歡迎來(lái)到《布達(dá)佩斯大飯店》

When a director’s style remains entirely consistentwith each successive film, it’s only natural that youmight get bored. Shots, stories and setups becomepredictable, and audiences eventually move on tosomething more likely to offer the element ofsurprise. The Grand Budapest Hotel finds USdirector Wes Anderson back in familiar stylisticterrain, but his particular whimsical touch hasn’toverstayed its welcome, and it’s arguably at its mostengrossing.

如果導(dǎo)演在每一部電影中總是延續(xù)同種風(fēng)格，觀眾自然會(huì)感到厭煩;因?yàn)橐坏┡臄z技巧、敘事風(fēng)格、影片結(jié)構(gòu)都在意料之中，觀眾終會(huì)轉(zhuǎn)而觀看其他更能帶來(lái)驚喜的作品。《布達(dá)佩斯大飯店》的題材對(duì)美國(guó)導(dǎo)演韋斯•安德森而言并不陌生，但他獨(dú)有的異想天開(kāi)之筆卻并未讓觀眾生厭，反而使影片成為一部引人入勝的佳作。

 

 

The Grand Budapest is a colorful hotel located in the war-torn mountains of a fictional 1930sEuropean country. It functions as a temporary home for the kind of characters only Andersoncould imagine. There are wealthy spinsters, melancholy artists on vacation and, as every goodhotel requires, doting attendants ready to meet their guests’ every need.

色彩絢麗的布達(dá)佩斯大飯店位于二十世紀(jì)三十年代一個(gè)虛構(gòu)的歐洲國(guó)家，坐落在飽經(jīng)戰(zhàn)亂的山巒之中。棲身其中的人物只有安德森才能想象出來(lái)：未婚的老富婆、前來(lái)度假的憂郁藝術(shù)家，還有一流飯店必備的體貼入微、旨在滿足顧客一切要求的侍者。

The story centers on Monsieur Gustave H. (Ralph Fiennes), the hotel’s concierge, and hispromising young protégé, Zero (Tony Revolori). After one of the hotel’s prominent guests(and Gustave’s mistress) passes away, Gustave is awarded her most prized possession– apainting. Outraged at having lost the heirloom to Gustave, the woman’s son (played by AdrienBrody) initiates a deadly manhunt that eventually drives our concierge into prison. Gustaveand Zero must rely on each other to elude their adversaries without losing track of thepainting.

故事圍繞酒店的看門人古斯塔沃先生(拉爾夫•費(fèi)因斯 飾)和他的得意門生零•穆斯塔法(Tony Revolori飾)展開(kāi)。酒店的一位貴客(古斯塔沃的情婦)去世后，古斯塔沃得到了一副價(jià)值連城的名畫(huà)。貴客的兒子(阿德里安•布洛迪 飾)得知母親的遺產(chǎn)落入他人之手后怒不可遏，對(duì)古斯塔沃展開(kāi)奪命追擊，并最終將他送進(jìn)監(jiān)獄。古斯塔沃和零相互支持、攜畫(huà)一路逃亡。

With The Grand Budapest Hotel, Anderson has created yet another movie only his mind couldimagine. But this time around, things are a bit more thoughtful. The WWII-esque backdropover which the story unfolds evokes the harshness of that time without lingering on it andletting it spoil the movie’s mood. Instead of bombarding viewers with the realities of life in aNazi-occupied nation, the movie subtly reminds them of this bitter chapter in world history.

《布達(dá)佩斯大飯店》成為安德森又一部超乎想象之作，只是這一次影片的思想性更強(qiáng)。雖然以二戰(zhàn)為背景，影片卻并沒(méi)有過(guò)多渲染二戰(zhàn)的嚴(yán)肅性，從而保留了電影本身的基調(diào)。影片沒(méi)有對(duì)納粹占領(lǐng)國(guó)度里的生活現(xiàn)實(shí)進(jìn)行大量描寫(xiě)，只是巧妙地提醒著人們世界史上曾有過(guò)這樣一段苦澀的篇章。

In taking a lighter approach toward this subject matter, Anderson allows for viewers to steepthemselves in the movie’s sense of nostalgia. This particular time period and location provesto be an excellent playground for Anderson to explore both visually and through narrative. Asalways, the world through Anderson’s eye is colorful, quirky and, in the end, not such a badplace after all.

安德森舉重若輕地表現(xiàn)手法，讓觀眾們(更容易)陷入電影的懷舊之中。其中特殊的時(shí)間和地點(diǎn)都成為安德森大展身手的沃土，讓他在視覺(jué)效果與敘述風(fēng)格上不斷探索。在安德森眼中，世界總是色彩斑斕、光怪陸離，總之，從來(lái)都不是一個(gè)糟糕之地。