[豆瓣] Whit Stillman's Top 10 Criterion Collection

　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