逍遥骑士

【本文首发于《虹膜》公众号】

作者：安德鲁·萨里斯

译者：覃天

校对：易二三

来源：《Village Voice》（1969年7月3日）

When the Cannes Film Festival hailedEasy Rideras a poetic and perceptive vision of American life, I didn’t exactly hold my breath with anticipation. Motorcycles, materialism, misanthropy, and murder have long served as adequate cinematic correlatives of American life for Europeans, and never more so than in this year of law and order on Hamburger Hill. That the American Dream has come to resemble a quickie production out of American-International does not in and of itself transform every vavoom on the screen into a meaningful statement.

当戛纳电影节将《逍遥骑士》誉为「对美国生活的诗意而敏锐的展望」时，我并没有对这部影片报多少期待。对欧洲人来说，摩托车、物质主义、厌世主义和谋杀长期以来一直是美国生活的充分的电影对应物，而在今年汉堡高地战事里展现的法律和秩序中，情况更是如此。美国梦已经变得像商品般被快速制作，但它本身并没有将银幕上的每一幕变成一个有意义的声明。

As it turns out, however,Easy Riderdisplays an assortment of excellences that lifts it above the run and ruck of its genre. First and foremost is the sterling performance of Jack Nicholson as George Hanson, a refreshingly civilized creature of Southern Comfort and interplanetary fantasies.Easy Ridercomes to life with Nicholson’s first hung-over entrance in a Deep South dungeon.

然而，事实证明，《逍遥骑士》表现出了各种各样的优点，使其超越了同类型影片。首先是杰克·尼科尔森出色地饰演了乔治·汉森这个角色，他身上带有美国南方的不羁和幻想的精神。 《逍遥骑士》随着尼克尔森在南方深山地牢中第一次宿醉式的出场而变得生动起来。

We have been traversing the open road with Peter Fonda and Dennis Hopper on their defiantly nonconformist bikes, and we have been treated to some wide-angle distortions of drug-trafficking, some cut-rate spirituality in a hippie commune, some cryptic conversation on the sanctity of living off the soil, and an endless array of roadside traveling shots lyrically photographed by Laszlo Kovacs. Nothing too extreme, mind you, just little bits and pieces of sociological petit point interspersed with musical strands fashioned by Steppenwolf, the Byrds, the Band, the Holy Modal Rounders, Fraternity of Man, the Jimi Hendrix Experience, Little Eva, the Electric Prunes, the Electric Flag, an American Music Band, and Roger McGuinn from compositions by Hoyt Axton, Mars Bonfire, Gerry Goffin and Carole King, Jaime Robbie Robertson, Antonia Duren, Elliot Ingber and Larry Wagner, Jack Keller, David Axelrod, Mike Bloomfield, Bob Dylan, and Roger McGuinn or Richard Goldstein where art thou with thy Pop Eye and Folk and Rock Ear. With all the rousingly rhythmic revelry and splendiferously scenic motorcycling,Easy Ridercomes to resemble a perpetual pre-credit（片尾彩蛋）sequence, but reasonably pleasant withal.

我们与彼得·方达还有丹尼斯·霍珀一起骑着他们带有反叛感的摩托车穿越开放的道路，影片的广角镜头放大了一些贩毒者的面庞，一些在嬉皮公社的颓废生活，一些关于靠土地生活的神圣性的隐秘谈话，以及摄影拉兹洛·科瓦奇拍摄的无尽的路边旅行景象。各位观众可以放心的是，这部电影里没有什么太极端的东西，只有一些社会学上的小观点，穿插着由斯特彭沃尔夫（Steppenwolf）、拜尔斯（Byrds）乐队、神圣模范圆舞曲（Holy Modal Rounders）、人类的博爱（Fraternity of Man）、吉米-亨德里克斯体验（Jimi Hendrix Experience）、小伊娃（Little Eva）、电子梅花（Electric Prunes）、电子旗（Electric Flag）、美国音乐乐队（American Music Band）。 《逍遥骑士》的作曲阵容也是强大的，有罗杰·麦昆、霍伊特·克斯顿、丹尼斯·埃德蒙顿、杰拉德·戈芬和卡洛尔·金、杰米罗伯森、安东尼亚·杜伦、埃利奥特·英格伯、杰克·凯勒、大卫·艾克赛尔罗、麦克·布鲁菲尔德、鲍勃·迪伦和理查德·戈德斯坦，流行、民谣和摇滚风格的音乐在片中无处不在。随着节奏感强烈的狂欢和风景优美的摩托车旅途的展开，《逍遥骑士》就像一个永不结束的片尾彩蛋，同时但也相当令人愉快。

Unfortunately, there is something depressingly deja vu about the moralistic view of America from a motorcycle. And after about the 20th man-cool mumble, the equation of anti-conformity with anti-conversation seems too facile by far. Also, Peter Fonda and Dennis Hopper leave a great deal to be desired as allegedly affecting figures of alienation, Fonda being irritatingly inert as ever and Hopper annoyingly mannered behind the bushy mustache of a character performance. Along the way, Warren Finnerty’s fecund farmer and Luke Askew’s hirsute hitchhiker play off to advantage against the self-righteous taciturnity of Fonda and Hopper, but not until Jack Nicholson enters the picture with his drawling delivery of good lines can we get involved beyond the level of lethargic lyricism. Peter Fonda, Dennis Hopper, and Terry Southern are credited with the script, and Dennis Hopper with the direction, but seeEasy Riderfor Nicholson’s performance, easily the best of the year so far, and leave the LSD trips and such to the collectors of mod mannerisms.

不幸的是，从摩托车上看美国的道德主义观点有一些令人沮丧的似曾相识之处。而在观众差不多听完了第20个男人的唠叨之后，将反传统与反对话等同起来的做法，对这部影片来说似乎太过简单了。另外，彼得·方达和丹尼斯·霍珀饰演的角色被视为「被异化的人」的经典代表，还有太多的缺陷。方达一如既往地令人恼火，霍珀浓密的胡子掩盖住了他的演技。一路上，华伦·芬纳蒂饰演的农民和卢克·艾斯丘饰演的搭车者在方达和霍珀自以为是的沉默中发挥了优势，但直到杰克·尼克尔森入画，用他的平淡无奇的台词表达了好的一面，我们才能参与到慵懒的抒情水平之外。彼得·方达、丹尼斯·霍珀和特里·索泽恩署上了编剧，而丹尼斯·霍珀被署名为导演，但看《逍遥骑士》是为了看尼科尔森的表演，这是今年到目前为止银幕上最好的表演，把那些伪善的道德感抛在了脑后。

I don’t want to draw any aesthetically conservative point from Nicholson’s pre-eminence inEasy Rider.It is too easy to say that camera tricks and dazzling cuts are no substitute for full-bodied characterizations. Too easy and too misleading. We are simply too close to the popular cinema of today to read it correctly. If American movies seem today too eclectic, too derivative, and too mannered, so did they seem back in the ’20s, the ’30s, the ’40s, and the ’50s. The nouvelle vague tricks and Bergman-Fellini-Antonioni mannerisms are no more voguish today than the UFA German Expressionist and Soviet montage tricks were in the late ’20s and early ’30s. But out of all the mimicry of earlier times emerged very personal styles, and there is no reason to believe that the same thing will not happen again and again. Hence, beware of all generalizations including this one, perhaps especially this one, because it is just remotely possible that after all the false cries of doom, the cinema might actually be racing to the creative standstill so long predicted for it. But I doubt it. It is not the medium that is most likely to get old, tired, and cynical, but its aging metaphysically confused critics. This particular critic has never felt younger in his life.

我不想从尼克尔森在《逍遥骑士》中的卓越表现中得出任何美学上的保守观点。说「摄影机的技巧和令人眼花缭乱的剪辑不能替代饱满的人物形象，」这样的话也太容易误导观众了。我们只是和今天的流行电影走得太近了，以至于无法正确解读这部影片。如果美国电影今天看起来太保守，太爱模仿，太做作，那么20年代到50年代的美国电影也是如此。今天法国电影新浪潮的技巧和伯格曼、费里尼、安东尼奥尼的美学并不比20年代末和30年代初，乌发电影公司呈现的德国表现主义和苏联蒙太奇的技巧更有魅力。但在所有对之前影片的模仿中，出现了非常个人化的导演风格，这样的情况只会越来越多。因此，要小心所有对过往影片进行概括的影片，包括《逍遥骑士》，也许要特别留意这部影片，因为在所有虚假的唱衰声之后，电影可能真的在向长期以来预测的创作停滞状态飞奔，这只是一种可能性。但我怀疑这一点，因为最有可能变老、变得疲惫、变得愤世嫉俗的不是媒体，而是那些年迈的、只会空谈、时时感到困惑的批评家。这些批评家在他们的生命中从未感到过年轻。

文章来源：https://www.villagevoice.com/2019/07/18/films-easy-rider-reviewed/