導(dǎo)演:大衛(wèi)·芬奇
編?。呵】?middot;帕拉尼克
吉姆·烏爾斯
主演:愛德華·諾頓
布拉德·皮特
首映日期:1999-10-15
A funny, powerful, flashy, tragic film that plays with your perceptions and with your preconceptions about movies and society.
一部有趣的、有力的、閃亮的、悲劇的影片,它在嘲弄你對(duì)這部影片以及這個(gè)社會(huì)的理解和先入之見。
——Robert Roten, Laramie Movie Scope
See this film with a friend so you can console one another afterwards.
和朋友一起看這部電影,這樣看完之后你們就可以安慰彼此了。
——Widgett Walls, Needcoffee.com
Amazing movie, I loved this one. If you haven't seen it yet, you need to.
令人驚奇的電影,我喜歡它。如果你還沒有看過(guò),你必須要看看。
——Walter S
The nameless narrator(Edward Norton)is a traveling automobile company employee who suffers from insomnia. His doctor refuses to give him medication and advises him to visit a support group to witness more severe suffering. The narrator attends a support group for testicular cancer victims and, after fooling them into thinking that he is a fellow victim, finds an emotional release that relieves his insomnia. He becomes addicted to attending support groups and pretending to be a victim, but the presence of another impostor, Marla Singer(Helena Bonham Carter), disturbs him, so he negotiates with her to avoid their meeting at the same groups.
After a flight home from a business trip, the narrator finds his apartment destroyed by an explosion. He calls Tyler Durden(Brad Pitt), a soap salesman whom he befriended on the flight, and they meet at a bar. A conversation about consumerism leads to Tyler inviting the narrator to stay at his place; outside the bar he requests that the narrator hit him. The two engage in a fistfight, and the narrator subsequently moves into Tyler's dilapidated house. They have further fights outside the bar, and these attract a crowd of men. The fighting moves to the bar's basement where the men form a “fight club”.
Marla overdoses on pills and telephones the narrator for help; he ignores her, but Tyler answers the call and saves her. Tyler and Marla become sexually involved, and Tyler warns the narrator never to talk to Marla about him. More fight clubs form across the country, and under Tyler's leadership, they become the anti-materialist and anti-corporate organization called “Project Mayhem” The narrator complains to Tyler that he wants to be more involved in the organization, but Tyler suddenly disappears. When a member of Project Mayhem is killed by the police during a botched sabotage operation, the narrator tries to shut down the project, and follows evidence of Tyler's national travels to track him down. In one city, a Project member greets the narrator as Tyler Durden. The narrator calls Marla from his hotel room and discovers that Marla also believes him to be Tyler. He suddenly sees Tyler in his room, and Tyler explains that they are dissociated personalities in the same body Tyler controls the narrator's body when the narrator is asleep.
The narrator blacks out after the conversation. When he wakes, he discovers from his telephone log that Tyler made calls during his blackout. He uncovers Tyler's plans to erase debt by destroying buildings that contain credit card companies' records. The narrator tries to contact the police but finds that the officers are members of the Project. He attempts to disarm explosives in a building, but Tyler subdues him and moves to a safe building to watch the destruction. The narrator, held by Tyler at gunpoint, realizes that in sharing the same body with Tyler, he himself is actually holding the gun. He fires it into his mouth, shooting through the cheek without killing himself. Tyler collapses with an exit wound to the back of his head, and the narrator stops mentally projecting him. Afterward, Project Mayhem members bring a kidnapped Marla to him, believing him to be Tyler, and leave them alone. The explosives detonate, collapsing the buildings, and the narrator and Marla watch the scene, holding hands.
無(wú)名敘述者(愛德華·諾頓飾)是一個(gè)旅游汽車公司雇員,他患有失眠癥。他的醫(yī)生拒絕給他用藥,而是建議他參觀一個(gè)互助小組,去看一看更嚴(yán)重的痛苦。敘述者參加了一個(gè)睪丸癌的互助小組,他騙他們說(shuō)自己也是一個(gè)受害者,通過(guò)這種情感的釋放,來(lái)減輕他的失眠。他對(duì)出席互助小組并假裝是受害者上癮了,但是隨著另一個(gè)騙子瑪拉·辛格(海倫娜·伯翰·卡特飾)的出現(xiàn),擾亂了這一切。所以他與她協(xié)商,以避免他們同時(shí)參加相同的小組。
一次出差回家后,敘述者發(fā)現(xiàn)他的公寓被炸毀了。他把他在飛機(jī)上認(rèn)識(shí)的肥皂推銷員泰勒·杜爾登(布拉德·皮特飾)叫出來(lái)在酒吧見面。因?yàn)橐欢侮P(guān)于消費(fèi)觀的談話,泰勒邀請(qǐng)敘述者過(guò)來(lái)與他一起住。從酒吧出來(lái)后,他讓敘述者打他。兩個(gè)人打了一架后,敘述者隨即搬進(jìn)了泰勒破舊的房子。之后數(shù)日他們?cè)诰瓢赏饫^續(xù)打,并吸引了一大群人。打斗挪到酒吧的地下室中。在這里,他們組成了一個(gè)搏擊俱樂部。
瑪拉服用了過(guò)量的藥丸,并打電話給敘述者尋求幫助。敘述者沒有管這個(gè)電話,但泰勒接了電話并救了她。泰勒與瑪拉發(fā)生了性關(guān)系。泰勒警告敘述者不要向瑪拉提起他。更多的搏擊俱樂部在全國(guó)各地成立。在泰勒的領(lǐng)導(dǎo)下這些俱樂部成為反唯物主義與反合作組織,并被稱為“大混亂組織”。敘述者向泰勒抱怨說(shuō),他想更多地參與到組織中,但泰勒忽然消失了。在一次糟糕的破壞行動(dòng)中,警方擊斃了一個(gè)“大混亂組織”的成員。敘述者試圖關(guān)閉該組織,并試圖通過(guò)泰勒全國(guó)范圍旅行中的各種證據(jù)來(lái)追蹤他。在一個(gè)城市中,一個(gè)組織成員迎接敘述者時(shí)稱他為泰勒·杜爾登。敘述者從他的酒店房間中打電話給瑪拉,并發(fā)現(xiàn)瑪拉也相信他就是泰勒。他忽然在他的房間中發(fā)現(xiàn)了泰勒,泰勒解釋說(shuō)他們是同一個(gè)身體中的兩個(gè)分裂的人格。泰勒在敘述者睡覺時(shí)會(huì)控制他的身體。
敘述者在談話后就失去意識(shí)了。當(dāng)他醒來(lái)時(shí),他在自己的電話記錄上發(fā)現(xiàn)泰勒在他失去意識(shí)時(shí)打了一些電話。他揭露了泰勒的計(jì)劃,泰勒打算通過(guò)摧毀包含信用卡公司記錄的大樓來(lái)消除債務(wù)。敘述者試圖聯(lián)系警察,但發(fā)現(xiàn)他們都是組織成員。他試圖解除在一棟樓里的爆炸物,但泰勒控制了他,并轉(zhuǎn)移到了一棟安全的樓里去看著破壞的發(fā)生。在泰勒的槍口下,敘述者意識(shí)到因?yàn)樗c泰勒共用一個(gè)身體,實(shí)際上是他自己拿著槍。他把槍放到他的嘴里開槍,射穿了他的臉從而避免了殺死他自己。因?yàn)楹竽X上的傷口,泰勒崩潰了,敘述者從精神上阻止了他的控制。后來(lái),“大混亂組織”成員將瑪拉綁架來(lái)給他,因?yàn)橄嘈潘翘├?,所以把他們單?dú)放在了一起。這時(shí)爆炸發(fā)生了,敘述者與瑪拉逃出了大樓,手牽著手,看著這一切。
medication[?medi'kei∫?n]n. 藥物;藥物治療;藥物處理
testicular[te'stikjul?]adj.[解剖]睪丸的;睪丸狀的
consumerism[k?n'sju:m??riz?m]n. 保護(hù)消費(fèi)者利益運(yùn)動(dòng);用戶至上主義
fistfight['fist?fait]n. 互毆
sabotage['sæb?tɑ:?]n. 破壞;破壞活動(dòng);怠工
dissociated[di's?u∫ieitid]adj. 離解的;分裂的
blackout['blækaut]n. 燈火管制;燈火熄滅;暫時(shí)的意識(shí)喪失
subdue[s?b'dju:]vt. 征服;抑制;減輕
■ … and leave them alone.
句中的leave alone字面意思是“讓……一個(gè)人待著;撇下……一個(gè)人”,比如:They leave their daughter alone in the house on weekdays.(平時(shí)他們把女兒獨(dú)自留在家中。)但它除了可以引申為“不理會(huì);不管;別碰;別惹;不打擾”之外,還有一個(gè)意思值得我們注意,那就是“更不用說(shuō)”,比如:In old China there was hardly any machine-building industry, leave alone an automobile industry.(在舊中國(guó)幾乎沒有機(jī)器制造工業(yè),更不用說(shuō)汽車制造業(yè)了。)
Chuck Palahniuk Interviewed by www.dvdtalk.com
I used to work as a volunteer in a hospice, but I don't have any nursing skills or cooking skills or anything, so I was what they call an escort. I would take people to the support groups every night and I would have to sit sort of on the sidelines so I could take them back to hospice at the end of the meeting. I found myself sitting in group after group feeling really guilty about being the healthy person sitting there —“The Tourist”. So I started thinking — What if someone just faked it? And just sat in these things for the intimacy and the honesty that they provide, the sort of cathartic emotional outlet. That's really how that whole idea came together.
The actual realization was one of the parts of the movie that was the closest to the book, the process in which Tyler was revealed. It's almost word for word from the book, that scene in particular, and the telephone call to Marla. So I was very happy with that. It's funny, there was so much concern about whether or not people would accept the plot twist and David just kept on saying, “If they accept everything up to this point, they'll accept the plot twist. If they're still in the theater, they'll stay with it.”
我曾作為志愿者在收容所工作,但是我沒有護(hù)理技能或烹調(diào)技巧之類的才能,所以我做了他們所謂的護(hù)衛(wèi)。每天晚上我會(huì)帶人去“互助小組”,我不得不坐在一旁等候,直到會(huì)議結(jié)束后,我再帶他們回收容所。就這樣一個(gè)小組接著另一個(gè)小組地旁觀下去,我發(fā)現(xiàn)自己因?yàn)樽约菏切〗M中健康的那個(gè)人——“訪客”而感到很愧疚。所以我開始想,如果有人假裝是受害者,會(huì)怎樣?只是為了他們所準(zhǔn)備的親密關(guān)系和誠(chéng)信坐在其中,為找到一種宣泄情緒的出口。這就是全部想法如何匯聚在一起的真實(shí)情況。
電影真正奏效的,也是最接近書的部分是泰勒被揭露的過(guò)程。這幾乎是逐字逐句地從書上來(lái)的,特別是那場(chǎng)戲,和瑪拉通電話那段。所以我對(duì)這部分非常滿意。很有趣,我很關(guān)心人們是否會(huì)接受迂回曲折的情節(jié),大衛(wèi)一直在說(shuō),“如果到目前為止他們什么都接受了,那么他們就會(huì)接受迂回曲折的情節(jié)。如果他們還在劇場(chǎng),他們會(huì)接受。”
導(dǎo)演大衛(wèi)·芬奇為本片拍了超過(guò)1500卷膠片,比正常數(shù)量的三倍還多。
雖然愛德華·諾頓曾經(jīng)在1998年的電影《賭王之王》(Rounders)里拒絕吸煙。當(dāng)時(shí)他在那部影片中的角色是玩撲克,但沒吸煙,而在本片中,他確實(shí)真的抽煙了。
在拍攝布拉德·皮特和愛德華·諾頓醉醺醺地打高爾夫的場(chǎng)景時(shí),他們真的喝醉了,于是高爾夫球被打得直接飛向了劇組的給養(yǎng)車。
在泰勒的房子里,有本電影雜志的封面女郎是德魯·巴里摩爾(Drew Banymore),她是愛德華·諾頓的好朋友。
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