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New film: “Zero Dark Thirty”
影訊：獵殺本·拉登
American night
美國之夜
The OBL thriller has landed
“本·拉登”來襲
KATHRYN BIGELOW'S superb new thriller about the hunt for Osama bin Laden, “Zero Dark Thirty”, hits the ground running like its heroine—and never draws breath. After a montage of emergency calls made on September 11th 2001 by doomed people in the twin towers, the film jumps ahead two years to Maya, a red-headed avenging angel and ferocious CIA analyst, who is watching the interrogation of an al-Qaeda paymaster in a so-called “black prison” run by the American agency.
凱瑟琳·畢格羅的一部十分精彩的驚悚電影—獵殺本·拉登，就像劇中女主角一樣大獲成功。電影首先出現的2001年9月11日雙子塔上一些將要死去的人的撥打緊急電話一些列畫面，接著鏡頭轉入兩年后，一位有著強烈復仇愿望的紅發女郎瑪雅查看“黑暗監獄”里的基地組織幕后老板的審訊。
Maya accepts the methods used by Dan, her CIA mentor, on the unfortunate Ammar to get information that could prevent an attack on a hotel in Saudi Arabia. She even fetches the water for the water-boarding. In the mercifully brief scene where Dan uses humiliation and confinement to break his battered captive, Maya's presence is part of the routine. The attack happens anyway because the Saudis fail to act on the CIA's tip.
瑪雅采用了CIA顧問丹的方法，在可憐的的阿爾瑪身上獲取情報去阻止一場沙特阿拉伯的賓館襲擊，她甚至取來水對犯人施以水刑。丹處罰犯人比較寬容，在一簡短的畫面里，他通過羞辱和禁閉讓他飽受虐待的犯人得以屈服說出情報，瑪雅像往常一樣出現。盡管如此，后來襲擊還是發生了，因為那個沙特阿拉伯人沒有按照CIA的掌握的線索行事。
Maya suggests that they hide this detail from Abbar, one of Osama bin Laden's many relatives, to extract more information from him. He duly names a certain Abu Ahmed as the al-Qaeda leader's personal courier and Maya spends the rest of the film following that name through a labyrinth where a “detainee video” is just another lead, like the background noise on a mobile phone, into the dusty arena where the first stealth helicopter touches down inside the Abbottabad compound at half-past midnight.
瑪雅認為基地組織對Abbar隱瞞了很多細節，以防CIA人員從他身上獲取情報。Abbar此時恰好說出一個叫Abu Ahmed的人事基地組織頭目的私人送信人，這部電影接下來都在講瑪雅順著Abu Ahmed這個名字發現這好像一個“迷宮”，被關押犯人的審訊錄像又是一個誤導，就好像手機的背景噪聲一樣，接下來她來到了一個布滿灰塵的體育場，在這個地方，第一架偷襲直升機在降落在Abbottabad的一個院子里，當時剛好午夜過了半小時。
Maya is finishing the job that was started by her predecessor in Ms Bigelow's 2008 film, “The Hurt Locker”, which was also written by Mark Boal, a journalist. Her work poses the same risks; after a tour of duty in Baghdad defusing bombs that all appear to have been built by the same shadowy bomb-maker, Ms Bigelow's hero could not return home and re-enlisted to continue the hunt.
瑪雅正在做的這項工作是由她的前任在凱瑟琳·畢格羅的電影—《拆彈部隊》里著手開始的。她的工作同樣充滿危險，在拆除了似乎由同一個神秘的炸彈制造者制造的炸彈的任務后，瑪雅沒有回家而是在隊伍里繼續尋找本拉登。
In “Zero Dark Thirty” Maya is hunting the serial-killer-in-chief whom she believes to be the author not just of September 11th, but of all the subsequent attacks—in Saudi Arabia, London, Indonesia and Afghanistan—that are shown in the film. Like many such cinematic heroines, the CIA's Joan of Arc is sometimes in danger of becoming what she is hunting. The question of where she goes next, asked by the pilot who is taking her home, is left unanswered in the final, rare close-up of Maya. It is a shot—and a question—that lingers.
這《獵殺本·拉登》這部電影里，瑪雅一直在殺人狂魔頭目追尋本拉登，她認為本拉登不僅是9·11事件的策劃者，而且還是所有隨后在沙特阿拉伯、倫敦、印度尼西亞、阿富汗的襲擊制造者，這些襲擊都在電影里出現了。就像許多銀幕女主角一樣，瑪雅就像CIA里的圣女貞德，有時她因追查而陷入危險。帶她回家的飛行員問她接下來她將要去哪里，關于這個問題，影片結尾沒有給出答案，只給了瑪雅很少有的的特寫鏡頭。留給大家一個一閃而過的鏡頭，一絲疑問。
