那些“汗津津”的夏日電影

Cherishing Sun-Baked Cinema

那些“汗津津”的夏日電影

‘Lifeguard’ (1976)

《救生員》(Lifeguard)(1976)

I was 17 in the summer of ’76, when “Lifeguard” opened. If you weren’t 17 yourself then and bored and oversexed, you probably didn’t see it, and I can’t tell you to go running to iTunes now to download it. It’s there, but barely. Not even one customer review.

1976年夏天《救生員》上映的那會(huì)兒，我17歲。如果當(dāng)時(shí)你不是17歲，不無(wú)聊而且也不性欲過(guò)剩，那你可能沒看過(guò)這部電影。我不能對(duì)你說(shuō)：快登陸iTunes把它下載下來(lái)吧。那上面是有，但幾乎找不到了。甚至連一條用戶評(píng)論都沒有。

Surprisingly it’s PG, because if you asked me, I’d say it was all about sex. About growing up and accepting adulthood too, but mostly about sex. There’s a scene on iTunes that features the stars, a rakish Sam Elliott seducing the busting-out-of-her-bikini Kathleen Quinlan, and it’s barely watchable.

出人意料的是，這是一部PG(家長(zhǎng)指引)電影，因?yàn)槿绻銌栁?，我?huì)說(shuō)整部電影都是性。絕大部分都是性，雖然也和成長(zhǎng)以及接受成年之殤有關(guān)。 iTunes上有個(gè)片段，內(nèi)容是放蕩的薩姆·艾略特(Sam Elliott)引誘穿著比基尼、身材呼之欲出的凱瑟琳·奎倫(Kathleen Quinlan)，這段簡(jiǎn)直讓人不忍心看。

But still I remember “Lifeguard” all these years later, and that counts for something, doesn’t it? Isn’t that what art is, really? A work that makes you see the world differently, that answers questions you didn’t know you had, that perfectly captures a time and a place, that inspires you?

但我這些年來(lái)始終記得《救生員》這部電影，這一點(diǎn)就可以說(shuō)明一些問題了，不是嗎?一部讓你以不同的方式看待世界的電影，回答連你都不知道你會(huì)有的問題，它完美地捕捉了一個(gè)時(shí)空，并且激勵(lì)了你，這樣的電影難道不正是藝術(shù)嗎?

It was America’s bicentennial that summer. New York, where I went to high school, was invaded by tall ships and paralyzing heat. My buddy Eric and I were traveling the junior tennis circuit in his father’s Buick, passing through towns like Poughkeepsie and Albany. We lost early most weeks and filled the time until the next tournament with bowling and movies.

那年夏天正好是美國(guó)慶祝建國(guó)兩百周年。紐約，我上高中的地方，正被大帆船和熱浪侵襲。我和死黨艾瑞克(Eric)開著他老爹的別克車，追著青少年網(wǎng)球巡回賽跑，穿過(guò)一座座像是波基普西和奧爾巴尼這樣的小鎮(zhèn)。最開始的幾周我們都在迷路，而到下一場(chǎng)錦標(biāo)賽開始前，我們一直靠打保齡球和看電影來(lái)消磨時(shí)間。

“Lifeguard” was one of those movies. Sam Elliott plays Rick Carlson, an aging (30!) lifeguard in Los Angeles who knows there’s more to life than beach parties and one-night stands with teenage girls and stewardesses but can’t bring himself to take a real job at a Porsche dealer even if that’s the only way to win the heart of his old high school flame, the very, very, very pretty Anne Archer.

《救生員》就是其中的一部。薩姆·艾略特飾演瑞克·卡爾森(Rick Carlson)，一個(gè)洛杉磯老氣的(30歲了!)救生員。他明白比起沙灘派對(duì)或是和未成年少女、空姐搞一夜情，生活還有更多內(nèi)容，但他還是沒有在一個(gè)保時(shí)捷經(jīng)銷處謀得一職半位，而這是唯一能贏得高中時(shí)暗戀的那個(gè)非常非常非常漂亮的安妮·阿徹(Anne Archer)芳心的辦法。

So where was the sex? Well, Sam Elliott was so damn good-looking in that sleazy, ’70s bathing-trunks-and-mustache way (predating “Baywatch” and “Magnum, P.I.”) that he could pretty much charm the bra and panties off of anybody. But there was also something wildly sexy about Los Angeles, the city. Somehow I knew it held the key to my future, and “Lifeguard” was the sales pitch: sunsets and muscle cars and beach houses and lazy sex on unmade beds.

那么，性呢?嗯，薩姆·艾略特穿著70年代那面料稀薄的泳褲、留著髭須的樣子真是太帥了(這種扮相比《海灘救護(hù)隊(duì)》[Baywatch]和《夏威夷神探》[Magnum, P.I.]都來(lái)得早)，帥得完全可以脫下任何一個(gè)女人的胸罩和內(nèi)褲。不過(guò)電影也表現(xiàn)了洛杉磯狂野性感的一面。不知怎的，我感到這座城市掌握著我未來(lái)的鑰匙，而《救生員》就是它的賣點(diǎn)：日落、肌肉車(muscle car)、海濱別墅，以及凌亂的床上那慵懶的性愛。

Talk about inspiration. Six years later I was living out there in a roach-infested, sun-drenched apartment on Pico, driving a ’69 Plymouth Satellite to the beach on weekends, hoping to meet girls, dreaming of a Hollywood career. The only thing I didn’t have was the mustache.

說(shuō)說(shuō)激勵(lì)吧。六年后，我住在皮科里韋拉的一間蟑螂橫行、陽(yáng)光明媚的公寓里，周末開著輛69年的“普利茅斯衛(wèi)星”去海濱逛，想認(rèn)識(shí)女孩，做著好萊塢的明星夢(mèng)。我唯一沒有的東西就是八字胡。

The shambling style of the movie was typical ’70s: rough around the edges. The director, Daniel Petrie, won an Emmy that year for his elegant TV movie “Eleanor and Franklin,” but “Lifeguard” had a relaxed, unpolished quality that made it feel very real, a peek at adulthood if you didn’t follow all the rules.

電影那種拖沓的風(fēng)格是典型的20世紀(jì)70年代特色：結(jié)構(gòu)比較凌亂。該電影的導(dǎo)演丹尼爾·皮特里(Daniel Petrie)，于同年憑借他那部?jī)?yōu)美的電視電影《埃莉諾和富蘭克林》(Eleanor and Franklin)贏得艾美獎(jiǎng)，但《救生員》隨意而原始的品質(zhì)使得電影本身看上去非常真實(shí)，如果你不遵守所有的規(guī)則的話你就能通過(guò)它一瞥成人生活。

The screenplay by Ron Koslow is full of clunkers but also gems like the opening line: “The only place jogging is going to get you is right back where you started,” which seemed profound to my unformed teenage brain. Most important, “Lifeguard” is about making choices. That’s what the best movies are always about, and that’s what I remember most: the horror of realizing at 30 that your best years may be behind you, and that only drudgery and self-hatred lie ahead.

羅恩·科斯洛(Ron Koslow)寫的劇本雖然很老套，卻也不乏閃光點(diǎn)，比如說(shuō)電影的開場(chǎng)白：“慢跑唯一能帶你去的地方，是回到你的起點(diǎn)，”這句話對(duì)于當(dāng)時(shí)還是懵懂少年的我來(lái)說(shuō)挺深刻的。最重要的是，《救生員》所討論的是選擇。這是最好的電影一直都在討論的，也是我印象最深的：在而立之年幡然驚覺年華已逝，眼前剩下的只有乏味的工作和自我憎恨 。

Sitting there in my tennis shorts in a multiplex in Poughkeepsie, that sure motivated me. In a strange, popcorny, cliché-ridden, summer-movie kind of way you could say that “Lifeguard” saved my life. — DAVID FRANKEL, director of “Hope Springs,” opening Aug. 10

穿著網(wǎng)球短褲，坐在波基普西的一個(gè)電影院，想想，那經(jīng)歷的確激勵(lì)了我。你可以用一種奇怪的、爆米花式的、盡是陳詞濫調(diào)的、夏日電影式的方式說(shuō)，正是《救生員》拯救了我的生命。——大衛(wèi)·弗蘭科爾(DAVID FRANKEL)，將于2012年8月10日上映的《希望溫泉》(Hope Springs)的導(dǎo)演。

‘Clueless’ (1995)

《獨(dú)領(lǐng)風(fēng)騷》(Clueless)(1995)

“Big,” “Terminator 2” and the flawless “Risky Business” are all seminal summer movies. But none are quite as quotable as “Clueless” (1995). It’s the story of Cher Horowitz, a vapid Beverly Hills girl, and the trials of her popular social life. Cher’s world was everything my New Jersey upbringing was lacking, other than a protective, Italian father à la Nick Tortelli (from “Cheers”). I had just graduated from high school and didn’t know what “valet” was, but it sounded amazing.

《長(zhǎng)大》(Big)、《終結(jié)者2》(Terminator 2)以及完美無(wú)瑕的《乖仔也瘋狂》(Risky Business)都是創(chuàng)意十足的夏日電影。但它們無(wú)一能與《獨(dú)領(lǐng)風(fēng)騷》(1995)相媲美。這是一部關(guān)于比弗利山莊的一個(gè)無(wú)聊女孩雪兒·霍洛維茨 (Cher Horowitz)，和她那萬(wàn)人迷般的社交生活的電影。雪兒的世界是我在新澤西長(zhǎng)大時(shí)所無(wú)法想象的，除了有一個(gè)愛護(hù)備至的像尼克·托特里(Nick Tortelli，源自電視劇《干杯》[Cheers])那樣的意大利老爹。我那時(shí)才剛高中畢業(yè)而且還不知道什么是“貼身男仆”，不過(guò)這字眼聽起來(lái)酷斃了。

Alicia Silverstone was that chick from Aerosmith’s “Cryin’ ” video. But long before “Legally Blonde,” her Cher, below, managed to balance a contempo-casual superficiality with a lovable sweetness. Brittany Murphy in particular shines as the new girl in need, singing “Rolling With the Homies” and asking the age-old question “If I’m too good for him, then how come I’m not with him?” We were introduced to Donald Faison, Jeremy Sisto and our generation’s Dorian Gray, the everlasting Paul Rudd.

艾麗西亞·西爾維斯通(Alicia Silverstone)就是史密斯飛船樂隊(duì)(Aerosmith)的《哭泣》(Cryin’ )音樂錄影帶里的那個(gè)小妞。但是在《律政俏佳人》(Legally Blonde)很久以前，她飾演的雪兒，如下文，就已經(jīng)成功地在“膚淺的時(shí)髦”和“惹人喜愛的甜美”之間掌握了平衡。布蘭妮·墨菲(Brittany Murphy)像個(gè)糾結(jié)的一年級(jí)女生，唱著《與友同行》(Rolling With the Homies)然后問“如果說(shuō)我配他綽綽有余，那為什么我們不能在一起?”這種老掉牙的問題。我們?cè)谄姓J(rèn)識(shí)了唐納德·法森(Donald Faison)，杰瑞米·西斯托(Jeremy Sisto)和我們那一代的道林·格雷(Dorian Gray)——永遠(yuǎn)的保羅·路德(Paul Rudd)。

With a budget of $12 million, the writer-director Amy Heckerling, whose first feature was the spot-on classic “Fast Times at Ridgemont High,” captured the voice of teenage cluelessness with lines like “You guys talk like grown-ups.” At a party I still want to “do a lap before we commit to a location.”

拿著1200萬(wàn)美元的預(yù)算，編導(dǎo)艾米·?？肆?Amy Heckerling)——她的處女作是那部經(jīng)典的《開放的美國(guó)學(xué)府》(Fast Times at Ridgemont High)——捕捉了青少年的懵懂無(wú)知，并配上了“你們說(shuō)起話來(lái)像大人一樣”這樣的臺(tái)詞。去派對(duì)時(shí)，我還想著“在一個(gè)地方落腳之前先兜上一圈。”

“Clueless” taught us phrases like “She’s a Monet,” gave new meaning to the term “grassy knoll” and offered the truism that “everywhere in L.A. takes 20 minutes.” It was quintessential ’90s, from teen-speak to fashion. I wanted “nice stems” and plaid jackets that matchy-matched pleated skirts. And kids were on cellphones — in school!

《獨(dú)領(lǐng)風(fēng)騷》教給了我們一些習(xí)語(yǔ)，如“她就是個(gè)莫奈”(指只能從遠(yuǎn)處看的美女。——譯注)，賦予了“長(zhǎng)滿青草的小丘”新的含義(指懶鬼。——譯注)，還證明了“在洛杉磯，去任何地方都只要花20分鐘”的真實(shí)性。它們從青少年的俚語(yǔ)變成潮流，它們是20世紀(jì)90年代的精髓。我也想要“nice stems系列指甲油”，還有那種跟百褶裙是絕配的格紋夾克。而且孩子們都用上了手機(jī)——就在學(xué)校里!

“Clueless” is an incredible example of a girl-centric film that transcends the genre. Most important, the movie carries a positive message of do-gooding. Because if you can’t help the people of Pismo Beach, at least you can help your friends find love in Los Angeles. — LORENE SCAFARIA, writer and director of “Seeking a Friend for the End of the World,” opening June 22

《獨(dú)領(lǐng)風(fēng)騷》是一部極為典型的、以女孩為中心并超越了“類型”的電影。最重要的是，電影為“行善”傳遞出了正面信息。因?yàn)榫退隳銕筒涣吮铀鼓┑娜藗?，你至少可以幫助你的朋友在洛杉磯收獲愛情。——勞倫·斯卡菲利亞(LORENE SCAFARIA)，6月22日上映的《末日倒數(shù)緣結(jié)時(shí)》(Seeking a Friend for the End of the World)的導(dǎo)演。

‘Jaws’ (1975)

《大白鯊》(Jaws)(1975)

Once upon a time, in a galaxy far, far away, I was 9. It was August 1975, and I had just returned home from my two-month getaway to Calamigos Star C Ranch in Malibu. The talk that summer among the pimpled or surf-ratty junior staff was of the first must-see movie event described to all of us A.D.D., impressionable campers: “Jaws.”

很久很久以前，就像銀河系那么久，那一年我9歲。那是1975年8月，我剛結(jié)束在馬里布的卡拉米格斯C星農(nóng)場(chǎng)為期兩個(gè)月的鍛煉回到了家。那個(gè)夏天里，長(zhǎng)著粉刺或是熱衷于沖浪的營(yíng)地初級(jí)職員，整天對(duì)我們這些好動(dòng)又容易受影響的露營(yíng)者念叨著，有一部電影絕不容錯(cuò)，那就是：《大白鯊》。

All we heard was that it was scarier than any “don’t get out of the car” campfire terror tale, and how “real” it was. A spoiler made the rounds at camp: mid-movie a bald, bug-eyed, dismembered head rolls out of the hull of an attacked boat, much to the screamy, bubble-blowing chagrin of an adorably feisty and young Richard Dreyfuss, the little know-it-all nebbish with a pocket full of cash and a noggin full of shark knowledge.

我們聽說(shuō)，這電影比任何一個(gè)“不要走到車外”的露營(yíng)恐怖故事都還要驚悚，而且非常“真實(shí)”。一段劇透在營(yíng)里傳開了：影片中途，會(huì)有一顆禿頂暴眼的腦袋從一艘受到攻擊的船上滾下來(lái)，很可能就是那個(gè)喜歡大叫還不時(shí)發(fā)火、精力極其充沛的年輕的理查德·德萊弗斯(Richard Dreyfuss)的頭，他是個(gè)無(wú)所不知但沒有用武之地的人，很有錢，還有滿腹的鯊魚知識(shí)。

The junior counselors who were all (now that I think about it) way too young to be responsible for the well-being, safety and, frankly, lives of us campers, told us endlessly of what were clearly God’s original aquatic “Hunger Games,” and we reacted by boycotting the pool, for fear of becoming chlorinated appetizers.

初級(jí)輔導(dǎo)員都太嫩了(現(xiàn)在想想是這回事)，負(fù)責(zé)不了我們這些露營(yíng)者的樂趣、安全以及，老實(shí)說(shuō)，我們的生命，只會(huì)不停地對(duì)我們說(shuō)上帝創(chuàng)作的水中“饑餓游戲”(Hunger Games)到底是什么，我們因此就都遠(yuǎn)離泳池，害怕會(huì)變成泡著氯水的開胃菜。

I became obsessed with seeing the movie that everyone had seen but that I was too young to see. I was infuriated and outraged by the idea that some faceless strangers could dictate how scared I was allowed to get, let alone what I was allowed to see with my insatiably curious eyes.

我開始?jí)粝胫タ茨切┐蠹叶伎催^(guò)、而我因?yàn)樘∵€不能看的電影。某些莫名其妙的陌生人一廂情愿地認(rèn)為看到電影會(huì)把我嚇壞，還要對(duì)我那不知饜足的好奇的眼睛能看什么電影劃一個(gè)范圍，想到這個(gè)我就非常不爽。

Being the con artist in training that I was — I fancied myself the Artful Dodger of Brentwood — I talked my parents into taking me to the world’s first horror blockbuster. Here’s what I remember of that hot August night in breezy Santa Monica. Sitting between my parents, holding their giant sweaty hands as a naked Chrissie was dragged brutally through the water, leaving the audience to imagine the hideous, gory, chewing happening just beneath sea level. Also: the little crabs crawling about her cloudy bluing remains; Robert Shaw’s nails on the chalkboard; the sweet missing dog playing fetch; the annoying freckly kid being devoured for making the mistake of kicking in the water and choosing a vibrant yellow raft; knowing the head was literally about to roll when Hooper (Mr. Dreyfuss) started going after the shot-glass-size shark tooth, closing my eyes and hearing the audience scream as I got legit air, when my parents, jumping up, pulled me out of my seat. I remember the “who’s got the coolest scar” contest, the freakishly real-seeming animatronics shark leaping for the bloody chum, the air barrel race (God, I love that still), Quint’s death and, of course, the catch phrase of the year: “Smile, you son of a bitch!”

作為一個(gè)油嘴滑舌的人——我曾幻想我是《霧都孤兒》(Brentwood)里的神偷道奇(Artful Dodger)——我成功地說(shuō)服了父母，讓他們帶我看這世界上第一部恐怖大片。關(guān)于那個(gè)輕風(fēng)吹拂的圣塔莫妮卡的炎熱的八月夜晚，下面是我所記得的內(nèi)容：我坐在父母中間，當(dāng)赤裸的克里絲(Chrissie)被殘暴地從水中拖了出來(lái)時(shí)，我抓住了他們汗津津的大手，觀眾們?cè)谙胂髣倓偹掳l(fā)生了怎樣恐怖而血淋淋的一幕。還有這些：小小的螃蟹在她渾濁發(fā)藍(lán)的尸體旁爬來(lái)爬去;黑板上羅伯特·肖(Robert Shaw)的指甲;那只會(huì)玩飛盤的失蹤了的可愛小狗;那個(gè)吵鬧的滿是雀斑的小孩，因?yàn)樘咚瓦x了黃色的筏子而被吞食;當(dāng)胡珀(Hooper，由德萊弗斯飾演)開始追著酒杯大的鯊魚牙齒跑的時(shí)候，我知道他的腦袋馬上要骨碌碌滾下來(lái)了，立刻閉上眼睛，聽著觀眾們高聲尖叫，感覺得意洋洋，正當(dāng)此時(shí)，我父母跳了起來(lái)，把我從座位上拽走了。我記得那場(chǎng)關(guān)于“誰(shuí)開的車最酷”的爭(zhēng)論，記得那只為了捕食而飛躍起來(lái)的、看起來(lái)異常真實(shí)的電子動(dòng)畫鯊魚，記得充氣墊比賽(老天，我現(xiàn)在還很喜歡這個(gè))，記得昆特(Quint)之死，當(dāng)然還有當(dāng)年那句妙語(yǔ)：“笑一笑，你這狗娘養(yǎng)的!”

Let’s get real. It was the total package as movies, especially summer movies, go. It took me two years to go back in the ocean, and to this day I refuse to miss Shark Week on TV. — ADAM SHANKMAN, director of “Rock of Ages,” opening June 15

說(shuō)點(diǎn)實(shí)際的吧。要說(shuō)電影，尤其是夏日電影，那還真是一籮筐。我花了兩年才敢再度去海里游泳，而一直到今天，我都不想錯(cuò)過(guò)《鯊魚周》(Shark Week，發(fā)現(xiàn)頻道每年有一周集中播放關(guān)于鯊魚的記錄片。——譯注)。——亞當(dāng)·山克曼(ADAM SHANKMAN)，6月15日上映的《搖滾歲月》(Rock of Ages)的導(dǎo)演。

‘Body Heat’ (1981)

《體熱》(Body Heat)(1981)

I watched my favorite summer movie, Larry Kasdan’s brilliantly stylized film noir “Body Heat,” with Joel and Ethan Coen, around the time we were getting ready to shoot “Blood Simple,” on which I was the cinematographer. It was inspirational for us, and any time we shot an insert for “Blood Simple” we called it “the Larry Kasdan panty insert,” so named because of a specific moment in “Body Heat” when William Hurt pulls off Kathleen Turner’s panties. Kasdan then cuts to an insert of a piece of carpet, and the panties are dropped in from above frame. Years later I confessed to Kasdan that I felt the angle on this insert was too high, and he agreed, complaining that he couldn’t get the cinematographer, Richard Kline, to lower the camera.

勞里·卡斯丹那(Larry Kasdan)這部極具風(fēng)格的黑色電影《體熱》，我是和科恩兄弟(Joel and Ethan Coen) 一起看的，它成了我最喜歡的夏日電影。那時(shí)候我們正在籌拍《血迷宮》(Blood Simple)，我擔(dān)任電影攝影。這部電影對(duì)我們而言很激動(dòng)人心，而且我們每次給《血迷宮》拍插入的鏡頭，都稱其為“勞里·卡斯丹內(nèi)褲式插入鏡頭”，之所以這樣命名，是因?yàn)椤扼w熱》中威廉·赫特(William Hurt)脫下了凱瑟琳·特納(Kathleen Turner)的內(nèi)褲的那個(gè)特定的時(shí)刻?？ㄋ沟るS即把鏡頭切到地毯上，而內(nèi)褲就從上一個(gè)畫面里落了下來(lái)。多年之后我對(duì)卡斯丹坦言，我認(rèn)為這個(gè)鏡頭切得太高了，他認(rèn)同這一點(diǎn)，并抱怨說(shuō)他沒法叫攝像師——理查德·克萊恩(Richard Kline)——把攝影機(jī)壓下來(lái)。

“Body Heat” made me sweat. There was so much perspiration in that film that everyone shined and dripped like a cold mint julep on a humid Florida day. The sex was hot, as was Kathleen Turner. The plot, a suspense thriller as taut as Turner’s body, is full of unexpected performances. Has Ted Danson ever been better? Any time Turner speaks, she exudes smoke and promised promiscuity.

《體熱》讓我大汗淋漓。電影中有太多汗水了，每個(gè)人都閃閃發(fā)亮，并且像是潮濕的佛羅里達(dá)天氣里的一杯冰涼的薄荷朱利酒那樣滴著水。電影中的性相當(dāng)熱辣，跟凱瑟琳·特納(Kathleen Turner)一樣。情節(jié)則充滿了料想不到的橋段，懸念就如同特納的身體那樣扣人心弦。特德·丹森(Ted Danson)還能更出彩一些嗎?每次特納一開口說(shuō)話，她就會(huì)吐出煙霧并且答應(yīng)與人發(fā)生關(guān)系。

I’m not much of a summer movie guy, since I can’t watch scary movies, ghosts, violence, blood or films about the supernatural. But “Body Heat,” a smartly written and directed thriller with unexpected twists and a breakout performance by a young Mickey Rourke, was a vivid summer pleasure I’ve enjoyed many times since. — BARRY SONNENFELD, director of “Men in Black 3,” opening May 25

既然我不看驚悚片、鬼片、暴力片、血腥片或是與超自然有關(guān)的電影，我就不能說(shuō)是一個(gè)喜愛夏日電影的人了。但是《體熱》，一部編導(dǎo)巧妙的驚悚片，帶著意想不到的跌宕以及米基·洛克(Mickey Rourke)的突破性表演，是一件我多次享受其中的生動(dòng)的夏日樂事。——巴里·索南菲爾德(BARRY SONNENFELD)，5月25日上映的《黑衣人3》(Men in Black 3)的導(dǎo)演。

Y Tu Mamá También (2001)

《你媽媽也一樣》(Y Tu Mamá También)(2001)

Alfonso Cuarón’s absurdly poignant road trip saga “Y Tu Mamá También” is my quintessential summer movie. Not just because it’s a sweaty marriage of teenage hormones and political unrest, but also because it recalls specifically the summer of 2002, a fateful, raucous summer my friends and I still refer to as the Summer of “Y Tu Mamá También.”

我認(rèn)為阿方索·卡隆(Alfonso Cuarón)這部尖酸得荒謬的公路傳奇《你媽媽也一樣》是夏日電影的經(jīng)典制作。不僅因?yàn)樵撾娪笆乔嗌倌旰蔂柮珊驼悟}動(dòng)的一場(chǎng)汗津津的聯(lián)姻，還因?yàn)樗屛一叵肫?002年的那個(gè)夏天，一個(gè)決定性的、喧囂的夏天，依舊被我和我朋友叫做“你媽媽也一樣”之夏。

From its opening moment (Diego Luna making love under a “Harold and Maude” poster) to its last image (Gael García Bernal, vacantly requesting the check at a diner) the film is a nonstop narrative juggernaut that accomplishes something astonishing. It is a perfectly rendered contrast of a particular time in history and a particular time in personal growth. Coming-of-age stories, like “American Graffiti” or “Diner,” are set against the backdrop of a “simpler time.” But “Y Tu Mamá También” takes place in 1999 Mexico at the tumultuous end of the 71-year presidential reign of the Institutional Revolutionary Party.

從電影開場(chǎng)開始(迭戈·魯納[Diego Luna]在《哈洛與穆德》[Harold and Maude]的海報(bào)下做愛)一直到最后一個(gè)畫面(蓋爾·加西亞·貝納爾[Gael García Bernal]神情茫然地為餐點(diǎn)買單)，電影就在不間斷地?cái)⑹罗Z炸間，達(dá)成了它驚心動(dòng)魄的成就。它做了一次完美渲染的對(duì)比，特定的歷史時(shí)間與特定的人物成長(zhǎng)時(shí)間之間的對(duì)比。成長(zhǎng)故事，例如《美國(guó)風(fēng)情畫》(American Graffiti)或是《餐館》(Diner)，都是設(shè)定在“純真年代”的背景下的。但是《你媽媽也一樣》則發(fā)生于1999年的墨西哥，正處于革命制度黨長(zhǎng)達(dá)71年的統(tǒng)治混亂的尾聲。

The characters’ journey is an intoxicating, defiant romp in spite of the decay, violence and misery around them. This only reinforces the film’s shattering moral: Adolescence is not just fading nostalgia. It’s a spastic awakening to your own mortality.

角色們的旅程是一場(chǎng)迷醉而肆無(wú)忌憚的嬉耍，盡管腐朽、暴力以及痛苦就在他們周圍。這一點(diǎn)只會(huì)提升電影那震撼人心的寓意：青春期并不只是褪色的懷舊。它會(huì)給你的道德意識(shí)帶來(lái)類似痙攣的覺醒。

I saw “Y Tu Mamá También” during its limited New York release. I stumbled out of the theater in an inspired daze. The rest of that night was a blur of tequila, East Village bars and dear friends who have all since grown up. That hedonistic bravery stuck for the next months.

我是在紐約有限的上映期間觀看《你媽媽也一樣》的，在一陣激勵(lì)人心的暈眩中我踉蹌著走出影院。那個(gè)夜晚的剩余部分由龍舌蘭的酒漬、東村酒吧和一些自此一夜長(zhǎng)大的親愛友人組成。那一份享樂主義的無(wú)畏一直持續(xù)到了接下去的幾個(gè)月。

It was my first summer in Manhattan. It was my first summer at the legal drinking age. It was the summer after Sept. 11. It seemed everyone was chasing highs and ducking for cover. My loss of innocence mingled with a national anxiety. It was my last summer as a “kid” before all that debauchery would have repercussions.

那是我在曼哈頓的第一個(gè)夏天。那是我到了合法飲酒年齡的第一個(gè)夏天。那是“9·11”事件之后的夏天。似乎所有人都在醉生夢(mèng)死、逃避現(xiàn)實(shí)。我遺失的純真與全國(guó)性的恐慌交織在一起。那是我作為“孩子”的最后一個(gè)夏天，在那之后，一切的縱情酒色都將產(chǎn)生后果。

When I look back at that time in my life, I feel the same warm melancholy evoked by Cuarón’s brilliant film. Youth is a reckless time. The yearning to relive it is outmatched only by the relief that it’s over. — LESLYE HEADLAND, writer and director of “Bachelorette,” which opens Sept. 7

當(dāng)我回頭去看我人生中的那一段時(shí)光，我被卡隆的精彩的電影憂郁地喚起，感受到同樣的溫暖。青春就是一段無(wú)所顧忌的時(shí)光。唯有對(duì)青春已逝的釋懷，凌駕于重返青春的渴望之上。——萊絲利·赫德蘭(LESLYE HEADLAND)，9月7日上映的《未婚女子》(Bachelorette)的編劇兼導(dǎo)演。