[原创][翻译]ROGER EBERT评论《哈尔的移动城堡》

tower2 发表于 2006-4-6 20:51:39

《哈尔的移动城堡》评论
Roger Ebert（美国著名影评人）/2005年6月9日
翻译：Tower2
所有翻译均为动画爱好者交流所用
版权归原作者及所属媒体所有
翻译部分未经允许，请勿转载.
 
在《哈尔的移动城堡》里，我们几乎第一眼看到的就是城堡本身，它看起来就像被一个巫师所驱动的那样，就像一个《星球大战：帝国反击战》中的战争机器般轰叫。城堡是一个令人惊异的发明，一个炮塔和一个附加物,各种关节的巨大组合，这使得它在一片风景中像一只海龟般而隆隆地前进时。我坐回椅子上，满怀信心地觉得：宫崎骏已经又一次创造出他的特殊的动画魔力，而且这部电影将在艺术史上和《千与千寻》，《幽灵公主》，《龙猫》，《魔女宅急便》以及其他杰出的动漫家的作品相提并论。



但是它并不是这样。当电影不停顿地向我们展示它包含的愉快的情绪和新颖的创造，还有它无可否认的迷人时，当它总是让人惊奇地观看，当它散发着宫崎骏带来的视觉惊奇时，对比起他最近的其他作品，这让人失望。电影改编Diana Wynne Jones的英国小说，它界于格林兄弟和《绿野仙踪》之间，其中有着不仅仅于身体的变形，还有物体和空间的变化。



在变形体里最主要的就是城堡本身，它能够依靠能量而变大，也会随着战斗而缩小。城堡里有可以根据兴致来改变的空间，以及一扇门，它通向——噢，它需要通向的地方。城堡在两个交战的国家之外的荒野里漫游，那里看起来似乎像19世纪的欧洲；它被哈尔本人所控制，他是一个炙手可热的年轻的男巫，同时他又被自己个人的问题所困扰。



电影随着苏菲（由Emily Mortimer配音）的出现而开场，火车冒着浓烟从她工作室的窗口下驶过，她则耐心地坐在那里缝制帽子。当她出外时，她被讨厌的士兵骚扰，而哈尔（由Christian Bale配音）则解救了她，而哈尔正在被无形的黑色橡胶型敌人所追赶。这个事情让苏菲引起了哈尔的敌人荒野女巫（由Lauren Bacall配音）的注意，她幻想占有哈尔，出于一种嫉妒心，她把苏菲变成一个满脸皱纹而又驼背的老太婆（由Jean Simmons配音）在电影后面的大部分时间，英雄就是这个干瘪老太婆；我们要提醒自己年轻的苏菲就蕴藏其中，但是身体的变化让节奏慢下来了,就仿佛外婆穿过森林要去小红帽的屋子。



带着羞愤和混乱的情绪，苏菲离开了城镇，她遇见了一个单腿的稻草人（由Crispin Freeman配音），而稻草人则把她领向了哈尔的城堡。苏菲把稻草人叫做Turniphead，我们猜想也许一只狮子或者一个锡兵不久就也会出场，但是并没有。而城堡也不是一个躲在帐后的狡猾巫师所操纵。哈尔是真实的，是拥有变形能力的法师，有时候会变成有翼的鹫。所以他的主要助手卡西法（由Billy Crystal配音），这个炽热的存在的工作是给城堡提供能量。苏菲还认识了卡尔克（由Josh Hutcherson配音），哈尔的<A>随从副官</A>，然后她自己任命自己为城堡的主妇和负责所有工作的女仆。



情节开始清晰起来.哈尔同时被两个交战的国家所应召，都给了他任务，而苏里曼夫人的干预将问题更加复杂化。Blythe Danner用一个怪异的声音给她配音，她让我们想起了汤婆婆，那个在《千与千寻》里经营油屋的人。这个老夫人似乎发挥的魔力的能力之强绝对不少于宫崎骏对年轻的女英雄们的喜爱。哈尔怯懦地让老苏菲来代表他去见萨里曼国王，在她的路上，她和荒野女巫（她出没在城堡漫游的腹地）走在了一块。苏菲很明显进入了一个有组织的计划，这个计划如此地老到和复杂，以至她根本不能逃脱，于是自然就达到了失败不可避免甚至卡西法都绝望了的时刻。



所有的这些都是只能由宫崎骏来提供的，这是一个令人震惊的创造以及细节的动画作品。城堡本身威胁到在电影里发生的那些幕后的东西，并且要注意到它的关节隆隆地行进时的步调，不要忽视在它背后的炮塔。苏菲，不管是老还是年轻，似乎从来就没去理解过和居住在这个世界；不像魔女KIKI，或者《千与千寻》里的女英雄千寻，苏菲看起来比英雄更加明智。一个怪异的角色的出现在台前来引导转折，但是接下来的情节开始变得灰暗，而且这对于一部宫崎骏的电影来说很让人惊讶，我们在不明白的画面中开始变得不耐烦。



我不能推荐这部电影，但是我知道，如果你和我一样崇拜宫崎骏的话，你无论如何都将去看这部电影。 当他的电影吸引你时，或者在极少的情况下没有吸引你时，宫崎骏总是一个大师，他依靠逐帧渐变的动画, 创造出让人惊奇的动漫作品。皮特（《玩具总动员》的剧本作者）和雷斯特（《玩具总动员》的导演）都是在美国非常推崇宫崎骏的人，都监督过他的作品美国版的制作；但是网上的动漫网站都认为日本的配音更加贴近角色（我们可以在DVD上进行对比）。



同时，只有在大荧屏上才能够欣赏这个城堡那令人惊叹的细节的，这可是这部电影里许多非常独特的地方之一。
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[此贴子已经被桃夭于2006-4-6 23:06:55编辑过]

tower2 发表于 2006-4-6 20:57:39

附原文：
Howl's Moving Castle
 
BY ROGER EBERT / <st1:date Year="2005" Day="9" Month="6">June 9, 2005</st1:date>
 
 
Almost the first sight we see in "Howl's <st1:place><st1:PlaceName>Moving</st1:PlaceName> <st1:PlaceType>Castle</st1:PlaceType></st1:place>" is the castle itself, which looks as if it were hammered together in shop class by wizards inspired by the lumbering, elephantine war machines in "The Empire Strikes Back." The castle is an amazing visual invention, a vast collection of turrets and annexes, protuberances and afterthoughts, which makes its way across the landscape like a turtle in search of a rumble. I settled back in my seat, confident that <st1:country-region><st1:place>Japan</st1:place></st1:country-region>'s Hayao Miyazaki had once again created his particular kind of animated magic, and that the movie would deserve comparison with "Spirited Away," "Princess Mononoke," "My Neighbor Totoro," "Kiki's Delivery Service" and the other treasures of the most creative animator in the history of the art form.
 
But it was not to be. While the movie contains delights and inventions without pause and has undeniable charm, while it is always wonderful to watch, while it has the <st1:City><st1:place>Miyazaki</st1:place></st1:City> visual wonderment, it's a disappointment, compared to his recent work. Adapted from a British novel by Diana Wynne Jones, it resides halfway between the Brothers Grimm and "The Wizard of Oz," with shape-shifting that includes not merely beings but also objects and places.
 
Chief among the shape-shifters is the castle itself, which can swell with power and then shrivel in defeat. Inside the castle are spaces that can change on a whim, and a room with a door that opens to -- well, wherever it needs to open. The Castle roams the Waste Lands outside two warring kingdoms, which seem vaguely 19th-century European; it is controlled by Howl himself, a young wizard much in demand but bedeviled with personal issues.
 
The story opens with Sophie (voice by Emily Mortimer), a hatmaker who sits patiently at her workbench while smoke-belching trains roar past her window. When she ventures out, she's attacked by obnoxious soldiers but saved by Howl (voice by Christian Bale), who is himself being chased by inky globs of shapeless hostility. This event calls Sophie's existence to the attention of Howl's enemy, the Witch of the Waste (Lauren Bacall), who fancies Howl for herself, and in a fit of jealousy, turns Sophie into a wrinkled old woman, bent double, and voiced now by Jean Simmons. For most of the rest of the movie, the heroine will be this ancient crone; we can remind ourselves that young Sophie is trapped inside, but the shape-switch slows things down, as if Grandmother were creeping through the woods to Red Riding Hood's house.
 
Leaving town in shame and confusion, Sophie meets a scarecrow (Crispin Freeman) who bounces around on his single wooden leg and leads her to Howl's castle. Sophie names the scarecrow Turniphead, and we think perhaps a lion and a tin man will be turning up before long, but no. Nor is the castle run by a fraudulent wizard behind a curtain. Howl is the real thing, a shape-shifter who sometimes becomes a winged bird of prey. So is his key assistant Calcifer (Billy Crystal), a fiery being who job is to supply the castle's energy. Sophie also meets Markl (Josh Hutcherson), Howl's aide-de-camp, and sets about appointing herself the castle's housekeeper and maid of all work.
 
The plot deepens. Howl is summoned to serve both of the warring kingdoms, which presents him with a problem, complicated by the intervention of Madame Suliman, a grotesque sorceress voiced by Blythe Danner, who reminds us of Yubaba, the sorceress who ran the floating bathhouse in "Spirited Away." These bloated old madame types seem to exert a fascination for <st1:City><st1:place>Miyazaki</st1:place></st1:City> scarcely less powerful than his fondness for young heroines. Howl cravenly sends old Sophie to represent him before King Sariman, and on her way there, she gets into a race with the Witch of the Waste, who haunts the hinterlands where the Castle roams. Sophie is obviously trapped in a web of schemes that's too old and too deep for her to penetrate, and there comes a moment when defeat seems certain and even Calcifer despairs.
 
All of this is presented, as only <st1:City><st1:place>Miyazaki</st1:place></st1:City> can, in animation of astonishing invention and detail. The Castle itself threatens to upstage everything else that happens in the movie, and notice the way its protuberances move in time with its lumbering progress, not neglecting the sphincteresque gun turret at the rear. Sophie, old or young, never quite seems to understand and inhabit this world; unlike Kiki of the delivery service or Chihiro, the heroine of "Spirited Away," she seems more witness than heroine. A parade of weird characters comes onstage to do their turns, but the underlying plot grows murky and, amazingly for a <st1:City><st1:place>Miyazaki</st1:place></st1:City> film, we grow impatient at spectacle without meaning.
 
I can't recommend the film, and yet I know if you admire <st1:City><st1:place>Miyazaki</st1:place></st1:City> as much I do you'll want to see it, anyway. When his movies are working and on those rare occasions when they are not, <st1:City><st1:place>Miyazaki</st1:place></st1:City> nevertheless is a master who, frame by frame, creates animated compositions of wonderment. Pete Docter (writer of "Toy Story") and John Lasseter (director of "Toy Story"), his great American supporters, have supervised the English dubbing; online anime sites say however the Japanese voices are more in character (we'll be able to compare on the DVD).
 
In the meantime, the big screen is the only way to appreciate the remarkable detail of the Castle, which becomes one of the great unique places in the movies.

Nausicaa 发表于 2006-4-18 22:28:19

作者说的很中肯。最后一句又刺痛了我的心。。

娜乌西卡的小乖 发表于 2006-9-9 08:38:26

恩~比较中立啦

nishuyang_18 发表于 2007-1-7 15:15:34

影片的确有费解的感觉,内容上没有前几部好

daxian 发表于 2007-7-27 22:35:04

费解是啊

嗯费解是啊
我目前只看了一遍
的确不能说我看懂了这本电影

旅途的别离 发表于 2007-7-29 00:40:31

这部跟《地海》相比，还是比较好理解的

深深浅浅深 发表于 2007-8-29 18:43:03

我本来想知道为什么要创造苏菲的这种性格。。。只可惜。。。

infinity 发表于 2007-9-2 09:59:25

这部影片本身不怎么吸引人，前半个小时让人如坐针毡！

anna4320 发表于 2007-9-21 18:26:08

哈尔的本质
似乎被丑化拉:Msee

雲遐发表于 2007-11-14 19:47:58

后来想想，解开了一个结，心里舒坦多了~
这部作品太耐人寻味了

daxian 发表于 2007-12-24 12:47:05

费解抑或是耐人寻味
不管怎么说近期再去看一遍~

牙牙飞牙飞 发表于 2007-12-30 20:36:35

支持:Mkeai

绝对支持..!

让看不懂中文的人可以看下面的英文~

daxian 发表于 2007-12-30 22:45:09

原帖由牙牙飞牙飞于 2007-12-30 08:36 PM 发表 http://www.totoroclub.net/forum/images/common/back.gif
支持:Mkeai

绝对支持..!

让看不懂中文的人可以看下面的英文~
这是翻译作品，给出原文不是挺好吗……
:Msee

luyishiliou 发表于 2008-1-20 12:50:18

这部电影感觉上没前几部好!!!

daxian 发表于 2008-1-20 18:50:03

回复 #15 luyishiliou 的帖子

额……
题材也和之前的很不一样的呀……
感觉当然不一样了~

sophiahm 发表于 2008-2-3 20:50:48

哈尔并不是最经典的作品，但相对于其他导演的动画，已经很好了。

宇佐美鸣人 发表于 2008-6-9 23:11:16

热爱宫崎骏

看了一遍没看明白

kamuiaya 发表于 2008-7-13 14:29:48

哈尔画质和特效上估计是最好的，至于情节题材方面还是更喜欢宫崎老大自己创作的前几部片子

fragilefairy 发表于 2008-9-27 23:09:38

天空的童话 发表于 2008-10-3 20:49:23

最后一句话令我太伤心了:bye （19寸宽频也没大荧幕效果好，唉……:bump ）

幻姬发表于 2008-10-3 21:03:52

什么吗?我看过宫老所有的作品,而且每一部都看了不下三四遍了!<哈儿的移动城堡>给了我很多和生活中不同的感受,永远支持宫老!!!!!!!!!!!!!!!!!!!!!!:Mfalufal2 :Maiaiai :Myanjing

jimmy198360 发表于 2008-10-20 21:28:35

恩，我认为《哈尔》很简单易懂啊，而且很美

原帖由幻姬于 2008-10-3 21:03 发表 http://www.totoroclub.net/forum/images/common/back.gif
什么吗?我看过宫老所有的作品,而且每一部都看了不下三四遍了!给了我很多和生活中不同的感受,永远支持宫老!!!!!!!!!!!!!!!!!!!!!!:Mfalufal2 :Maiaiai :Myanjing

恩，我认为《哈尔》很简单易懂啊，而且很美。每一部的大主题都有些不同，没有好坏的比较价值啊

lizi 发表于 2008-10-27 13:11:54

傷心！！！害我異常的想去電影院看哈爾

荻野千尋 发表于 2008-11-8 15:48:52

我不敢再看哈爾了,看了又會有壓抑的心情....

画眉鸟的羽毛 发表于 2009-2-4 19:11:57

电影的确是毁誉掺半，但是我觉得这是作者的另一种尝试，而且我个人认为《哈尔的移动城堡》还是清新自然的，为什么和多人觉得晦涩呢？

连星星 发表于 2009-3-5 20:58:53

电影的确是毁誉掺半，但是我觉得这是作者的另一种尝试，而且我个人认为《哈尔的移动城堡》还是清新自然的，为什么和多人觉得晦涩呢？
画眉鸟的羽毛发表于 2009-2-4 19:11 http://www.totoroclub.net/forum/images/common/back.gif
同意楼上的我也觉得蛮清新自然的啊
还是很喜欢《哈》的呵呵

ピエロ 发表于 2010-3-30 23:48:54

怎么说的呢，我觉得啊，哈尔这样还是哈尔啊。

哈尔的移动城 发表于 2010-4-16 18:11:27

除了最后一段，他说的都挺好的。

不过我确实没怎么理解整部电影。

漂零自流 发表于 2011-2-4 16:17:00

说是难懂确实有道理，关键在于理解所有情节的原因，那样才会条理一些。但不管怎么说，的确如前几部一样吸引人。至于我，感受到一切都要珍惜，发自内心的珍惜现在的不容易，过后在记忆里往往只有这些才值得品味。

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