论文部分内容阅读
If you never read the classic F. Scott Fitzgerald novel The Great Gatsby， now is your chance to catch up—by watching the latest film adaptation. Because if there’s one sentence to sum up the film， it would be， as a News says in its review， “It’s just like the book.”
Director Baz Luhrmann’s main challenge was “either to find a visual equivalent for Fitzgerald’s elegant prose—the open secret of the book’s staying power—or to bend the material to his own exotic strengths，” a magazine review says. He tries it both ways， with varying degrees of success.
Luhrmann’s adaptation captures the luxurious lifestyle of certain New York socialites during the 1920s. The sets， costumes， music and overly stylized tone reflect the exorbitance of these vapid characters. He also tricks the audience into accepting this hollow lifestyle of gossip， booze and materialism， just like his narrator Nick Carraway （Tobey Maguire）.
Carraway moves to New York for the summer to visit his cousin Daisy （Carey Mulligan）. His next-door neighbor is the mysterious Jay Gatsby （Leonardo DiCaprio）， who throws the most extravagant parties every weekend. The rumor mill spins and nobody knows who Gatsby really is.
Carraway becomes friends with Gatsby and gets swept up into his unrealistic lifestyle， when Gatsby asks him to reintroduce him to his ex-girlfriend Daisy， who is already married.
“All of Fitzgerald’s original creation finds its way into this film， even going as far to include quite a bit of the original dialogue，” US film critic Justin Taroli writes in his review. “At times， the script is even too faithful to the book， in that little is left to interpretation，” Taroli adds.
DiCaprio does a good job as the mysterious socialite by re-creating Fitzgerald’s description of Gatsby’s charm. “He can look at someone for an instant and understand how， ideally， he or she wants to be seen，” David Denby， film critic for a magazing， says in his review.
Mulligan， delightful as always， adds depth to the flamboyant Daisy. “Mulligan makes it clear how much Daisy is a shaky projection of male fantasy，” Denby says.
The use of music is almost reasonable enough to see the film. “Luhrmann is at his best blending visual and musical styles together to create something wholly original，” a News review said.
For example， in one of the most outstanding scenes in the film， the first party scene， Carraway bounces from party guest to party guest trying to decipher all the gossip about Gatsby until he is finally introduced to the man himself， while the most sensationalized version of Rhapsody in Blue （composed by American musician George Gershwin in 1924） ever to grace cinema screens plays in the background. It’s pure Luhrmann and pure The Great Gatsby.
如果你还没读过弗·司各特·菲茨杰拉德的经典小说《了不起的盖茨比》，那么最近的同名改编电影让你有机会来弥补一下了。因为如果要用一句话来总结这部影片，那就是某新闻频道的那句影评：“简直和原著一样。”
某杂志评论道，导演巴兹·鲁曼面临的主要挑战是“既要在视觉上重现菲茨杰拉德小说中的精美文笔——众多周知，这是这本书影响力经久不衰的秘密——又要令原著融于他个人的重温诠释之中”。这两方面他都做了尝试，并取得了不同程度的成功。
鲁曼的改编抓住了20世纪20年代纽约一些社会名流纸醉金迷的生活方式。布景、服装、音乐以及刻意的语调，都看得出鲁曼在这些沉闷的角色身上过于用力。他想方设法令观众接受这种充满流言蜚语、醉生梦死且唯利是图的空虚生活方式，就如同片中叙述者尼克·卡罗维（托比·马奎尔饰演）那样。
某个夏天，卡罗维搬到纽约拜访他的堂妹黛西（凯瑞·穆里根饰演）。他的邻居就是神秘的盖茨比（莱昂纳多·迪卡普里奥饰演），盖茨比每个周末都要举办极为奢华的派对。一时间谣言四起，没人知道盖茨比的真实身份。
卡罗维同盖茨比成了朋友，当盖茨比要求他向已为人妇的前女友黛西重新介绍自己时，卡罗维也卷入盖茨比那种不切实际的生活方式中去了。
“菲茨杰拉德的原著魅力全部都融入了这部电影中，甚至尽可能多地照搬原著对白。”美国影评家贾斯汀·泰利评论道。“有时，这个剧本甚至太过忠于原著了，几乎没有什么诠释。”泰利补充道。
迪卡普里奥表现不俗，由他饰演的神秘富豪再现了菲茨杰拉德笔下盖茨比的独特魅力。影评家大卫·丹比在某杂志中评论道：“他能够在一眼之间看出一个人希望被他人看到的理想自我。”
穆里根一如既往的令人感到欣喜，她的表演为奢华派十足的黛西增添了一些深度。丹比说：“穆里根的表演清楚揭示了黛西只不过是男性幻想的一个脆弱投影罢了。”
片中对于音乐的运用也足够吸引人观赏此片了。某新闻频道评论说：“鲁曼擅长将视觉效果与音乐风格统一起来，创造出令人耳目一新的作品。”
例如，作为全片最为出色的镜头之一，在第一幕派对场景中，卡罗维一直穿梭于派对宾客之中，试图解读所有关于盖茨比的流言蜚语，直到最后他被引荐给盖茨比本人，而与此同时在极尽煽情的背景音乐《蓝色狂想曲》（由美国音乐家乔治·格什温于1924年创作）的衬托下，这一银幕场景便被渲染得光彩十足。
这是纯粹的鲁曼出品，也是纯粹的《了不起的盖茨比》。
Director Baz Luhrmann’s main challenge was “either to find a visual equivalent for Fitzgerald’s elegant prose—the open secret of the book’s staying power—or to bend the material to his own exotic strengths，” a magazine review says. He tries it both ways， with varying degrees of success.
Luhrmann’s adaptation captures the luxurious lifestyle of certain New York socialites during the 1920s. The sets， costumes， music and overly stylized tone reflect the exorbitance of these vapid characters. He also tricks the audience into accepting this hollow lifestyle of gossip， booze and materialism， just like his narrator Nick Carraway （Tobey Maguire）.
Carraway moves to New York for the summer to visit his cousin Daisy （Carey Mulligan）. His next-door neighbor is the mysterious Jay Gatsby （Leonardo DiCaprio）， who throws the most extravagant parties every weekend. The rumor mill spins and nobody knows who Gatsby really is.
Carraway becomes friends with Gatsby and gets swept up into his unrealistic lifestyle， when Gatsby asks him to reintroduce him to his ex-girlfriend Daisy， who is already married.
“All of Fitzgerald’s original creation finds its way into this film， even going as far to include quite a bit of the original dialogue，” US film critic Justin Taroli writes in his review. “At times， the script is even too faithful to the book， in that little is left to interpretation，” Taroli adds.
DiCaprio does a good job as the mysterious socialite by re-creating Fitzgerald’s description of Gatsby’s charm. “He can look at someone for an instant and understand how， ideally， he or she wants to be seen，” David Denby， film critic for a magazing， says in his review.
Mulligan， delightful as always， adds depth to the flamboyant Daisy. “Mulligan makes it clear how much Daisy is a shaky projection of male fantasy，” Denby says.
The use of music is almost reasonable enough to see the film. “Luhrmann is at his best blending visual and musical styles together to create something wholly original，” a News review said.
For example， in one of the most outstanding scenes in the film， the first party scene， Carraway bounces from party guest to party guest trying to decipher all the gossip about Gatsby until he is finally introduced to the man himself， while the most sensationalized version of Rhapsody in Blue （composed by American musician George Gershwin in 1924） ever to grace cinema screens plays in the background. It’s pure Luhrmann and pure The Great Gatsby.
如果你还没读过弗·司各特·菲茨杰拉德的经典小说《了不起的盖茨比》，那么最近的同名改编电影让你有机会来弥补一下了。因为如果要用一句话来总结这部影片，那就是某新闻频道的那句影评：“简直和原著一样。”
某杂志评论道，导演巴兹·鲁曼面临的主要挑战是“既要在视觉上重现菲茨杰拉德小说中的精美文笔——众多周知，这是这本书影响力经久不衰的秘密——又要令原著融于他个人的重温诠释之中”。这两方面他都做了尝试，并取得了不同程度的成功。
鲁曼的改编抓住了20世纪20年代纽约一些社会名流纸醉金迷的生活方式。布景、服装、音乐以及刻意的语调，都看得出鲁曼在这些沉闷的角色身上过于用力。他想方设法令观众接受这种充满流言蜚语、醉生梦死且唯利是图的空虚生活方式，就如同片中叙述者尼克·卡罗维（托比·马奎尔饰演）那样。
某个夏天，卡罗维搬到纽约拜访他的堂妹黛西（凯瑞·穆里根饰演）。他的邻居就是神秘的盖茨比（莱昂纳多·迪卡普里奥饰演），盖茨比每个周末都要举办极为奢华的派对。一时间谣言四起，没人知道盖茨比的真实身份。
卡罗维同盖茨比成了朋友，当盖茨比要求他向已为人妇的前女友黛西重新介绍自己时，卡罗维也卷入盖茨比那种不切实际的生活方式中去了。
“菲茨杰拉德的原著魅力全部都融入了这部电影中，甚至尽可能多地照搬原著对白。”美国影评家贾斯汀·泰利评论道。“有时，这个剧本甚至太过忠于原著了，几乎没有什么诠释。”泰利补充道。
迪卡普里奥表现不俗，由他饰演的神秘富豪再现了菲茨杰拉德笔下盖茨比的独特魅力。影评家大卫·丹比在某杂志中评论道：“他能够在一眼之间看出一个人希望被他人看到的理想自我。”
穆里根一如既往的令人感到欣喜，她的表演为奢华派十足的黛西增添了一些深度。丹比说：“穆里根的表演清楚揭示了黛西只不过是男性幻想的一个脆弱投影罢了。”
片中对于音乐的运用也足够吸引人观赏此片了。某新闻频道评论说：“鲁曼擅长将视觉效果与音乐风格统一起来，创造出令人耳目一新的作品。”
例如，作为全片最为出色的镜头之一，在第一幕派对场景中，卡罗维一直穿梭于派对宾客之中，试图解读所有关于盖茨比的流言蜚语，直到最后他被引荐给盖茨比本人，而与此同时在极尽煽情的背景音乐《蓝色狂想曲》（由美国音乐家乔治·格什温于1924年创作）的衬托下，这一银幕场景便被渲染得光彩十足。
这是纯粹的鲁曼出品，也是纯粹的《了不起的盖茨比》。