評(píng)論
打印
Culture
文藝版塊
Film franchises
系列電影
Atomic beast
原子彈怪獸
As a symbol of nuclear weapons, Godzilla has roared back to relevance.
作為核武器的象征，哥斯拉咆哮著歸來(lái)，并再次變得重要。
At the age of 70 some might think about retiring, if they have not done so already.
在70歲時(shí)，一些人可能會(huì)考慮退休，如果他們還沒(méi)有退休的話。
Not Godzilla.
但哥斯拉不會(huì)。
Since the giant lizard made his screen debut in “Godzilla”, a Japanese film released in 1954, he has crashed his way through nearly 40 movies.
自從這只巨型蜥蜴在1954年上映的日本電影《哥斯拉》中首次亮相以來(lái)，他已經(jīng)出演了近40部電影。
(Guinness World Records certifies Godzilla as the longest-running movie franchise.)
(吉尼斯世界紀(jì)錄認(rèn)證《哥斯拉》是持續(xù)時(shí)間最長(zhǎng)的系列電影。)
Nor does he shows any sign of slowing down.
哥斯拉也沒(méi)有表現(xiàn)出任何放慢腳步的跡象。
In December “Godzilla Minus One”, a Japanese film, became a box-office hit.
去年12月，日本電影《哥斯拉-1.0》票房大賣(mài)。
“Godzilla x Kong: The New Empire” has recently hit cinemas, too.
《哥斯拉大戰(zhàn)金剛2：帝國(guó)崛起》最近也在影院上映。
From his conception, Godzilla has symbolised the fears of his time.
從對(duì)哥斯拉的構(gòu)想來(lái)看，哥斯拉象征著他所處時(shí)代的恐懼。
He was created from the wreckage of the second world war.
哥斯拉是從第二次世界大戰(zhàn)的廢墟中創(chuàng)造出來(lái)的。
Honda Ishiro, the writer-director of “Godzilla”, was haunted by the bombing of Hiroshima, the aftermath of which he witnessed first-hand.
《哥斯拉》的編劇兼導(dǎo)演本多豬四郎對(duì)廣島遭到轟炸難以釋?xiě)眩H眼目睹了轟炸的后果。
“It was said that, for the next 72 years, not a single blade of grass would grow there—and that really stayed with me,” he said.
“據(jù)說(shuō)，在接下來(lái)的72年里，那里連一片草都長(zhǎng)不出來(lái)。這句話一直印在我的腦海里。”他說(shuō)。
“Godzilla represents the frightfulness of nuclear weapons.”
“哥斯拉代表了核武器的可怕之處。”
In “Godzilla”, after the monster destroys a village on Odo Island, researchers conclude that he was roused from his prehistoric slumber by hydrogen-bomb testing.
在《哥斯拉》中，怪獸摧毀了大戶島上的村莊之后，研究人員得出結(jié)論，是氫彈試驗(yàn)把哥斯拉從史前的沉睡中喚醒了。
The bomb’s cloud still hung in the air: earlier in 1954 America had detonated powerful thermonuclear bombs on Bikini Atoll in the Pacific.
氫彈的陰云仍然籠罩在空中：在1954年初，美國(guó)在太平洋的比基尼環(huán)礁引爆了威力強(qiáng)大的熱核彈。（注：熱核彈即氫彈。）
The crew of a Japanese fishing boat was accidentally irradiated.
一艘日本漁船的船員意外受到輻射。
“Godzilla” provides plenty of horror-film thrills, including scenes that have been endlessly imitated: people fleeing through narrow city streets and the monster crunching on train carriages.
《哥斯拉》提供了大量恐怖電影的驚險(xiǎn)場(chǎng)面，其中一些場(chǎng)景不斷被模仿：人們?cè)讵M窄的城市街道上逃跑、怪獸壓扁了火車(chē)車(chē)廂。
But it also reflects on Japan’s war trauma.
但這部電影也反映了日本的戰(zhàn)爭(zhēng)創(chuàng)傷。
“I barely escaped the atomic bomb at Nagasaki,” one woman says, “and now this!”
“我險(xiǎn)些沒(méi)逃過(guò)長(zhǎng)崎的原子彈轟炸，”一名婦女說(shuō)，“現(xiàn)在又來(lái)了這個(gè)怪物！”
Japan is isolated from major world powers and must face the monster alone.
日本與世界的主要強(qiáng)國(guó)隔絕，面對(duì)怪物必須孤身作戰(zhàn)。
In the story’s most interesting turn, a scientist has to decide whether to use a terrible new weapon to defeat this enemy.
電影中最有趣的情節(jié)轉(zhuǎn)折是，一位科學(xué)家必須決定是否要使用一種可怕的新武器來(lái)?yè)魯∵@個(gè)敵人。
As the memory of nuclear destruction started to recede, Godzilla’s meaning mutated.
隨著核破壞的記憶開(kāi)始淡化，哥斯拉的寓意發(fā)生了變化。
America has been producing its own Godzilla films since 1956, and Hollywood has often ignored the historical aspect of the beast’s story in favour of pure action.
美國(guó)從1956年以來(lái)一直在拍攝自己的哥斯拉電影，而好萊塢往往忽視了哥斯拉故事中的歷史方面，只喜歡拍攝純粹的動(dòng)作場(chǎng)面。
In time Godzilla went from myth to meme.
漸漸地，哥斯拉從神話變成了梗圖。
He became one of several characters in a franchise known as the “MonsterVerse”.
他成了《怪獸宇宙》系列電影中的幾個(gè)角色之一。
Recent instalments have brought supersize lizard and enormous ape together: “Godzilla x Kong” is a sequel to “Godzilla vs. Kong” (2021).
該系列中最近的幾部電影將這個(gè)巨型蜥蜴和巨型類人猿聚在一起：《哥斯拉大戰(zhàn)金剛2》是《哥斯拉大戰(zhàn)金剛》（2021）的續(xù)集。
The MonsterVerse has tended towards the absurd, but has also explored a theme implicit in the Godzilla story: the environment.
《怪獸宇宙》的風(fēng)格更偏荒誕，但也探索了哥斯拉故事中隱含的一個(gè)主題：環(huán)境。
In one movie Godzilla helps defeat eco-terrorists who want to unleash primitive monsters to rid Earth of the “infection” of mankind.
在一部電影中，哥斯拉幫助擊敗了生態(tài)恐怖分子，這些恐怖分子想要釋放原始怪物，以消除地球的“感染”，即人類。
In “Godzilla x Kong” the monster defends an untouched natural realm.
在《哥斯拉大戰(zhàn)金剛2》中，哥斯拉捍衛(wèi)了一個(gè)未被人類涉足的自然之域。
In these films, released in an age of anxiety about the climate, Godzilla represents an ancient natural order that humans are wont to ruin.
這些電影上映于對(duì)環(huán)境感到焦慮擔(dān)憂的時(shí)代，在這些電影中，哥斯拉代表了一種人類習(xí)慣去破壞的古老自然秩序。
“Godzilla Minus One” is the best recent addition to the creature’s canon: it even earned Godzilla his first Oscar in March, for Best Visual Effects.
《哥斯拉-1.0》是哥斯拉系列新電影中最優(yōu)秀的一部：還在3月為哥斯拉贏得了第一座奧斯卡獎(jiǎng)杯：最佳視覺(jué)效果獎(jiǎng)。
Yet the film is not just aesthetically impressive; it is as profound as the original, and in conversation with it.
然而，這部電影不僅在美學(xué)上令人印象深刻，而且與原作一樣深刻，并與之進(jìn)行了對(duì)話。
Set at the end of the second world war the film follows Shikishima Koichi, a timid kamikaze pilot.
這部電影的背景設(shè)定在第二次世界大戰(zhàn)結(jié)束后，講述了膽小的神風(fēng)特攻隊(duì)飛行員敷島浩一的故事。
When he first encounters Godzilla, at a landing strip on Odo Island, he fails to act.
當(dāng)他在大戶島的著陸跑道上第一次遇見(jiàn)哥斯拉時(shí)，他嚇得無(wú)法采取行動(dòng)。
He returns to Tokyo to find his parents have been killed in the bombing of the city.
他回到東京，結(jié)果發(fā)現(xiàn)他的父母在東京爆炸中喪生。
By the time Godzilla strikes again—the monster has gained strength from nuclear tests in the Pacific—Koichi has a makeshift family he must protect.
當(dāng)哥斯拉再次發(fā)動(dòng)攻擊時(shí)--哥斯拉因?yàn)樘窖蟮暮嗽囼?yàn)而力量大增--浩一有了一個(gè)重組家庭，他必須保護(hù)這個(gè)家庭。
He makes up for his wartime dishonour by defeating the reptile and, with it, the cult of death that was gripping Japan at the time.
于是他擊敗了這只爬行動(dòng)物，并隨之擊敗了當(dāng)時(shí)籠罩著日本的死亡崇拜，從而一雪自己在戰(zhàn)時(shí)的恥辱。
Today, as tensions rise between nuclear powers, Godzilla has regained some of his ominous symbolism.
如今，隨著核武器大國(guó)之間的緊張關(guān)系加劇，哥斯拉再次被賦予了某種預(yù)示兇禍的象征意義。
The Doomsday Clock, an estimate of the risk of global catastrophe by the Bulletin of Atomic Scientists, is set at 90 seconds from midnight—as close as it has ever been to Armageddon.
末日時(shí)鐘（即《原子能科學(xué)家公報(bào)》對(duì)全球?yàn)?zāi)難風(fēng)險(xiǎn)的估計(jì)）的指針設(shè)定在距離午夜90秒的位置上，這是迄今為止最接近哈米吉多頓的時(shí)刻。（注：末日時(shí)鐘是虛擬時(shí)鐘，午夜十二點(diǎn)表示末日；哈米吉多頓是《圣經(jīng)》預(yù)示的世界末日。）
As long as the clock keeps ticking, this monster will matter.
只要時(shí)鐘還在滴答作響，哥斯拉這個(gè)怪物就是很重要的。
