韋斯·安德森與《布達佩斯大飯店》

∷宋云峰

1. 電影奇才安德森

韋斯·安德森，美國電影導演兼編劇，1969年出生于得克薩斯州的休斯敦市，被稱為“作者導演”。他全面介入了自己電影制作的各個層面，包括編劇、攝影、美術設計、配樂選曲等。畢業(yè)于哲學專業(yè)的安德森，1994年與好友歐文·威爾遜拍攝了13分鐘黑白短片《瓶裝火箭》（Bottle Rocket），這部作品得到了著名導演、制片人詹姆斯·L. 布魯克斯（James Brooks）的贊賞，在他的支持下，安德森于1996年將其拍成了長片。1998年推出的反映成長煩惱的《青春年少》（Rushmore）獲得廣泛好評，頻獲各種電影獎項（包括洛杉磯影評人協(xié)會大獎）。后來的《穿越大吉嶺》（The Darjeeling Limited）入圍威尼斯國際電影節(jié)競賽單元。這部表現小人物苦樂參半生活的影片充分顯示了安德森古怪的冷幽默和頗具個性的視覺風格，他始終保持著自己鮮明的個性和獨立的精神，這些特點使他被稱為新一代的比利·懷爾德（Billy Wilder）。為安德森獲得聲譽的影片有《天才一族》（2001）、《月升王國》（2012）、《了不起的狐貍爸爸》（定格動畫片，2009）以及近作《布達佩斯大飯店》。2014年12月16日，安德森獲得美國評論家選擇獎最佳導演獎提名。

安德森電影苦樂參半的悲喜劇形式，非傳統(tǒng)的場面調度及明顯的風格化傾向都受到了法國導演弗朗索瓦·特呂弗（Francois Truffaut）和路易·馬勒（Louis Malle）的影響。安德森也曾多次聲稱邁克·尼科爾斯（Mike Nichols）的電影《畢業(yè)生》（The Graduate）是他長久以來的靈感源泉。同時他也深受美國經典文學的影響，尤其是菲茨杰拉德（F. Scott Fitzgerald）和塞林格（J. D. Salinger）的作品。菲茨杰拉德的那句名言“美國人的生命中沒有第二幕”（There are no second acts in American lives）和安德森電影的很多主人公都對得上號，他們往往會從成功事業(yè)和卓越聲望中迅速跌落（雖然后來有些人也能在一定程度上卷土重來）。作品經常以一個破碎或異常的家庭圈子為焦點，其中至少會有一個人物已長大成人，卻仍在期望得到父母或父輩的認可。許多影評人注意到安德森電影里強烈的同情心和人文關懷，并因此將安德森的作品與法國導演讓·雷諾阿（Jean Renoir）、弗朗索瓦·特呂弗（Francois Truffaut）的作品相提并論。

Anderson has chosen to direct mostly fast-paced comedies marked by more serious or melancholic (憂郁的) elements, with themes often centered on grief, loss of innocence, parental abandonment, adultery (通奸), sibling rivalry and unlikely friendships. His movies have been noted for being unusually character-driven, and by turns both derided (嘲笑) and praised with terms like “l(fā)iterary geek chic (文學極客的時髦) ”. The plots of his movies often feature thefts and unexpected disappearances, with a tendency to borrow liberally from the caper genre（輕松夸張的涉及搶劫或盜竊的犯罪影片）.

《布達佩斯大飯店》電影海報

奧地利作家斯蒂芬·茨威格

導演韋斯·安德森

安德森喜歡使用俯視視角來呈現桌面上的物體，例如書本或文檔。這種手法有效地提供或增加了喜感。其所有作品都以一個慢鏡頭收尾。安德森還不吝利用自己的美術天才為影片增色，例如使用有限的幾種主色調、手繪布景以及手工模型等。影片中所使用的歌曲大多來自于上世紀六七十年代的英國樂隊，例如滾石（Rolling Stones)、披頭士（The Beatles）等。

Anderson has been noted for his extensive use of flat space camera moves, obsessively symmetrical (對稱的)compositions, snap-zooms (快速變焦), slow-motion walking shots, a deliberately limited color palette (調色板), and hand-made art direction often utilizing miniatures (微縮模型). These stylistic choices give his movies a highly distinctive quality that has provoked much discussion,critical study, supercuts (超級剪輯) and mash-ups (混搭), and even parody (戲仿). Many writers, critics and even Anderson himself have commented that this gives his movies the feel of being “self-contained worlds”(自我想象的世界), or a “scale model household” (使用按比例縮小的模型拍攝的場景). Anderson frequently uses pop music from the 1960s and 70s on the soundtracks (電影原聲) of his films, and one band or musician tends to dominate each soundtrack.

在回應有人批評他的電影是“形式大于內容”時，安德森說，“我一直在努力避免重復自己，但我的電影看起來卻像是在不斷重復。這并非是我刻意所為，我所做的只是想讓電影保持個人特色，而非僅僅讓觀眾感覺有趣。我知道有批評說我的電影是形式大于實質，而且為追求形式而妨礙了人物的塑造。但我所做的每一個決定都只是為了帶動人物的發(fā)展。”

“I want to try not to repeat myself. But then I seem to do it continuously in my films. It’s not something I make any effort to do. I just want to make films that are personal,but interesting to an audience. I feel I get criticized for style over substance, and for details that get in the way of the characters. But every decision I make is how to bring those characters forward.”

2. 《布達佩斯大飯店》——安德森風格的集大成者

由韋斯·安德森編劇并導演的喜劇電影《布達佩斯大飯店》于2014年上映后在全球范圍內受到好評，獲得英國電影學院（BAFTA）獎11項提名（獲得最佳影片、最佳導演和最佳男演員獎），金球獎最佳影片獎（音樂喜劇類）以及奧斯卡獎9項提名（包括最佳影片和最佳導演獎提名）。安德森在其所有作品中都彰顯著濃烈的“作者電影”特征，從主題內容到藝術風格都形成了自己鮮明的特點?！恫歼_佩斯大飯店》更是將復古式美學風格與懷舊主題天衣無縫地結合在一起，創(chuàng)造出一個渾然天成的昨日世界。故事的靈感來自奧地利作家斯蒂芬·茨威格，自有一種戲仿經典文學敘事的表達方式，以年輕的女讀者開始，進入到小說作者的敘述，進而步入故事主人公古斯塔夫的世界。在影像上則以上世紀80年代的1.85:1畫幅、60年代的16:9畫幅以及30年代的4:3畫幅加以區(qū)隔。套層式的敘事吸引讀者步步深入，最終墜入安德森創(chuàng)造出的那個如夢如幻的異想世界。

3.《布達佩斯大飯店》的故事情節(jié)

影片是一個四層結構的套層故事，但設置并不復雜，主要故事發(fā)生在第四層，偶爾切回第三層，并且其他層的故事不推進也不發(fā)展，只是作為講故事的視角切入。故事發(fā)生在20世紀30年代的歐洲，一位傳奇的大飯店大堂經理與他年輕的門童意外卷入一個大家族的遺產之爭，隨著一幅名畫的藏與追，經歷了愛情、兇殺、越獄以及戰(zhàn)爭的考驗，最終將這些經歷和財富留給了一位作家。而本片正是導演向奧地利作家茨威格致敬的作品。導演表示盡管故事跟茨威格的書作沒有必然聯(lián)系，可影片追尋的，正是茨威格小說《昨日的世界》（Die Welt von Gestern）里那種獨特的東歐氛圍和舊歐洲的情懷。

Prologue （序幕）

In the present, a teenage girl approaches a monument to a writer in a cemetery. In her arms is a memoir penned by a character known only as “The Author” (Tom Wilkinson). She starts reading a chapter from the book.The Author begins narrating the tale from his desk in 1985 about a trip he made to the Grand Budapest Hotel in 1968.

Located in the fictional Republic of Zubrowka, a European alpine (阿爾卑斯山的) state ravaged (破壞) by war and poverty, the Young Author (Jude Law) discovers that the remote mountainside hotel has fallen on hard times.Many of its lustrous (有光澤的) facilities are now in a poor state of repair, and its guests are few. The Author encounters the hotel’s elderly owner, Zero Moustafa (F. Murray Abraham), one afternoon, and they agree to meet later that evening. Over dinner in the hotel’s enormous dining room,Mr. Moustafa tells him the tale of how he took ownership of the hotel and why he is unwilling to close it down.

Part 1—M. Gustave

The story begins in 1932 during the hotel’s glory days when the young Zero (Tony Revolori) was a lobby boy, freshly arrived in Zubrowka after his hometown was razed (毀掉) and his entire family executed. Zubrowka is on the verge of war, but this is of little concern to Monsieur Gustave H. (Ralph Fiennes), the Grand Budapest’s devoted concierge (看門人). The owner of the hotel is unknown and only relays important messages through the lawyer Deputy Kovacs (Jeff Goldblum). When he is not attending to the needs of the hotel’s wealthy clientele (客戶) or managing its staff, Gustave courts (取悅，討好) a series of aging women who flock to the hotel to enjoy his “exceptional service”. One of the ladies is Madame Céline Villeneuve “Madame D” Desgoffe und Taxis (Tilda Swinton), with whom Gustave spends the night prior to her departure.

大堂經理古斯塔夫（拉爾夫·費因斯飾）

Part 2—Madame C.V.D.u.T.

One month later, Gustave is informed that Madame D has died under mysterious circumstances. Taking Zero along, he races to her wake and the reading of the will, where Kovacs, coincidentally the executor of the will, reveals that in her will she has bequeathed (遺贈給) to Gustave a very valuable painting, Boy with Apple. This enrages (激怒)her family, all of whom hoped to inherit it. Her son, Dmitri Desgoffe und Taxis (Adrien Brody) lashes out (猛烈抨擊) at Gustave. With the help of Zero, Gustave steals the painting and returns to the Grand Budapest, securing the painting in the hotel’s safe (保險柜). During the journey, Gustave makes a pact (協(xié)議) with Zero: in return for the latter’s help,he makes Zero his heir. Shortly thereafter, Gustave is arrested and imprisoned for the murder of Madame D after forced testimony (證詞) by Serge X (Mathieu Amalric), Madame D’s butler (男管家). Upon arriving in prison, Gustave finds himself stuck in a cell with hardened criminals, but earns their respect after he “beat the shit”out of (狠狠地揍) one of them for “challenging [his] virility (男子氣概)”.

Part 3—Check-point 19 Criminal Internment Camp （19號監(jiān)獄）

Zero aids Gustave in escaping from Zubrowka’s prison by sending a series of stoneworking tools concealed inside cakes made by Zero’s fiancée Agatha(Saoirse Ronan). Along with a group of convicts (囚犯）including Ludwig (Harvey Keitel), Gustave digs his way out of his cell. The group narrowly escape capture after one of them sacrifices himself to kill a large posse of (一大群) guards with his “throat-slitter”and Ludwig and his crew escape by car after wishing Gustave and Zero well.Gustave then teams up with Zero to prove his innocence.

Part 4—The Society of the Crossed Keys （十字鑰匙協(xié)會）

Gustave and Zero are pursued by J. G. Jopling(Willem Dafoe), a cold-blooded assassin (暗殺者)working for Dmitri, who kills Kovacs when he refuses to work with Dmitri. Gustave calls upon Monsieur Ivan(Bill Murray), a concierge and fellow member of the Society of the Crossed Keys, a fraternal order (共濟會) of concierges who attempt to assist other members.Through the help of Ivan, Gustave and Zero travel to a mountaintop monastery (修道院) where they meet with Serge, the only person who can clear Gustave of the murder accusations, but Serge is strangled (被勒死) by a pursuing Jopling before he can reveal a piece of important information regarding a second will from Madame D. Zero and Gustave steal a sled and chase Jopling as he flees the monastery on skis. During a faceoff at the edge of a cliff, Zero pushes the assassin to his death and rescues Gustave.

Part 5—The Second Copy of the Second Will

Back at the Grand Budapest, the outbreak of war is imminent (迫近的), and the military have commandeered (征用，霸占) the hotel and are in the process of converting it into a barracks (兵營). A heartbroken Gustave vows to never again pass the threshold (門檻). Agatha joins the two and agrees to go inside and retrieve the painting, but Dmitri discovers her. A chase and a chaotic gunfight ensue before Gustave’s innocence is finally proven by the discovery of the copy of Madame D’s second will, which was duplicated by Serge before it was destroyed, and which he subsequently hid in the back of the painting. This will was to take effect only if she was murdered. The identity of Madame D’s murderer and how Gustave is proved innocent are left ambiguous (模糊不清的)［though earlier in the film a suspicious bottle labeled“strychnine” (士的寧，一種有劇毒的化學物質) can be seen on Jopling’s desk］. The will also reveals that she was the owner of the Grand Budapest. She leaves much of her fortune, the hotel, and the painting to Gustave,making him wealthy in the process, and he becomes one of the hotel’s regular guests while appointing Zero as the new concierge.

《布達佩斯大飯店》劇照

Epilogue (尾聲)

After the war, which it is implied Zubrowka lost,the country is annexed (合并). During a train journey across the border, soldiers inspect Gustave’s and Zero’s papers. Zero describes Gustave being taken out and shot after defending Zero (whom the soldiers had attempted to arrest for his immigrant status), as he did on the initial train ride in the beginning of the movie. Agatha succumbs to（患，染上）“the Prussian Grippe” (普魯士流行性感冒) and dies two years later, as does her infant son. Zero inherits the fortune Gustave leaves behind and vows to continue his legacy at the Grand Budapest, but a Communist takeover of Zubrowka and the ravages (毀壞后的殘跡) of time slowly begin to take their toll on both the building and its owner as Zero is forced to “contribute”his entire inheritance to the government to keep the dying hotel in business. In a touch of irony, the painting Zero and Gustave fought so desperately to take now sits on a wall,forgotten and crooked (歪的).

Back in 1968, Mr. Moustafa confesses (坦白) to the Author that the real reason that he cannot bring himself to close the hotel has nothing to do with his loyalty to Gustave,but because it is his last remaining link to his beloved Agatha and the best years of his life. The Young Author later departs for South America and never returns to the hotel.Zero dies soon after.

In 1985, the Author completes his memoirs (回憶錄)beside his grandson.

Back in the present, the girl continues reading in front of the statue of the Author, a sign that Zero and Gustave’s story and that of the hotel will live on.