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编者按： 一部优秀而复杂的影视作品，总能找到一个点，或者拎出一条线，作为贯穿始终的纲领。随着开场音乐“Mildred went to a war”响起，《三块广告牌》的剧情发展就像一群脱缰的战马，完全超乎你的掌控，却又充满意外的惊喜，直到最后，你会发现这群战马是驰骋在同一片疆场上，迎击着共同的敌人，有种视狂奔如回归的快感。要说通片提纲挈领的线，如下面这篇影评所述，即愤怒。 愤怒会传染，会发生连锁反应，甚至会摧毁数个家庭，它不是无缘无故产生的，也不会无缘无故地平息。妥善处理你的愤怒，让其得以合理宣泄；也要在对方因你而愤怒的情况下，去捕捉那颗受伤的心，因我们见识到了——一个美国母亲的愤怒，在超强杀伤力的表面下，总是亮着一颗温暖的小灯泡。 ▲《三块广告牌》部分片段 文/Brian Tallerico 布莱恩·托勒里科 翻译：一宁 校译：杨立娟 统稿：一宁 作者简介：布莱恩·托勒里科，知名影评人，芝加哥影评人协会副主席，RogerEbert.com网站执行编辑。 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. 马丁·麦克唐纳导演的精彩电影《三块广告牌》是2017年最出色的电影之一，影片诠释了这样一种意思：愤怒是一种能量。这部出自《杀手没有假期》的编剧兼导演之手的“带有爱尔兰态度的美国南方”故事片延续了他一贯的基调，即愤怒不是被当作某种可以被治愈的东西，颇让人想起弗兰纳里·奥康纳的口吻（奥康纳说“真相不会因我们承受能力的改变而改变”，引用这句话作为该片的宣传标语再合适不过了）。好莱坞总喜欢教育我们，愤怒是一种罪，只有容忍和理解才能让我们找到真正的幸福。说说容易做起来难，对吗？面对不公平的世界你怎能不愤怒？当生活让白发人送黑发人，当生活让年纪轻轻的人罹患癌症，当生活中充斥着种族主义、性别歧视主义、甚至残忍的行为，你肯定会对这命运的不公进行回击，或者用大喊大叫来发泄。你要与其作斗争，因为只有经过那样的斗争和狂怒，那些诸如同情和理解的情绪才会得以流露。愤怒不是一种需要治疗的疾病，而是为人悟世的一条必经之路。 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. 愤怒这种情绪，没人能表现得比弗朗西斯·麦克多蒙德更加出彩，《三块广告牌》是她继电影《冰血暴》之后又一上乘之作，她在片中饰演米尔德雷德·海耶斯——一个失去女儿安吉拉还不到一年，又刚离婚不久的母亲。安吉拉是被奸杀的，而案件却被搁置，因为一直没能查到相匹配的DNA，使得整个案件慢慢淡出了公众焦点，米尔德雷德也无法获知最新的进展。于是她愤怒了，她的确应该愤怒。恰巧有一天，她在一条很少有车辆经过的路边看见了三块无用的广告牌，就租下来打上标语，质问当地的警长（伍迪·哈里森饰）为什么案件没有回应。当地媒体对这三块广告牌产生了兴趣，由此引发了一连串事件，不光警长本人，连他手下一名令人生厌的警员（山姆·洛克威尔饰）也牵涉其中。此外，彼得·丁拉基、卡赖伯·兰德里·琼斯、艾比·考尼什、卢卡斯·赫奇斯、克拉克·彼得斯和琼斯·浩克斯的出演，让片中配角的戏份异常丰满和完美。 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. 当你以为从影片的描述中把准了剧情发展的脉络，麦克唐纳堪称完美的剧本却恰恰不按套路出牌，总是让你预想不到。安吉拉究竟遭遇了什么，这个迷一样的问题占据了故事主线，但此片还真不是那种解谜类电影。从一个层面上来讲，影片关注的并不是犯罪问题以及事情如何得到解决，而重在表达事物之间的因果关系。米尔德雷德租下广告牌，使警长感觉压力山大，继而又使他那忠实的下属怒从中来，顺着这条线因因果果一环扣一环。麦克唐纳没有让任何一个人成为摆设，几乎所有的角色都设定有根深蒂固的缺陷，尤其是麦克多蒙德的米尔德雷德和洛克威尔的迪克逊。这两个人在自己的生活被毁掉的同时也成为了愤怒者。米尔德雷德一心想解决掉谋杀女儿的凶手，这是她排解愤怒的渠道。而迪克逊却不知如何处理那满腔的愤怒，从影片前段的种种迹象也能判断出他可能最终会为此丢掉工作。 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. 洛克威尔通常演一些好人角色，但在此片中却把一个持种族歧视态度的暴力警察演绎得更加淋漓尽致。他看上去更老相和矮胖，就好像他每天晚上都会喝酒喝到睡着一样，他并不相信生活对他来说会有很多可能。片中，洛克威尔饰演的角色前后转变很大，但他一如既往的没有出一点差错。哈里森的表现也是可圈可点，不过整部影片依然是麦克多蒙德的主场，她一个咄咄逼人的怒视就能比大多数女演员说一大段台词更具表现力，尤其在演内心戏的时候，总能在狂怒之下揭示内心深深的痛，简直堪称绝妙。她饰演的米尔德雷德为达目的不择手段，可与此同时内心也在一点一点地被悲伤撕裂。麦克多蒙德能对长篇大论给予有力的痛击——神父劝说的一幕就是最好的展现，让我在观影时为之鼓掌，而令人印象更深的则是她对那些小动作的拿捏。她撇嘴以抑制自己的泪水，垂下眼帘以克制自己不至于挥拳打人。这个角色以其他女演员不可能驾驭的方式被她彻底、完全地呈现出来，可谓精彩至极。 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. 当然，麦克唐纳功不可没，不光因为在片中指导她，更是因为让她在如此高明的剧本中出演了一个至关重要的角色。我们的世界处处存在着不公平，而由此派生出的同情与和平，是电影中非常普遍的主题，通常都会被谨慎而妥善的处理。麦克唐纳的电影世界里却没有一个简单的答案——英雄和恶人都没有明确的划分。一开始你会对米尔德雷德产生怀疑，也会替迪克逊辩护，从某种意义上来说，那正是麦克唐纳在这部电影中运用的令人瞠目的技巧之一。你会觉得，其实世界远比大部分电影要复杂的多，这就需要一位编剧穷极他非凡的本领去呈现出来。从完成电影拍摄的技术层面上，他也实现了新的突破，尤其是科恩兄弟的主力配乐师卡特·布尔维尔为此片贡献了高水准的电影配乐，本·戴维斯精湛的摄制技术也为本片增色不少。 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来教育我们学会容忍的。女儿本就不该死，更不用说死得这么惨。我们深谙此事但又做了些什么呢？我们的愤怒在这个不公平的世界中该何以排解？《三块广告牌》的确是那种让人感觉既深刻又接地气的比较少见的电影，其鼓舞人心的效果并非是刻意为之。最近很少有这样的电影能让我这般大喜大悲，确实，近期拍得如此好的电影可谓是凤毛麟角。  |
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