双重谋杀

索德伯格的电影一向不缺大明星，这次也不例外。与他合作过《瞒天过海》系列电影的马特-达蒙也来客串，在影片的后半段出场，扮演汽车联合协会的Mike Lowen。

虽然出场时间不长，却用一段长台词精准地说出了这部影片的内涵。这个场景是Curt和罗纳德拿着汽车大亨们想要的机密文件来到酒店，向Lowen换取报酬。表面上看是两个小混混控制了局面，但Mike Lowen这样说。

I know you think we're playing by your rules, but let's be clear. You do not make rules, ever. You follow them, even when you think you have autonomy, even when you think you have control. That is illusion. You're under the illusion of control at all times. This is fact. It is a fact that you'll never understand, that you'll go to grave not understanding. The same way I'll go to the grave not understanding the genius God of magnificent universe because I did not create it, but I and the others like me did create these rules, in this world, on this field, and you're playing by them now even if you walk out with my money. Am I clear?

——这其实可以看作所有富人对穷人或工薪阶层说的话：规则永远是他们定的，韭菜们不过是在规则下陪玩而已，随波逐流，即使是有那么一刻，你感觉到了自己扼住了谁的咽喉，控制住了局面，也不过是幻觉罢了。

长篇大论，罗纳德基本没听进去，回了一句：我现在清楚的是你的钱在我手里。然后Mike Lowen又表示了不屑。

Ah, it's money. I have a lot of money. I will continue to have more. It's like a lizard tale. Cut if off and the damn thing grows back.

——现实中的富豪们也一样，工作时财富在增长，睡觉时，it grows；电影的结局也如他所说，给出去的钱就像蜥蜴的尾巴，虽然被砍，却以一种神奇的方式长了回去。给的时候也表达了肉痛，回来时也表现出了吝啬的一面，出场不多的马特-达蒙把这个角色的为富不仁表现得淋漓尽致。

另一位出演过罗汉系列电影的是Curt的扮演者Don Cheadle，与马特-达蒙和索德伯格都不是第一次合作。这部《切勿擅动》就是以他扮演的Curt开场。刚刚出狱的Curt接了一单活，挟持人质三个小时就可以获得五千刀的报酬，看上去就是too good to be true。Don Cheadle的Curt始终有一种一切尽在掌握的沉稳，尽管有时其实也慌得一批，表演很有分寸。

执行这单任务的是三人小组。查理（上图右一）是《继承之战》里Roy家族小儿子的扮演者Kieran Culkin。查理的暴躁不稳定也刻画得很逼真，导演还给查理加了薯条和面罩戏，细节令人难忘，面罩嫌痒不戴，顺便调侃Covid。从一开始就可以看得出，查理对这项任务比另外两个人知道得更多，也可以猜到了这单活一定会跑偏，可能是科恩兄弟式的尸横遍野，但显然没猜对。

并没有觉得这部电影节奏缓慢，它是层层递进的，慢慢地勾勒出1954年底特律的权力层次。罗纳德初见Curt就表现出了明显的种族歧视，Curt坐过的地方他还要仔细擦好再坐。两人逐渐进入合作，以为会是“一笑泯恩仇，渡尽劫波兄弟在”。

罗纳德对Curt的优越感是权力金字塔的最底部，接着因为任务跑偏，两人分别被两个帮派追杀，于是观众见到了两边的老大，黑人帮派的Watkins和意大利头目弗兰克-卡佩利。

琼斯是这次任务的中介人，位置大概与卡佩利相仿。以为黑社会老大就到顶了，不不不，琼斯和卡佩利的上面还有奈斯佩斯，而奈斯佩斯上面又有马特-达蒙。随着Curt和罗纳德见到的人物等级越高，他们可以拿到的钱也越来越多，从五万到十二万五最后到了37.5万。中间都是嘴炮，直到马特-达蒙出场才见到真钱。

每一级都有悬念。看得欲罢不能。

劫匪戏内，还有感情戏。一开始一直为人质一家担心，唯恐忽然变成科恩兄弟式的血腥。任务的目标是这家的男主人Matt Wertz，演员David Harbour平时造型古怪，戏里一本正经；女主人Mary被劫持好像还不如劫匪们透露Matt出轨时更为震惊，她一直试图理清头绪的，不是普通的星期一变成惊吓，而是对丈夫的质疑。

人质一家的儿子，演员Noah Jupe，去年与妮可-基德曼和休-格兰特合作了《无所作为》，此前还参演了马特达蒙和克里斯蒂安-贝尔的《极速驾驶》（Ford & Ferrari）。本片中的Mary告诉儿子做正确的事，未尝不是对丈夫行为的一种反省。

片中的两个情妇也有戏，其中卡佩利夫人瓦妮莎惊喜多多，整部电影共死了四个人，她干掉一半。女人戏不多，但演员出色。在当时的社会权力等级体系中，女人没有位置。

劫匪戏和感情戏之外，还有警探戏，《广告狂人》Jon Hamm演了警探Joe Finny。

结局很妙，富人们依旧一手遮天，只有不贪的韭菜可以全身而退，其他的不是丢了性命，一无所有，就是仍然在等级体系里继续挣扎。

以下节选自卫报的评论。

The difference between the heist movies made by Steven Soderbergh and the heist movies made by everyone else is that he takes as much interest in where the money comes from and goes as in the details of its transferral – the why along with the how. His thieves tend to be independent operators liberating massive sums from institutions on the winning side of capitalism, self-styled Robin Hoods for an age in which the phrase “wealth distribution” appears in public discourse with ever-greater frequency. They steal from the rich and give to the poor, as in the Ocean’s 13 con to force multimillion payouts from an elite casino to its patrons. Or sometimes, it just so happens that they are the poor, as in the boost from Nascar’s coffers by blue-collar West Virginians in Logan Lucky. All the while, the director has kept his eye on the big picture of who’s hoarding and who really deserves the cash in question.

——The Guardian

【斯蒂文-索德伯格的劫匪电影与其他导演的劫匪电影不同之处在于，索德伯格更注重钱从哪里来到哪里去，以及转运过程中的各种细节——为什么以及怎么弄。索德伯格电影中的贼通常独立行动，从资本获利的一方取得大量金钱，像是有一套自我风格的罗宾汉，出现在“财富分配”这样的词频繁出现的时代。他们劫富济贫，像《十三罗汉》里骗子们让顶级赌场给普通人钱。有时候这些贼是穷人，像《神偷联盟》里几个西弗吉尼亚的穷佬劫了全美汽车竞赛协会。总之，索德伯格把目光聚集于谁在囤积，而谁应该拿到钱这个问题上。】

以下是Roger Ebert影评的节选，原文作者是Brian Tallerico，对本片好感爆棚。

Steven Soderbergh returns to HBO Max this week with a phenomenal genre exercise, an old-fashioned film with one of the sharpest ensembles he’s ever assembled (which is really saying something). Once again, he is interrogating power structures—a theme of films like “High Flying Bird,” “Traffic,” “The Girlfriend Experience,” and so many other greats—embedding sharp social commentary in a story of men with ulterior motives, in which only the truly corrupt come out on top. Soderbergh has always been an incredibly economic filmmaker—there’s no fat on his best movies and no unnecessary cuts or diversions—and this is one of his tightest films, a steel drum of betrayals and twists. For some reason, it feels like the director of modern classics like “Out of Sight” and “The Limey” is still underrated in some circles—take the fact that this film, which would look amazing on the big screen, will primarily be watched on tablets—but history will recognize him as one of the best of his generation, and “No Sudden Move” is just further proof.

【斯蒂文-索德伯格此次携新作亮相HBO Max，这是一次现象级的文艺类型尝试，是导演本人对自己曾经组合的东西一次尖锐的整合。他再一次拷问权力结构——如同他之前的作品《高飞的鸟》和《毒品网络》，以及《应召女友》等其他优秀作品的主题——将辛辣的社会评论埋藏在故事中，而故事中的角色们往往怀有不可告人的目的，那些真正腐败的人可以爬到顶端。索德伯格一直是一位不可思议的节俭的电影制作者，他最好的作品中没有多余的内容（原文是脂肪），没有不必要的剪接，没有方向上的变化——而本片（指No Sudden Move）是索德伯格最紧凑的作品之一，一部关于背叛和反转的钢铁鼓。因为一些原因，这部有着现代经典作品如《战略高手》和《英国水手》的导演一直在某些圈子里被人低估，举个例子，这部《切勿擅动》尽管在大屏幕观赏效果上佳，但因为在HBO Max上线，更多的人只会在电脑或平板上观看。但历史会记住索德伯格，他们这一代中最杰出的，《切勿擅动》是又一个证据。】

“I did not create the river, I am merely paddling the raft,” says a mysterious character late in “No Sudden Move.” We are all in the river. Some will paddle, some will swim, some will drown, and some will push people underwater. To make this point, Soderbergh and writer Ed Solomon set their story against the auto race in Detroit in 1954, bouncing a cast of criminals and auto executives off each other.

【“我没有创造河流，我只是在其中划动筏子”，片中后半段Mike Lowen这样说。其实我们都身处河流，有人划着筏子，有些人奋力一游，有些人慢慢淹死，而有些人把别人按到水下。索德伯格和埃德-所罗门设定了这样一个故事，来表现河中这众生相，故事设定于1954年底特律的汽车市场竞争，发生在犯罪分子与汽车行业高管们之间。】

——河的这个比喻，特别适合形容这部电影。

顺便，原创音乐也很棒，气氛到位。音乐人是David Holmes，此前为索德伯格的《战略高手》和罗汉三部曲创作音乐，他还是Unloved乐队的成员，为该乐队作曲的很多作品曾用于英剧《杀死伊芙》中。

1 No Sudden Move (Main Title Theme)

2 Watkins Code Book Goes Missing

3 You’ll Figure It Out

4 Wertz Goes to the Office

5 I’ll Call with Instructions

6 Charley’s Dead

7 This Thing’s Bigger Than Frank

8 Hi, Clarisse

9 Depends What You Think It Is

10 Joe Finney Investigates

11 Matt Wertz, Accounting

12 This Is a Punch

13 Don’t Worry, I’m Not Gonna Bite

14 Capelli Wants You Dead, Watkins Wants You Alive

15 I Offer You an Olive Branch

16 Vanessa Kills Frank

17 They Got Everything They Need

18 Humpty Dumpty Motel

19 You Still Don’t Remember Me, Do You?

20 I Believe You Have Something of Mine

21 Sorry, Ronald

22 Let Me Play Out Two Scenarios

23 Change of Plans

24 Safe Travels, Mrs. Capelli