拘禁在自己欲望的迷宮之中；但在外面，由電腦創(chuàng)造出來(lái)的成千上萬(wàn)名“演員”匯聚為一支支軍隊(duì)，形成迫不及待、躍躍欲試的場(chǎng)景。

When the Dwarfs, Elves and Orcs — those dumpy, evil forces that appear constantly to need the direction from their rabble-rousing leaders to go forth and “slay them all” — finally engage, Mr. Jackson’s massed set pieces shift between stirring visual salvos and general panoramic swarming. It’s only as individual good guys peel off for death-defying face-offs with Orcs on ledges that the routine violence crackles again with genuine danger and deft showmanship.

半獸人是一股身材矮小的邪惡勢(shì)力，通常需要在蠱惑人心的領(lǐng)導(dǎo)指引之下，才能集結(jié)起來(lái)“殺掉所有人”，如今，它們終于同矮人和精靈們開(kāi)戰(zhàn)了。杰克遜的大場(chǎng)面景象在紛亂的視覺(jué)場(chǎng)面與擁擠的全景之間切換。只有當(dāng)個(gè)別的正面角色挺身而出，蔑視死亡，與半獸人在礦脈中對(duì)峙的時(shí)刻，例行公事的暴力中才會(huì)再度閃現(xiàn)出真正的危險(xiǎn)與精湛的演技。

What this adaptation of “The Hobbit” can’t avoid by its final installment is its predictability and hollow foundations. It’s been said before, but Mr. Jackson himself is still haunted by the past: For all the craft, there’s nothing here like the unity and force of “The Lord of the Rings,” which is positively steeped in mythology and features (wonder of wonders) rounder characterization than the scheduled revelations on display here. At times Mr. Jackson expects too much audience investment, whether in a perfunctory forbidden love between the elf Tauriel (Evangeline Lilly) and the dwarf Kili (Aidan Turner), or in the weak comic relief of a grabby Lake-town deputy who illustrates further venality.

改編版《霍比特人》的最后一部無(wú)法避免可預(yù)見(jiàn)性與空洞的基礎(chǔ)。這一點(diǎn)以前也曾被指出過(guò)，但杰克遜仍然沉浸在過(guò)去之中：雖然影片有著種種精湛的技巧，但不像《指環(huán)王》(The Lord of the Rings)那樣鮮明地浸淫在神話學(xué)之中，有著性格豐滿的人物（這堪稱奇跡中的奇跡），《五軍之戰(zhàn)》只是在堆砌按照計(jì)劃展示的東西，因此也就沒(méi)有《指環(huán)王》的統(tǒng)一性與力量。有時(shí)杰克遜對(duì)觀眾投入感情的程度期待過(guò)高，不管是精靈陶瑞爾（Tauriel，伊萬(wàn)杰琳·莉莉[Evangeline Lilly]飾演）和矮人基利（艾丹·特納[Aidan Turner]飾）之間膚淺的禁忌之戀，抑或貪婪的長(zhǎng)湖鎮(zhèn)副鎮(zhèn)長(zhǎng)薄弱的喜劇穿插（他在這部影片中展示出更多的腐�。�。

It’s especially a shame since Mr. Jackson’s original knack for world building (not to mention the sense of humor in his early films) is often missing in the ever-proliferating superhero-franchise worlds that his own vastly successful endeavors no doubt helped encourage. Bilbo may fully learn a sense of friendship and duty, and have quite a story to tell, but somewhere along the way, Mr. Jackson loses much of the magic.

特別遺憾的是，杰克遜原本具有構(gòu)建世界的技巧（更不必說(shuō)他早期電影中的幽默感），卻往往迷失在不斷繁衍的超級(jí)英雄大片世界里，而他自身的巨大成功對(duì)這個(gè)商業(yè)大片世界的形成又不無(wú)助益。比爾博或許學(xué)到了友誼與責(zé)任的意義，有了一個(gè)好故事可以講述，但在這個(gè)過(guò)程之中，杰克遜卻損失了很多原有的魔力。

“The Hobbit: The Battle of the Five Armies” is rated PG-13 (Parents strongly cautioned). Extended sequences of intense fantasy action violence, per the title.

《霍比特人3：五軍之戰(zhàn)》被標(biāo)記為PG-13級(jí)（強(qiáng)烈建議家長(zhǎng)注意），如片名所言，有大量強(qiáng)烈的奇幻暴力場(chǎng)面。

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