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Matt Dillon gives the performance of his life as a serial killer in this brutal film

马特·狄龙 在这部残酷电影中扮演连环杀手的角色



Uma Thurman and Matt Dillon

乌玛·瑟曼和马特·狄龙

There are lots of places to hide in a movie auditorium. Crouch under the seat. Bury your face in your partner’s shoulder. Even escape to the loo. All this will occur to you as you watch — or try not to — Lars von Trier’s The House that Jack Built.

电影放映厅里有很多地方可以躲藏。畏缩在座椅下,将你的脸埋在你伴侣的肩膀上,甚至逃到洗手间。所有这一切都会在你看的时候发生,或者尽量不要试 - 拉斯·冯·提尔对《此房是我造的》评语。

It’s an appalling film, but please don’t put that on the poster. Or the anti-poster. I don’t mean it that way. This gruesome, horrific, sadism-obsessed work of cinema (showing in the UK from December 12) may be the creation of a troubled or disturbed mind, but so are many things. (See Blake and Goya, even Glenn Gould, all referenced here.) Matt Dillon, in the performance of his life, plays a serial killer for whom murder is a form of sustenance and regeneration. A tyre jack in Uma Thurman’s face; a stranger throttled in her own house; a mother and two kids hunted with a rifle. Worse, far worse, to come.

这是一部令人震惊的电影,但请不要将心思放在海报上,或者一看海报就不感冒。我不是那个意思。这部毛骨悚然、可怕、虐待狂的电影作品(12月12日起在英国上映)可能是一种困扰或不安的思想创造,但许多事情也是如此的。(见布莱克和戈雅,甚至是格连·古尔德的画作都应用到电影中) 马特·狄龙在他的人生中扮演一个连环杀手,谋杀是一种寄托和再生的形式。乌玛·瑟曼脸上的轮胎千斤顶,一个陌生人在她家中被掐死,一位母亲和两个孩子用步枪猎杀,更糟的是,差远了些,还有比那更坏的。

We know the easy, reflex response to von Trier’s film. At Cannes, Jack was greeted as the Great Dane’s insolent comeback to a festival that had banned him — for alleged Hitler-sympathising comments in the year of Melancholia (2011) — and now look. He is at it again. Blood, power, fascism of the imagination. And the exotic, even erotic, relishing of cruelty.

我们知道冯·提尔的电影的简单反应。在戛纳电影节,《此房是我造的》受到了欢迎,因为这支丹麦老犬从一个被禁参展(在2011年《忧郁症》参展感言中涉嫌同情希特勒的评论)的电影节中强势回归。现在看看,他回来了,带来了鲜血、权力和法西斯想像。以及充满异国情调甚至色情、残酷的表现。

Trier’s artist-architect hero enjoys cruelty perhaps in the name of some totalitarian payday, by men against newly ascendant women. There’s a whole Dillon speech about that. Perhaps also because sadism is in his veins and genes. Perhaps also because death, rot and putrefaction (another speech) can be mulch to great art. Cue the montage of putrefying grape bunches, illustrating the “noble rot” of sophisticated viniculture.

提尔的艺术建筑师英雄也许喜欢以极权主义的尊荣日享受残忍,由男性来反对新时代的女性 (译注: 这里是对提尔的电影多有仇女情节的隐喻)。关于这点是有一则狄龙的完整演讲。也许因为虐待狂早已植入红色基因中,也许还因为死亡,腐烂和腐败可以覆盖到伟大的艺术。暗示腐烂葡萄串的蒙太奇,给"高贵腐烂"构成一幅美酒酿造学的图景。(译注: 这句是对片中将人体分解做成艺术品的委婉说法)

The character is even called “Mr Sophistication”. He is played with an articulate, controlled, dandyish madness by Dillon, who can also fly into cosmic, screaming rages and pop-eyed apoplexies. There isn’t a second when you don’t believe this man could exist. It’s a brilliant performance.

这个角色甚至自称"诡辩先生"。狄龙扮演的是一个清晰、使劲操控、衣着亮丽而疯狂的人。就在你不相信这个人可能存在时,也就是一场精彩的表演。



Matt Dillon plays serial killer Jack

马特·狄龙扮演连环杀手杰克

If the movie was made by demons, those inside Von Trier, perhaps they give it its eerie power. Demons — see above — create a lot of art. The House that Jack Built’s horrors are built into a narrative quite literally disjointed, like those dreams or nightmares that make sense more as teasing, troubling poetry than waking logic.

如果这部电影是恶魔做的,那些在冯·提尔里面的人,或许他们给了电影怪诞的力量。恶魔-创造了很多艺术。《此房是我造的》恐怖故事被购建成一个完全脱节的叙事,就像那些梦想或恶梦更像是戏弄、令人不安的诗歌,而不是一般的电影叙事逻辑。

Late in the film we move to another dimension, in a boldness of story and structure almost jaw-dropping. Jack hooks up with a philosophising European sage (Bruno Ganz), with whom he has had soundtrack-only duologues throughout the film. Give a movie protagonist a medi-looking red hood and his companion the name “Virge” and where are we? You got it. The Inferno.

在电影的后期,我们转向另一个维度。在一个大胆的故事和结构几乎令人惊掉下巴。杰克与一位欧洲圣人哲学家(布鲁诺·甘兹)联系在一起,他和他一起载歌载舞。给一个电影主角一个中世纪的红色罩袍和他的同伴名为"伪尔格",问说我们在哪里?你说对了,地狱。

Except that we have been there throughout. This film starts in Hell; turns the heat up slowly through two hours and a half; bravely bears all the insults we will hurl at this artist for prurience and torture porn; and ends up making a movie we shall never forget. For its honesty, agony and unfearing impudence, its calm, rage and vertiginous invention.

除了我们一直在哪里。这部电影就从地狱开始,将热度缓慢闷烧两个半小时 (译注: 应是指连续出现的杀人影像);因为冯·提尔的坦率、苦闷和大无畏的冒失、以及平静、激烈和令人眩晕的影像手法。勇敢地承担我们将向这位艺术家针对视觉冲击和肉体恐惧的所有骂声。