2009年11月26日 星期四

[道德] Roman Polanski:我愛小蘿莉!& An Education pour Carey Mulligan 2009/10/25


 



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詳全文請見 上篇










Just because they made such intense and unsettling films didn't mean that the directors in swinging London or, a few years later in 1970s Hollywood, were going to live austere and monastic lives. Of course, they did quite the reverse. Polish director Jerzy Skolimowski, who met Polanski in film school and co-scripted his first feature Knife in the Water (1962) recently testified how startling it was for young film-makers from the communist-era Soviet bloc to experience life in late 1960s London. Skolimowski came to the city when his film Bariera (1966) was in the London Film Festival. He stayed in the Savoy Hotel. Polkanski took him around him the town. 



不能因為他們拍出如此坐立難安電影,就說那些搖擺英倫或七零好萊塢導演將過著禁慾苦行生活。想當然耳,他們夜夜笙歌。波蘭導演傑西史考利莫斯基,波蘭斯基電影學校同學兼【水中刀】共同編劇,甫作證年輕導演在共產鐵幕體驗英倫搖擺有多顫慄。史考利莫斯基隨作品【壁壘】到倫敦參加影展。他住薩維旅館。波蘭斯基擔任東道主。



"Roman was living in Belgravia. I was very impressed with his situation," Skolimowski recalls. "Roman introduced me a little bit to the London scene. He explained to me what was the King's Road." Polanski even took him to the Playboy Club, where he met Victor Lowndes. "It was quite an event for a young man. Suddenly, I was on a dance floor with those bunnies. As a young man, I had a wild life – as Roman did too. We were quite similar in our adventures." 



playboy_logo_sex「羅曼住倫敦有錢人房子。我驚為天人」考利莫斯基回憶。「羅曼導覽我暢遊倫敦,解釋何謂國王路」。波蘭斯基甚至帶他到花花公子俱樂部,在那他結識維多朗德。「那對個年輕人可是大事件。突然間一堆小兔兔在我身邊流竄。我年少輕狂如變態羅曼。我們乃一丘之貉。」



據說波蘭斯基為了講笑話調戲玩伴女郎而努力學英文。維多朗德是【森林復活記】製片。





















It was the austerity of their backgrounds combined with their rebellious nature and the sheer wealth of temptation on offer that led so many other directors, too, to behave so wildly. There was something epic and even heroic about their self-abuse. There was also a sense of an Oedipal struggle. They often had distrust and contempt for their paymasters, who belonged to a different era in Hollywood, and saw it as a point of honour never to conform or obey. 



來自他們出身背景的苦行結合叛逆天性與誘惑使然,導致許多其他導演也如此放蕩。關於他們的自虐有些英雄史詩流傳。亦帶有點伊底帕斯掙扎。他們通常不信任且輕蔑老闆,屬於好萊塢不同年代的老闆,並視從不同流服從為榮譽。



Much that has been written about the 1970s has been wilfully exaggerated. Friedkin has complained that Easy Riders, Raging Bulls was based on "garbage and dirt" and "the ravings of ex-girlfriends and ex-wives." You're often aware that the biographers and even the protagonists themselves are engaged in a myth-making process. All those stories about Sam Peckinpah's misdeeds or Hal Ashby's drug-taking and erratic behaviour seem juiced up. When Julia Phillips goes to quite such lengths to tell us what was in her system the night she won an Oscar for The Sting, you can't help but ask how she can remember all the pharmaceutical details when she was quite so "high." 



七零年代事蹟多為刻意誇大。佛雷金抱怨【逍遙騎士】【蠻牛】乃根據「垃圾糞土」和「前女朋友前妻們三姑六婆」改編而成。「你將注意到傳記家甚至主人翁自己都熱衷神話製造過程。」所有山姆畢金柏惡行惡狀,或霍爾艾西比嗑藥及恍神舉止看似加料。當茱莉亞菲利浦開始長話短說以【刺激】贏得奧斯卡那晚發生了什麼事,你不禁質疑她那麼「嗨」要如何記住全部拉K細節。





















lvn British writer Lucretia Stewart recently described how, when she was a schoolgirl in the late 1960s, it was fashionable "not just to admire Nabokov's Lolita... as a work of art but also to embrace it wholeheartedly, to regard it as exemplary." Stewart wrote of teenage British schoolgirls playing the nymphet to predatory, Humbert Humbert-like older men without quite realising what they were doing. This is the theme of Lone Scherfig's excellent and strangely melancholy new film, An Education, based on Lynn Barber's hugely enjoyable childhood memoirs. 



英國作家露西亞史都華前陣子剛描述過,她還是個六零晚期校園女孩時,「不僅僅以藝術品角度景仰納伯可夫,更張開雙臂擁抱之,視之為楷模典範。」有多流行。史都華寫到英國少女扮起蘿莉奔向怪叔叔,懵懵懂懂地。朗史菲格傑出的哀傷新電影【名媛教育】主題即取材一樹梨花壓蘿莉,改編自琳芭柏引人入勝的童年回憶。



Vladimir Nabokov

Lynn Barber

朗史菲格作品如【二手書之戀】(Wilbur Wants to Kill Himself, 2002)【戀愛學分保證班】(Italian for Beginners/ Dogme # 12 - Italiensk for begyndere, 2000)




It's a long way from the 1970s Hollywood of Polanski, Robert Evans, Jack Nicholson and Co to the early 1960s London suburbs shown in Scherfig's film. What the film captures, though, is the excitement, pathos and ultimately extreme seediness of the precocious schoolgirl's affair with the older, ostensibly much more experienced man. The irony is that the older man (played by Peter Sarsgaard) is really the naive one. Viewers are likely to ask how on Earth he thought he was going to get away with it, as they watch him pick up the teenage girl at the bus-stop. It's the same question that could be asked of the satyr-like 1970s Hollywood figures who often seemed to think that they had their own special licences to transgress. 



從波蘭斯基,羅伯伊凡,傑克尼克遜等同黨的七零年代好萊塢,到史菲格電影裡六零早期英倫近郊是條漫漫長路。這電影捕捉了早熟少女交融年長男子那香豔刺激,憐憫感傷與不可自拔之淫穢下流。諷刺的是,該年長男子 (彼得塞斯嘉飾) 才是天真小羅莉。觀眾只想問他在公車站邂逅少女時,怎麼會覺得自己能夠全身而退。同樣的問題也可以應用在那些自認有獨門絕技違法犯紀的好萊塢七零年代登徒子。



satyr

羅伯伊凡為【唐人街】製片。






















Ironically, the best book about 1970s Hollywood isn't really to do with sex and drugs at all. David McClintick's Indecent Exposure: A True Story of Hollywood and Wall Street isn't about Jack Nicholson or Roman Polanski. Instead, it tells the grim and utterly compelling story of Columbia Studio boss David Begelman. A former talent agent who had represented Judy Garland, Begelman was an inveterate gambler. He was popular and successful. With him at the helm, Columbia enjoyed big successes with movies like Shampoo and Close Encounters of the Third Kind. Begelman had everything – status, money, power. He was even well-liked. The only problem was that he was a crook of the first order. His long and slow downfall, which ended with his suicide in a Los Angeles hotel in 1995, started when he was caught forging cheques for relatively insignificant amounts and embezzling money from actor Cliff Robertson. When Robertson complained, it was the actor who was vilified. Hollywood closed ranks around Begelman and Robertson was blacklisted. 



很諷刺地,關於七零年代好萊塢的最佳書本和保險套與針頭一點關係也沒有。大衛馬克林提的《不正經爆料:一個關於好萊塢和華爾街的真實故事》無關乎傑克尼克遜或羅曼波蘭斯基。書本反而訴說起哥倫比亞片廠老闆大衛貝葛曼的骯髒勾當。前茱蒂嘉倫經紀人,貝葛曼是個賭徒老手。受歡迎且成功。有他掌舵,哥倫比亞以電影【洗髮精】和【第三類接觸】享受豐碩勝利果實。貝葛曼坐擁萬物—地位,金錢,權勢。甚至備受喜愛。他唯一的問題即貝葛曼是個大騙子。其長久緩慢的衰亡,以因零用金偽造支票與盜用演員克里夫羅伯森錢財開始,九五年洛杉磯旅館自殺身亡劃下句點。當羅伯森控訴自己成了惡名昭彰先生。好萊塢在貝葛曼週圍築起高牆,羅伯森被列入黑名單。



David Begelman



What was fascinating about the Begelman story, expertly told by Wall Street Journal investigative reporter McClintick, is the way it shows graft and corruption as being endemic in Hollywood. A little embezzlement and forgery are seen as very minor misdemeanours. The Hollywood community reacts with disdain to what it clearly sees as petty score-settling by dreary-minded reporters and disgruntled actors. If a studio boss wants to steal, why shouldn't he? If a film-maker takes a shine to a starlet, that goes with the territory too. 



華爾街調查記者馬克林提專業報導,貝葛曼故事迷人之處在於傳達栽贓腐敗是好萊塢地方特色的方式。小小盜用公款和偽造文書被視為愆。好萊塢社群對該殭屍記者不滿演員認為之小報復棄如敝屣。如果片廠老闆想偷,有何不可?如果導演意臨幸頭角崢嶸小明星,比照辦理。



settle a score



"The occasional embezzlement, fraud, cheating, and chiselling – serious as they are – constitute symptoms of a more pervasive and subtle corruption, a corruption that is more difficult to combat than outright theft," McClintick writes in conclusion. "It is the corruption of power and arrogance... the corruption that inevitably pervades a large and glamorous institution when that institution is tightly controlled by a handful of people, and thousands upon thousands of other people are clamouring for entry." 



「偶爾為盜用,詐,欺,金光黨—說真的—構成了更瀰漫微妙腐敗,比光明正大偷竊更難防的腐敗」馬克林提下結論。「權勢和傲慢之腐敗…… 如此腐敗不可避免地瀰漫一個迷人大體制,該體制由一群人嚴密掌控,該群人由成千上萬的另外一群人大肆覬覦。」 





















McClintick is writing about Hollywood of the 1970s but his language is eerily familiar to that found in Polanski's Chinatown (1974), a film with incest and corruption at the core. 



馬克林提寫著七零年代好萊塢,但其語言在波蘭斯基【唐人街】詭異地雷同,一部圍繞亂倫與腐敗的電影。



In 1970s Hollywood, the battle-lines were more complicated than they first seemed. The Easy Rider generation, disgusted by the Watergate scandal and the Vietnam War, wasn't interested in graft and embezzlement. This seemingly was the province of an older generation. Begelman may have flourished in the "new Hollywood" but his roots harked back to earlier showbusiness times. The wild living of the younger film-makers who came to prominence in the 1970s was, surely, at least partly motivated by their desire to show their disdain for the conservative old-style studio executives and corporate officers. 



身處七零年代好萊塢,戰場比初見更複雜。逍遙騎士世代,厭惡水門案和越戰,對栽贓腐敗無興趣。很顯然那屬於老頭子在搞的。貝葛曼也許在「新老萊塢」欣欣向榮,他深根於早期秀場事業。叱吒七零年代小兄弟的,絕對,至少想鳴放他們對保守老學校片場大頭與法人官員的輕蔑。



It was inevitable that the new Hollywood would be short-lived. Peter Biskind's book has a final chapter titled "We Blew It" in reference to a famous line from Easy Rider. The combination of profligate spending and profligate living helped sabotage the Hollywood careers of Coppola, Michael Cimino, Polanski et al. Their hubris was self-evident, whether it was the belief that they could do what they liked on screen, whatever the expense, or behave how they liked off-screen, whatever the cost in broken lives. 



新好萊塢不可避免地曇花一現。畢斯肯書本最終章題名「我們搞砸了!」參考自【逍遙騎士】經典台詞。揮霍無度加速科波拉,麥可西米諾,波蘭斯基等人毀滅。他們傲慢不証自明,不論是銀幕上為所欲為信念,鉅款花費,或私下行徑,破碎生命所付出代價。



Michael Cimino:kerker.



We, the public, were complicit too. Roman Polanski: Wanted and Desired makes it very apparent that the abusive excesses of the film-makers of the era were more than matched by the equally seamy behaviour of the media and judicial system. This, in turn, was fuelled by the public's appetite for hearing the dirt. The double-standards are astonishing. As has again become evident in the last week, we love to hear this stuff. We still buy into the idea that 1970s Hollywood was as close as the 20th Century came to Nero or Caligula's Rome. Our disapproval comes tinged with prurient curiosity. Right-wing commentators relish dredging up old misdeeds in all their grisly detail so that they can wax indignant about them all over again. We won't let the fact that a corrupt judge broke his word or that much of the reporting at the time (and since) was wildly inaccurate get in the way. Our minds about 1970s Hollywood were made up a long time ago, and we're not going to change them now. 



我們,大眾,亦為共犯。【羅曼波蘭斯基:通緝與慾望】闡明該時代導演暴行,和同等骯髒之媒體、司法制度一拍即合。皆可,回過頭,歸咎大眾嗜糞土胃口。雙重標準令人瞠目結舌,上禮拜所發生事件再次證明如此。我們仍鄉愿七零年代好萊塢猶如二十世紀走向尼祿或卡利古拉羅馬帝國艷情史。我們的反對帶有淫蕩好奇心意味。右翼評論家偏好挖掘陳年瘡疤,好好再次抹黑他們。我們不會讓腐敗判官食言或自此報導不實這檔事二度得逞。我們對七零年代好萊塢的心態成形已久,我們也不想改變。



Nero

Caligula





hefnerfront_246608s



Roman Polanski (right) in 1971 with Playboy empire owner Hugh Hefner and actress Francesa Annis. Hefner sponsored Polanski's film Macbeth, which starred Annis.



兩位傳奇登徒子相見歡。馬克白夫人與雷夫范恩斯曾是長年情侶。





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英國獨立報週日版:

Cate Blanchett: Queen of the screen

Why Jena Malone won't play the Hollywood game



相關新聞:

Euro outrage over Polanski arrest

"Coco" pulled over Polanski

Does Poland Want to Chemically Castrate Roman Polanski?



Scorsese, Allen, Aronofsky, Mendes, Nichols, Soderbergh, Rushdie, Almodovar, Cuaron, Demme, Gilliam, Schnabel, Wong, Lynch, Swinton, Tykwer, Jordan, Schnabel, Frears

















Rosamund Pike (左) 美歸美,就是敗在那張老臉呀!自以為丹妮芙 look。









名媛教育 An Education

95 min. 2008



Carey Mulligan ...  Jenny

Olivia Williams ...  Miss Stubbs

Alfred Molina ...  Jack

Peter Sarsgaard ...  David

Rosamund Pike ...  Helen 

Emma Thompson ...  Headmistress








"You've got me wrapped around your little finger"

by Beth Rowley!!!

















cover-girls-1003-01


From left:

Carey Mulligan (dress by J. Mendel, earrings by Lee Angel)

Kristen Stewart (dress by Blumarine, shoes by Pedro Garcia, watch by Jaeger-LeCoultre)

Abbie Cornish (dress by Dior, shoes by Aldo, earrings by David Yurman, bracelet by Cartier)

Mia Wasikowska (dress by Luisa Beccaria, earrings by David Yurman)

Amanda Seyfried (dress by Chado Ralph Rucci, earrings by Beladora)

Rebecca Hall (dress by Dior, shoes by Vera Wang, earrings by Beladora)

Emma Stone (dress by J. Mendel, shoes by Manolo Blahnik, earrings by David Yurman)

Evan Rachel Wood (dress by Dior, earrings by Cartier, bracelet by David Yurman)

Anna Kendrick (dress by J. Mendel, shoes by Pedro Garcia, earrings by Beladora, ring by David Yurman).






12 則留言:

  1. 超級清純可人的Carey Mulligan!繼Emily Blunt後令人期待的新生代英國女演員,
    希望她除了甜美,還有其他不同的風格(我只看過An Education...........)

    版主回覆:(11/15/2009 03:06:42 AM)


    看完預告少女情懷完全被勾起
    另外一個英國 Emily (Mortimer) 因為前陣子看太多她的片所以被我討厭哈

    回覆刪除
  2. 對呀對呀~好甜好甜 有種很適合台灣人口味的感覺
    不過emilyB仍才是我菜 狼人狼人!(爪)

    版主回覆:(11/06/2009 12:09:31 PM)


    不過狼人預告蠻無聊的希望不是 just another 正妹片
    The Young Victoria 似乎非伊莉莎白那種大宣傳宮廷電影?

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  3. 一開始剛看維多利亞劇照認為emily實在沒皇后相
    也以為會是那種狗血的連續劇式宮廷電影(害我這沒歷史概念的人以為會有很多
    人欺騙皇后~)
    想不到完全不是!!!! 是個純純安安穩穩的羅曼史 *就肝心
    and our emily done the lead role well :)

    剛看完My Summer of Love
    雖說是04年的片,但emily臉實在不適合當年輕少女:( 惡魔就頗合適:P
    Enchantingggg (吐白沫)

    版主回覆:(11/14/2009 12:47:02 AM)


    http://www.wretch.cc/blog/frafoa/5671075
    [輕電影] My Summer of Love

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  4. Blunt適合任性焦躁和煙燻妝啦!那才是她的調調!
    她現正和麥特戴蒙拍新片,好像是演一名舞女,卡司裡面竟然有郵票老頭來插花耶,嘻
    嘻!

    版主回覆:(11/20/2009 01:32:26 PM)


    http://www.imdb.com/title/tt0460810/
    The Great Buck Howard
    John Malkovich ... Buck Howard
    Colin Hanks ... Troy Gable
    Emily Blunt ... Valerie Brennan
    Steve Zahn ... Kenny
    (在台灣) 很無聲無息的一片
    不過好歹有 3,524 張票數

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  5. 噢噢 還有Sunshine Cleaning是一部令人好喜歡的獨片
    (陽光群隊拍出的電影總是令人那麼窩心)
    您一定會喜歡的(點頭)

    版主回覆:(11/20/2009 01:35:37 PM)


    話說從戎期間可能就這樣 skip 掉這片
    陽光群隊 for Alan Arkin?

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  6. 〝From the producers of LITTLE MISS SUNSHINE comes the
    charming Sundance hit SUNSHINE CLEANING...〞
    話說Zooey本也有參一咖,看完後還真不知哪一咖適合她(Hmmm...有emily和
    zooey並存的電影,應該是演姐妹吧
    Buck Howard還OK,John Malkovich演神經質催眠師很好笑(我最喜歡這種
    tone的老人.exBillNighy.)Emily一樣令人注目,倒是角色quirky quirky
    的會讓我想到zooey 兩位無疑是我的摯愛 (Dan in Real Life的emily也
    是,令人流口水、豋場又很有梗,一定要截圖保存)(看在媚諾許和布朗特小姐
    份上,這部過度溫馨片算值得一看)
    對不起啦Carey Mulligan小羅莉,就這樣這版都變成在宣揚Emily :P

    版主回覆:(11/20/2009 01:30:57 PM)


    其實一個眼皮很重一個睜開好奇無辜蠻搭配
    只是都深色頭髮比較難分辨
    似乎有不成文規定乃雙姝必須金髮妹配黑髮妹?
    經典例子如 Vitti 在安董電影【夜】(La notte, 1961) 為了搭珍妮摩露染黑頭髮

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  7. "夜"裡面不是兩個都黑髮妹嗎?
    還好他們五官都很好認,不是大眾臉...

    版主回覆:(11/21/2009 05:10:40 PM)


    http://www.flickr.com/photos/vitti/4156948355/ 我忘記珍妮摩露原本也是金髮妹了可能要配合夜黑風高感吧

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  8. 結果本屆金球獎Emily Blunt和Carey Mulligan同鄉對打..............

    版主回覆:(12/04/2009 10:23:47 AM)


    http://www.wretch.cc/blog/giselemine/9247646

    回覆刪除
  9. 新年快樂! vanity fair九美圖賀歲沒令人失望
    (好吧還是得抱怨未啥又有阿曼達!!)
    發現Carey還是得靠那招牌微笑從眾美女中突出
    (萌~那微笑實在讓每個人融化阿!
    是說這位無髮男子有出現在電影裡被笑容迷倒過媽?
    http://www.imdb.com/media/rm3197603584/nm0765597 嚇死人)
    Anna Kendrick 實在是醜的可愛的紅的有道理,但真正令人流口水的是Vera
    Farmiga(有點年紀的還是比較騷,那腰~~)
    一定要看幕後拍攝影片 雖然偶最美的EVAN RACHEL沒講到話
    附贈本人第一次截LEGGY GODDESS--EVAN RACHEL WOOD跟你拜年!
    http://www.flickr.com/photos/tinalin/4355744666/in/set-
    72157623458713180/

    版主回覆:(02/12/2010 11:47:24 PM)


    http://www.vanityfair.com/hollywood/features/2010/03/cover-girls-201003
    圖貼上面 ↑
    Ellen Page 比萌當場遜掉
    原來 Anna Kendrick 有演暮光之城第二集呀
    艾德華曾說過要找葛斯范桑導第三集
    原因如下:
    一片霧茫茫的青春徬徨之愛
    Vera Farmiga 真的很正
    看孤兒怨完全是為了她 & Peter Sarsgaard 
    髮線和鍋蓋頭比明顯後退
    反正人家老婆這麼正沒在怕的啦
    其實我想說右邊 Patricia Clarkson 更正點

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  10. 魚眼雅曼達左右旁邊兩位最合我胃口,左邊那金短髮妹是誰啊?好正,但我不認識?
    很喜歡這種按年齡層拍的大合照,最好一次拍多一點,而且要一口氣拍20張,10張是女
    演員,10張是男演員,第一張是0-10歲,第二張是11-20歲,......第十張是90-100
    歲,而且每一張擠進15人,過癮!(我太無聊來亂的)

    版主回覆:(02/18/2010 03:54:18 PM)


    Mia Wasikowska (dress by Luisa Beccaria, earrings by David Yurman)
    當初看龐德電影【聖戰家園】(Defiance, 2008) 有注意到她
    二十歲就成為提姆波頓電影主角
    熱門討論串:
    http://www.wretch.cc/blog/giselemine/9247646

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  11. 長長格我覺得你的提議蠻好的耶! 反正annie都拍慣了這些團體照,來一期各
    年齡層的我一定買! 但我至今仍深深懷疑沒有我的emily一定是認為她有臭老
    面會拖垮整體視覺年齡層 呿呿!
    明天就是奧斯卡了!.."超級"期待我們無畏anna wintour的(嗆金髮型)小蘿莉
    會臨幸哪家禮服 牽Shia小手走紅毯! ~~~好期待~~~

    版主回覆:(02/20/2010 02:12:29 AM)


    對不起
    我討厭變形金剛那個廢物

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  12. 呀呀!原來是要牽家人的手,不是要牽男友的手呀...小小失落話題性少了.

    版主回覆:(03/12/2010 03:50:38 PM)


    不准牽!!!

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