《畢業(yè)生》導(dǎo)演邁克·尼科爾斯去世

《畢業(yè)生》導(dǎo)演邁克·尼科爾斯去世

Mike Nichols, one of America's most celebrated directors, whose long, protean résumé of critic- and crowd-pleasing work earned him adulation both on Broadway and in Hollywood, died Wednesday. He was 83.

邁克·尼科爾斯(Mike Nichols)是美國(guó)最著名的導(dǎo)演之一，在其漫長(zhǎng)多變的事業(yè)生涯中，諸多叫好又叫座的作品為他在百老匯與好萊塢都贏得了贊譽(yù)。他于周三逝世，享年83歲。

His death was announced in a statement by the president of ABC News, James Goldston.

ABC新聞臺(tái)總裁詹姆斯·戈德斯通(James Goldston)在一份聲明中宣布了他去世的消息。

Dryly urbane, Nichols had a gift for communicating with actors and a keen comic timing, which he honed early in his career as half of the popular sketch-comedy team Nichols and May. He accomplished what Orson Welles and Elia Kazan, but few if any other directors have: He achieved popular and artistic success in both theater and film. He was among the most decorated people in the history of show business, one of only a handful to have won an Oscar, a Tony, an Emmy and a Grammy.

尼科爾斯為人冷淡而彬彬有禮，卻有一種同演員溝通的天賦，以及強(qiáng)烈的喜劇節(jié)奏感。這是他事業(yè)生涯早期在頗受歡迎的喜劇小品二人組“尼科爾斯與梅” (Nichols and May)中磨練出來(lái)的。他在舞臺(tái)劇和電影界都獲得既叫好又叫座的成功，這一成就堪比奧遜·威爾斯(Orson Welles)和伊利亞·卡贊(Elia Kazan)，罕有其他導(dǎo)演能及。他是演藝史上獲得榮譽(yù)最多的人之一，也是少數(shù)幾個(gè)同時(shí)獲得奧斯卡獎(jiǎng)、托尼獎(jiǎng)、艾美獎(jiǎng)與格萊美獎(jiǎng)的人之一。

His career encompassed an entire era of screen and stage entertainment. On Broadway, where he won an astonishing nine Tonys (including two as a producer), he once had four shows running simultaneously. He directed Neil Simon's early comedies “Barefoot in the Park” and “The Odd Couple” in the 1960s, the zany Monty Python musical, “Spamalot," four decades later, and nearly another decade after that, an acclaimed revival of Arthur Miller's bruising masterpiece, “Death of a Salesman.”

他的事業(yè)生涯涵蓋了電影與舞臺(tái)娛樂(lè)的一整個(gè)時(shí)代。在百老匯，他獲得了驚人的九個(gè)托尼獎(jiǎng)(其中兩次是以制作人身份)，他一度有四部舞臺(tái)劇同時(shí)上演。 20世紀(jì)60年代，他執(zhí)導(dǎo)了尼爾·西蒙(Neil Simon)創(chuàng)作的早期喜劇《新婚燕爾》(Barefoot in the Park)和《單身公寓》(The Odd Couple);40年后又執(zhí)導(dǎo)滑稽的“巨蟒”(Monty Python)的音樂(lè)劇《火腿騎士》(Spamalot)，在那之后又過(guò)了將近十年，他將阿瑟·米勒(Arthur Miller)激烈的杰作《推銷(xiāo)員之死》(Death of a Salesman)重新搬上舞臺(tái)，大受歡迎。

In June 2012 at age 80, he accepted the Tony for directing “Salesman.” When his name was announced at the Beacon Theater on the Upper West Side of Manhattan, the neighborhood where he grew up, he kissed his wife, broadcaster Diane Sawyer, stepped to the stage and recalled that he once won a pie-eating contest in that very theater.

2012年，80歲的他因執(zhí)導(dǎo)《推銷(xiāo)員之死》獲得托尼獎(jiǎng)。他的名字回響在曼哈頓上西區(qū)燈塔劇場(chǎng)之中，他兒時(shí)就是在這個(gè)街區(qū)長(zhǎng)大成人。他親吻了妻子——新聞主播黛安·索耶(Diane Sawyer)，走上舞臺(tái)，開(kāi)始回憶自己當(dāng)年曾在這個(gè)劇場(chǎng)贏過(guò)一次吃餡餅競(jìng)賽。

“It was nice but this is nicer,” he said. “You see before you a happy man.”

“那次很不錯(cuò)，但這次更好，”他說(shuō)，“你們看，在你們面前的我是一個(gè)多么快樂(lè)的人。”

Between 1970 and 2000 his work included revivals of classics like Chekhov's “Uncle Vanya” and “The Little Foxes” by Lillian Hellman; astringent dramas tied to world affairs like “Streamers,” David Rabe's tale of soldiers preparing to be shipped out to Vietnam, and Ariel Dorfman's “Death and the Maiden,” about the revenge of a former political prisoner; incisive social commentaries including “The Real Thing” by Tom Stoppard and “Comedians” by Trevor Griffiths; and comedies by turns acid (Rabe's “Hurlyburly”), sentimental (“The Gin Game” by D. L. Coburn), dark (Simon's “Prisoner of Second Avenue”) and light (Simon's “Plaza Suite,” a tripartite work that goes from melancholy to loopy to slapstick).

在1970到2000年之間，他曾把若干經(jīng)典劇目重新搬上舞臺(tái)，如契訶夫(Chekhov)的《萬(wàn)尼亞舅舅》(Uncle Vanya)和莉莉安·赫爾曼(Lillian Hellman)的《小狐貍》(The Little Foxes);還有針砭時(shí)弊的諷刺喜劇，如《北極光》(Streamers)，劇本由大衛(wèi)·拉貝(David Rabe)創(chuàng)作，講述準(zhǔn)備乘船去往越南參戰(zhàn)的士兵們的故事，艾瑞爾·道夫曼(Ariel Dorfman)的《死亡與少女》(Death and the Maiden)，講述獲釋政治犯復(fù)仇的故事;此外還有尖銳的社會(huì)評(píng)論劇如湯姆·斯托帕德(Tom Stoppard)的《真正的東西》(The Real Thing)和特萊沃·格里菲斯(Trevor Griffiths)的《喜劇演員》(Comedians)。他也導(dǎo)演過(guò)若干喜劇，有的辛酸(拉貝的《浮世男女》[Hurlyburly])、有的傷感(D·L·科伯恩[D.L. Coburn]的《洋麻將》[The Gin Game])、有的黑暗(西蒙的《第二街的囚犯》[Prisoner of Second Avenue])，有的光明(西蒙的《幸福大飯店》[Plaza Suite]，這是一部三幕戲，從憂(yōu)郁到瘋狂，最后成為鬧劇)。

The first time Nichols stepped behind the camera, in 1966, it was to direct Richard Burton and Elizabeth Taylor, in an adaptation of Edward Albee's scabrous stage portrayal of a marriage, “Who's Afraid of Virginia Woolf?” The film was nominated for 13 Academy Awards, including one for best director. Though he didn't win then, the film won five.

尼科爾斯初次踏入電影界是在1966年，執(zhí)導(dǎo)由愛(ài)德華·阿爾比(Edward Albee)的舞臺(tái)劇《誰(shuí)害怕弗吉尼亞·伍爾夫》(Who's Afraid of Virginia Woolf?)改編的同名電影，原劇是對(duì)一段婚姻充滿(mǎn)情色意味的舞臺(tái)展示，電影由理查德·伯頓(Richard Burton)和伊麗莎白·泰勒(Elizabeth Taylor)主演。影片獲得13項(xiàng)奧斯卡提名，包括最佳導(dǎo)演獎(jiǎng)，盡管他最終未能獲得這項(xiàng)榮譽(yù)，但該片贏得了五項(xiàng)大獎(jiǎng)。

Nichols did win an Oscar for his second film, “The Graduate” (1967), a shrewd social comedy that defined the uncertainty of adulthood for the generation that came of age in the 1960s and made a star of an unknown actor, Dustin Hoffman, who was nearly 30 when he played Benjamin Braddock, the 21-year-old protagonist of the film, a Southern Californian and a track star who sleeps with the wife of his father's best friend and then falls in love with her daughter. A small, dark, Jewish New Yorker, he was an odd choice for the all-American suburban boy whose seemingly prescribed life path has gone awry.

不過(guò)尼科爾斯的第二部影片《畢業(yè)生》(The Graduate, 1967)為他贏得了奧斯卡獎(jiǎng)，這是一部老道的社會(huì)喜劇，精確地勾勒出在60年代成長(zhǎng)的一代人成年后的不安定感，令籍籍無(wú)名的演員達(dá)斯汀·霍夫曼 (Dustin Hoffman)一舉成為影星。當(dāng)時(shí)霍夫曼已經(jīng)年近30，卻要飾演21歲的主角本杰明·布拉德多克(Benjamin Braddock)，本杰明是南加州人，田徑明星，和父親最好的朋友的妻子上床，之后又愛(ài)上她的女兒?；舴蚵莻€(gè)黝黑矮小的紐約猶太人，選他來(lái)飾演一個(gè)既定人生道路走上歧途的典型美國(guó)郊區(qū)男孩似乎很奇怪。

“There is no piece of casting in the 20th century that I know of that is more courageous than putting me in that part,” Hoffman said in an interview in The New Yorker in 2000.

“就我所知，20世紀(jì)的電影選角史上，沒(méi)有比讓我出演這個(gè)角色更加大膽的了，”2000年，霍夫曼在接受《紐約客》(The New Yorker)采訪(fǎng)時(shí)說(shuō)。

By the end of Nichols' career, he was bravely casting the star Hoffman of a different generation — Philip Seymour — with whom Nichols made the rollicking political film “Charlie Wilson's War” (2007), and, later, more provocatively, the Broadway production of “Death of a Salesman.” He cast Hoffman, then 44, to play Miller's tragic American in defeat, Willy Loman, a man in his 60s. In addition to Nichols' Tony Award for directing, the play won for best revival.He had also turned his attention to television, winning Emmy Awards for directing adaptations of two celebrated plays for HBO: Margaret Edson's “Wit” (2001), about a woman dying of cancer; and Tony Kushner's epic AIDS drama, “Angels in America” (2003).

尼科爾斯事業(yè)生涯的末期再次大膽地選擇了另一代人的另一個(gè)霍夫曼——菲利普·塞默·霍夫曼(Philip Seymour Hoffman)——尼科爾斯讓他在歡謔的政治電影《查理·威爾森的戰(zhàn)爭(zhēng)》(Charlie Wilson's War, 2007)中飾演角色，后來(lái)又讓他主演了百老匯版《推銷(xiāo)員之死》(Death of a Salesman)，這一舉動(dòng)更富爭(zhēng)議?；舴蚵?dāng)時(shí)44歲，要飾演米勒筆下遭受失敗的悲劇性美國(guó)人威利·洛曼(Willy Loman)，一個(gè)60多歲的老人。該劇為尼古拉斯贏得了托尼獎(jiǎng)最佳導(dǎo)演獎(jiǎng)，以及最佳翻拍劇獎(jiǎng)。他的目光還曾投向電視，為HBO臺(tái)導(dǎo)演了兩部由著名舞臺(tái)劇改編的電視?。含敻覃愄?middot;愛(ài)德森(Margaret Edson)創(chuàng)作的《拋開(kāi)自我空間》(Wit, 2001)，講述一個(gè)身患癌癥的瀕死女人的故事;以及托尼·庫(kù)什納(Tony Kushner)關(guān)于艾滋病的史詩(shī)戲劇《天使在美國(guó)》(Angels in America, 2003)，兩部劇為他贏得了若干項(xiàng)艾美獎(jiǎng)。

Driven, forceful and, for all his wit and charm, known occasionally to strafe the feelings of cast and crew members, Nichols was prolific — too prolific, according to some critics who thought he sometimes chose his projects haphazardly or took on work simply for money.

尼科爾斯極其努力、令人信服，同時(shí)極具才智和魅力，但有時(shí)也會(huì)傷害演員和劇組成員的感情，他非常高產(chǎn)——有些評(píng)論家因?yàn)樗麑?shí)在過(guò)于高產(chǎn)了，覺(jué)得他接片太隨意，有時(shí)候只是為了錢(qián)。

Not every project was a winner; he had a number of duds, and for periods — part of the 1970s, when he made the science fiction thriller “The Day of the Dolphin” and a period comedy about bumbling hustlers, “The Fortune”; and the late '80s and early '90s, when his uninspired work included “Regarding Henry,” a sappy tale about a hard-driven lawyer who learns the true meaning of life as he recovers from a shooting; and “Wolf,” the macabre tale of a book editor (Jack Nicholson) who turns into a werewolf — his career lost a bit of luster.

他也有過(guò)若干平淡無(wú)聊、轉(zhuǎn)瞬即逝的作品，并不是每個(gè)項(xiàng)目都能獲得成功，比如70年代他的科幻驚悚片《海豚日》(The Day of the Dolphin)和關(guān)于笨賊的時(shí)代喜劇《財(cái)富》(The Fortune);80年代末到90年代初，他枯燥乏味的作品包括《意外的人生》(Regarding Henry)，這是一個(gè)多愁善感的故事，講述一個(gè)拼命工作的律師如何從槍擊事件中復(fù)原，了解到人生的真諦，還有《狼人生死戀》(Wolf)，這是一個(gè)恐怖故事，講述杰克·尼克爾森(Jack Nicholson)飾演的圖書(shū)編輯變成了狼人——這些作品令尼科爾斯的事業(yè)生涯略為減色。