評論
打印
Books & arts
文藝板塊
Home entertainment
家庭娛樂專欄
Back in the water
回到水中
Hidden depths
隱藏的深淵
Bungling officials confront an invisible threat in a blockbuster about a fish. “A film about a shark” was Steven Spielberg’s description of “Jaws”, the movie released in 1975 that established his box-office power as a director. More elaborate interpretations abound for his tale of a ravenous great white terrorising the genteel seaside town of Amity on Long Island. Is it a comment on corruption after Watergate, a parable of the Vietnam war or an illustration of Freudian castration anxiety? Fidel Castro, in an excursion into film criticism, reckoned it was a devastating Marxist critique of American capitalism.
在一部關于魚的大片中，拙劣的官員們面臨著無形的威脅。史蒂文·斯皮爾伯格將《大白鯊》描述為“一部關于鯊魚的電影”，這部電影于1975年上映，奠定了他作為一名導演的票房號召力。這部電影講述了一只非比尋常的巨大白鯊威脅著一個叫艾米蒂長島的幽靜的濱海小鎮(zhèn)的故事，人們對這個故事的解釋眾說紛紜。它是在水門事件發(fā)生后針對腐敗問題進行評論嗎？它是表示對越南戰(zhàn)爭的隱喻嗎？還是為了例證弗洛伊德閹割焦慮癥？菲德爾·卡斯特羅在一次嘗試影評時，認為這部電影是一部宣揚馬克思主義，批判美國資本主義的偉大作品。
The movie supports so many theories because of its layered plot and styles—one reason it is amenable to repeated viewings. Nerve-tingling suspense is intercut with picket- fence melodrama and humour. It is a buddy movie crossed with an adventure on the high seas. From the perspective of the pandemic, though, “Jaws” seems at heart to be a film about the untameable power of nature. An invisible, relentless assailant makes no distinction as to whom it attacks. Like some leaders today, the officials who must confront it are vacillating and helpless.
這部電影之所以支持著這么多的理論，是因為它的情節(jié)和風格層次分明，這也是它容易讓人反復觀看的原因。神經(jīng)緊繃的懸念與柵欄式的情節(jié)與幽默交織在一起。這是一部在公海上冒險的伙伴電影。不過，從大流行的角度來看，《大白鯊》在本質(zhì)上似乎是一部關于大自然不可估量的力量的電影。存在一個看不見的，無情的襲擊者，它會無差別進行襲擊。官員們必須去面對這個襲擊者，他們就像今天的一些領導人一樣，搖擺不定，束手無策。
Much of the tension is achieved through the power of suggestion. The shark is not fully seen until long into the story (mostly because the mechanical models constantly malfunctioned). As in the lockdown, when the streets outside are the domain of a deadly bug, the sea that gives the beast its cover is the enemy, too, made ominous and forbidding by the spare and portentous score. Where can you turn when a killer might be anywhere?
這部影片中大量的緊張感是依靠聯(lián)想的力量進行塑造的。故事開始了很久，人們才完整地看到這只鯊魚（主要是因為機械模型經(jīng)常出現(xiàn)故障）。就像是在封鎖時期時，外面的大街被某種致命的微生物占據(jù)，為野獸提供庇護的大海也是敵人，電影中額外的且充滿預兆性的配樂營造了不詳和可怕的氛圍。兇手可能會出現(xiàn)在任何地方，這時你能朝向哪里？
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