編者按： 一部優(yōu)秀而復雜的影視作品，總能找到一個點，或者拎出一條線，作為貫穿始終的綱領。隨著開場音樂“Mildred went to a war”響起，《三塊廣告牌》的劇情發(fā)展就像一群脫韁的戰(zhàn)馬，完全超乎你的掌控，卻又充滿意外的驚喜，直到最后，你會發(fā)現(xiàn)這群戰(zhàn)馬是馳騁在同一片疆場上，迎擊著共同的敵人，有種視狂奔如回歸的快感。要說通片提綱挈領的線，如下面這篇影評所述，即憤怒。
憤怒會傳染，會發(fā)生連鎖反應，甚至會摧毀數(shù)個家庭，它不是無緣無故產生的，也不會無緣無故地平息。妥善處理你的憤怒，讓其得以合理宣泄；也要在對方因你而憤怒的情況下，去捕捉那顆受傷的心，因我們見識到了——一個美國母親的憤怒，在超強殺傷力的表面下，總是亮著一顆溫暖的小燈泡。
▲《三塊廣告牌》部分片段
文/Brian Tallerico 布萊恩·托勒里科
翻譯：一寧 校譯：楊立娟 統(tǒng)稿：一寧
作者簡介：布萊恩·托勒里科，知名影評人，芝加哥影評人協(xié)會副主席，RogerEbert.com網站執(zhí)行編輯。
Anger is an energy in Martin McDonagh's brilliant "Three Billboards Outside Ebbing, Missouri," one of the best films of the year. In this "Southern American with an Irish attitude" story from the "In Bruges" writer/director that, like a lot of his work, recalls Flannery O'Connor in tone (the O'Connor quote "The truth does not change according to our ability to stomach it" could be this movie's tagline), anger is not treated like something to be cured. Hollywood likes to teach us that anger is a sin, and that only through acceptance and understanding can we find true happiness. Easier said than done, right? How can you not be angry at an unfair world? Life will take children before parents. Life will give cancer to relatively young people. Life will be racist, sexist, and cruel. And you should throw a few back and yell at something that unfair. You should fight. It is only through that fighting and that rage that other emotions like empathy and understanding can surface. Anger is not a disease to be cured but a path on the road to comprehending the world.
馬丁·麥克唐納導演的精彩電影《三塊廣告牌》是2017年最出色的電影之一，影片詮釋了這樣一種意思：憤怒是一種能量。這部出自《殺手沒有假期》的編劇兼導演之手的“帶有愛爾蘭態(tài)度的美國南方”故事片延續(xù)了他一貫的基調，即憤怒不是被當作某種可以被治愈的東西，頗讓人想起弗蘭納里·奧康納的口吻（奧康納說“真相不會因我們承受能力的改變而改變”，引用這句話作為該片的宣傳標語再合適不過了）。好萊塢總喜歡教育我們，憤怒是一種罪，只有容忍和理解才能讓我們找到真正的幸福。說說容易做起來難，對嗎？面對不公平的世界你怎能不憤怒？當生活讓白發(fā)人送黑發(fā)人，當生活讓年紀輕輕的人罹患癌癥，當生活中充斥著種族主義、性別歧視主義、甚至殘忍的行為，你肯定會對這命運的不公進行回擊，或者用大喊大叫來發(fā)泄。你要與其作斗爭，因為只有經過那樣的斗爭和狂怒，那些諸如同情和理解的情緒才會得以流露。憤怒不是一種需要治療的疾病，而是為人悟世的一條必經之路。
No one does angry better than Frances McDormand, who does her best film work here since "Fargo" as Mildred Hayes, a recently divorced mother who lost her daughter Angela less than a year ago. Angela was raped and murdered, but the case has gone cold. There was no matching DNA, so the spotlight has dimmed and Mildred is getting no updates. She's angry. She should be. One day, she sees three barren billboards on a rarely-traveled road, and she rents the space to ask the local chief of police, played by Woody Harrelson, why there are no answers. Local media becomes interested in the billboards, and the attention sparks a series of events involving not only the chief but one of his more loathsome officers, played by Sam Rockwell. Peter Dinklage, Caleb Landry Jones, Abbie Cornish, Lucas Hedges, Clarke Peters, and John Hawkes fill out a ridiculously perfect supporting cast.
憤怒這種情緒，沒人能表現(xiàn)得比弗朗西斯·麥克多蒙德更加出彩，《三塊廣告牌》是她繼電影《冰血暴》之后又一上乘之作，她在片中飾演米爾德雷德·海耶斯——一個失去女兒安吉拉還不到一年，又剛離婚不久的母親。安吉拉是被奸殺的，而案件卻被擱置，因為一直沒能查到相匹配的DNA，使得整個案件慢慢淡出了公眾焦點，米爾德雷德也無法獲知最新的進展。于是她憤怒了，她的確應該憤怒。恰巧有一天，她在一條很少有車輛經過的路邊看見了三塊無用的廣告牌，就租下來打上標語，質問當?shù)氐木L（伍迪·哈里森飾）為什么案件沒有回應。當?shù)孛襟w對這三塊廣告牌產生了興趣，由此引發(fā)了一連串事件，不光警長本人，連他手下一名令人生厭的警員（山姆·洛克威爾飾）也牽涉其中。此外，彼得·丁拉基、卡賴伯·蘭德里·瓊斯、艾比·考尼什、盧卡斯·赫奇斯、克拉克·彼得斯和瓊斯·浩克斯的出演，讓片中配角的戲份異常豐滿和完美。
You might think you have your finger on what this will be like from that description, but McDonagh's simply perfect script is never quite what you expect it to be. The mystery of what happened to Angela would have dominated other versions of this story, but this is not really that movie. On one level, it is more about cause and effect than crime and resolution. Mildred rents the billboards, which leads to pressure on the chief, which leads to anger from his loyal officer, and so on and so on down the line. McDonagh spares no one, allowing almost all of his characters to be deeply flawed, especially McDormand's Mildred and Rockwell's Dixon. Life has screwed over both of these people, and it has made them both angry. Mildred is channeling her anger to solve her daughter's murder. Dixon has less of an idea of what to do with his, but one senses early on that it's probably going to eventually cost him his job.
當你以為從影片的描述中把準了劇情發(fā)展的脈絡，麥克唐納堪稱完美的劇本卻恰恰不按套路出牌，總是讓你預想不到。安吉拉究竟遭遇了什么，這個迷一樣的問題占據(jù)了故事主線，但此片還真不是那種解謎類電影。從一個層面上來講，影片關注的并不是犯罪問題以及事情如何得到解決，而重在表達事物之間的因果關系。米爾德雷德租下廣告牌，使警長感覺壓力山大，繼而又使他那忠實的下屬怒從中來，順著這條線因因果果一環(huán)扣一環(huán)。麥克唐納沒有讓任何一個人成為擺設，幾乎所有的角色都設定有根深蒂固的缺陷，尤其是麥克多蒙德的米爾德雷德和洛克威爾的迪克遜。這兩個人在自己的生活被毀掉的同時也成為了憤怒者。米爾德雷德一心想解決掉謀殺女兒的兇手，這是她排解憤怒的渠道。而迪克遜卻不知如何處理那滿腔的憤怒，從影片前段的種種跡象也能判斷出他可能最終會為此丟掉工作。
Rockwell often plays nice guys, but he's more effective here as a racist, violent cop than you might expect. He looks older and pudgier, like he drinks himself to sleep every night and doesn't really trust that life has much in store for him. Rockwell has a big arc in this film and he takes no false steps, as usual. Harrelson is great too, but the film belongs to McDormand, who can do more with a withering glare than most actresses can do with a monologue. She is simply stunning when it comes to internal language, so often revealing the pain underneath the rage. Her Mildred takes no prisoners, but also feels like someone literally torn apart inside by grief. McDormand can destroy a monologue, too—a scene with a priest offering counsel is an all-timer, earning applause at my screening—but she's even more impressive in the minor beats. It's the curl of a lip to fight back tears or the downward glance to stop herself from punching someone. This character is so completely, fully realized in ways that other actresses couldn't have come anywhere close to capturing. It's stunning to watch.
洛克威爾通常演一些好人角色，但在此片中卻把一個持種族歧視態(tài)度的暴力警察演繹得更加淋漓盡致。他看上去更老相和矮胖，就好像他每天晚上都會喝酒喝到睡著一樣，他并不相信生活對他來說會有很多可能。片中，洛克威爾飾演的角色前后轉變很大，但他一如既往的沒有出一點差錯。哈里森的表現(xiàn)也是可圈可點，不過整部影片依然是麥克多蒙德的主場，她一個咄咄逼人的怒視就能比大多數(shù)女演員說一大段臺詞更具表現(xiàn)力，尤其在演內心戲的時候，總能在狂怒之下揭示內心深深的痛，簡直堪稱絕妙。她飾演的米爾德雷德為達目的不擇手段，可與此同時內心也在一點一點地被悲傷撕裂。麥克多蒙德能對長篇大論給予有力的痛擊——神父勸說的一幕就是最好的展現(xiàn)，讓我在觀影時為之鼓掌，而令人印象更深的則是她對那些小動作的拿捏。她撇嘴以抑制自己的淚水，垂下眼簾以克制自己不至于揮拳打人。這個角色以其他女演員不可能駕馭的方式被她徹底、完全地呈現(xiàn)出來，可謂精彩至極。
Of course, McDonagh deserves a ton of credit for not only directing her but giving her such a great part in such a smart script. Empathy and peace with the too-common injustice of our world is a common theme in cinema, but it's usually handled with kid gloves or pat resolutions. There are no easy answers in McDonagh’s world—no clear-cut heroes and villains. You will start to question Mildred and you will start to defend Dixon. In a sense, that's one of McDonagh's most stunning tricks with this film. The world is more complex than most movies would have you think, and it takes a writer of his remarkable ability to convey that. He's also operating at a more technically accomplished level than ever before, particularly in the way the film uses a great score from Coen regular Carter Burwell and well-balanced cinematography from Ben Davis.
當然，麥克唐納功不可沒，不光因為在片中指導她，更是因為讓她在如此高明的劇本中出演了一個至關重要的角色。我們的世界處處存在著不公平，而由此派生出的同情與和平，是電影中非常普遍的主題，通常都會被謹慎而妥善的處理。麥克唐納的電影世界里卻沒有一個簡單的答案——英雄和惡人都沒有明確的劃分。一開始你會對米爾德雷德產生懷疑，也會替迪克遜辯護，從某種意義上來說，那正是麥克唐納在這部電影中運用的令人瞠目的技巧之一。你會覺得，其實世界遠比大部分電影要復雜的多，這就需要一位編劇窮極他非凡的本領去呈現(xiàn)出來。從完成電影拍攝的技術層面上，他也實現(xiàn)了新的突破，尤其是科恩兄弟的主力配樂師卡特·布爾維爾為此片貢獻了高水準的電影配樂，本·戴維斯精湛的攝制技術也為本片增色不少。
Not every speedbump given us by life teaches us tolerance. A daughter shouldn't die at all, much less brutally. But what do we do with that knowledge? How do we channel our anger at an unjust world? "Three Billboards Outside Ebbing, Missouri" is one of those truly rare films that feels both profound and grounded; inspirational without ever manipulatively trying to be so. Very few recent movies have made me laugh and cry in equal measure as much as this one. Very few films recently are this good.
并不是生活中遇到的每一次挫折都是來教育我們學會容忍的。女兒本就不該死，更不用說死得這么慘。我們深諳此事但又做了些什么呢？我們的憤怒在這個不公平的世界中該何以排解？《三塊廣告牌》的確是那種讓人感覺既深刻又接地氣的比較少見的電影，其鼓舞人心的效果并非是刻意為之。最近很少有這樣的電影能讓我這般大喜大悲，確實，近期拍得如此好的電影可謂是鳳毛麟角。
聯(lián)系客服
