2013-05-02 看过

★★★★★★★ 影评转载 ☆ 翻译原创 ★★★★★★★


总体评价:2/4 星

Marco Ferreri’s “The Grand Bouffe” is to gastronomy as “The Exorcist” is to “Song of Bernadette,” which is to say eat before you go, you won’t be hungry afterward. It’s the story of four friends who gather for a weekend of eating and wenching that gradually reveals itself as a suicide pact. They eat themselves to death. And not metaphorically; no, they eat themselves to death literally before our very eyes, and not a morsel of the feast goes undocumented.

Marco Ferreri的《极乐大餐》至于美食家,就如同《驱魔人》至于《圣女之歌》,都是关于在离世前狂吃,这样你以后永远都不会饿了。故事讲的是四个朋友在周末的时候一起聚餐和招妓,渐渐地,观众发现他们原来是相约一起寻死。他们要吃死自己。并不是一种比喻,不是的,他们是真正真正的要在观众眼前吃死自己,没有哪一口是没有被拍下来的。

In a way, the movie works like “The Iceman Cometh.” After four hours trapped in Eugene O’Neill’s run-down Irish saloon with a menagerie of defeated alcoholics, we don’t exactly rush out for a drink. Only “The Iceman Cometh” had a humanistic substructure, and something to say about its characters; “The Grand Bouffe,” as nearly as I can tell, is essentially just a chronicle of gluttony and self-hate.

从某种意义上说,这部电影有点像《送冰的人来了》。在和一个酒精中毒的野兽一起被困在Eugene O’Neill一出破旧的爱尔兰沙龙四个小时之后,我们不会马上就像跑出去喝一杯。唯一不同的是,《送冰的人来了》所属的次文化比较任性。再说一下它的角色设置。以我所见,《极乐大餐》只是一段暴饮暴食和自我憎恨的编年史。

I say as nearly as I can tell, because the movie arrived here after creating the cinematic sensation of its year in France. It opened at the Cannes Film Festival attended by gleeful controversy; the critics chose up sides and attacked it as either (a) the most disgusting and decadent film in the history of France or (b) a savage, radical attack on the bourgeois establishment.


Catherine Deneuve went to see it with her lover at the time, Marcello Mastroianni (who is one of its stars) and would not speak to him for a week afterward, or so it is said. When you are Deneuve and Mastroianni, however, perhaps there is little need to speak. In any event, the movie went on to become (according to the publicity) the largest-grossing release in the history of Paris, all the while inspiring fistfights and insults on the Champs Elysees.

Catherine Deneuve和她当时的情人Marcello Mastroianni(在本片中饰演主角之一)一起去看了这部电影,然后在接下来的一周都不愿意再跟他说话,至少我是这么听说的。 ,要是你是Deneuve和Mastroianni的话,你们也没什么可说的。不管怎么说,这电影接下来成为了巴黎史上最大规模放映的电影,与此同时也煽动人们去攻击和辱骂爱丽舍宫。

I give you this background in order to be fair, because “The Grand Bouffe” didn’t leave me so much excited as exhausted. There is no doubt great significance in the way the characters talk about themselves, each other and French society; there is a double-reverse message to be found, I suppose, in the utter contempt with which the prostitutes in the movie are treated. The sight of bourgeoise pigs being pigs is no doubt, from a certain point of view, an attack on their pigginess.


Those would be the things the French intellectuals would argue about, but for me the film was more of an experience than a treatise; like “The Exorcist,” it doesn’t have philosophical depth when you think about it, but in the theater it hammers your sensibilities. It’s decadent, self-loathing, cynical and frequently obscene. But there’s one thing you can say for it (and my colleague Terry Curtis Fox did, on his way out of the theater): “This film reaffirms my faith that it is still possible to be offended by a film.”

这些或是会是法国知识界要挖掘的,但是对于我来说,这个电影更像是一篇论文而不是一种经历。就像是《驱魔人》,当你真正去思考的时候会发现这电影没有什么深度,但是在影院观看的时候,它会刺激你的感官。它颓废堕落,它自我憎恨,它愤世嫉俗,还时不时的下流猥亵。但是对于这部电影你至少可以说(这是我的同事Terry Curtis Fox当他走出影院时说的):“这电影又让我相信了,现在观众还会被电影冒犯和激怒。”


第一次翻译影评啊 O(∩_∩)O哈哈~
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