女神殿

課前預習：
When We Were Kids: Fiona Apple & Paul Thomas Anderson (上)


According to People magazine, Anderson and Apple were first "spotted together" in February 1998, though Heath's Rolling Stone story from that January includes a passing reference to Apple showing up to a morning interview with a hangover after "she was up most of the night drinking Surfers on Acid (Malibu, Jägermeister, and pineapple juice) with Anderson," which dates the relationship back to at least late '97. Like a lot of twentysomething dudes in 1997, Anderson had a crush on Fiona Apple based on the barely legal soft-core of the "Criminal" video. "We sort of mutually wanted to meet the other person," Anderson said in 2000. "I certainly wanted to meet her. I mean, she was a foxy rock star who seemed really cool."

根據《時人》雜誌，PTA 和 Fiona Apple 在一九九八年二月「首度被看見在一起」，即使希斯在一月份《滾石》雜誌指涉了 Fiona Apple 早上接受採訪時宿醉，而她「前晚徹夜與 PTA 啜著酸性衝浪男孩 (馬勒布加賈格美思特加鳳梨汁) 把酒言歡」，記錄了這段關係得追溯自九七年末。就像許多九七年的年輕人，PTA 看了非法尤物的軟調情色 "Criminal" video 音樂錄影帶煞到 Fiona Apple。「我們有點兩情相悅，」PTA 在兩千年說。「我當然想會會她。我是說，她是隻看起來很酷炫的搖滾狐狸精。」
 



Anderson structured Magnolia around the songs of another singer-songwriter, his friend Aimee Mann, but he really wrote the movie for Apple. He was certainly influenced by her, later claiming that he would page through her notebooks at the house they shared — located not far from the filming hub of Magnolia — and "steal her lines." In the case of Stanley, the quiz show kid who's bullied by Michael Bowen's character and pees his pants in protest on the set of the game-show-as-metaphor-for-child-exploitation What Do Kids Know?, Anderson took direct inspiration from Apple's life and his burgeoning love for her, as he later told Rolling Stone in 2000.

PTA 以另外一位音樂人 Aimee Mann 的歌曲建構了【心靈角落】，但其實是為了 Fiona Apple 編寫這部電影。他當然有受她影響，宣稱自己會在兩人同居的房子裡—座落於【心靈角落】拍攝重地，翻閱她的筆記本，然後「竊取她說過的話。」以史丹利來說，這位益智問答小天才被 Michael Bowen 角色霸凌，然後尿在褲子裡，對以益智節目隱喻孩童剝削秀 "What Do Kids Know?" 表示抗議，直接受到 Fiona Apple 生活經驗，以及對她的愛意萌生啟發， PTA 在兩千年《滾石》雜誌談到。
 
Fiona told me a story, and it's funny, because I don't remember it in detail now, because I've twisted it around and made it my own, but she had to go to the bathroom in some kind of taping situation, and they just said, 'Well, can you just hold it and do this thing for us first?' And she did. And when she told me this story, I wanted to strangle every person involved. We had just fallen in love, and I was just becoming protective of her, you know, as protective of her as I am now, as my girlfriend and, you know, as my love. And to hear this story made me want to crack someone's head open and say, "Let her go to the fucking bathroom."
 
Fiona Apple 跟我講了一個故事，好笑的是，因為我現在不記得細節，因為我已經扭轉乾坤內化成我自己的東西，但當時她必須到廁所處理一些錄音事宜，然後他們說：「妳可以暫時擱著，先回覆我們的要求嗎？」她照做了。當她告訴我這個故事時，我想把每個在場的人用奪魂索勒死。我們剛陷入熱戀，我變得很保護她，你知道的，我保護她視如己出，保護我的女朋友，保護我的愛。聽到這個故事讓老子想幹爆某人的頭然後說：「讓她去她馬的廁所。」

Like Stanley, Fiona Apple was a child prodigy, starting her songwriting career as an adolescent and signing her first record deal when she was in high school. Tidal was released two months before Apple's 19th birthday, and the popularity of "Criminal" and its scandalous video made her a pop starlet while also (not coincidentally) humiliating her. Any irony that was intended in the clip*** was lost in translation and used to justify heavy-breathing coverage from major music magazines, the most despicable being a Spin cover story from 1997 that embarrassingly described her as "a pop star trapped in the body of a pretty teenage girl" (she was the proto-Britney!) and "the kind of arty, ravished girl you knew in junior high who wrote poetry in lower-case letters," between cheesecake photos of a pained-looking Fiona. That Apple's personal history with literal sexual assault became part of her oft-told origin story added another sickening layer to all the gleeful leering.

就像史丹利這個角色，Fiona Apple 是個天才兒童，高中就開始創作生涯，拿到一紙唱片合約。"Tidal" 發行於 Fiona Apple 十九歲生日前兩個月，"Criminal" 的大受歡迎和惡名昭彰音樂錄影帶，讓她成為一位流行小女星，(非屬巧合) 同時也羞辱了她。這影片*** 任何意圖的諷刺都被曲解，並且正當化主流音樂雜誌之大肆報導，最可惡的是九七年 "Spin" 雜誌專題報導，令人難堪地描繪她是「被困在俏麗青少女胴體裡的流行歌星 (小甜甜布蘭妮原型！)」以及「你國中認識的那種藝術氣息，令人陶醉，用小寫字體書寫詩篇的女孩，」穿插於 Fiona Apple 病懨外貌的美麗照片。Fiona Apple 被性侵過去成為她時常娓娓道來之原創故事，為那些歡樂覬覦添了另一層病態濾淨。 



*** Fiona Apple to Interview magazine in 2012: "I'm actually very goofy. I hate this feeling like I'm name-dropping, but Paul Thomas Anderson [the director and Apple's ex-boyfriend] told me that two of the funniest people he knows are me and Daniel Day-Lewis. He was like, 'You're both hilarious, but everybody thinks you're awful.'"

Fiona Apple 二零一二年接受 "Interview" 雜誌採訪時表示： 「我其實很驢。我不想自抬身價，但保羅湯瑪斯安德森告訴我，他所認識最好笑的兩個人，是我和丹尼爾戴路易斯。『你們都明明很歡樂，但是大家都覺得你們很恐怖。』」



Stanley's big dramatic moment in Magnolia comes when he refuses to participate in the musical bonus round, in defiance of the show's host, Jimmy Gator (played by Philip Baker Hall). Finally, Stanley's meek façade melts away, and he confronts Gator — an abuser of children in his professional and private lives — with a monologue that's essentially a more articulate and angrier rewrite of Apple's VMAs speech:

史丹利角色在【心靈角落】的戲劇時刻，來自他拒絕參加音樂劇加碼關卡，為了對益智節目節目主持人吉米蓋特 (Philip Baker Hall 飾演) 表示抗議。最後，史丹利綿羊般的外表溶解，他面對蓋特─針對他專業以及私生活的虐童癖─唸著以下獨白，比 Fiona Apple 在 MTV 音樂錄影帶大獎演說更清晰，更憤怒的改編：

This isn't funny. This isn't cute. See the way we're looked at? Because I'm not a toy. I'm not a doll. The way we're looked at because you think we're cute? Because, what? I'm made to feel like a freak if I answer questions? Or I'm smart? Or I have to go to the bathroom? What is that, Jimmy? What is that? I'm asking you that.
 
這一點也不有趣。這一點也不可愛。看見我們被看待的方式嗎？因為我不是玩具。我不是洋娃娃。因為你覺得我們很可愛所以那樣看待我們嗎？因為，因為什麼？是不是我回答問題就會變成怪胎？還是因為我很可愛？或者因為我必須去上廁所？吉米，到底是怎樣？到底是怎樣？我在問你問題。

If there's a little bit of Fiona in Stanley, she's more obviously present in Claudia, the film's other survivor of childhood sexual abuse, played by Melora Walters. Giving the most ravaged and unsettling performance in a film full of ravaged and unsettling performances, Walters possesses a beauty so feral and unkempt that it stops you like an implied threat. Words tumble out of her mouth in unpredictable fits and starts, careering between halting vulnerability and ferocious self-preservation. She's a jumble of nerves held together by the flimsiest of twist-ties.

如果史丹利這角色有點 Fiona Apple 色彩的話，她絕對更貼近克勞蒂雅角色，另外一位兒童性侵生還者，由 Melora Walters 飾演。在這部滿溢飽受摧殘與令人不安演出的電影裡，給予最遍體鱗傷與擾人心智的表演，Walters 保有這種美麗，狂野和不修邊幅到像個威脅隱隱震懾著你。字句在每次出乎意料的陣痛與發作間踉蹌跌落，在躊躇易碎與兇狠自我保護間搖曳。她是脆弱糾結交織成的神經質總匯。




She also gets her licks in on Hall: "I'm not crazy! Don't you tell me I'm crazy!" a righteously haggard Walters screams at him in an early scene, when he comes to visit his prodigal daughter with the news that he's dying of cancer, and she responds by hurling flaming knives from out of her throat.
 
她也壓抑憤怒和 Philip Baker Hall 打開天窗說亮話：「我不是瘋子！你不準說我是個瘋子！」當他帶著罹癌消息拜訪天才女兒時，理所當然憔悴的 Melora Walters 在前幾場戲對父親驚聲尖叫，從喉嚨投擲出之炙熱刀械作為回應。

Being protective, you know, of his love and all, Anderson wrote a knight-in-goofily-mustachioed armor for his Fiona surrogate in Magnolia, dispatching John C. Reilly to repair his emotionally damaged turtle dove. The film ends with Reilly returning to Walters's apartment and delivering an achingly heartfelt speech — the epitome of "every embarrassing thing I wanted to say," as he put it to the New York Times Magazine's Hirschberg — pledging his/Anderson's love and commitment to Walters/Apple.
 
保護著他的愛與所有，PTA 為 Fiona Apple 代理人寫了一個笨拙鬍鬚哥騎士，派遣 John C. Reilly 前往維修他情感受損的斑鳩。電影以 John C. Reilly 回到 Melora Walters 公寓，訴說碎心做結—「那些我想訴說的尷尬情事」的縮影，當他和《紐約時報》雜誌作家 Hirschberg 表示—抵押了他／PTA 對 Melora Walters／Fiona Apple 的愛情與承諾。

For all the flights of indulgent fancy in Magnolia — the multiple Julianne Moore freak-outs, Jason Robards's endless deathbed confessional, the thing with the frogs — Anderson just comes out and says what the movie is about right here in the most direct language imaginable: "I can't let this go. I can't let you go. Now, you … you listen to me now. You're a good person. You're a good and beautiful person and I won't let you walk out on me." If you've seen the movie, you know you can't actually hear this dialogue or otherwise make out what Reilly is saying without subtitles, because Mann's "Save Me" is intentionally mixed too loud on the soundtrack. After 180 or so minutes of oversharing, Paul and Fiona apparently decided to get a room. 

【心靈角落】那些沉溺幻想的雲霄飛車─多面向的茱莉安摩兒崩潰，Jason Robards 無止息的臨終前自白，蛙雨─PTA 走出幕前，使用能想像最直接的言語告訴觀眾這部電影想說什麼：「我放不下。我放不下你。你現在……現在聽我說。你是個好人。你是個良善且美麗的人，我不會讓你離開我。」如果你看過這部電影，你會知道你無法真的聽到以上對白，也無法聽清楚 John C. Reilly 在沒有字幕的場景裡正在說什麼，因為 Aimee Mann 的 "Save Me" 於原聲帶實在刻意被混音得太嘈雜。經歷一百八十分鐘的過度分享， PTA 和 Fiona Apple 顯然決定開個房間。

原文出處：
Paul Thomas Anderson and Fiona Apple, the way they were
By Steven Hyden on September 11, 2012

這篇有點難翻筆者盡量客觀請務必參考原文。




The coolest, dorkiest, sexiest, and most indelible celebrity power couple of the '90s reached the zenith of its "It"-ness on December 8, 1999, at a movie premiere held at the Mann Village Theatre in Westwood, Los Angeles. For Paul Thomas Anderson, it was the first public unveiling of Magnolia, his third feature, which he boasted to the Village Voice was "unquestionably the best film I will ever make." For Fiona Apple, the event might as well have also been held in honor of her own difficult magnum opus, her second album When the Pawn… , released one month prior and containing more than 400 characters in its full title, a sufficiently unwieldy complement to Magnolia's uncompromising and studio-defying three-plus hours of running time. Anderson and Apple had earned the right to be audacious with recent, highly successful breakthroughs — 1997's Oscar-nominated Boogie Nights for him, 1996's triple-platinum Tidal and the Alternative Nation staple "Criminal" for her. They became stars by asserting totally '90s outlaw artistic integrity while at the same time engaging in good old-fashioned showbiz sexual titillation. Now Paul and Fiona (Pauliona? Fionaul?) were ready for their full-on genius-in-their-own-time close-ups, risk of overexposure be damned. "The timing is so ridiculous," Anderson gushed about this shared moment of glory in Spin's second Fiona Apple cover story two months later. "I'd want to slap us."

最酷炫，最大屌，最性感，最難以抹滅的九零年代銀色情侶，在一九九九年十二月八日達到潮人高潮，一場洛杉磯西木曼村戲院舉辦的電影首映會。對保羅湯瑪斯安德森 (以下簡稱 PTA) 來說，那是他第三部電影【心靈角落】(Magnolia, 1999) 首度公開亮相，他接受《村聲》雜誌採訪時聲稱「無疑是我所拍攝最好的作品。」對費歐娜艾波 (以下簡稱 Fiona Apple) 來說，那也是她晦澀鉅獻，第二張專輯《當一個小兵…》(When the Pawn Hits the Conflicts He Thinks Like a King..., 1999) 的榮耀時刻，一個月前發行，完整專輯名稱多於四百個字母，共襄盛舉【心靈角落】永不妥協，抵抗片廠超過三小時的片長。 PTA 和 Fiona Apple 已經以不久前絕佳成功突破贏得無畏的權利─一九九七年【不羈夜】(Boogie Nights, 1997) 奧斯卡提名，一九九六年三白金唱盤《潮汐》(Tidal, 1996) 與 MTV 另類音樂節目 "Alternative Nation" 常客勁曲 "Criminal"。他們主張九零年代邊緣人藝術典範成為明星，同時來個老學校臨送秋波。現在 PTA 和 Fiona Apple 準備好接受眾所矚目放大鏡，冒著過度曝光可能被譴責的危險。「此時甚是荒謬，」Fiona Apple 二度專題報導兩個月後，PTA 接受 "Spin" 雜誌採訪時對兩人共享的榮耀時刻頗有微詞。「我真想賞我們一個巴掌。」

[專題] 當代的男演員應該要是什麼樣？Johnny Depp, born in the '90s & Gosling v.s. Fassbender

Smarter than Johnny and Winona, less tragic than Kurt and Courtney, truer than Julia and Lyle — Paul and Fiona were ultimately just as doomed. But let's forget that for a second: Their timing really was so ridiculous that December night. A new millennium loomed little more than three weeks away, and the last beats of a decade they embodied (and then transcended) were being played out. You can see them sharing a limousine on the way to the premiere in a brief scene from That Moment, a 73-minute documentary tucked inside the second disc of the Magnolia DVD. It reminds me a little of that part in Eat the Document where Dylan and Lennon spend several minutes trying to outsnark each other in the back of a car tooling around London. Only Paul and Fiona aren't as chatty; they're just nervously sucking down cigarettes, trying to get their minds right before walking into the glare of what's waiting for them outside.

比強尼與薇諾娜聰明，比柯特與寇特妮少些悲慘，比茱莉亞 (蘿勃茲) 與萊爾 (Lyle Lovett) 真實─PTA 和 Fiona Apple 難逃曲終人散。但我們先暫時擱在一旁：兩人那晚初登場時機實在荒謬。千禧年還差三個禮拜，他們體現 (然後超越) 的十年即將播放完畢。你可以在 "That Moment"，收錄於【心靈角落】DVD 的七十三分鐘紀錄片，瞥見兩人共乘前往豪華轎車首映會。那讓我想起紀錄片 "Eat the Document" 中狄倫與藍儂乘車遊蕩倫敦，花了好幾分鐘在後座試圖聞嗅彼此。只是 PTA 和 Fiona Apple 沒有那麼多話；他們只是緊張地抽起煙，在車門開啟那刻眾所矚目前試圖沉澱心靈。



Julia Roberts & Lyle Lovett 
[九零什麼光怪陸離都有]
 
In retrospect, it might've been better for Paul and Fiona if they had just kept on driving and smoking that night. It never got any better for them afterward — not as a couple, anyway. The '90s weren't just coming to a close; the era was about to collapse right on top of them. Behavior that would've once made Paul and Fiona heroes — that did make them heroes, just a few years earlier — was now being pilloried in the media as so much ungrateful petulance. A New York Times Magazine profile of Anderson timed with the release of Magnolia chided the director for his hyperactive protectiveness of his work and paranoia over corporate interference. Writer Lynn Hirschberg zeroed in on Anderson's "reputation as a brat and a genius," and the article's sub-headline posed a pointed rhetorical question: "Thanks to the critical success of Boogie Nights, Paul Thomas Anderson has total control over his new three-hour movie, Magnolia. So why can't he calm down?"
 
回過頭看，那個晚上 PTA 和 Fiona Apple 如果只是繼續在那台豪華轎車裡抽煙可能會比較好。他們之後每下愈況，然而，並不是指感情方面。九零年代不只即將終結；九零年代即將在他們天頂上崩解。那些曾經讓 PTA 和 Fiona Apple 成為英雄的舉動─幾年前真的讓他們成為英雄─現在被媒體嘲諷為不知感恩的中二。一則配合【心靈角落】上映的 PTA 側寫指責他過度保護自己的作品，以及反對片商干預的偏執。作家 Lynn Hirschberg 將砲火瞄準集中 PTA「身為初生之犢與天才的聲譽，」該篇文章的副標題寫著誇張尖銳質問：「多虧【不羈夜】的成功，保羅湯瑪斯安德森已經徹底取得三小時新作【心靈角落】的控制大權。所以為什麼他還不能冷靜一下？」

　Maya Angelou (1928~present), an American author and poet

Yeah, and what about that Fiona Apple? Why can't she calm down, too? People still ask her about that speech at the 1997 MTV Video Music Awards — heretofore known as the "This World Is Bullshit" Address — even if it now seems pretty innocuous if not just plainly obvious, akin to observing that watching Jersey Shore might in fact not be an intellectually rewarding exercise. Had Apple name-dropped Maya Angelou and acted spiteful about winning a cheap-looking trophy in 1992, she would have been applauded for being realer than an ill-conceived bass guitar toss to Krist Novoselic's face. But all that alt-rock stuff was so passé in the late '90s; people just wanted to enjoy their budget surpluses and lack of wars and Sugar Ray singles. Fred Durst was all over MTV, not Kurt Cobain. Fiona, like Paul, had a Heaven's Gate mentality in what had suddenly become a Star Wars world. Now even Janeane Garofalo — the fallen symbol of bygone preach-the-truth alt-dom — was mocking her, in a bit from Denis Leary's 1997 album Lock N Load, which Rolling Stone's Chris Heath played for Apple during a 1998 interview seemingly for the purpose of making her cry. (He succeeded.)

是的，那麼 Fiona Apple 呢？為什麼她也不能冷靜一下？人們還是會問她關於一九九七年 MTV 音樂錄影帶大獎的演說─從此以「這世界是狗屁」演說被記得─即使現在看來相當無害，如果沒有那麼明目張膽，近似注意到收看實境節目 "Jersey Shore" 並不是什麼有助於智力發展的活動。如果 Fiona Apple 在九七年提到 Maya Angelou 的名字，對於拿到一個看起來很廉價的獎杯懷恨在心，她會因為敢做自己而獲得掌聲，這比不懷好意拿貝斯往 Krist Novoselic 臉上砸去有種多了。但那些搖滾恩仇錄在九零末期已經過時了；人們只想好好享受預算盈餘，止戰之殤，和甜蜜射線單曲。滿溢 MTV 的是 Fred Durst，不是 Kurt Cobain。Fiona Apple，和 PTA 一樣，在一個突然變成【星際大戰】的世界保持【天堂之門】心智。現在即使是 Janeane Garofalo─這位過時的宣揚真理，另類當道之殞落象徵─也嘲諷她，類似 Denis Leary 九七年的專輯 "Lock N Load"，《滾石》雜誌的 Chris Heath 在九八年進行採訪時，為了讓 Fiona Apple 成為淚人兒放給她聽。(他得逞了) 

  


Krist Novoselic 就是右邊那位仁兄。

People only wanted Paul and Fiona, the stupid jerks, to appreciate being rich and famous. But Paul and Fiona each had the same, different idea: They spent the '00s as Dylan and Lennon lived in the '70s, turning out the occasional masterwork but mostly just hiding out. Apple thought she might never make another record after When the Pawn… . It was only after frequent musical co-pilot Jon Brion — at the time heartbroken over a split with actress Mary Lynn Rajskub, one of the stars of Anderson's Punch-Drunk Love, for which he was composing the score — begged Apple to write new songs to give him something he could produce that a new album started to take shape. Apple and Brion started on Extraordinary Machine in 2002; after a change in producers and some well-publicized (if exaggerated) record-label wrangling, it came out three years later, six years after When the Pawn… , and restored Apple's reputation as a likably thorny artist. It was also her only record of the decade.

人們只希望 PTA 和 Fiona Apple，那些愚蠢渾蛋，珍惜財富和成名滋味。但 PTA 和 Fiona Apple 各自有著異曲同工的想法：他們就像狄倫和藍儂身處七零年代，於千禧世代偶爾遞出超凡傑作，但大部分時間都隱居起來。Fiona Apple 覺得 "When the Pawn…" 之後永遠無法再出唱片。只有在音樂伙計 Jon Brion─和與 PTA 合作配樂的【戀愛雞尾酒】演員 Mary Lynn Rajskub 慘痛分手後─懇求她寫幾首新歌好讓他有東西可以製作的情況下，新專輯才開始有個雛形。Fiona Apple 和 Jon Brion 在零二年開始錄製《超凡製造機》(Extraordinary Machine, 2005)；經歷更換製作人，某些被正面報導 (有點誇大) 的唱片品牌糾葛，三年後新專輯終於問世，與 "When the Pawn…" 間隔六年，並重建 Fiona Apple 討喜帶刺藝術家美譽。那是她十年來唯一的作品。
 


Anderson hit the wall after the public sniffed Punch-Drunk Love and opted not to take a drink. It had been his intention to write a conventional 90-minute comedy for Adam Sandler, whom he met while tagging along with Apple when she performed on Saturday Night Live in 2000. What he actually made was more like a Fiona Apple song — a disorienting mishmash of bright melody and percussive dissonance, with a main character who was odd and oddly compelling and prone to oddly explosive, out-of-nowhere outbursts. Unfortunately for Punch-Drunk Love, Fiona Apple songs were still a few years away from returning to fashion, and the film died at the box office. Anderson made just one other film in the '00s, 2007's triumphant There Will Be Blood, as he settled into what appears to be a happy home life with his partner Maya Rudolph and their three kids.

PTA 在廣為流傳【戀愛雞尾酒】(Punch-Drunk Love, 2002) 後開始撞牆，並選擇不喝戀愛雞尾酒。他想為亞當山德勒寫一齣傳統的九十分鐘喜劇，兩人在 Fiona Apple 於兩千年《週末夜現場》演出時認識。結果他拍出來的成果比較像是 Fiona Apple 的歌曲─明亮音悅與不和諧鏗鏘的迷走雜匯，佐以古怪，古怪地引人注目，且古怪地俱備爆發性，宣洩無處之主要人格。很不幸，像 Fiona Apple 的歌曲仍有待重返流行，電影票房也慘敗。PTA 在千禧年代只拍了另外一部作品，二零零七年凱旋歸來的【黑金企業】(又名：滿江紅) (There Will Be Blood, 2007)，並和 Maya Rudolph 與三個孩子組織了快樂家庭生活。
 
Paul and Fiona have been apart romantically for more than 10 years. But their creative lives have once again achieved a sort of harmonic balance. In June, Apple released her first record in seven years, The Idler Wheel... , which would be my favorite album of 2012 if the year ended today. On Friday, Anderson's first film in five years, The Master, arrives in a handful of theaters, with a wide release set for next week. I've been looking forward to The Master for so long that it already seems like my favorite film of 2012 even though I haven't seen it yet.

PTA 和 Fiona Apple 分手超過十年。但他們的創意人生再次達到某種和諧平衡。六月 Fiona Apple 發行七年內首張最新大碟《公轉不自轉的生存之道》(The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do, 2012)，如果二零一二年今天結束，就是我的本年度最愛專輯。星期五，PTA 五年內出土的鉅獻【宗教大師】(The Master, 2012) 在許多戲院播放，下禮拜將隆重上映。我如此殷切企盼【宗教大師】好多年，還沒看過，我卻好像已經直接評點該片為本年度最愛電影。
 
Paul and Fiona may no longer be a unit, but they signify something similar: They are regarded as important, relevant artists responsible for creating essential documents of our culture, and yet they both exist in their own spheres somewhere outside of our culture. As media personalities, they both seem kind of unknowable, or at least untouchable. They drop in every half-decade or so, blow our minds, and then go back to their private lives. Caring about the work of Paul Thomas Anderson and/or Fiona Apple means respecting an invisible line between them and us. If you love them, you want them to never step out of the limousine.

PTA 和 Fiona Apple 或許不再是才子佳人，但他們意味著相似之物：兩人被認為是舉足輕重，創造當代文化菁華元素的藝術家，但又存在於超脫當代文化的星體裡，他們都給人難以認識的感覺，至少有點難以親近。他們每隔個五年左右，一出手就春光乍現我們的心智，然後再回歸自己的桃花源。關心 PTA 和／或 Fiona Apple 的作品，代表對我們和他們之間那條看不間的界線給予尊重。如果你愛他們，你會希望他們永遠不要踏出那台豪華轎車。

按：走馬力克路線就是了。


 

筆者也想沒看過就直接把【宗教大師】選為今年最好看的電影！！！


延伸閱讀：
Real "No"s are not applicable. I haven't got any.

課前預習：
When We Were Kids: Fiona Apple & Paul Thomas Anderson (中)

(500) Days of Summer

　你們都知道筆者有多喜歡 Whit Stillman 這位掉書袋掉得比較不著痕跡的伍迪艾倫，與小克的舞廳時光，以及如何迫切地欲窺探獨立製片小甜甜 Greta Gerwig 領銜之最新作品 Damsels in Distress，筆者也希望不久的將來可以把以上三個句子的「你們」和「筆者」交換位置。Whit Stillman 聞於天下而後隱於天下，淡泊名利可比義大利建國三傑之馬志尼，九零年代拍了雅痞三部曲奠定小資青年躁語症 (logorrhea) 電影完美典範，除了每日反覆觀看憂鬱女孩預告三百回，我們來瞧瞧 Whit Stillman 選了哪些電影作為他的十大標準典藏：(居然沒有侯麥!!!) (兩部希區考克)


#1 
四百擊 Les quatre cents coups
99 min. 1959
by François Truffaut

It seems that any filmmaker’s first film idea is something about the mawkish predicament of a ten- or twelve-year-old child quite a bit like themselves—and usually their careers end with this choice (Sundance and other debut-oriented film festivals their final resting place). Truffaut took this dimmest of subjects and made one of the most radiant films of all time, in glorious black and white.

任何導演的電影初想似乎離不開一位如自身寫照，十歲或十二歲男孩的感傷困境—他們的生涯通常也如此了結。(日舞與其他懷抱處女情結之影展作為歇腳亭) 楚浮以此幽微主題拍出了影史上最璀燦耀眼的作品，黑與白間光彩奪目。


#2
貴婦失蹤案 The Lady Vanishes
96 min. 1938
by Alfred Hitchcock

So well made, so clever, you have to laugh—perhaps the cleverest thriller ever. What I especially love in Hitchcock is the level of social detail: you get an intense feeling for the time, the place, the social structure, and all social forms. The two cricket-buff characters went on to have their own series of films.

如此優質，如此聰明，你不得不放聲大笑—或許是影史上最聰明的驚悚電影。我特別獨鍾希區考克對於階級之細微描繪：賦予時間，空間，社會結構與諸多社會禮教的觸感。兩位板球狂接著發展出系列招牌電影。

按：筆者沒看過該片，本段若有謬誤請指正。


  
#3 
不速之客 The Harder They Come
120 min. 1972
by Perry Henzell

As close as any film I know to folk art—how this film came about, how it could be the way it is, is a mystery and a miracle.

與任何一部所我知道的民俗藝術電影相比—這部電影是如何發生的，如何就是這樣，仍舊是個謎團與奇蹟。

延伸閱讀：
牙買加史上第一部劇情電影


  
#4
第七封印 The Seventh Seal
96 min. 1957 
by Ingmar Bergman

A film that picks the viewer up and changes him forever. The first “art film” I saw, in a college screening, and I haven’t seen it since, perhaps not wanting to tamper with that memory. Memorable also for providing more parody fodder than any other film.

一部挑選觀眾，並永遠改變他們的電影。某次大學放映現場，我觀影經驗的第一部「藝術電影」，之後就沒有看過第二次，可能我不願意攪亂那記憶。比其他電影提供更多惡搞泉源也相當值得玩味。

延伸閱讀：
老人痴影症：地下水道 (Kanal)

按：一九五七年坎城影展評審團特別獎，與安德烈華依達 (Andrzej Wajda) 的【下水道】(Kanal, 1957) 並置。
 

#5
淑女夏娃 The Lady Eve
94 min. 1941
by Preston Sturges

Sturges takes a whole assortment of disagreeable elements—cliché rich people, cliché cardsharps, snakes, and slapstick—and makes one of the greatest romantic and funny comedies. The cast one must adore—never better.

史特吉斯取樣形形色色不討喜的元素—陳腔濫調有錢人，老套老千，陰險奸角與低俗鬧劇—製成了影史之一最偉大的愛情電影與滑稽喜劇。無法不喜愛的卡司—無法超越。

延伸閱讀：
老人痴影症：淑女伊芙／淑女夏娃 (The Lady Eve)

按：一九四二年奧斯卡最佳最佳原創劇本提名


 
#6
瑪丹娜街圖的交易 Big Deal on Madonna Street
106 min. 1958
by Mario Monicelli

I discovered the film on TV in Spain and still like the Spanish title, Rufufu—signaling it as a travesty of a Rififi-style clever caper. The original Italian title—I soliti ignoti (Persons unknown)— also becomes very good once you’ve seen the film. Just the way the characters eat food in the movie is delightful, and the filming style classic and brilliant—a comedy of great elegance. The only two autographs I’ve collected are Mario Monicelli’s and Diana Ross’s (whose “I’m Coming Out” greatly aided the Last Days of Disco soundtrack).

我在西班牙電視機裡發現了這部電影，更喜歡其西班牙片名，魯夫夫 (Rufufu)—示意了該片為【男人的鬥爭】(Rififi) 風格之搶劫諧仿電影。義大利原文電影標題—未知人物—看過電影後也富饒韻味。劇中角色飲食方式令人愉悅，拍攝風格古典而高超—一部大優雅喜劇。我唯二收藏的親筆簽名來自馬利歐莫里切里與黛安娜羅絲。(羅姬演唱之「我將破繭」為【最後的迪斯可時光】原聲帶注入五光十色)

按：克勞蒂亞卡蒂娜主演，一九五八年奧斯卡最佳外語片提名，當年得主為賈克大地【我的舅舅】。

延伸閱讀：
老人痴影症：男人的爭鬥 (Rififi)


 
#7
妙管家／我的高德弗里 My Man Godfrey
by Gregory La Cava

The first I ever heard from Criterion was a call to work on the commentary track for My Man Godfrey, but there’s still nothing I can say about it. There it is, and there are the magnificent contributions of William Powell and Carole Lombard, director Gregory La Cava, and writers Eric Hatch and Morrie Ryskind.

首次知曉 Criterion 大名來自一通邀請我為【妙管家】錄製講評的電話，但我還是不知道該說些什麼。在你眼前，威廉鮑華與卡洛林白，導演格雷哥萊拉卡瓦及編劇艾瑞哈奇與摩瑞萊金的卓越貢獻。

按：一九三七年奧斯卡最佳男主角、男配角、女主角、女配角、導演與劇本提名。


 
#8
黑人奧爾菲 Black Orpheus
100 min. 1959
by Marcel Camus

I love films that are great not only in themselves but in the idea of them that stays in memory. But this then can dwarf the actual film, which perhaps it has in the case of Black Orpheus—some aspects now try one’s patience slightly. A few years back a Brazilian film was touted as the realistic and gritty version of the story, by those who knew the actual milieu—another black eye for realism and grit.

我喜歡那些不只是本身偉大，縈繞腦海印象也同樣偉大的電影們。【黑人奧爾菲】則提供後者大於前者之案例—某些觀點現在稍微考驗了觀眾耐心。幾年前一部巴西電影被宣傳為寫實與粗粒版本的奧爾菲故事，藉由經歷其真實社會背景的人們—另一雙寫實主義與真實勇氣之眼。

按：這部電影除了擊敗【四百擊】拿下一九五九年坎城金棕櫚，也勇奪一九六零年奧斯卡最佳外語片，嗯。


 
#9
美人計 Notorious
101 min. 1946
by Alfred Hitchcock

The charms of the other Hitchcocks—I would like to have included The 39 Steps but don’t have the room—to which are added an atmosphere of such intense passionate tension and threatened betrayal, as well as a cast of archetypal beauty.

希區考克無遠弗屆的魅力—我還想列舉【國防大機密】但已無餘裕—添增幾許高強度炙熱張力與受迫背叛氛圍，以及美麗原型。

按：一九四七年奧斯卡最佳男配角，最佳原創劇本提名。


#10
天堂的孩子 Children of Paradise
163 min. 1945
by Marcel Carné

So beautiful and beautifully evocative—a film that allows space for imagination—but my gosh it’s long.

多麼美，美得勾心動魄—一部允許想像空間的電影—但這想像空間還真長遠。

按：一九四七年奧斯卡最佳原創劇本提名。


資料來源：
Whit Stillman’s Top 10

Steve Buscemi's Top 10 Criterion Collection
Xavier Dolan's Top 10 Criterion Collection
Richard Ayoade's Top 10 Criterion Collection
















Clark Gable & Carole Lombard

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