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One Hundred Years of Solitude
《百年孤獨》
From the shelf to the couch
從書架到沙發
Netflix hopes great literature can translate into great television.
網飛希望偉大的文學可以改編成偉大的電視劇。
It would be hard, Gabriel García Márquez thought, to do justice to the surreal, sprawling tale on screen.
加夫列爾·加西亞·馬爾克斯認為，要在屏幕上恰如其分地呈現這個超現實的、龐雜的故事是很難的。
By his reckoning, “One Hundred Years of Solitude”, his celebrated novel of 1967, would need a runtime of 100 hours; it would also have to be filmed in Colombia, entirely in Spanish.
據他估計，他于1967年出版的著名小說《百年孤獨》需要100個小時的時長，而且還必須在哥倫比亞拍攝，完全用西班牙語。
Netflix, with the support of Márquez’s estate, has honoured two of those three proclamations.
網飛在馬爾克斯文學遺產管理者的支持下已經兌現了這三項宣言中的兩項。
The streamer boasts that its new adaptation of Márquez’s novel—the first on screen—is “one of the most ambitious productions in Latin American history”.
該流媒體夸耀，其對馬爾克斯小說的最新改編——這是首次搬上銀幕——是“拉丁美洲歷史上最雄心勃勃的作品之一”。
(“Ambitious” is also a synonym for “expensive”: Netflix will not reveal the budget but claims it is the largest ever for a production in the region.)
（“雄心勃勃”也是“昂貴”的同義詞：網飛不透露預算，但聲稱這是拉美地區有史以來預算最高的制作。）
But keeping in mind how much solitude viewers actually want, it has opted to compress Márquez’s novel into 16 episodes, with the first tranche released on December 11th.
但考慮到觀眾實際上想看多少年的孤獨，網飛選擇將馬爾克斯的小說壓縮成16集，第一部分于12月11日開播。
The book presents a formidable challenge to film-makers for two reasons.
這本書給電影制作人帶來了巨大的挑戰，原因有二。
One is its status: many think “One Hundred Years of Solitude” was the greatest novel of the 20th century.
其一在于小說的地位：許多人認為《百年孤獨》是20世紀最偉大的小說。
It helped Márquez win the Nobel prize in literature in 1982 and has sold some 50m copies worldwide.
它幫助馬爾克斯贏得了1982年的諾貝爾文學獎，并且在全球范圍內售出了約5000萬冊。
With affection comes expectation.
因愛而生期待。
When the TV show was announced, fans online were quick to express their fears about an oversimplified, “caricatured” retelling.
當宣布小說將改編為電視劇時，粉絲們很快就在網上表達了擔憂，擔心電視劇會變成過度簡化、“漫畫式”的重新講述。
Those remarks point to the other test for adaptors, which is the novel’s sheer complexity.
這些言論指出了改編者面臨的另一個考驗，那就是小說本身的復雜性。
Set in around 1850-1950, the book traces the fortunes of the Buendía family across several generations, from the time José Arcadio and his wife, ?rsula, establish the town of Macondo to the moment their last descendant dies, with civil war, modernisation, economic prosperity and ruin in between.
小說設定在大約1850年至1950年間，追溯了布恩迪亞家族幾代人的命運，從何塞·阿爾卡蒂奧和妻子烏蘇拉建立馬孔多鎮，到他們最后一個后代去世，期間經歷了內戰、現代化、經濟繁榮和毀滅。
Time, in this tale, is a “turning wheel” that yields “unavoidable repetitions”.
在這個故事中，時間是一個“旋轉的輪子”，產生了“不可避免的重復”。
Male scions are all called some combination of José, Arcadio or Aureliano.
男性后代的名字都是何塞、阿爾卡蒂奧、奧雷里亞諾的各種組合。
(Readers everywhere are grateful to whoever thought to include a family tree at the front of the book.)
（世界各地的讀者都很感激那位想到在書的開頭附上一張家譜的人。）
There are more unusual occurrences, too.
也有更多不尋常的事件發生。
Characters die, only to return as ghosts.
人物死亡，卻又以鬼魂的形式歸來。
One man is permanently surrounded by a kaleidoscope of yellow butterflies; another cracks his head open, leaking not blood but an “amber-coloured oil that was impregnated with that secret perfume”.
一個男人永遠被一群絢爛的黃蝴蝶環繞，另一個男人砸破了自己的腦袋，但流出來的不是血，而是一種“浸透著神秘芬芳的琥珀色的油”。
On the page this magical realism, as Márquez’s style came to be known, can be entrancing.
在書頁上，這種魔幻現實主義（馬爾克斯的風格后來被賦予這個名字）可能會令人著迷。
The risk is that it could look oddly unconvincing on screen.
但風險在于，這種風格在屏幕上看起來可能是奇怪且匪夷所思的。
When Netflix approached Alex García López, a director, about the project, he was excited but apprehensive.
當網飛與導演亞歷克斯·加西亞·洛佩斯接洽這個項目時，洛佩斯既興奮又不安。
“I remember the book having very little dialogue.
“我記得這本書幾乎沒有對話。
I remember it being a very existential kind of book and jumping all over the place.
我記得那是一本非常存在主義的書，情節非常跳躍。
I thought: ‘This is just not really doable, is it?’”
我想：‘改編其實是做不到的，不是嗎？’”
It was.
確實是做不到的。
José Rivera, one of the screenwriters, decided that the story should proceed chronologically and that it needed a narrator.
其中一位編劇何塞·里韋拉決定這個故事應該按時間順序進行，并且需要一個敘述者。
It quotes from the novel verbatim.
它逐字引用了小說中的原文。
“It was a great way of having Gabo’s voice guide us through the story,” Mr López says, and a way to be “faithful to the book…to its execution, to its style”.
“讓加博的聲音引導我們了解故事是一個好辦法，”洛佩斯說，也是一種“忠于原著手法，忠于原著風格”的辦法。
As a result, the film-makers have captured the strangeness of the story, in which events are at once fantastical and mundane.
結果電影制作人捕捉到了這個故事的奇特之處，其中的事件既奇幻又平凡。
They have also retained its sensuality.
制作人也保留了故事的肉欲。
At times this makes for uneasy viewing: the novel recounts several incidents of incest and one of paedophilia.
有時這會讓觀眾感到不安：小說講述了幾起亂倫事件和一起戀童事件。
“We do not want to rewrite history,” asserts Francisco Ramos, Netflix’s vice-president of Latin American content: “That’s the way things happened.”
“我們不想改寫歷史，”網飛負責拉丁美洲內容的副總裁弗朗西斯科·拉莫斯堅稱，“事情就是這樣發生的。”
In fact, keeping in Aureliano’s wooing of Remedios, a nine-year-old girl, makes the tale more timely.
事實上，保留奧雷里亞諾對九歲女孩蕾梅黛斯的追求使這個故事更具時效性。
Only last month Colombia passed legislation prohibiting anyone under the age of 18 from getting married.
就在上個月，哥倫比亞通過了一項法律，禁止18歲以下的任何人結婚。
To write “One Hundred Years of Solitude” Márquez drew on his childhood town of Aracataca.
為了創作《百年孤獨》，馬爾克斯借鑒了他童年時期的家鄉阿拉卡塔卡。
The novel “couldn’t be more specific and more grounded…in a very specific part of a huge, huge country”, Mr Ramos says, but “because of the way he tells the story it has global resonance”.
拉莫斯先生說，這部小說“發生在一個非常龐大國家的一個非常具體的地區，無法更具體，無法更落地”，但“由于他的講述方式，故事在全球產生了共鳴”。
Almost 60 years later, Netflix is hoping this is true of its own version.
差不多60年后，網飛希望這句話也能適用于他們自己的版本。
Márquez’s book, after all, is about history repeating itself.
畢竟，馬爾克斯的這本書講述的是歷史的自我重復。
