猩球崛起英語(yǔ)觀后感
背景資料：《猩球崛起》是經(jīng)典系列科幻電影《人猿星球》的前傳，它講述了由于人類(lèi)自負(fù)導(dǎo)致了猿猴智力的發(fā)展，猿族與人類(lèi)之間爆發(fā)戰(zhàn)爭(zhēng)，以及地球上的人類(lèi)是如何在各種自私自利下，一步一步的走向滅亡�！栋⒎策_(dá)》的特效團(tuán)隊(duì)為本片制造出了上百個(gè)逼真的猩猩，加上先進(jìn)的日觀等下動(dòng)作捕捉技術(shù)，視覺(jué)效果絕對(duì)令你震撼。
Among the trillions of binary digits skittering acroscreens this summer, a vibrant minority have been gathered into a shrewd, coherent, and fully felt movie. I’m speaking of the expertly crafted “Rise of the Planet of the Apes,” by far the best spectacle movie of the season, and one of the few films to use digital technology for nuanced dramatic effect.
今夏，由數(shù)以萬(wàn)億計(jì)的二進(jìn)制數(shù)字信號(hào)組成的電視節(jié)目充斥著熒屏，其中，一小撮活躍的信號(hào)組成了一部精致巧妙，情節(jié)連貫，讓人感同身受的電影。我講的就是制作優(yōu)良的《人猿星球的興起》——本季度目前為止最好看的奇觀電影，它也是為數(shù)不多的應(yīng)用數(shù)碼技術(shù)達(dá)到細(xì)致入微戲劇性效果的電影之一。
“Planet,” of course, draws on the old species-reversal conceit worked out by Pierre Boulle in his 1963 novel, “La Planète des Singes,”a book that launched a cluster of movies and television shows, most notably Franklin J. Schaffner’s “Planet of the Apes” (1968). In that mock epic, the manacled, nearly naked Charlton Heston is rated an interesting specimen by a variety of simian overlords.
如你所想，“星球”一詞是援引于Pierre Boulle 在1963年寫(xiě)的小說(shuō)《人猿星球》，它講述了由于人類(lèi)自負(fù)導(dǎo)致物種的逆向進(jìn)化。這本小說(shuō)被改編成一系列的電影和電視節(jié)目，其中最著名 的是Franklin J. Schaffner于1968年執(zhí)導(dǎo)的《人猿星球》。電影中，Charlton Heston 被種類(lèi)繁多、濟(jì)濟(jì)為患的猿猴們俘虜，他戴著腳鐐，近乎赤裸，并被看作是一個(gè)有趣的外物種標(biāo)本。
The new movie draws not only on Boulle’s outrageous idea but on some of the most enduringly suggestive fables we know. It begins as a benevolent version of the Frankenstein story. Will (James Franco, trying harder than usual)， a young genetic engineer working for a San Francisco biotech company, creates a serum that reverses brain damage. (He wants to treat his father, Charles—played movingly by John Lithgow—who has Alzheimer’s。) The company tests the serum on apes, one of which goes mad and has to be destroyed. But Will takes home the ape’s baby, Caesar, who has inherited his mom’s supercharged gray matter, and he and Charles raise him as a pet.
而今年的新作不僅傳承了Boulle 奇異駭人的思路，也融入了我們熟悉的，最久為流傳、引人聯(lián)想的傳奇故事。電影以一個(gè)和諧的弗蘭肯斯坦式的場(chǎng)景開(kāi)始。Will (James Franco飾演，這次他表演得更賣(mài)力)，是一位年輕的基因工程師，在舊金山的一家生物科技公司工作。他發(fā)明了一種可以逆轉(zhuǎn)人腦損傷的'血清。(他的父親Chales，由John Lithgow 精彩飾演，患有阿爾茨海默氏病，Will想治愈父親的病)。公司用這種血清在猿猴身上做實(shí)驗(yàn)，而其中的一只瘋掉了，必須處死。好心的Will 將它的孩子Caesar帶回了家，和父親Chales一起把他當(dāng)成寵物養(yǎng)了起來(lái)。
Caesar swings through the house, leaping up and down stairs and throwing himself in and out of the attic, but he sits quietly at the dinner table, too. He listens, he grunts, he eats, he makes signs. He’s a darling little ape.But there’s a joke buried in our wonderment: we all anthropomorphize our pets, finding spirit, even conscience, in beautiful collies, in cool, blue-eyed Siamese cats, in potbellied pigs. Out of affection, we see what we want to see of ourselves.But Caesar really is like us, in many ways.
Caesar繼承了他母親的強(qiáng)健的運(yùn)動(dòng)體質(zhì)，活動(dòng)能力很強(qiáng)。他在屋里亂竄，在樓梯上跳上跳下，在閣樓里蹦進(jìn)蹦出，但在餐桌邊還是會(huì)安靜的坐著。他聽(tīng)人講話，發(fā)出叫聲，吃喝東西，還會(huì)做肢體語(yǔ)言，是一只可愛(ài)的小猿猴。在我們驚嘆于它的靈活的背后卻有些諷刺：我們都將寵物擬人化——我們?cè)谄恋哪裂蛉�，藍(lán)眼睛的暹羅貓，胖肚皮的小豬身上尋找某種精神，甚至是良心，而不是在人群中感受到這些。出于喜愛(ài)，我們從他們身上看到了一些在人類(lèi)社會(huì)中想看到的東西。但是，Caesar 確實(shí)在很多方面與我們很像。
He plays and chatters like a chimp, but, like a child, he needs protection and reassurance, and then—a fellow-primate to the rescue—he rushes to the defense of Charles, his ailing “grandfather,” when he’s attacked by a neighbor. An empathic ape! The screenwriters, Rick Jaffa and Amanda Silver, and the director, Rupert Wyatt, create many small gestures, glances, and pauses that anchor the improbable turns of the story.At one point, Charles, confused, holds a fork by the wrong end, and Caesar slowly, gently takes it out of his hand and turns it around. The scene is ineffably, absurdly touching, the sweetest expression of family love seen in recent films.Pierre Boulle’s novel was sardonic, even maliciously satirical—science fiction with a tickle. But “Rise of the Planet of the Apes” discovers a new emotion: what you’d have to call interspecies pathos.
他像黑猩猩一樣地玩耍、喃喃自語(yǔ)，又像小孩子一樣需要保護(hù)和安慰，他還是一個(gè)能提供援助的靈長(zhǎng)類(lèi)同胞——在他生病的“祖父”Chales受到鄰居攻擊的時(shí)候，他迅速?zèng)_出來(lái)保護(hù)Chales。真是一只富有感情的猿猴!電影編劇Rick Jaffa 和Amanda Silver,以及導(dǎo)演Rupert Wyatt為人物設(shè)計(jì)了許多細(xì)微的言行、眼神以及停頓來(lái)鎖定故事的進(jìn)展(雖在真實(shí)生活中不太可能發(fā)生)。一天，Chales犯病了，他拿起叉子吃飯卻將叉尖朝著自己。這時(shí)Caesar 慢慢地輕輕地地將叉子從他手里拿過(guò)來(lái)，反過(guò)頭去，再放回他手心。這個(gè)場(chǎng)景是無(wú)法言喻的感人至深，它對(duì)家庭之愛(ài)的表達(dá)是最近所有電影中最貼心的。Pierre Boulle 的原著有些嘲諷，甚至是惡意的諷刺，有一點(diǎn)科幻小說(shuō)的味道。而《人猿星球的興起》則揭示了一種新的感情：物種間的同情愛(ài)憐。
Andy Serkis, who was the emaciated, depraved, ground-hugging Gollum in the “Lord of the Rings” trilogy, plays Caesar—that is, he lends his body and face, covered with reflective markers, to image-makers who then, employing the techniques of motion capture, create a digitized simulacrum of an ape, but an ape that has unrivalled flexibility and expressiveness. The filmmakers have pulled off a stunning paradox: Caesar is much more human than an entirely digitized creation, and much more apish than an actual ape—faster, stronger, more exuberant in his knuckle-dragging, chin-thrusting, lunging glory. Caesar becomes an adolescent; hormones kick in, and he turns violent, doing bongo numbers on his enemies with his fists. At last, digital fantasy means something: we are not watching a dull-brained superhero banging off walls like a fly in a bot
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