Gents and Hicks 紳士與鄉(xiāng)巴佬 Pauline Kael 文/寶琳·凱爾 譯/Chatgpt The Swedes must have their own terms for the suppressed hysteria and the male obsession with proving oneself by great, daring achievements which we associate with Victorianism. In Jan Troell's The Flight of the Eagle, an account of the 1897 North Pole expedition by balloon undertaken by the Swed- ish engineer S. A. Andree and two colleagues, Andree himself (played by Max von Sydow) is a classic case of raging fears hidden under a stoic, "manly" exterior. Andree has brushed aside the judgments of experts that such a trip can only fail and has convinced the press and the public that he is an intrepid hero and the big, ballyhooed adventure a matter of national honor. He has raised money for the gigantic balloon-christened the Eagle-from the richest men in Sweden (including King Oscar II and Alfred Nobel) . His only setback has been a humiliating postponement of the flight, first scheduled for 1896, because the winds weren't favorable. So in July of 1897, when weather conditions aren't really favorable, either, but don't seem too bad, the balloon house is torn down and the three pitifully inexperienced aeronauts go up. 瑞典人一定有自己的詞匯來形容那種被壓抑的歇斯底里，以及男性對通過偉大而大膽的成就來證明自己的執(zhí)念——這一點讓人聯(lián)想到維多利亞時代的精神氣質(zhì)。揚·特羅爾的電影《鷹揚》講述了 1897 年瑞典工程師 S.A. 安德烈（S. A. Andrée）與兩位同伴乘熱氣球進行北極探險的故事。而安德烈本人（由馬克斯·馮·敘多夫飾演）正是一個典型的案例：在堅忍、“男子氣概”十足的外表下，隱藏著洶涌的恐懼。安德烈無視專家的判斷——他們認為這次旅程注定失敗。他成功說服了媒體和公眾，讓他們相信自己是一位無畏的英雄，并使這次大張旗鼓的冒險被視為國家榮譽之戰(zhàn)。他為這只巨大的熱氣球（命名為“雄鷹”）籌集了資金，資助者包括瑞典最富有的人——其中甚至包括奧斯卡二世國王和阿爾弗雷德·諾貝爾。他唯一的挫折是飛行計劃的延期——原定于 1896 年啟程，但因風向不利而不得不推遲，這對他而言無疑是一次羞辱。于是，在 1897 年 7 月，盡管天氣條件仍然不太理想，但似乎也沒有太糟糕，安德烈決定出發(fā)。氣球棚被拆除，三位可憐的、缺乏經(jīng)驗的飛行員乘著熱氣球升空了。 The lift-off is a calamity. The Eagle-over a hundred feet high, with a hundred and sixty-nine thousand cubic feet of hydrogen-rises, then starts to fall into the ocean. Andree orders ballast thrown overboard, and the balloon rises again, but in the confusion all three guide ropes are lost, and he and the other two men know that they will now have no way to control the thing. They will drift, at the mercy of the winds. They could save themselves, call off the expedition, and face the jeers of the well-wishers and journalists who have been celebrating the great occasion and are still waving, down below. But Andree's fear of losing face is much stronger than his fear of losing his life, or his sense of responsibility for the other men's lives. The moment to admit failure passes, and the balloon floats northward. In a few days, it's heavily encrusted with ice and snow, and despite the struggles of the men, who throw out their provisions and manage to stay aloft for sixty-six hours, the winds force them down. The Eagle collapses on an ice floe five hundred miles from the Pole and about two hundred miles from land. Beached in the Arctic desolation, the amorphous, still partly swollen balloon looks like something horrible that has crept up from the sea and died. 起飛過程是一場災(zāi)難。“雄鷹”號——高達百余英尺，內(nèi)部充滿了十六萬九千立方英尺的氫氣——升空后不久便開始墜向海面。安德烈急忙下令拋棄壓艙物，使熱氣球重新升起，但在混亂之中，三條引導(dǎo)繩全部遺失。他和另外兩名隊員很快意識到，他們已經(jīng)失去了操控氣球的任何手段。他們只能隨風飄蕩，任由氣流擺布。他們本可以選擇自救，終止探險，接受人群的嘲笑——那些在地面上歡呼、慶祝這次偉大遠征的支持者和記者，此刻仍在向他們揮手。然而，對安德烈來說，丟臉的恐懼遠遠超過了對死亡的恐懼，也勝過了對同伴生命的責任感。承認失敗的機會一閃而逝，熱氣球繼續(xù)向北漂移。幾天后，厚厚的冰雪覆蓋了整個氣球。盡管三名探險者拼命掙扎，拋棄了物資，勉力維持氣球在空中飄浮了六十六個小時，最終仍然被風暴逼降。“雄鷹”號最終墜落在一片浮冰上，距離北極約五百英里，距離最近的陸地也有兩百英里之遙。在北極荒原的冰面上，殘破而仍部分鼓脹的熱氣球，宛如某種從深海爬上岸的怪物，在這里死去。 Andree's fantasy had already been deflated, in the chaos of the lift-off, when the other two men realized that he didn't know what he was doinghe had actually been up in balloons only a few times and never for more than three and a half hours. Even before they fall, all three of them recognize that they don't stand much chance of making it back. But-and this is certainly part of the Victorian spirit-Andree never allows himself to appear discouraged. If he can't achieve the glory of planting the Swedish flag at the Pole, he may still make some scientific contributions. The others calculate the direction of the nearest land; they hope to go south. But Andree decides that the group should head toward an unexplored region in the east. 在混亂的起飛過程中，安德烈的幻想便已經(jīng)破滅了。兩位同伴這時才意識到，他其實根本不知道自己在做什么——他之前乘坐熱氣球的經(jīng)驗屈指可數(shù)，且從未超過三個半小時。甚至在墜落之前，他們?nèi)司鸵衙靼祝约簬缀鯖]有生還的可能。但——這正是維多利亞時代精神的一部分——安德烈始終不允許自己表現(xiàn)出任何氣餒的跡象。如果無法獲得在北極插上瑞典國旗的榮耀，那么至少，他仍然可以做出一些科學(xué)貢獻。其他兩人計算出最近的陸地所在方向，希望能向南前進。但安德烈卻決定，他們應(yīng)該向東部的一片未知區(qū)域進發(fā)。 They trudge over the shifting ice floes for almost three months, getting nowhere. Andree, absorbed in his cataloguing of data, seems more than a little mad. He keeps scrupulous records of the thickness of the ice, the temperature of the air, and everything they see-even the hardships that they finally succumb to. In 1930, when the bodies of Andree and his companions were found, his records were intact, preserved in his clothing where he had care- fully stored them, and the negatives of the photographs taken were also recovered. Thirty-four of them turned out to be of good quality, and many of these can be seen in the movie. Periodically, the action is transformed into a black-and-white still; the effect is of a memento mori, and it helps to give The Flight of the Eagle a disturbing visual texture-a poignancy that goes beyond that gf the usual epic film. We seem to be both inside this expedition, watching the interactions of the three men, and outside it, seeing it as something in the past. As the film goes on, its color palette contracts: warm colors disappear, and we are left with the glittering white of packed snow, the blue-white of snow casting shadows on itself (like eggs in a carton) , and silvery grays, charcoal grays, dull, icy grays. When the men rip open a polar bear, its red flesh is a visual shock; the film has been turning into the black and gray and white of the photographs. 他們在漂移不定的浮冰上艱難跋涉了將近三個月，卻始終毫無進展。安德烈全身心地投入到數(shù)據(jù)記錄之中，顯得近乎瘋狂。他仔細記錄著冰層的厚度、空氣的溫度，以及他們所見的一切——甚至包括他們最終無法承受的種種苦難。1930年，當人們發(fā)現(xiàn)安德烈及其同伴的遺體時，他的記錄依然完好無損，被精心存放在他的衣物之中。此外，他們拍攝的照片底片也被成功回收。其中有三十四張照片保存良好，其中許多都出現(xiàn)在影片中。電影時不時地切換為黑白靜態(tài)畫面，這種處理方式營造出了一種 memento mori（死亡記憶）的效果，使 《鷹揚》 的視覺風格更具震撼力，超越了傳統(tǒng)史詩電影的哀婉感。觀眾仿佛既置身于這次探險之中，觀察著三名探險者之間的互動，又同時站在歷史之外，審視著這場早已過去的悲劇。隨著影片的推進，色彩逐漸收縮，溫暖的色調(diào)徹底消失，只剩下耀眼的積雪白、雪堆投下的藍白色陰影（像雞蛋靜靜地躺在紙盒里），以及銀灰、炭灰、暗淡的冰冷灰。當探險者剖開一頭北極熊時，鮮紅的血肉成為令人震驚的視覺沖擊——因為整部電影正逐漸化為照片的黑、灰、白色調(diào)。 Jan Troell is both cinematographer and director here, as he was on his two-part epic The Emigrants and The New Land, and is also, once again, the film editor and one of the collaborators on the script. (It's based on the 1967 book by Per Olof Sundman. ) Troell goes right at his subject. He doesn't pamper the audience, and his actors don't stand out in a theatrical way. There's no coyness, no ingratiation, and none of the usual dramatic devices to alert us that big things are happening up there on the screen. There's no pressure, either. The Flight of the Eagle develops its own momentum. 揚·特羅爾在這部電影中既擔任攝影師，又擔任導(dǎo)演，就像他在那部分為兩部分的史詩電影《移民者》和《新大陸》中所做的那樣。此外，他再次兼任剪輯師，并且還是劇本的合作者之一。（本片改編自佩爾·奧洛夫·桑德曼 1967 年出版的同名書籍。）特羅爾直擊主題，不刻意迎合觀眾，也不讓演員們以戲劇化的方式突出表現(xiàn)。影片中沒有矯揉造作，也沒有刻意討好觀眾，更沒有那些常見的戲劇性手法來提醒我們屏幕上正在發(fā)生重大事件。也沒有任何刻意制造的緊迫感。 《鷹揚》 完全憑借自身的節(jié)奏與力量推進故事的發(fā)展。 Andree's determination to make something extraordinary of his life is treated without romanticism, but is given its due. Von Sydow seems to get into a realm of almost mystic creativity, and he's scarily convincing; as he plays Andree, we grasp why this man can't ever do the sensible thing to save his hide, and why he can't acknowledge his fears. Courage, gallantry, will power, and self-control mean far more to him than the physical passion of his mistress does. Andree never sacrifices his unquestioned authority as the leader of the expedition. He doesn't lose his air of inquiry or his formality when he and the others are eating raw polar bear. (He isn't shaken until a polar bear gnaws on human flesh. ) When he writes in his log that everything is fine, he's doing what he believes is an explorer's duty: to be hopeful, no matter what. He's a man of another century, and in some ways he seems remote from us even when we feel his pain and when we feel we see right through him. His two partners have more of a capacity for enjoying themselves, but initially, at least, they share his crazed vision. Nils Strindberg (Go ran Stangertz) , a gentle young physicist who loves music and his pianist fiancee, leaves her and the other good things on land to sail in the clouds (and fall through the ice). And the huge, burly Knut Fraenkel (Sverre Anker Ousdal), who is Andree's spiritual adversary during the whole ordeal-a funny roughneck with an ironic twist to his hostility-blinds himself to the insanity of the expedition until it's too late. All three breathe the spirit of the age. Gentlemen of their time, they're interested in science and technology and the arts; they're eager to know whatever there is to be learned. At the last of the send-off par- ties given for these amateur aeronauts, Andree dances with Lachambre (Clement Harari) , the roly-poly, bearded little Frenchman who manufactured the Eagle, and who has dressed himself up as Mother Balloon. In costume or out, Lachambre is like a dreaming child who has turned into Kris Kringle. It's the age of Jules Verne. 安德烈想要讓自己的一生變得非凡，這種執(zhí)念在影片中并未被浪漫化，但卻得到了應(yīng)有的刻畫。馬克斯·馮·敘多夫仿佛進入了一種近乎神秘的創(chuàng)作境界，他的表演令人驚嘆地真實可信。通過他塑造的安德烈，我們得以理解這個人為何永遠無法選擇明智之舉以保全自己，又為何無法承認自己的恐懼。對安德烈而言，勇氣、英勇、意志力和自制遠比情人的肉體激情更為重要。安德烈始終不曾放棄自己作為探險隊領(lǐng)袖的絕對權(quán)威。當他和隊友們吃著生北極熊肉時，他的探求精神和矜持依舊不變。（直到有一頭北極熊啃食人肉，他才真正動搖。）當他在日志中寫下“情況良好”時，他是在履行自己認為探險者應(yīng)盡的職責：無論面對何種困境，都要保持希望。他屬于另一個時代。在某些方面，即便我們能夠感受到他的痛苦，甚至能夠看穿他，但他依然顯得與我們疏遠。相比之下，他的兩位同伴更懂得如何享受生活，但至少在一開始，他們也曾認同過他的瘋狂愿景。尼爾斯·斯特林德伯格（由戈蘭·斯唐格茨飾演）是一位溫和的年輕物理學(xué)家，熱愛音樂，深愛著他的鋼琴家未婚妻。然而，他離開了她，放棄了陸地上的美好生活，選擇了在云中航行（最終墜入冰雪）。而魁梧壯碩的克努特·弗朗克爾（由斯維雷·安克·奧斯達爾飾演）則是安德烈在整場苦難旅程中的精神對手。他是個帶著諷刺意味的粗獷漢子，性格風趣而帶有一絲敵意，但他始終對這次探險的瘋狂本質(zhì)視而不見，直到一切都已無可挽回。他們?nèi)硕汲休d著那個時代的精神——作為維多利亞時代的紳士，他們熱衷于科學(xué)、技術(shù)和藝術(shù)，對未知的一切都懷有強烈的求知欲。在為這些業(yè)余飛行員舉辦的最后一次歡送會上，安德烈與拉尚布爾（由克萊芒·哈拉里飾演）共舞。拉尚布爾是那個制造了“雄鷹”號的胖乎乎、留著胡子的法國人，此刻他裝扮成了“母氣球”。無論是穿著戲服還是以真面目示人，拉尚布爾都像是一個沉浸在幻想中的孩子，仿佛化身為了圣誕老人克里斯·克林格爾。這是儒勒·凡爾納的時代。 Troell brings these characters from another time so close that by the end they're like possibilities inside us. And the big, black balloon, which represents so much folly and hope, is itself a character. At the beginning of the film, with the titles, we hear a restrained, percussive sound, premonitory and chilling; later, it's mixed with the sprightly tunes at the parties. It could almost be the voice of the monstrous dark blob on the ice-the warning that the three Victorians don't listen to. Troell's moviemaking here is a one-of-a-kind mixture of stolidity and lyricism, with a touch of the uncanny. The film is steady and evenly paced, whether it shows the men exercising to strengthen their bodies for the trip or posing as they are reproduced in wax for posterity. Andree takes a replica of his head to his mother -presumably to comfort her in his absence or to remember him by if he doesn't return. This leader of men, with his gaunt dignity, and his pale-blond eyelashes and soft, carrotblond hair, is at his most anxious and uncertain with his mother. When she objects to the beard on the replica, he explains that polar explorers need beards for warmth, but one by one he carefully pulls the whiskers out of the wax face, so she won't be distressed by them. The film shows us Nils Strindberg suffering in the cold and desperately ill on his birthday, and the other two trying to cheer him up with a gift: a tiny packet of candies. (Fraenkel says, "With true altruism, we only licked half of them.") Strindberg, who has the friendliest nature of the three, is physically the weakest; when the misery is too much for him he seems to begin living in the past-or an imagined future-with his fiancee. In the icy wastes, when the · men think of erotic and happier times, the flashback fantasies are unnaturally bright and luminous and almost stiff-as if the men's memories were freezing, too. When Fraenkel and Strindberg do a festive little dance to celebrate the sick joke that the ice floes have changed direction so many times that Andree has been leading them south without knowing it, the scene suggests the world of Beckett. Loneliness and suffering burn out both Fraenkel's and Strindberg's hopes, but Andree, like those madmen in literature who go on classifying specimens when their world has fallen apart, keeps making the meticulous entries in his journals that will, long after his death, bring him the acclaim he sought: S. A. Andree has become one of Sweden's national heroes-a great, mythic figure. 特羅爾將這些來自另一個時代的人物塑造得如此貼近現(xiàn)實，以至于在影片結(jié)束時，他們仿佛成了我們內(nèi)心的一種可能性。而那只巨大的黑色氣球，它既象征著愚蠢，也承載著希望，本身也成為了一個角色。影片開頭，在字幕出現(xiàn)時，我們聽到了一種低沉而節(jié)奏鮮明的敲擊聲，預(yù)示著不祥，令人寒意頓生。后來，它與歡送宴會上輕快的旋律交織在一起。它幾乎成了那片冰原上那團黑色怪物般氣球的聲音——那是一種警告，而這三個維多利亞時代的人卻置若罔聞。特羅爾的電影風格在這里展現(xiàn)出一種獨特的融合，既有冷峻堅實的一面，又帶著抒情的詩意，還隱約透出幾分詭異。影片節(jié)奏穩(wěn)定而均勻，無論是展現(xiàn)他們進行鍛煉以強化身體，還是擺出姿勢，讓自己的形象被制作成蠟像，以供后世銘記。安德烈?guī)е约侯^部的蠟像去見母親——或許是為了在自己離開時安慰她，或者如果他無法歸來，至少母親還能留存一份念想。這位隊伍的領(lǐng)導(dǎo)者，外表消瘦而莊重，擁有淺金色的睫毛和柔軟的胡蘿卜色頭發(fā)。然而，唯獨在母親面前，他顯得最焦慮、最不確定。當母親對蠟像上的胡須表示不滿時，他耐心解釋說，極地探險家需要胡須來保暖。然而，為了不讓母親難過，他還是一根根地拔掉了蠟像臉上的胡須。影片展現(xiàn)了尼爾斯·斯特林德伯格在生日當天遭受嚴寒折磨、病入膏肓的情景。而另外兩人試圖用一份禮物——一小包糖果——來安慰他。（弗朗克爾半開玩笑地說：“出于真正的無私精神，我們只舔了一半。”）斯特林德伯格是三人中性格最和善的，但身體卻最為孱弱。當苦難超出他能承受的范圍時，他似乎開始活在回憶之中，或者在幻想中的未來，與他的未婚妻相伴。在冰冷荒蕪的極地，當他們回憶起曾經(jīng)的歡愉時，那些閃回的幻想?yún)s顯得不自然地明亮、耀眼，甚至有些僵硬——仿佛他們的記憶也正在凍結(jié)。當弗朗克爾和斯特林德伯格跳起一支輕快的舞蹈，慶祝這個荒謬的玩笑——冰層已經(jīng)無數(shù)次變向，而安德烈卻渾然不覺地一直在朝南前進——這一幕讓人不禁想起貝克特的荒誕世界。孤獨與苦難最終摧毀了弗朗克爾和斯特林德伯格的希望，但安德烈卻如同文學(xué)作品中的那些瘋子，即便世界崩塌，依然執(zhí)著地分類整理標本。他繼續(xù)在日志中一絲不茍地記錄數(shù)據(jù)，而這些記錄，最終在他死后許久，才為他贏得了他渴望的榮譽：S.A. 安德烈已成為瑞典的民族英雄——一個偉大而傳奇的人物。 Troell's straightforward methods aren't novelistic; they're almost the opposite of the Masterpiece Theatre techniques. As a cinematographer-writer-director, he has a unity of image and idea which has rarely been attained since the silent era. He does what young film enthusiasts dream of doing-uses film as a painter uses paint, a writer uses pencil and paper. But The Flight of the Eagle gives you the feeling that you've got into a beautiful, whopping big book and are opening your mind and imagination to what it presents. When the balloon falls, the movie takes off, and it has the emotionally devastating effect of a great novel. There's a heft to Troell's sensibility. His landscapes are palpable, and the people in them are part of a magnificent visual sensuousness. He doesn't try to subdue nature; he accepts the rawness and the austerity along with the vernal lushness. In The Treasure of Sierra Madre, we saw the developing personalities of three men; here we see three men gradually bleached of their differences. In their last days, they're all in such terrible shape that they turn into joking pals. Toward the end, it's as if they shared one memory and had become one person. The final, reconciliation scene between Fraenkel and Andree is, in its way, peerless. When Fraenkel has been mauled by a polar bear and is dying, Andree pleads with him, "You can't go now . . . . You've got to stay with me." Fraenkel whispers ''I'm sorry" with his last breath. Then Andree lays him out in the pink silk scarf and the white gloves that Fraenkel had brought with him for the victory celebration when they were all going to be presented to the Czar. The movie earns the emotions that it brings forth. Troell doesn't tell you what happens; in his attentive way, he makes it happen right in front of you. These Victorians turn into modern man. 特羅爾的敘事手法并不具有小說化的風格，幾乎完全背離了《名著劇場》（Masterpiece Theatre）那種精雕細琢的戲劇化表現(xiàn)方式。作為一名攝影師、編劇和導(dǎo)演，他實現(xiàn)了一種影像與思想的高度統(tǒng)一，而這種成就，自無聲電影時代以來便極為罕見。他實現(xiàn)了許多電影愛好者夢寐以求的理想——像畫家使用顏料、作家使用紙筆那樣，以電影作為媒介自由表達。然而，《鷹揚》帶來的體驗更像是翻開了一本宏偉壯麗的巨著，讓觀眾的思想與想象力隨之敞開，沉浸其中。當熱氣球墜落時，電影反而真正“起飛”了，它所帶來的情感沖擊力不亞于一部偉大小說。特羅爾的感性中帶有一種厚重感。他鏡頭下的風景觸手可及，而其中的人物則融入了這壯麗的視覺體驗，成為其中不可分割的一部分。他并不試圖征服自然，而是接受它的原始粗獷與嚴酷，同時也欣然擁抱它的春日豐茂。在《碧血金沙》（The Treasure of the Sierra Madre）中，我們看到的是三個人格逐漸發(fā)展的過程，而在這里，我們看到的是三個人的個性逐漸被時間侵蝕，變得模糊不清。在生命的最后日子里，他們的身體狀況已糟糕至極，以至于彼此之間只剩下苦中作樂的玩笑。到了最后，仿佛他們已經(jīng)共享同一個記憶，合而為一。弗朗克爾與安德烈之間最終的和解場景，以其獨特的方式，達到了無與倫比的境界。當弗朗克爾被北極熊重傷、瀕臨死亡時，安德烈懇求道：“你不能走……你得留下來陪我。”弗朗克爾在生命的最后一刻輕聲呢喃：“對不起。”隨后，安德烈用粉色絲巾和白色手套將他的遺體安放好——那是弗朗克爾特意帶來的勝利慶典服飾，原本是為了他們凱旋歸來時向沙皇致敬所準備的。這部電影所激發(fā)出的情感，是它實實在在贏得的，而非廉價的煽情。特羅爾并不直接告訴你發(fā)生了什么，而是以他那專注細膩的方式，讓一切在你眼前真實上演。這些維多利亞時代的人，最終化身為現(xiàn)代人。 /摘自寶琳·凱爾影評集《Taking It All in》/