电影《北极》的影评与摘要(2019)
Arctic Movie Review & Film Summary (2019)
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2019-02-12 14:17
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火星译客

February 1, 2019   |  

2019年2月1日|

For movies meant to put a character through a gauntlet of death and hopelessness, survival stories are abundant with dramatic potential: here’s someone just like you, he's stranded in the middle of nowhere, now let’s watch him try not to die. It’s almost more exciting to think of the writers figuring out such a precise situation than the unfortunate characters themselves. But the best ones (like Robert Redford’s yachting adventure gone wrong “All is Lost”) have a poetry to their physical tales of hope, and the worst play out like a survivor’s manual of what to do and not do, or an endurance test. “Arctic,” directed by newcomer Joe Penna, is stuck somewhere in the middle of those qualifications, its drama largely subsisting on the on-screen muscle of Mads Mikkelsen.

对于那些想让角色经历死亡和绝望的电影来说, 生存故事颇具戏剧潜力:一个普通人,被困于荒芜之境,怀揣着对生的渴望。编剧们创设出一个精准的情景比塑造一个苦难角色要精彩得多。出众的那些电影(像罗伯特·瑞德夫的游艇历险记《消失的一切》)讲述生存故事时饱含着诗意,而差劲的电影像是一本生存者指南,告诉你哪些要做,哪些不能做,仿佛是场拉力赛。《北极》,这部乔·佩那的处女作,正陷于两难之境,它的表演张力主要靠麦斯·米科尔森展现在荧幕上的肌肉。

Things start off relatively manageable for Mikkelsen’s Overgård, all things considered. Yes, his plane has crashed in the middle of an Arctic nowhere, but he has a pulley system into a water hole that’s gotten him a few fishes he can save for later meals, and a radio system that he cranks with hopes of catching a signal. He is alone, but he knows how to read a map, and has a watch alarm that keeps him regimented. He seems confident and weirdly prepared for this crisis, two key creative choices from Penna and Ryan Morrison’s script that take away the vital nervousness of watching him figure this all out.

经过周全的考虑,对米科尔森饰演的奥夫加德来说飞机变得相对可控。然而飞机在北极某地坠毁,滑轮系统进入了一个水洞,万幸的是奥夫加德因此得了一些可供日后用餐的鱼,还有一个能捕捉信号的收音机系统。虽然他独自一人,但他会看地图,并且有一个能定位报点的手表警报器。对于这场危机,他准备充分、信心满满,潘那和瑞安·莫里森的剧本中这两个关键的创作选择驱除了观众的紧张感。

So when a helicopter attempts early on to rescue him but crashes, it comes off as bittersweet, and less of a traumatizing lost chance at surviving. Pros: he gets a sled, some Ramen, and some other gear out of the crash. Cons: Overgård now has to care for the one person who survived the crash, a woman in a coma. He silently vows to take care of her, in a few warming passages for a movie that makes you very aware of the temperature of your toes. But then “Arctic” finally gets to its major event: he’s going to drag her on the sled and trudge with limited supplies through the deadly conditions, his goal a seasonal station that the map tells him is a few days’ journey away.

因此当第一架直升机试图解救他时坠毁了,结果令人喜忧参半,对丧失生存机会的释怀。优点:奥夫加德得到了雪橇, 一些拉面, 和一些坠毁机的残骸。缺点: 他现在要照顾坠机中幸存下来的一个人, 一个昏迷的女人。他默默地呵护着她, 在少数几个温暖的电影片段中, 你甚至感受到了自己脚趾的温度。不过《北极》最终达到了高潮:奥夫加德在绝境中拖她到雪橇上,带着有限的补给长途跋涉,他的目的地是个跋涉几天才到的季节性站点。

But even with its bouts of good and very bad luck, once “Arctic” endeavors on its suicide mission it feels alarmingly straight-forward. The film’s testing of Overgård’s strength goes from polarizing contrivance to heavy-handed metaphor for his inner resilience. Can one drag a body on a sled for numerous days, sometimes on a steep incline, with hardly any food in one’s stomach and frost bite? How much does a desperate will to live lead to adrenaline? Those are the kinds of questions that distracts from the pain and spirit “Arctic” was clearly inspired by, distancing the viewer from its visceral nature as it beats on Overgård’s body this side of Alejandro González Iñárritu’s “The Revenant.” It doesn’t help that the movie wears out its most impactful visual note, a lonely white canvas that sometimes can only colored by two bodies and a sled to show any semblance of life.

即使只遇一次好运,常临厄运,但一旦电影努力完成其自杀使命时,它给人直接的震撼。影片对奥夫加德能力的测试, 从矫揉造作到内在适应力的隐喻。谁能拖着装着尸体的雪橇跋涉数日,攀爬陡坡,受冻挨饿?要有多大的恐惧使得肾上腺素飙升?痛苦与精神分离出的各种问题裹挟着《北极》,正当它击打着奥夫加德的身体,亚历杭德罗·冈萨雷斯·伊纳里多的《神鬼猎人》的这一侧血淋淋的本能一步步疏远观众。这无意间帮助电影打造出具有影响力的视觉效果,有时只有两个人和一个雪橇装点的白茫茫的一片来显示生活的表象。

As the flagging eyes and brawny fighter of this endeavor, Mikkelsen is a vivid casting pick. But it’s a shame his role doesn’t feel more spiritual, as this crises takes place in a land that even God’s silence seems to have forgotten, and as “Arctic” does have moments in which it flexes cheesy irony on his life-and-death decisions. The movie is instead most concerned with the empty spectacle of watching his body overcome nature’s cruelest obstacles, hollowing him out in its most hope-deficient moments. And though Overgård spends a lot of time alone with his thoughts, “Arctic” lacks what makes for the best movies of its ilk: it does not inspire much imagination concerning what our hero might do first if he does get back home.

努力过后睁着萎靡不振的双眼却依然勇敢的斗士,米科尔森是一个好演员。令人遗憾的是,他的角色并没有展现出他该有的精神,因为这场危机发生在一片寂静的土地上,并且<北极>有一些对角色在生死存亡关头展现出的俗气的讽刺。相反,电影最关心的是角色如何克服来自自然的障碍,在最无望的时候掏空他。虽然奥夫加德花了很多时间独自思考他,但《北极》缺乏好电影所具备的东西:假如英雄归来后,第一件事会做什么,电影对此没有过多的展开.

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