女神殿

Wes Anderson


By Martin Scorsese

3/1/2000, 12:00 AM




A COUPLE OF YEARS AGO, I watched a film called Bottle Rocket. I knew nothing about it, and the movie really took me by surprise. Here was a picture without a trace of cynicism, that obviously grew out of its director's affection for his characters in particular and for people in general. A rarity. And the central idea of the film is so delicate, so human: A group of young guys think that their lives have to be filled with risk and danger in order to be real. They don't know that it's okay simply to be who they are.

幾年前我有幸看了一部叫脫線沖天炮 ¹ 的電影，真是驚艷！沒有一絲絲犬儒的憤世嫉俗，只有導演對凡夫俗子的情有獨鍾。這是非常難得的。電影宗旨是如此的微妙而具有人性：一群小夥子認為生命要充滿冒險與刺激才不枉此生，他們不知道做自己才是最酷的。




¹ Wes Anderson 先在1994年找 Owen (兄) & Luke (弟) 拍了片長13分鐘的 Bottle Rocket，兩
　年後再找兄弟檔拍了片長92分鐘的 Bottle Rocket。








Wes Anderson, at age thirty, has a very special kind of talent: He knows how to convey the simple joys and interactions between people so well and with such richness. This kind of sensibility is rare in movies. Leo McCarey, the director of Make Way for Tomorrow and The Awful Truth, comes to mind. And so does Jean Renoir. I remember seeing Renoir's films as a child and immediately feeling connected to the characters through his love for them. It's the same with Anderson. I've found myself going back and watching Bottle Rocket several times. I'm also very fond of his second film, Rushmore (1998)--it has the same tenderness, the same kind of grace. Both of them are very funny, but also very moving.

韋思安，30而立，擁有不可置信的天賦：他知道要如何傳達人與人之間最單純的快樂與互動，技巧純熟而饒富餘韻。這種感性已經快絕種了。韋思安讓我想起了明日之歌與驚人事蹟 ² 的導演 Leo McCarey ³ 還有，尚雷諾 ⁴。還記得小時候看尚雷諾的電影，我馬上就藉由他對劇中人物的愛感受到那份真實的情感。這就跟我看韋思安的電影是一樣的。不知不覺，我又重看了脫線沖天炮好幾次。都是愛情惹的禍也具有同樣的平易近人和迷人魅力。脫線沖天炮與都是愛情惹的禍都很好笑，但也非常動人。




² 驚人事蹟 The Awful Truth (1937) 另有其它通用的中文片名如「春閨風月」、「可怕的事實」
³ 其實 Leo McCarey 有更廣為人知的經典大作：金玉盟 & 鴨羹。
⁴ Jean Renoir 1894~1979：大幻影，法國新浪潮那群不世出的天才都視為教父的啟蒙恩師。不是
　那個腦袋有問題，愛上小女孩的殺手。(盧貝松說法)








Anderson has a fine sense of how music works against an image. There's the beautiful ending of Rushmore, when Miss Cross removes Max Fischer's glasses and gazes into the boy's eyes--really the eyes of her dead husband--as the Faces' "Ooh La La" plays on the soundtrack. And I also love the scene in Bottle Rocket when Owen Wilson's character, Dignan, says, "They'll never catch me, man, 'cause I'm fuckin' innocent." Then he runs off to save one of his partners in crime and gets captured by the police, over "2000 Man" by the Rolling Stones. He--and the music--are proclaiming who he really is: He's not innocent in the eyes of the law, but he's truly an innocent. For me, it's a transcendent moment. And transcendent moments are in short supply these days.

韋思安對於音樂要如何結合影像有著絕佳的概念。都是愛情惹的禍的結局就很美，Miss Cross ⁵ 摘掉 Max Fischer ⁶ 的眼鏡，凝視著男孩的雙眼時 -- 就真的和死去老公的眼神一樣 -- 畫面搭著 Faces ⁷ 的 Ooh la La。我也很愛脫線沖天炮裡頭 Owen Wilson 的角色 Dignan「他們永遠別想抓到我，因為我很她媽的純真。」接著衝去救他還沒脫困的夥伴，然後被警察逮個正著，滾石唱起 2000 Man。Dignan 和音樂大聲說出了自己是誰：他或許在法律上一點也不純真，但他是一個真的很純真的人。對我來說，那是個無與倫比的時刻。而無與倫比的時刻已經快絕種了。




The Faces - Ooh La La


Rolling Stones - 2000 Man





⁵ Olivia Williams 飾，靈異第六感布魯斯威利是鬼的老婆。
⁶ Jason Schwartzman 飾，柯波拉家族算帥的男人，也就是瑪莉安端的路易十六，和 Bill Murray
　搶馬子，討人厭卻又教人憐惜，在該片表現非常搶眼。
⁷ Faces 是 Rod Stewart 單飛前的團，Ron Wood 則在日後加入滾石。








Martin Scorsese is, well, Martin Scorsese.

馬丁史柯西斯，就是馬丁史柯西斯。







‧Marty 真的很有眼光！此文撰寫於2000年，2001年 Wes Anderson 又導了更紅的天才一族，以
　及2004年的海海人生。

‧Marty 會覺得 Wes Anderson 音樂用很漂亮，一方面也是因為 Marty 本身就是滾石迷，07年就
　拍了一部紀錄片 Shine a Light 向滾石致敬。




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都是愛情惹的禍 Rushmore (1998)