| 双语新闻 Bilingual News | 双语对照阅读 分级系列阅读 智能辅助阅读 在线英语学习 |
|
| 双语新闻 Bilingual News | 双语对照阅读 分级系列阅读 智能辅助阅读 在线英语学习 |
| [英文] [中文] [双语对照] [双语交替] [] |
| “Oppenheimer,” Christopher Nolan’s staggering film about J. Robert Oppenheimer, the man known as “the father of the atomic bomb,” condenses a titanic shift in consciousness into three haunted hours. A drama about genius, hubris and error, both individual and collective, it brilliantly charts the turbulent life of the American theoretical physicist who helped research and develop the two atomic bombs that were dropped on Hiroshima and Nagasaki during World War II — cataclysms that helped usher in our human-dominated age. | 克里斯托弗·诺兰执导的精彩影片《奥本海默》(Oppenheimer)讲述了“原子弹之父”罗伯特·奥本海默的故事，将一场意识的剧变浓缩为令人久久难忘的三个小时。这是一部关于天才、狂妄和错误的剧情片，既有个人的，也有集体的，出色地描绘了这位美国理论物理学家纷纷扰扰的一生，他参与研发了二战期间投在广岛和长崎的两颗原子弹——那场大灾难推动我们走向了一个人类主宰的时代。 |
| The movie is based on “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” the authoritative 2005 biography by Kai Bird and Martin J. Sherwin. Written and directed by Nolan, the film borrows liberally from the book as it surveys Oppenheimer’s life, including his role in the Manhattan Engineer District, better known as the Manhattan Project. He served as director of a clandestine weapons lab built in a near-desolate stretch of Los Alamos, in New Mexico, not far from a cabin that Oppenheimer had, he and many other of the era’s most dazzling scientific minds puzzled through how to harness nuclear reactions for the weapons that killed tens of thousands instantly, ending the war in the Pacific. | 该片改编自凯·伯德和马丁·舍温2005年出版的权威传记《美利坚普罗米修斯——J·罗伯特·奥本海默的成功与悲剧》(American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer)。这部由诺兰编剧和导演的电影大量借鉴了原著，回顾了奥本海默的一生，包括他在曼哈顿工程区（即众所周知的曼哈顿计划）中起到的作用。他曾在新墨西哥州洛斯阿拉莫斯一处近乎荒凉的地方主持一座秘密实验室的工作，他在附近有一座小屋，和那个时代许多最杰出的科学家一起，奥本海默研究如何利用核反应制造出能够瞬间杀死数万人并结束太平洋战争的武器。 |
| The atomic bomb and what it wrought define Oppenheimer’s legacy and also shape this film. Nolan goes deep and long on the building of the bomb, a fascinating and appalling process, but he doesn’t restage the attacks; there are no documentary images of the dead or panoramas of cities in ashes, decisions that read as his ethical absolutes. The horror of the bombings, the magnitude of the suffering they caused and the arms race that followed suffuse the film. “Oppenheimer” is a great achievement in formal and conceptual terms, and fully absorbing, but Nolan’s filmmaking is, crucially, in service to the history that it relates. | 原子弹及其所造成的影响定义了奥本海默的遗产，也塑造了这部电影。诺兰对原子弹的制造进行了深入而漫长的研究，这是一个迷人而可怕的过程，但他没有重现那次轰炸；没有关于死者的纪实图像，也没有化为灰烬的城市全景，这些决定被解读为他的绝对伦理。轰炸的恐怖、造成的巨大痛苦以及随后的军备竞赛充斥着整部影片。《奥本海默》在形式上和概念上都是精彩的成就，堪称引人入胜，但至关重要的是，诺兰的电影制作为它所讲述的历史服务。 |
| The story tracks Oppenheimer — played with feverish intensity by Cillian Murphy — across decades, starting in the 1920s with him as a young adult and continuing until his hair grays. The film touches on personal and professional milestones, including his work on the bomb, the controversies that dogged him, the anti-Communist attacks that nearly ruined him, as well as the friendships and romances that helped sustain yet also troubled him. He has an affair with a political firebrand named Jean Tatlock (a vibrant Florence Pugh), and later weds a seductive boozer, Kitty Harrison (Emily Blunt, in a slow-building turn), who accompanies him to Los Alamos, where she gives birth to their second child. | 影片从20世纪20年代奥本海默——由基里安·墨菲激情出演——年轻时开始，一直到他头发花白，时间跨度长达几十年。其中涉及奥本海默个人和职业生涯的里程碑，包括他在原子弹方面的工作、困扰他的争议、几乎将他毁掉的反共攻击，以及帮助他维持生活、但也困扰着他的友谊和爱情。他曾与政治活跃人士简·塔特洛克（由充满活力的弗洛伦斯·皮尤饰演）有过一段恋情，后来与迷人的酒鬼凯蒂·哈里森（由艾米莉·布朗特饰演）结婚（一个经过漫长酝酿的转折），后者陪他去了洛斯阿拉莫斯，并在那里生下了他们的第二个孩子。 |
| It’s a dense, event-filled story that Nolan — who’s long embraced the plasticity of the film medium — has given a complex structure, which he parcels into revealing sections. Most are in lush color; others in high-contrast black and white. These sections are arranged in strands that wind together for a shape that brings to mind the double helix of DNA. To signal his conceit, he stamps the film with the words “fission” (a splitting into parts) and “fusion” (a merging of elements); Nolan being Nolan, he further complicates the film by recurrently kinking up the overarching chronology — it is a lot. | 这是一个紧凑的、跌宕起伏的故事，长期以来一直钟情于电影媒介可塑性的诺兰为它赋予了一个复杂的结构，并将其划分为多个揭示性的部分。片中大部分是色彩鲜明的画面；但也有一些高对比度的黑白画面。这些部分丝丝缕缕地交缠在一起，让人联想到DNA双螺旋结构的形状。为了表明自己的构思，他在影片中使用了“裂变”（分裂成几个部分）和“融合”（元素的合并）两个词；既然是诺兰的电影，故事的整体时间顺序自然被反复打乱，使电影更加复杂——总之要考虑的元素很多。 |
| It also isn’t a story that builds gradually; rather, Nolan abruptly tosses you into the whirl of Oppenheimer’s life with vivid scenes of him during different periods in his life. In rapid succession the watchful older Oppie (as his intimates call him) and his younger counterpart flicker onscreen before the story briefly lands in the 1920s, where he’s an anguished student tormented by fiery, apocalyptic visions. He suffers; he also reads T.S. Eliot’s “The Waste Land,” drops a needle on Stravinsky’s “The Rite of Spring” and stands before a Picasso painting, defining works of an age in which physics folded space and time into space-time. | 而且这还不是一个层层推进的故事；相反，诺兰用奥本海默生活中不同时期的生动场景突然将你带入他的人生漩涡中。警惕的老奥皮（密友们这样称呼他）和年轻的奥皮在银幕上快速地交替出现，然后故事短暂地来到20世纪20年代，当时的奥本海默是一个痛苦的学生，深受烈焰冲天的世界末日幻象折磨。他很难过；他还读T·S·艾略特的《荒原》，听斯特拉文斯基的《春之祭》，看毕加索的画作——在那个物理学将空间与时间合并为“时空”的时代，这位画家的作品具有决定性的意义。 |
| This fast pace and narrative fragmentation continue as Nolan fills in this Cubistic portrait, crosses and recrosses continents and ushers in armies of characters, including Niels Bohr (Kenneth Branagh), a physicist who played a role in the Manhattan Project. Nolan has loaded the movie with familiar faces — Matt Damon, Robert Downey Jr., Gary Oldman — some distracting. It took me a while to accept the director Benny Safdie as Edward Teller, the theoretical physicist known as the “father of the hydrogen bomb,” and I still don’t know why Rami Malek shows up in a minor part other than he’s yet another known commodity. | 随着诺兰对这幅立体主义的肖像进行填充，这种快节奏和碎片化的叙事还在继续，他的镜头不断穿越大洲，引入了一大批人物，包括在曼哈顿计划中发挥作用的物理学家尼尔斯·玻尔（肯尼斯·布拉纳饰）。诺兰在影片中加入了许多熟悉的面孔——马特·达蒙、小罗伯特·唐尼、加里·奥德曼——有些让人分心。我花了一段时间才接受导演本尼·萨夫迪饰演的爱德华·泰勒——被称为“氢弹之父”的理论物理学家，而我仍然不明白为什么拉米·马雷克会饰演片中一个小角色，可能只因为他是个众所周知的明星。 |
| As Oppenheimer comes into focus so does the world. In 1920s Germany, he learns quantum physics; the next decade he’s at Berkeley teaching, bouncing off other young geniuses and building a center for the study of quantum physics. Nolan makes the era’s intellectual excitement palpable — Einstein published his theory of general relativity in 1915 — and, as you would expect, there’s a great deal of scientific debate and chalkboards filled with mystifying calculations, most of which Nolan translates fairly comprehensibly. One of the film’s pleasures is experiencing by proxy the kinetic excitement of intellectual discourse. | 随着奥本海默的形象逐渐聚焦，整个世界也清晰起来。在20世纪20年代的德国，他学习量子物理；在接下来的十年里，他在伯克利教书，与其他年轻天才们交流，建立了一个量子物理研究中心。诺兰让我们真切感受到了那个时代知识界的激越——爱因斯坦在1915年发表了广义相对论——而且，正如你所料，片中出现了大量科学辩论和写满神秘计算的黑板，诺兰把其中大部分翻译得相当易懂。这部电影的乐趣之一就是间接体验知识讨论的激动人心。 |
| It’s at Berkeley that the trajectory of Oppenheimer’s life dramatically shifts, after news breaks that Germany has invaded Poland. By that point, he has become friends with Ernest Lawrence (Josh Hartnett), a physicist who invented a particle accelerator, the cyclotron, and who plays an instrumental role in the Manhattan Project. It’s also at Berkeley that Oppenheimer meets the project’s military head, Leslie Groves (a predictably good Damon), who makes him Los Alamos’s director, despite the leftist causes he supported — among them, the fight against fascism during the Spanish Civil War — and some of his associations, including with Communist Party members like his brother, Frank (Dylan Arnold). | 正是在伯克利，德国入侵波兰的消息传出后，奥本海默的人生轨迹发生了重大转变。那时，他与欧内斯特·劳伦斯（乔什·哈特奈特饰）成了朋友。劳伦斯是一位物理学家，发明了回旋加速器（一种粒子加速器），并在曼哈顿计划中发挥了重要作用。也是在伯克利，奥本海默遇到了曼哈顿计划的军事负责人莱斯利·格罗夫斯（达蒙做出了意料之中的出色表演），他让奥本海默担任洛斯阿拉莫斯国家实验室的主任，尽管奥本海默支持左翼事业——其中包括西班牙内战期间的反法西斯斗争——并且参与了一些社团，包括他的兄弟弗兰克（迪伦·阿诺德饰）等共产党员一起参加的组织。 |
| Nolan is one of the few contemporary filmmakers operating at this ambitious scale, both thematically and technically. Working with his superb cinematographer Hoyte van Hoytema, Nolan has shot in 65-millimeter film (which is projected in 70-millimeter), a format that he’s used before to create a sense of cinematic monumentality. The results can be immersive, though at times clobbering, particularly when the wow of his spectacle has proved more substantial and coherent than his storytelling. In “Oppenheimer,” though, as in “Dunkirk” (2017), he uses the format to convey the magnitude of a world-defining event; here, it also closes the distance between you and Oppenheimer, whose face becomes both vista and mirror. | 诺兰是当代少数几个在主题和技术上都如此雄心勃勃的电影人之一。他与杰出的摄影师霍伊特·范·霍伊特马合作，用65毫米胶片拍摄（以70毫米格式放映），这是他以前也曾使用的格式，可以给电影营造出磅礴的气势。其效果可能让人感到身临其境，然而有时也会觉得挫败，尤其是当片中的奇观显得比故事更充实、更连贯的时候。不过，在《奥本海默》中，就像在《敦刻尔克》（Dunkirk, 2017年）中一样，他用这种形式来传达一个举世瞩目的事件的重要性；同时，在这里，它还拉近了你和奥本海默之间的距离，他的脸既是远景，又是镜子。 |
| The film’s virtuosity is evident in every frame, but this is virtuosity without self-aggrandizement. Big subjects can turn even well-intended filmmakers into show-offs, to the point that they upstage the history they seek to do justice to. Nolan avoids that trap by insistently putting Oppenheimer into a larger context, notably with the black-and-white portions. One section turns on a politically motivated security clearance hearing in 1954, a witch hunt that damaged his reputation; the second follows the 1959 confirmation for Lewis Strauss (a mesmerizing, near-unrecognizable Downey), a former chairman of the United States Atomic Energy Commission who was nominated for a cabinet position. | 影片的精湛技艺体现在每一格画面中，但这其中不包含自我夸大的成分。即便电影人本意良好，在处理宏大题材时，也有可能变得炫耀起来，以至于过于抢风头，影响了自己本想公正对待的历史。诺兰坚持把奥本海默放在一个更大的背景中，尤其是在黑白部分，从而避免了这个陷阱。片中有一段讲述了1954年一场出于政治动机的安全权限听证会，这场政治迫害损害了奥本海默的声誉；接下来的一场戏是1959年，前美国原子能委员会主席刘易斯·施特劳斯（由令人着迷的、几乎认不出来的唐尼饰演）被提名为内阁成员。 |
| Nolan integrates these black-and-white sections with the color ones, using scenes from the hearing and the confirmation — Strauss’s role in the hearing and his relationship with Oppenheimer directly affected the confirmation’s outcome — to create a dialectical synthesis. One of the most effective examples of this approach illuminates how Oppenheimer and other Jewish project scientists, some of whom were refugees from Nazi Germany, saw their work in stark, existential terms. Yet Oppenheimer’s genius, his credentials, international reputation and wartime service to the United States government cannot save him from political gamesmanship, the vanity of petty men and the naked antisemitism of the Red scare. | 诺兰将这些黑白与彩色部分结合起来，利用听证会和确认的场景——施特劳斯在听证会中的角色，以及他同奥本海默的关系直接影响了确认的结果——创造了一种辩证的综合体。这种方法最有效的场景之一呈现了奥本海默和其他参与项目的犹太科学家（其中一些是纳粹德国的难民）如何以严峻的、关乎存亡的角度看待自己的工作。然而，奥本海默的天才、他的资历、国际声誉和战时对美国政府的服务都无法使他摆脱政治把戏、小人物的虚荣以及红色恐慌中赤裸裸的反犹主义。 |
| These black-and-white sequences define the last third of “Oppenheimer.” They can seem overlong, and at times in this part of the film it feels as if Nolan is becoming too swept up in the trials that America’s most famous physicist experienced. Instead, it is here that the film’s complexities and all its many fragments finally converge as Nolan puts the finishing touches on his portrait of a man who contributed to an age of transformational scientific discovery, who personified the intersection of science and politics, including in his role as a Communist boogeyman, who was transformed by his role in the creation of weapons of mass destruction and soon after raised the alarm about the dangers of nuclear war. | 这些黑白镜头构成了《奥本海默》的后三分之一。它们似乎太长了，在电影的这一部分，人们有时会觉得诺兰似乎过于沉溺于这位美国最著名物理学家所经历的审判。然而，并非如此，正是在这里，电影的复杂性和众多片段最终汇聚在一起，让诺兰给这幅奥本海默的肖像画上了点睛之笔——他为一个革命性的科学发现时代做出了贡献；他是科学与政治交叉点的化身——包括他作为共产主义恶霸的角色；他在创造大规模杀伤性武器中发挥的作用改变了他，并在不久之后对核战争的危险发出了警告。 |
| François Truffaut once wrote that “war films, even pacifist, even the best, willingly or not, glorify war and render it in some way attractive.” This, I think, gets at why Nolan refuses to show the bombing of Hiroshima and Nagasaki, world-defining events that eventually killed an estimated 100,000 to upward of 200,000 souls. You do, though, see Oppenheimer watch the first test bomb and, critically, you also hear the famous words that he said crossed his mind as the mushroom cloud rose: “Now I am become death, the destroyer of worlds.” As Nolan reminds you, the world quickly moved on from the horrors of the war to embrace the bomb. Now we, too, have become death, the destroyers of worlds. | 弗朗索瓦·特吕弗曾写道：“战争片，即使是和平主义的，即使是最好的，也会有意无意地美化战争，并以某种方式使其显得吸引人。”我认为，这就是为什么诺兰拒绝展示广岛和长崎的原子弹爆炸，这些决定世界进程的事件最终导致了大约10万到20万人的死亡。不过，你确实可以看到奥本海默观看第一次原子弹试爆时的情景，而且，你还能听到他在蘑菇云升起时说的那句名言：“现在我成了死神，世界的毁灭者。”正如诺兰提醒你的那样，世界很快就从战争的恐怖中走出来，欣然接受了原子弹。现在，我们也成了死神，成了世界的毁灭者。 |
| OppenheimerRated R for disturbing images, and adult language and behavior. Running time: 3 hours. In theaters. | 《奥本海默》因令人不安的画面、成人语言和行为被评为R级。片长：三小时。正在影院上映。 |
OK阅读网 版权所有(C)2017 | 联系我们