電影史上最偉大的兩部電影（如果只看1部最偉大的導演的最偉大的1部電影）

2023-07-04 05:53:21 6

衛報：如果只看1部最偉大的導演的最偉大的1部電影，你選哪一個？

整理翻譯：蘭桂姬語言文化，好好學習，天天向上

Nuts in May, 1976 五月的堅果

The comedy is flawlessly sharp, the easy laughs of drenched cagoules whittled to a point by the eye for detail. If the couple’s organic piety feels ahead of its time, a lot of the laughs echoed into the future. It was only a short step from Keith’s eventual meltdown to Alan Partridge assaulting a BBC exec with a wheel of blue cheese. But something darker ticks away too, Leigh’s world filled with the thwarted and put-upon. And here, damp campsites become a battleground of tribal identities, the kind of civil war we have all been living in lately. The best of Mike Leigh always peers into places no one else has thought to look. In Nuts in May, that place is England, the small patch of scenery where none of us can stand one other. Danny Leigh

這部喜劇完美無瑕，溼透的cagoules輕鬆地笑容細看上去就像被縮成了一個點。 如果這對夫婦的有機虔誠感超前，那麼很多笑聲都會在未來迴蕩。 從基思最終崩潰到艾倫·帕特裡奇（Alan Partridge）用一盤藍奶酪襲擊一位 BBC 高管，都只是一小步。 但也有一些更黑暗的東西在滴答作響，Leigh 的世界充滿了挫敗和裝模作樣。 在這裡，潮溼的露營地成為部落身份的戰場，這是我們最近都生活在的那種內戰。 最好的邁克·利總是凝視別人沒有想到的地方。 在《五月的堅果》中，那個地方就是英格蘭，那是我們誰都無法忍受的一小片風景。 丹尼·利

Vagabond, 1985 流浪漢

Varda’s classic Vagabond, or Sans Toit Ni Loi (No Shelter No Law), is a film with the authentic spirit of the French New Wave: complex, questioning, demanding, passionate. Sandrine Bonnaire plays Mona, a young homeless woman whom we see dead in a freezing ditch in the film’s opening and whose life is opened up through a series of flashback episodes and interviews with the people who encountered her on the road. It is a testimony narrative that bears comparison to Welles’s Citizen Kane. Mona rejects her life as a wage-slave secretary and takes off with her tent on her back, sleeping in fields or on roadsides, getting cash-in-hand jobs where she can – and facing brutal misogyny and assault. She is mutinous, uncaring, inscrutable. As she says: 「Je m』en fous – je bouge」 (「I don’t care – I just move on」). Wherever she goes, Mona spreads unease. Some people are sympathetic; some even admire and envy her freedom and defiance. Some are resentful of her lack of gratitude when they help her. Mona is a parodic version of the workings of divine grace; a mysterious force in the lives of those she crosses.

Varda 的經典「流浪漢」或 Sans Toit Ni Loi（No Shelter No Law）是一部具有法國新浪潮的真實精神的電影：複雜、質疑、要求、熱情。桑德琳·博內爾（Sandrine Bonnaire）飾演蒙娜（Mona），一個年輕的無家可歸的女人，我們在電影開場看到她死在冰冷的溝裡，通過一系列閃回情節和對在路上遇到她的人的採訪，她的生活被打開了。這是一個與威爾斯的《公民凱恩》相媲美的見證敘事。莫娜拒絕了她作為工資奴隸秘書的生活，她背著帳篷起飛，睡在田野或路邊，儘可能地獲得手頭現金的工作——並面臨殘酷的厭女症和攻擊。她是叛逆的，冷漠的，高深莫測的。正如她所說：「我不在乎——我只是繼續前進」。無論走到哪裡，莫娜都會感到不安。有些人是有同情心的；有些人甚至欽佩和羨慕她的自由和反抗。有些人在幫助她時對她缺乏感激之情感到不滿。 Mona 是對神聖恩典運作的戲仿版本，對於遇到她的來說，她是一種神秘力量。

Do the Right Thing, 1989 做正確的事

Spike Lee’s classic is not so much prophetic as enduringly, tactlessly relevant – beginning with a warning about climate change and ending with a Black man killed in a police chokehold. It is an unbearably hot day in the Bed-Stuy area of Brooklyn, New York – then in the first stages of gentrification（富人搬進窮人郊區逐漸取代當地人的一種趨勢） – and racial tension is rising on the streets. 「If this hot weather continues, it’s going to melt the polar ice caps and the whole wide world,」 says someone outside Sal’s Famous Pizzeria, which employs Mookie (played by Lee himself) as a delivery guy

.斯派克·李的經典作品與其說是預言性的，倒不如說是經久不衰的、巧妙地具有普適性的——從對氣候變化的警告，到一名黑人在警察的鎖喉中喪生。在紐約布魯克林的 Bed-Stuy 地區，這是一個難以忍受的炎熱日子——當時正處於社區「高級化」的第一階段——街頭的種族緊張局勢正在加劇。 「如果這種炎熱的天氣持續下去，極地冰蓋和整個世界都會融化，」Sal's Famous Pizzeria 外面的人說，這家店僱傭了 Mookie（李本人飾）作為送貨員

The Piano, 1993 鋼琴

The purest place to start with New Zealand film-maker Campion is with her third film, The Piano. A period drama set in the 1850s, it stars Holly Hunter as Ada, a mute pianist who travels from Scotland to New Zealand to fulfil an arranged marriage to Alisdair Stewart (Sam Neill).紐西蘭電影製作人坎皮恩最純粹的起點是她的第三部電影《鋼琴》。 一部以 1850 年代為背景的時代劇，由霍莉·亨特（Holly Hunter）飾演一位啞巴鋼琴家艾達（Ada），她從蘇格蘭前往紐西蘭，完成與阿利斯代爾·斯圖爾特（山姆·尼爾飾）包辦婚姻。

Lovers Rock (part of the Small Axe anthology), 2020 搖滾戀人（小斧頭選集的部分）

Steve McQueen is obsessed with the human body. He lingers on Bobby Sands’s wasting frame in Hunger, prison cell smeared with human faeces; on sex addict Brandon, full frontal in Shame; on the graphic humiliations suffered by cotton picker Patsey in 12 Years a Slave. In Lovers Rock, the second instalment of his Small Axe anthology, a series of stories that centre on London’s West Indian community, bodies are important, too. The film takes place in Ladbroke Grove in 1980, during a house party, and builds to a transcendent 10-minute set piece soundtracked by Janet Kay’s Silly Games. It is hardly his most conventional film – plot-wise, almost nothing happens – but start here anyway, working backwards through his filmography to properly appreciate his range.

史蒂夫麥昆痴迷於人體。 在《飢餓》中，他徘徊在鮑比·桑茲消瘦的身軀上，牢房裡到處都是人類的糞便； 關於性癮者布蘭登，羞恥的正面； 在《為奴十二年》中棉花採摘者帕西遭受的圖形羞辱。 在 Lovers Rock 中，他的小斧頭選集的第二部分，一系列以倫敦西印度社區為中心的故事，身體也很重要。 這部電影發生在 1980 年在 Ladbroke Grove 的一次家庭聚會中，並以珍妮特·凱 (Janet Kay) 配樂的超凡 10 分鐘布景為基礎。 這幾乎不是他最傳統的電影——充滿智慧的情節，但這部電影裡幾乎都沒有——但無論如何，通過他的這部電影依舊可以很好地欣賞到他的作品深度。

Kiki’s Delivery Service, 1989 琪琪的外賣服務

Kiki’s newfound independence is its own magical adventure but the stakes are low-key. Her biggest challenge is to ensure she doesn’t burn out. Exhausted from overpromising herself, her confidence and her powers begin to fade. The women in her life encourage her to spend time in nature, to paint, to rest and to heal. People pleasers will identify, and be comforted as Miyazaki privileges a child’s point of view with the utmost empathy and seriousness. 琪琪的獨立是它自己的神奇冒險，但賭注是一定要低調。她最大的挑戰是確保她不會精疲力盡。由於過度承諾，自己搞得筋疲力盡，她的信心和力量開始消退。她生命中的女人鼓勵她和自然多相處，畫畫，休息和治癒。當宮崎駿以最大的同理心和嚴肅態度尊重孩子的觀點時，那些喜歡取悅別人的人往往會感到共鳴和安慰。

Armageddon, 1998 世界末日

Michael Bay’s cinema is the cinema of the vulgar, and that’s what makes him so compulsively watchable. We all need a little vulgarity in our lives now and then; to strive ceaselessly after good taste is, after all, a thoroughly tasteless endeavour. Armageddon is the naffest, funniest and most delicious of the hollow but addictive treats that comprise the Bayhem canon.麥可·貝的電影是庸俗的電影，這就是他如此令人著迷的原因。我們都需要在生活中時不時地有點庸俗；不斷地追求好品味，畢竟是一種索然無味的努力。世界末日是封裝了麥可式的經典空洞主義電影，但確實是最有趣、最美味的令人上癮的零食。

Bad Education, 2004 壞教育

The Spanish director’s modus operandi is to bring telenovela plots to life through vivacious image-making that owes as much to Fauvism as anything in cinema.這位西班牙導演的「作案手法」是通過生動的圖像製作將電視劇情節帶入生活，和其他任何電影一樣，他的電影中也有野獸派風格。

Trouble Every Day, 2001 麻煩的每一天

Trouble Every Day isn’t necessarily a typical Claire Denis, but it’s a great place to start. Set mainly in Paris, the minimalist plot unfurls slowly, though we understand from the off that horrific, compulsive violence is the engine throbbing beneath the hood.這部電影不一定是典型的克萊爾丹尼斯風格的電影，但它是一個很好的了解導演的開始。 電影主要設置在巴黎，極簡主義情節緩慢展開，儘管我們從一開始就明白，可怕的、強迫性的暴力是蓋下跳動的引擎。

Point Break, 1991 突破點

The film was slick Hollywood entertainment and still clearly the vision of a woman sprung from the downtown Manhattan art scene. So with Point Break, you get a popcorn movie as silly as the premise implies, made more so by the yin-yang double act of Patrick Swayze and Keanu Reeves. You also get weirdly chewy ideas about the road from adrenaline to Zen, a needy hero and spiritually enlightened bad guy. And the glue for these inner tensions were God-level action scenes: another Bigelow trademark, her female gaze focused on a mayhem of male bodies.

這部電影是一部狡猾的好萊塢娛樂片，仍然清晰地描繪了曼哈頓市中心藝術界的女性形象。 因此，通過 Point Break，你會得到一部像前提暗示的那樣愚蠢的爆米花電影，派屈克·斯威茲和基努·裡維斯的陰陽雙重表演更是如此。 你也會對從腎上腺素到Zen的道路這一轉變產生想要細品的想法，zen是一個需要幫助的英雄和精神上覺醒的壞人。 而這些內在張力的粘合劑是上帝級別的動作場景：另一個畢格羅的標誌是：她觀察視角主要集中在男性身體間的混亂上。

Goodfellas , 1990 好朋友

The richness, delicious dark humour, jukebox slams and rocket-fuelled storytelling of Goodfellas make it one of Scorsese’s classics. It hooks you from the very first, with Ray Liotta’s gravelly voiceover: 「As far back as I can remember, I always wanted to be a gangster …」

飽滿的情節、美味的黑色幽默、點唱機式的大滿貫和火箭般推進的故事使Goodfellas成為斯科塞斯的經典作品之一。 它從一開始就吸引了你，伴隨著雷·利奧塔（Ray Liotta）沙啞的畫外音：「從我記事起，我就一直想成為一名黑幫……」

Stalker, 1979 潛行者

By now, the forbidding aura that once surrounded Andrei Tarkovsky’s Stalker has all but dissolved. The backstory to the Soviet director’s post-industrial sci-fi is oft retold these days: how a first version was shot on film ruined back in Moscow, demanding it be started again from scratch; the locations downriver of a chemical plant said to have caused Tarkovsky’s death.至此，曾經圍繞在安德烈·塔可夫斯基的《潛行者》的那種神秘的氣息幾乎已經消散。 如今，這部蘇聯導演的後工業科幻片的背景故事經常被重述：比如第一個版本是如何在莫斯科被毀之後又重新拍攝的，這需要從頭開始說起-據說導致塔可夫斯基死亡的和下遊的一家化工廠有關...

參考：If you watch only one film … the greatest movies by the greatest directors | Film | The Guardian