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

 

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." 



「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。





















　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









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。















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!!!




















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).