年令人過目難忘的四個電影人物造型

When reflecting on the year in film, moviegoers often remember strong performances, or they might consider how a movie worked as a narrative, the emotions it evoked, what chances it took.

在回顧過去一年的影片時，觀衆們經常想起那些有力的表演，或者會思考一部電影怎樣敘事，激發了哪些情緒，做了哪些嘗試。

But some people might just remember the mustaches.

但有些人可能就記住了鬍子。

This year has been one of diverse and bold hair and makeup choices, from the frizzy, matted blue-tinted mane of the Witch in “Into the Woods” to the shimmering, expertly shaped pompadour of James Brown in “Get On Up.” In some cases, the absence of hair comes into play, like the bald, heavy-on-the-eyeliner look of Ramses in “Exodus: Gods and Kings.”

今年銀幕上的髮型和化妝各式各樣，大膽新穎，從《魔法黑森林》(Into the Woods)中女巫捲曲、蓬亂的藍色調鬃毛，到《激樂人心》(Get On Up)中詹姆斯·布朗(James Brown)微微發亮、精心塑造的大背頭。有時，禿頭也能發揮作用，比如《法老與衆神》(Exodus: Gods and Kings)中拉美西斯的禿頭、重眼影造型。

The year’s most compelling makeup and hair designs have been almost characters themselves (and are certainly more dynamic than some of those who appear on-screen). But while physical features are obvious right away, they can also give shape and nuance to the performances of those who assume them. Sometimes, a big nose creates a window of understanding.

今年最引人注目的化妝和髮型設計幾乎都源自角色的原型本身（其中有些無疑比銀幕上的造型更有活力）。除了能讓觀衆一眼看出角色的外貌特徵，它們也能爲演員的表演賦予整體感覺和微妙之感。有時，一個大鼻子就能加深觀衆的理解。

Here are four memorable designs from the year, including commentary from some of the artists who helped shape the looks.

下面是今年最令人難忘的四個設計，包括參與塑造這些造型的一些藝術家們的評論。

The Wonder of Whiskers

鬍鬚的神奇之處

Each film Wes Anderson makes seems to exist in its very own universe. And “The Grand Budapest Hotel,” set mainly in the 1930s, uses distinct elements and props to help define its world.

韋斯·安德森(Wes Anderson)的每部電影似乎都存在於它自己的世界裏。《布達佩斯大飯店》(The Grand Budapest Hotel)以20世紀30年代爲背景，通過獨特的元素和道具定義它的世界。

Mr. Anderson wanted an abundance and a variety of facial hair on the men, with no beard or mustache adorning each actor’s face in quite the same way. It’s a veritable hipster’s row of styles, from pencils to handlebars to a black-and-gray goatee worn by Jeff Goldblum.

安德森想讓男人們臉上的毛髮豐富多樣，每個演員臉上裝飾的鬍子都不太一樣。它是名符其實的時髦派風格，從一字胡、八字鬍，再到傑夫·戈德布拉姆(Jeff Goldblum)的黑灰色山羊鬍。

The various mustaches were conceived by the designer Frances Hannon, who has built a number of facial hair styles for Bill Murray in Anderson films (“Rushmore,” “The Life Aquatic With Steve Zissou”). Here, she asked many of the actors to grow out their facial hair so she would have the option to cut it in any shape she wanted.

這些各不相同的鬍子是設計師弗朗西絲·漢農(Frances Hannon)設計的，在安德森的多部電影中（比如《青春年少》[Rushmore]和《水中生活》[The Life Aquatic With Steve Zissou]），她都爲比爾·默裏(Bill Murray)設計了面部毛髮。這次，她讓該片的很多演員留起鬍子，供她修剪成任何想要的形狀。

Mr. Murray came to her with a full beard, so she was able to shape it into the thick, bushy mustache pictured here. “Bill has never worn that look before,” Ms. Hannon said, “so it was lovely to get something new.”

默裏留了滿臉鬍子，這樣漢農就能修剪成附圖中這種濃密的鬍子。“比爾以前從沒留過這種鬍子，”漢農說，“加點新東西，挺可愛的。”

Framing the ’80s

營造80年代的感覺

We first see the hair of Anna Morales (Jessica Chastain) during the opening credits of “A Most Violent Year.” She’s at her makeup mirror.

我們第一次看到安娜·莫拉萊斯（Anna Morales，傑西卡·查斯坦[Jessica Chastain]飾）的頭髮是在《至暴之年》(A Most Violent Year)的片頭字幕裏。她正對着鏡子化妝。

If audiences didn’t yet know the film was set in the early 1980s, one look at Anna’s straight bangs confirms it. The rest of her shoulder-length hair forms a slight curved frame around her face. It’s a simple look, but a powerful one for this woman, whose husband, Abel (Oscar Isaac), runs a heating oil business, but whose past is a little more complicated.

如果觀衆還不知道這部影片是以20世紀80年代初爲背景，那看一眼安娜的直劉海就知道了。她留着齊肩長髮，劉海以外的部分在臉龐四周形成微微彎曲的弧度。這個造型很簡單，但對這個女人來說顯得很有力量，她丈夫艾貝爾（奧斯卡·伊薩克[Oscar Isaac]飾）經營取暖油生意，不過她的過去更爲複雜。

Anna comes from a mob family and her hair, sometimes matched with large sunglasses or wide-lapel Armani trench coats, indicates both a degree of class and no-nonsense power.

安娜來自一個黑幫家庭，她的髮型有時搭配大墨鏡或阿瑪尼大翻領軍裝式風衣，既能點明她的社會階層，又有嚴肅的威懾力。

The hair creates a resemblance to the look of Michelle Pfeiffer, but Ms. Chastain gives it more of an edge. Kay Georgiou, who frequently styles the hair of Matt Damon and Gwyneth Paltrow for films, oversaw the look.

這個髮型與米歇爾·法伊弗(Michelle Pfeiffer)的造型有點相似，但查斯坦讓它更具鋒芒。凱·喬治烏(Kay Georgiou)負責這個造型。她經常爲馬特·達蒙(Matt Damon)和格溫妮絲·帕特洛(Gwyneth Paltrow)在電影中設計髮型。

Sometimes Anna’s hair, which is lighter than Ms. Chastain’s natural color, is pulled back, creating layers and a bit of playfulness, but still maintaining authority.

安娜的頭髮比查斯頓本來的髮色淺，有時安娜向後撩頭髮時會露出這兩個層次，有點戲謔，但仍不失威嚴。

A Larger Profile

一個更大的側影

In the true-crime drama “Foxcatcher,” the actor Steve Carell, best known for comedy, loses himself behind a prosthetic facade in portraying the multimillionaire John E. du Pont. The standout in the makeup package is the beaklike nose he sports.

在根據真實罪案改編的電影《狐狸獵手》(Foxcatcher)中，以出演喜劇聞名的演員史蒂夫·卡瑞爾(Steve Carell)飾演大富翁約翰·E·杜邦(John E. du Pont)時隱藏在假面具後面。這個造型最突出的就是鳥嘴狀鼻子。

The director Bennett Miller saw Mr. Carell as a good choice to play du Pont but didn’t want him to be too recognizable. He charged the makeup designer Bill Corso with the task of altering Mr. Carell’s look.

導演貝尼特·米勒(Bennett Miller)認爲卡瑞爾是飾演杜邦的合適人選，但不想讓觀衆一眼就認出他來。他要求造型師比爾·科森(Bill Corso)改變卡瑞爾的外貌。

“We had to make Steve look like a blue-blooded man of great family wealth,” Mr. Corso said. “There’s a specific look, a definite visual that goes along with that.”

“我們必須讓史蒂夫看起來像一個擁有巨大家族財富的貴族，”科森說，“這個貴族有具體、確切的外貌。”

He did several makeup tests to get the look that would so dramatically change Mr. Carell. “We were literally creating a new human being,” Mr. Corso said.

他做了幾次化妝試驗，希望能極大改變卡瑞爾的外貌。“我們實際上在創造一個新人，”科森說。

Du Pont called himself “the Golden Eagle” and had a distinctive, eagle-like profile. The designers aimed to capture that profile while not creating a carbon copy of the real du Pont.

杜邦自稱“金鷹”，有着獨特的，鷹隼般的外形。設計師們想塑造出那個外形，但又不想弄得跟杜邦本人一模一樣。

Mr. Corso restructured Mr. Carell’s nose, giving it a hook. He also shaved his hairline back and gave him more of a forehead.

科森重塑了卡瑞爾的鼻子，把它變成鷹鉤鼻。他還把卡瑞爾的髮際線往後颳了一點，留出更多額頭。

Roles With Bite

戴假牙的角色

In 2014, the actress Tilda Swinton wore false teeth in four movies: “The Zero Theorem,” “The Grand Budapest Hotel,” “Only Lovers Left Alive” and “Snowpiercer,” a film directed by Bong Joon-ho. In this thriller, Ms. Swinton plays the cruel and calculating Minister Mason, distinguished by a giant pair of glasses and a mouthful of bulky, misshapen choppers.

2014年，演員蒂爾達·斯文頓(Tilda Swinton)在四部電影中戴着假牙：《零點定理》(The Zero Theorem)、《布達佩斯大飯店》、《唯愛永生》(Only Lovers Left Alive)，以及奉俊昊導演的《雪國列車》(Snowpiercer)。在最後這部驚悚片中，斯文頓飾演殘酷、狡猾的梅森部長(Minister Mason)，她戴着一副大大的眼鏡，有一口龐大、醜陋的牙齒。

For all of these films, Ms. Swinton used the same tooth-designing specialist, Chris Lyons of the company Fangs F/X in London. His work has led him to designing all manner of teeth, including gold fangs fitted for a Doberman used in a Kanye West music video.

在所有這些影片中，斯文頓用的是同一個牙齒設計專家——倫敦Fangs F/X公司的克里斯·萊昂斯(Chris Lyons)。他在工作中設計了各種牙齒，包括爲坎耶·韋斯特(Kanye West)一個音樂錄影帶中的一隻杜賓犬設計了金色尖牙。

Mr. Lyons took a casting of Ms. Swinton’s mouth and designed teeth to fit. Those were clipped on over Ms. Swinton’s real teeth. For Minister Mason, he came up with a quirky look but didn’t quite want it to be comical. He was, however, interested in adding a little bling. “There’s a little bit of gold on the left-hand side,” he said. “We used real gold to make the filling of one tooth. We did it to put more character into the character.”

萊昂斯做出斯文頓的口腔模型，依照它來設計假牙，把假牙安在斯文頓的真牙上。他爲梅森部長設計了一個古怪的造型，但並不想讓它太滑稽。不過，他還有興趣加上一點閃亮的東西。“左邊有一點金子，”他說，“我們用真金做某個牙的填料。這樣做是爲了讓這個人物更有個性。”