觉得龙猫的几个观察还蛮好玩，尤其是他们自己造城这件事还真的没想过......试翻一下
。
※ 引述《asd1 (DoAs最高)》之铭言：
: 来自陀螺的twitter
: https://twitter.com/RealGDT/status/1084701184110153729
: 肯定有雷 最后还提了一下Alfonso Cuaron执导《地心引力》时 对结局表现手法的坚持
: 碍于本人中英文的程度不足以翻译全文 只能坐等神人
: 喜欢《罗马》的朋友可以看一下导演的好麻吉是如何解读这部片
: 有些观察跟切入点的确很有意思
: 10 personal musings about ROMA.
个人对罗马的十个凝思
: 1) The opening shot suggests that earth (the shit-infested ground) and heaven
: (the plane) are irreconcilably far even if they are joined -momentarily- and
: revealed, by water (the reflection). All truths in ROMA are revealed by water.
开场的镜头显示着地 (被狗屎玷污的地板) 与天 (飞机) 有着无可接壤之遥─即使它们暂
时性地藉著水(之中的倒影)而被凝缩在一块。在"罗马"之中，所有的真理都是透过水来被
揭示的。
: 2) These planes of existence, like the separation within classes in the
: household cannot be broached. The moments the family comes "closer" are
: fleeting... "She saved our lives" is promptly followed by "Can you make me a
: banana shake?"
这些存在之位面，像是那家户中的阶级分隔，是无法被凿开的。这一家人会凝聚在一块
的时刻都转瞬即逝。"她救了我们一命"立刻就接着"你可以帮我做一杯香蕉奶昔吗?"。
: 3) In my view, Cleo's "silence" is used as a tool for her dramatic arch- that
: leads to her most intimate pain being revealed, by water - again- after the
: Ocean rescue: "I didn't want her to be born" Cleo surpasses and holds her
: emotions in silence until they finally pour out.
在我看来，Cleo的"沉默"是被用来完成她的戏剧结构的工具。这份沉默，领着她走向在那
海中救援以后，因为水(再一次地)而被揭发的深沉痛楚："我不想要她被生下来" 直到
那些情绪满溢而出以前，Cleo都在沉默中抑止与克制它们。
: 4) One key moment, precisely crafted is Cuaron's choice to have Cleo's water
: break just as the violence explodes and her boyfriend breaks into the store
: holding both a gun and a "Love Is..." T shirt. The baby will be stillborn.
其中一个被精心打造的关键时刻，是Cuaron选择在Cleo的羊水破裂时让那场骚乱大爆发
，而她男友持枪、穿着一件有着"爱是..."标语的T恤闯进店家中。Cleo的宝宝将会胎死腹
中。
: 5) In every sense, ROMA is a Fresco, a Mural, not a portrait. Not only the
: way it is lensed but the way it "scrolls" with long lateral dollies. The
: audio visual information (context, social unrest, factions & politics /
: morals of the time) exists within the frame to be read.
在各种意义上，罗马都是一幅湿壁画、壁画而不是肖像画。不只是因为它被摄制的方式，
也与它是如何顺着那些持久的横向镜头推轨而展延开来有关。那些音画资讯(脉络、社会
动荡、派系&政治、时代伦理)都存在在画帧中留待解读。
: 6) It seems to me that the fact that Cuaron and Eugenio Caballero BUILT
: several blocks (!) of Mexico City in a giant backlot (sidewalk, lampposts,
: stores, asphalted streets, etc) is not well-known. This is a titanic
: achievement.
我发觉有件事大家似乎不怎么晓得：Cuaron和Eugenio Caballero(罗马的制作设计师)
在一个巨大的制片厂外景地 建‧造‧出‧了 墨西哥市的几个街区。这是一个非常巨大的
成就
。
: 7) The Class stratas are represented in the film not only in the family but
: within the family and the land-owning relatives and even between Fermin and
: Cleo- when he insults her in the practice field.
电影中的阶级分层不只是出现在那家人，还出现在那家人与拥有土地的亲戚间，甚至出现
在Fermin (电影中克莱奥的猪哥男友)与Cleo之间─就是当他在练习场言语羞辱她的时候。
: 8) ROMA cyphers much of its filmic storytelling through image and sound.
: When viewed in a theatre, it has one of the most dynamic surround mixes.
: Subtle but precise.
罗马将它的电影叙事通过影像和音效来加密。当它在戏院被观赏时，它拥有最强大的环绕
混音之一。细微但精巧。
: 9) Everything is cyclical. That's why Pepe remembers past lives in which he
: has belonged to different classes, different professions. Things come and
: go- life, solidarity, love. In our loneliness we can only embrace oh, so
: briefly by the sea.
所有事情都是周期性的。这是为什么Pepe会记得那些他曾属于不同的阶级、不同的行业
的前世。事情来来去去─生命、互助与爱。喔，在我们的寂寞中，我们只能那么短暂地被
大海拥抱。
(很多人或许会困惑为什么龙猫在这里要特别提起电影中的Pepe，而且说得像是Pepe是个长
大的真人一样─除了电影中Pepe那些奇妙的台词外，在我看来这也是因为不少艺评都以为
电影中的Pepe就是童年的Cuaron。龙猫在这里可能也有点形象化的把Pepe直接当成Cuaron
的赤子心了)
: 10) The final image rhymes perfectly with the opening. Once again, earth and
: heaven. Only Cleo can transit between both. Like she demonstrates in the
: Zovek scene, only she has grace. We open the film looking down, we close
: looking up- but the sky, the plane, is always far away.
: Cuaron often uses the Ocean in a metaphorical way: Children of Men, Roma,
: Y Tu Mama Tambien, etc.
: And the great ending of Gravity... The studio was pressuring Alfonso to
: "show" helicopters in the sky, coming to rescue Sandra Bullock's character.
: He said "no". Emerging from the water was the triumph, touching the earth-
: standing...
: The studio then said: "Ok what about hearing the helicopters?" Alfonso, once
: more, said "no". The studio then suggested adding a radio giving her
: coordinates, promising help. Alfonso said "no". Once more an ending made of
: Air, land and water.
最后一个画面完美的呼应了电影的开头。再一次，地与天。只有Cleo可以在两者间来去
自如。就像她在左维克示范金鸡独立神技的镜头中所做的一样，只有她有那份典雅。我
们以垂视为始，仰望而收，但蓝天，飞机，总是那么遥远。Cuaron惯常将大海用作比喻
：在人类之子，罗马，你他妈也是...。
还有地心引力的宏大收尾...电影公司当时希望Alfonso展示出天上的直升机前往援救
珊卓布拉克的角色。他说"不"。从水中出现就已是凯旋，是拔地而立......
电影公司于是说"好，那听见直升机来了如何？"Alfonso，又一次地，说不。电影公司于
是建议加进无线电通讯，让主角给个座标，表示求援成功。Alfonso说不。再一次地，又
是一个因空气、大地与水而成的收尾。