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Milos Forman

米洛斯·福曼

本文英文部分选自经济学人Obituary版块

Milos Forman died on April 13^th

米洛斯·福曼于4月13日逝世

The maker of “Amadeus” and “One Flew Over the Cuckoo’s Nest” was 86Apr 19th 2018

《莫扎特传》和《飞越疯人院》的导演去世，享年86岁。

AT THE end of Milos Forman’s “Amadeus”, at the fade to black, a whinnying last laugh shrieks out of the dark. It is Mozart’s laugh, which has plagued his Viennese patrons all through the film. But it is also R.P. McMurphy’s laugh near the start of “One Flew Over the Cuckoo’s Nest”, when the petty crook, played by Jack Nicholson, sheds his handcuffs at the doors of the mental institution and prepares to make mayhem. Milos Forman, who saw “Cuckoo’s Nest” take five Academy Awards in 1975 and “Amadeus” take eight in 1985, loved that sound: the disruptive, anarchic signal of creativity on the loose. It could triumph over death or incarceration; and it could explode the lying propaganda of the communist Czech regime under which he stifled until 1968 when, as the Soviet tanks rolled in, he got out.

在米洛斯·福曼的电影《莫扎特传》的结尾，荧幕逐渐变暗之际，一声嘶笑划破黑暗而起。那是莫扎特的呓笑，整部电影中一直困扰着他的维也纳主顾们。这也是R.P麦克默菲的嗤笑；在《飞越疯人院》开始的时候，这名由杰克·尼科尔森扮演的小骗子正在精神病院门口试图弄掉手铐，准备制造混乱。米洛斯·福曼见证了《飞越疯人院》于1975年获得“五大”（最佳影片、最佳导演、最佳改编剧本、最佳男女主角）奥斯卡奖项。《莫扎特传》更于1985年斩获八项奥斯卡奖。他爱死了这个声音，这声音中蕴藏着天马行空似的创造力，混乱无序，又蠢蠢欲动。它超越生死，冲破樊笼，。这宣言曾一度令他窒息，直到1968年苏联的坦克轰鸣而来，他才得以脱身。

For him show business had liberating power, whether in the shape of the brave little clown with a spanner, like Chaplin in “The Great Dictator”, or of the fantasy operettas of his boyhood, with their backstage smells of make-up and sweaty tights, violets and beer. Barred from acting school because he was already disruptive, he went to the Prague film academy as a desperation move—only to find that film nourished his growing passion, to make something real. Not some ideological socialist realism, but the day to day unprettified round of ordinary life.

对他来说，演艺行业有着解放人性的力量。无论是像《大独裁者》中卓别林饰演的那个勇敢的小丑拿着扳手干活的形象，还是神游于他童年时代幻想着的剧场后台，置身于化妆品的香味、紧身衣的汗水味、紫罗兰花香和啤酒的味道之中。因为他生性乖张，表演学校不接受他。于是他带着绝望的念头去了布拉格电影学院，却发现电影艺术点燃了他的激情，他豪情万丈，要创造反映现实的艺术，即并不是意识形态里的社会理想理想主义，而是未经修饰的日复一日的普通生活。

From the purchase of his first movie camera in the 1960s he set out to capture reality. Streets or hospital wards or dance halls contained not crowds, but individuals. Each film he made dwelled on the details of those faces. When casting, the small roles were as important as the larger ones: the catatonic mental patients, the flunkeys at the emperor’s court, the sulky girls lined up to be Miss Fireman in “The Firemen’s Ball”, white workers casually baiting the black hero of “Ragtime”. He wanted to put on the screen credible, moving human beings. Much of the horror in “Amadeus” came from faces hidden by masks.

从20世纪60年代他买了第一部电影摄影机开始，他就着手捕捉现实。 街道、医院病房或舞厅里，他关注的不是群体，而是个人。 他制作的每部电影都沉湎于这些个体面孔的细节。 在选角时，小角色与大角色一样重要：无论是神色紧张的精神病患者，皇宫中的谄媚之徒，《消防员舞会》中郁郁寡欢地排着队想要成为消防员夫人的女孩们，还是《爵士年代》中随便诱骗黑人英雄的白人工人，他都精心挑选。 他希望自己的作品中展现的人真实可信，感人至深。《莫扎特传》中的恐怖大都源自面具背后的人性。

The woman on the bus

公交车上的女人

Whenever he could, he picked non-professionals. The star of “Loves of a Blonde” was his former sister-in-law in her first film role; her “mother” was a woman he had heard laughing wildly (that laugh again) at a joke on a bus. Professional actors were too keen to act rather than be natural: Jim Carrey in “Man on the Moon”, for example, who applied such belligerent method acting to his portrayal of a comedian, Andy Kaufman, that he had to beg him to stop. Non-professionals, by contrast, were oblivious to the camera. His trick during shoots was to mix professionals and non-professionals and to use two cameras, so they never knew which one was tracking them. He could catch them off-guard then, for unrepeatable moments. He did not fraternise with the cast himself, let alone compliment them, but clamped a cigar or a pipe in his mouth and went about his work. The film was the thing. Only the film.

只要可以，他都会挑选非专业演员。出演《金发女郎之恋》中的女明星是他以前的嫂子，这也是她第一次演电影；而电影中她的“母亲”是由一位他在公共汽车上因笑话而大笑的女人（又是笑声）所饰演的。专业演员太热衷于表演，而非自然流露：例如，金·凯瑞在《月球上的男人》中，演绎喜剧演员安迪·考夫曼这个角色时咄咄逼人，以至于福曼不得不恳求他停下来。 相比之下，非专业人员对照相机并不那么敏感。 他在拍摄时有个小窍门，就是混合专业人士和非专业人员，并使用两台相机一起拍。这样他们就不知道哪一台正在拍摄他们了。而导演就可以在他们没有防备的时候抓拍下演员们最自然的无法复制的瞬间。他不与演员过多交流，更不用说恭维他们了。他的嘴里总夹着一支雪茄或一支烟斗，忙着自己的工作。对他来说，只有电影才是最重要的事。

Scriptwriting was a labour, and he regarded it as half of his director’s job. He weighed every word and how it should go. But ideally he would dispense with scripts altogether, leaving the cast to improvise in their own personalities and their own voices. The stories might be fairly unstructured, too. The plot for his second film to be noticed abroad, “Loves of a Blonde” in 1965, came when he saw a girl walking down the street with a suitcase at two in the morning. She had come to Prague to find a man she had slept with once, but the address he had given her did not exist. With this slim plotline he could make a film as real and compelling as the Italian and French new wave, which he adored.

剧本创作是项费力又费时的工作，他却视之为导演工作的一部分。他会字斟句酌的推敲台词。然而，只要有可能，他就会完全摒弃剧本，让演员们依据角色性格用自己的语言即兴发挥。故事也可能毫无结构。1965上映的《金发女郎之恋》（“Loves of a Blonde”）是他在国外引起关注的第二部影片。其故事情节来源于他看到一个女孩在凌晨两点拖着手提箱从街上走过。女孩来布拉格寻找与她有过一夜激情的男人，但男人给她的地址却并不存在。仅凭这点单薄的情节，他就能够拍摄出一部电影，真实而又扣人心弦，可媲美他所热爱的意大利、法国的新浪潮电影。

注释：

1.新浪潮电影（new wave）: 1958年是“新浪潮”的诞生年，有两部处女作问世：特吕弗的《淘气鬼》与夏布罗尔的《漂亮的塞尔其》；1959年是“新浪潮”的幸福年：特吕弗凭《四百下》在当年获戛纳电影节最佳导演奖。

“新浪潮”电影以表现个性为主。特吕弗的《四百下》(1959)是较早出现的代表作。他用现代主义手法叙述了他童年时代的悲惨遭遇。他信奉所谓“非连续性哲学”，认为生活是散漫而没有连续性的事件的组合，在电影创作上否定传统的完整情节结构，以琐碎的生活情节代替戏剧性情节。戈达尔是以蔑视传统电影技法闻名的“破坏美学”的代表人物，他的影片在破坏传统结构方面比特吕弗走得更远，著名的《精疲力尽》(1959)就是其创作风格的最好体现。

“新浪潮”不仅促进了法国电影表现手法的多样化，也引发了现代主义电影思潮在欧美各国的第二次兴起。像瑞典导演英格玛·伯格曼，意大利电影大师安东尼奥尼、费里尼等都受到了一定的影响。

大部分影史家都以1964年作为法国新浪潮的终结，主要观点是，新浪潮电影的形式和风格，已广泛地渗入到各种电影制作之中。

以上摘自《百度百科》

At first his work was appreciated at home. The regime even felt a bit proud of him. But then “The Firemen’s Ball” in 1967 succeeded in bugging them. It was just a comedy of errors, but the unacceptable part was the gradual pilfering of the raffle prizes. Because no one would admit who had done it, everyone in the hall became a suspect. The analogy with wholesale state kleptocracy was too sharp, and the film was banned for ever. This delighted him, but also sent him abroad. When he returned to Prague to make “Amadeus”, about the sort of rebel he wished he might have been, it was under the cold eyes of secret police who hid among the extras.

起初，他的作品在国内广受赞誉。政府甚至有点为他感到骄傲。然而，1967年上映的《消防员舞会》（“The Firemen’s Ball”）却成功地惹恼了捷克政府。这不过是部错事连连的喜剧片，但是片中一个情节描述抽奖奖品陆续被盗，这令捷克政府难以接受。由于没有人愿意承认是谁干的，舞会上的每个人都成了嫌疑犯。，太过尖锐，导致影片永久被禁。这部电影虽然让他很满意，却也导致他离开故国，。他重返布拉格拍摄《莫扎特传》时，希望或许能进行某种反抗，却发现，藏在群众演员中的秘密警察，在暗处冷冷地盯着。

注释：

1. extra |ˈekstrə| a person who is employed to play a very small part in a film/movie, usually as a member of a crowd （电影里的）临时演员，群众演员摘自《牛津高阶英汉双解词典》

For America he felt fervent admiration. His career there saw ups and downs, frustrations and thin audiences as well as triumphs. Commercial pressure meant that no big studio would touch either “Amadeus” or “Cuckoo’s Nest”. In 1971 he holed up in despair in the Chelsea Hotel, living on tinned chilli and beer, but after his first crop of Oscars he became professor of film at Columbia, a post he held for 40 years.

米洛斯狂热地崇拜着美国。在那里，他经历了职业生涯的起起伏伏，曾沮丧挫败，也曾观众寥寥，直至后来获奖无数。迫于商业压力，一开始没有大公司愿意投资拍摄《莫扎特传》和《飞越疯人院》。1971年，他把自己禁闭在切尔西酒店里，生活窘困到只能靠罐头辣椒和啤酒度日。但首获奥斯卡奖后，他成为了哥伦比亚大学的电影教授，而后担任此职长达40年之久。

《文豪最爱切尔西：一座百年旅馆里的才华横溢与纸醉金迷》

http://www.kaoder.com/?m=thread&a=view&fid=948&tid=277992

He loved America as the country where speech was free. In “The People vs Larry Flynt” in 1996 he celebrated the fact that the most disgusting speech, a smut-peddler’s, had been ruled permissible by the Supreme Court. Democracy was either for everybody, or for nobody. It meant that even the most despised or sidelined person could make himself heard. In the course of “Cuckoo’s Nest” Chief, a native American who begins the film as apparently deaf and dumb, gradually reveals that he can both hear and talk. By the end of the film, as he smashes his way out of the institution, he is talking freely. As he gains the mountains, he may even laugh.

他热爱美国，。在1996年的电影《性书大亨》中，主人公是个“肮脏的小贩”，即俱乐部老板，该角色在剧中那令人作呕的演讲被最高法院裁定为允许播放。米洛斯在影片中对此大加赞赏。民主，如果不是所有人都能享用，那就是所有人都不能享用。民主意味着即使是最受鄙视或被边缘化的人也能发声。在《飞越疯人院》中，片头那位印第安酋长显然是聋哑人，但随着剧情发展，人们逐渐发现他既不聋也不哑。在影片结尾，当酋长从疯人院里逃出来时，他已经能自由地与人交谈了。而当他真正回归山林时，他也许就能放声大笑了。

翻译组：

Li Xia, 女， HR, 经济学人发烧友

Cece，女，消防工作者，CATTI三笔

Lee，男，医学英译  Timberland爱好者

Samantha，女，滑冰狂人，邓伦未婚妻

校核组：

Yao,男，英专本科生，北大苗子

Dave，大学老师，二级口译笔译，科幻文学译者

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