90年代最好的一部电影: 红色警戒线（the Thin Red Line）
原作 Josh Brastad. 杨飞翻译
Possibly the most powerful dramatic genre of film, war movies are never ignored. And in this day and age war films have certain expectations to become successful and praiseworthy: they must have a clear and evil villain, they must have an ideal GI hero, they must be provided with a sentimental patriotic score (John Williams the masses salute you) and most importantly war films must pack reassurance, a way to incorporate that killing is necessary, that war shuts out tyranny, and delivers strength to a country. (It doesn't hurt to flat out say the film's dedication is to the American men who saved the USA and ended the holocaust...aka Mr. Spielberg).
作为电影界最震撼和最戏剧化的基因，战争从来就是银幕的永恒主题。时至今日，仿佛有一个期盼，一个模式，一部成功的战争片必须要有恶魔的一方，也必须有英雄的一方与之对应，还必须要有动人的爱国主义的主题音乐（这里我要向著名的音乐制作人 John Williams 敬礼），最重要的是， 一部成功的战争片必须要贯穿着复仇的主线，用以说明杀戮是必要的。战争消灭了暴君，显示了正义的力量。（这里我不妨直言，那其实就是要表现一个或者几个美国人最终拯救了美国，结束了那些大屠杀，赫赫，问一下大导演斯皮尔伯格巴。
Terrence Malick's 1998 war film "The Thin Red Line" was a terrible box office flop. On a 60 million budget the film made barely 10 million at the box office. It was the shadow that never existed at the 98 Oscars and many professional critics included such supposed millionaire movie judges like Roger Ebert, dismissed the film.
Terrence Malick 1998年的战争片《红色警戒线》，the thin red line，是一场巨大的票房灾难， 6千万美元的投资勉强收回了1千万。1998年的奥斯卡评奖台后面有一个阴影，那就是许多职业影评家包括如Roger Ebert(百万富翁影评家)，都把《红》打入冷宫。
The answer is simple, I see it every time I'm around a wide body of people: the film never pounds any answers into our heads like most three hour films (such as the recents films of Darabout, Spielberg, Cameron)
原因很简单，这部电影我看了数遍，很多人都说，怎么回事，这部电影怎么一点头绪都没有，它要表达一个什么意思？？大多数长达3小时的电影，如斯皮尔伯格，Darabout，Cameron等所执导的巨片，多少也要给你些什么观点和答案啊。
"Line" is an essay, a poem, filled with questions and theory. In
short we, in our stress - induced mocha fueled, cell phone powered
lives want to laugh, want to cry,want to lean our heads against our
spouse, and dwell in reassurance at a movie. We don't want to
question..
《红》不是一部电影而是一篇俊文，一首诗，无数的疑问和理论贯穿始终（没有答案的）。一句话，大多数的战争片都是想让我们这些由小汽车和移动电话武装着的城市动物来笑，来哭，来让我们在电影院里歪着头靠在情人的肩上，随着剧情一起发泄我们简单复仇的幻想，我们就是不要思考。
The Thin Red Line is an anti-thesis toward war, war films, and the modern day pace of living.
《红》从这个角度来说是一篇反战檄文，反对战争，反对战争影片，更反对现代生活（周末剧院生活）。
The film begins with Private Witt, a AWOL-ed transcendentalist who
has found heaven on earth in the form of life among the natives of
the Solomon islands. In this life, Witt finds no fear, thus he
discovers immortality; to give yourself and die without a fear in
your soul. Already, without wide realization, Witt has become one of
the most unforgettable screen characters. He is the most intriguing
character in a war picture since Col. Kurtz of "Apocalypse Now" and
Hollywood screenwriters such as "American Beauty's" Alan Ball have
recognized Malick's creation (just look at "Beauty's" character
Ricky Fitts and his strong resemblance to Witt).
影片的开头，一个美军的逃兵Private
Witt，在所罗们群岛的原住民那里找到了他的天堂，他在那里找到了无畏，从而发现了永生的含义：活出你真实的自我，你自己的心灵的无惧就是你的永生！Witt甚至自己还没有意识到，他已经是战争银幕最令人难忘的角色之一，他是自Col.
Kurtz的《Apocalypse Now》以来最有特色的战争片角色，好来屋的编剧们，包括《美国美人》American
Beauty的编剧Alan Ball也点头认可Malick所创造的这个角色，别的不说，光看看《美国美人》的主角Ricky Fitts和Witt有多么相似就知道了。
The fact that so many critics have called Thin Red Line character's
unfocused and bland is truth that the philosopical aspect of film is
dying.
那么多的影评家都说《红》缺乏焦点且平淡无奇，这只说明了一个事实，那就是：好来屋电影的哲理与沉思的一面正在死去.
The characters in Line are all original (much unlike the cliché
roles of Spielberg's "Ryan"). Pvt. Bell discovers that lust and
desire are interpreted in many forms, as his hearts contentness
fades when his wife explains she could not withstand the wait for
his homecoming. Sgt. Welsh's loneliness is only unbalanced by his
kindness as he realizes that the image of one man can make a
difference.
《红》所创造的角色都非常的原始，和斯皮尔博革《抢救大兵雷恩》里的那些英雄角色根本不一样。比如，Pvt. Bell在得知他的妻子因为无法忍受翘首盼郎归的痛苦而离他而去之后，才发现人的心灵的容忍度的局限，才发现人的肉欲和欲望原来有着万千种表现形式。Sgt. Welsh直到认识到爱人在他心中的形象就是他的所有之后，才感到他的孤独感和他善良的天性无法对应。
("If I never meet you in this life, let me feel the lack. A glance from your eyes, and my life will be yours"). The confrontation between Col. Tall and Cpt. Staros give Malick's deliverance to Kubrick's "Paths of Glory" with his internal conflict between the solider and the authority who orders death for the sake of ego.
（剧中的原话是：如果我在生命中没有遇到你，那就让我与孤独为伴巴。也许你只是不经意的一个眼光，但是我的生命已经是你的了）。影片中Coll.
Tall 上尉和Staros上校的冲突给了《红》的导演Malick一个类似Kubrick的《Path of
Glory》似的表现手法：前线士兵和后方指挥官的两个世界：指挥官的尊严高于士兵的生命.
Possibly the greatest reason I award Malick's film as the decade's
finest is because it's nothing short of revolutionary. It has much
more in common with "2001: A Space Oddessy" than it does with
"Saving Private Ryan" like most reviews compare. Both "2001" and
Malick's film construct stances on humanity's present circumstance
and idealism. Whereas "2001" stretched 50 years into the future to
show how we destroy ourselves, "Thin Red" stretches 50 years into
the past.
我之所以认为《红》是90年代最佳影片，就是因为《红》无论从哪个方面来看都是电影的一场革命。《红》从这个方面来看更多的是和《2001太空漫游》相吻合，而不应该象大多数影在探讨人性的现状和唯心主义，所不同的是《2001》是科幻在50年以后看人类是怎样自我毁灭，而《红》则是让我们回到50多年前的二战看类似的毁灭。
It poses the question: why do we fight one another? So simple a
child could ask it, but no Harvard genius could even ponder to
explain a right answer. Beyond all the polics and rich egoists, why
do we even have enemies? Would the earth be a finer place without
us? Does our ruin benefit the earth?
《红》给了我们这样的问题：为什么我们要互相残杀？一个简单的小孩子都会问的问题，可笑的是连哈佛的天才们也没有办法给我们一个哪怕是象样的答案。抛开政客们的游戏和将军们的自尊不谈，简单的问题就是：为什么会有敌人这样一个概念？？？如果没有我们，地球会不会更美好呢？我们的残杀对这个星球的贡献在哪里？
In perhaps the most powerful cinematic scene of the 1990's American
and Japanese soldiers senselessly kill one another through fog, and
destroy a village in mid-morning while many Japanese are having
prayer.
也许90年代电影最残酷和戏剧化的一个镜头就是美国兵和日本兵在浓雾中的村庄里失去理智的如动物一样的互相杀戮，即使连祈祷中的日本兵也不放过。
The battle is set to Hans Zimmer's detesting ballad "Silence". There are no heros no villains, just chaos coming to a climax.
这场杀戮的背景音乐是Hans Zimmer’s
民谣《Silence》，极度的震撼和恶心。没有英雄，没有恶魔，只有混乱和没有人性的氛围。
It ends with a brave monologue in the second person that speaks
directly to the audience that clapped for "Ryan's" US GI's as they
burned some Nazi's to death: "Is this darkness in you too?"
在《抢救大兵雷恩》的结尾，许多观众看到纳粹士兵被勇敢的美国英雄烧死时都忍不住鼓掌；但是，《红》最后却以独白的方式勇敢的质问观众：你的内心难道不是同样黑暗吗？
--This text refers to the DVD edition
英文原文标题：the finest film of the 90's, March 15, 2000 Reviewer: Josh Brastad from Port Angeles, Washington
| 翻译后记 一篇1000多字的影评翻译， 原以为很简单，结果是昨天晚上我从8点一直做到11点半，还是强行完成的， 有几个地方自己还非常的不满意。各位翻译高手还请多指教。 需要说明的是，英文原件本来就有一些拼写和语法上的错误，原文是 http://www.amazon.com/ 的顾客评论，不是很正规的文章，当然行文就不是那么严谨，就更弄的我鸡手鸭脚，有几个地方一半是猜的。 翻译的两大派争论了好几个世纪， 到底应该是写实还是应该写意？最近我一直在看我国著名的法文翻译家傅雷的文集，手一痒，就自己试验着翻译点东西，再怎么说也总比在聊天室混日子多些收获巴。结果是我3个小时抽烟7根，骂娘10次，喝饮料和茶4杯，，，，，，惨。 以前也翻译过一些东西，那些医学名词非常的让人发疯。现在想来，那还算是好的，医学的只是字不认识，查字典就好了，翻译理论和文学，真要命啊，看来俺不是干这块料的， 哎，又断了一条生路啊。 STAR. July,2001 |
相关阅读
《想到了就去做|水果帮教主乔布斯在斯坦福大学的演讲》，老杨翻译版
关注老杨
杨飞作品集：www.999kg.com
微信：yangfei789288
微信公众号：老杨书吧
新浪微博@长沙杨飞
推特Twitter@feiyang17
Facebook：yangfei999999@hotmail.com