年度十大最佳影片 《皮囊之下》

By turns breathtaking, hilarious and disturbing, Jonathan Glazer’s extraordinary, erotic film achieves a rare blend of fantasy and realism

驚險、歡快與不安交替進行，喬納森·格雷澤導演的非凡之處在於讓色情電影難得的實現了幻想與現實的融合。

Jonathan Glazer’s Under the Skin is a film about a beautiful, scary alien that is itself beautiful and scary and alien: it’s an entirely extraordinary, outrageously sensual film that Glazer’s previous excellent work had really only hinted at, partially and indistinctly. His Sexy Beast (2000) was a visually accomplished, exciting and intelligent crime thriller that was way ahead of the woeful mockney-geezer mode of the time. Birth (2004) had Kubrickian ingenuity and chill, with some remarkable moments; it was a movie that deserves cult-classic status but has yet to achieve it. Then a decade went by, and it seemed that Glazer might be a stylist for whom a sustained cinema career would perhaps not be achievable (and heaven knows, it can happen to the most talented).

喬納森·格雷澤導演的《皮囊之下》講述的是一位美麗又可怕的外星人的故事，她本身美麗，恐怖而且是個外星人：這是一部完全與衆不同的，殘暴的色情電影。喬納森·格雷澤以前導演的優秀作品僅僅只是爲這部電影做的局部模糊的鋪墊。他的《性感野獸》（2000）是一部令人視覺上滿足的，興奮的，充滿智慧的犯罪驚悚片，它超越了那個年代操着方言的悲劇老頭的模式。《重生》（2004）有着庫布裏克式的精緻與陰冷，電影中的一些畫面，十分出色；它是一部值得奉爲經典的電影，但尚未實現。接着十年過去了，對那些電影事業一直無法實現的人，格雷澤似乎成爲他們的設計師。（天知道，這種事情總髮生在那些有天賦的人身上）。

But when he gave us his long-gestating free adaptation of Michel Faber’s novel Under the Skin, the result really was gasp-inducing: hilarious, disturbing, audacious. No less an A-lister than Scarlett Johansson plays an alien in human form who roams the streets and shopping malls of Glasgow. Perfectly genuine footage of real-life passersby is shown as the incognito Johansson impassively sizes up these earthlings for their calorific value. Then actors will step out of the crowd for their scenes with the great seducer. She takes them back to her place: a mysterious dark cavern in which, in an erotic trance, they submit to being imprisoned and farmed for their meat – and perhaps, who knows, for their very soul.

但當格雷澤給我們帶來《皮囊之下》，這部經過他長期醞釀的，由荷蘭作家米歇爾·法柏的科幻小說改編的電影時，真是讓人驚歎：歡快，不安，大膽。斯嘉麗扮演的外星人藏於人類的皮囊裏，穿梭在格拉斯哥街道和商場，不亞於一位一線明星。現實生活中的路人在鏡頭中完美的展現，而隱身的約翰森面無表情的估算着三個地球人可被利用的熱量值。接着演員帶着被色誘的人類離開人羣，來到她自己的地方：一個神祕的黑暗的洞穴中。在這裏，情色恍惚間，人類貢獻自己的肉體，被囚禁，被養殖成爲食物，誰知道呢，又或許是人類的靈魂。

Glazer surely took something, again, from Kubrick, especially in the scene in which his alien is born in some dimensionless otherworld. He took something from Nic Roeg and The Man Who Fell to Earth and a little, perhaps, from David Lynch – of which, more in a moment. But alongside the sci-fi exoticism he brought the grit and sinew of contemporary realism, calling to mind the work of film-makers like Ken Loach, or even Abbas Kiarostami and the opening of his The Taste of Cherry, in which a desperately unhappy man drives around the itinerant labour markets of Teheran looking for someone to help him. These fantastic alien forms are scuffed with ordinariness and even bathos. The scene in which the alien uncomprehendingly watches Tommy Cooper on television is a masterpiece of tonal suspense.

當然，格雷澤又從庫布裏克那借鑑了一些拍攝手法，尤其是外星人在無邊際的外太空出生的一幕。他借鑑了尼古拉斯·羅格的《天降財神》，或許在畫面的安排上也借鑑了大衛·林奇。但是在科幻情調中，他帶給我們當代現實主義的勇氣和動力，使我們回想起像肯·羅奇這樣的影片製作人的作品，甚至是阿巴斯·基亞羅斯塔米和他的《櫻桃的滋味》的開頭，一個絕望的男人開着車，繞着德黑蘭的流動勞動力市場，拼命的找人來幫他。這些奇妙的外星人題材被打磨的通俗化甚至矯情做作。外星人不解的在電視上看着湯米庫珀的一幕已經成爲色調懸念的代表作。

Watching Under the Skin again brought to mind another comparison: Orson Welles – the Welles who succeeded in creating a hoax martian invasion on the radio and who, in F for Fake (1975), got his partner Oja Kodar to walk around the streets in a miniskirt, secretly filming the lascivious expressions of the non-actor guys looking at her.

觀看《皮囊之下》再次讓我想起另外一個比較：奧遜·威爾斯，成功的用收音機創造了火星入侵的騙局；還有《贗品》（1975）中，那個讓他的夥伴奧佳·柯達穿着迷你短裙走在街上，然後偷偷拍攝那些男人們看她的淫蕩表情。

The most staggering scene is, of course, that in which the alien picks up a young man with the facial condition neurofibromatosis, played by Adam Pearson. Glazer brings to this scene an utter fearlessness and unsentimentality, perhaps a variation on a theme from David Lynch’s The Elephant Man. The alien does not essentially distinguish between his looks and those of her other victims, but her encounter with him – an encounter of two aliens? – triggers a crisis in which she becomes the prey rather than the hunter.

當然，影片中最驚人的一幕是外星人遇到一個涉世不深，外表因爲多發性神經纖維瘤而醜陋的年輕男子，由亞當·皮爾森扮演。格雷澤帶來的這一幕是全然無畏而且毫無感情波動的，或許這是從大衛·林奇的《象人》這部影片的主題變化而來。外星人並不會在本質上區分這位年輕男子的長相，但是她與這位男子相遇——兩個外星人的遭遇？——觸發了危機，使得她成爲了獵物，而不是獵人。

Under the Skin is just so visually free and uninhibited that there is an intense dark, destructive sexiness in everything about it – quite apart from the hilarious, bizarre, mesmeric eroticism of the film itself. It is a work of subcutaneous potency. It gets under your skin.

《皮囊之下》就是如此的直觀如此的自由不羈，拋開歡快，離奇的劇情和電影本身的情色——一切都處於黑暗中，摧毀性的性愛中。它是一種力量，在你的皮囊之下。