与索菲·奥克妮多

我来做这件事。没错。就在那个节目上，她献上了电视才艺竞赛史上最伟大的表演之一——如果不是最伟大的话，那就是《一个明星的诞生》中朱迪·嘉兰版本的《The Man That Got Away》这首格什温的经典苦情歌。她唱得就像...我想那是她的她的她的决胜演唱。

I'll do it. Yeah. That's right. Now on that show, she gave one of, if not the greatest TV talent contest performance of all time, which was the, the man that got away the Gershwin Torch song from the Judy Garland version of A Star Is Born. She sung that as, like I think it was her her her sing off.

总之是个宏大、高潮迭起的表演，简直令人惊叹。所以她天生就有那种'明星诞生'的特质。而《野玫瑰》正是才华与角色完美契合的典范，因为这个角色让你渴望见证她成功。是的，你希望看到她在演艺圈闯出名堂。

Was a big, big kind kind of climactic number anyway, and it was just amazing. So she has that kind of star is born quality built in. And Wild Rose is just one of those instances where you see this kind of perfect match of talent and role because the role is about someone who you want to see make it. Yeah. You want to see do well in show business.

你无法确定她能否成功，但你知道她具备天赋和魅力。我是说，剧本的设定就非常非常巧妙。这其实是妮可·瑟洛的首部电影剧本。没错，她曾凭借电视剧《三个女孩》获得英国电影学院奖。

You don't know if they will do well, but you know that they've got the the talent and the and and the charisma to do it. I mean, it starts it's the writing in this is is so so smart. This is actually Nicole Thurlow's first feature script. Yeah. Well, she's won, she she won a BAFTA for for three three girls, right, on on television, the miniseries.

故事开场时罗丝琳在监狱里，牢房墙上贴着纳什维尔的地图。这样你立刻就能清晰理解她的现状与梦想之地。问题在于，阻碍她的不是才华匮乏，甚至不是缺乏野心，而是周遭种种难以跨越的阶层壁垒。

But so it starts out with Roselyn in in in jail, and she's got on on the wall of the cell this map of Nashville. So you've got immediately, very cleanly established, you know, the goal where she wants to be, where she is now. And the problem is, you know, as I say, it's not a lack of talent that's holding her back. It's not even a lack of ambition that's holding her back. It's the fact that there's all these kind of circumstances around her which do not lead to fame pretty easily, you know, on on, in in terms of class.

她出身工人阶级且以此为傲，但在娱乐圈毫无人脉，无法让重要人物听到她的声音。她身无分文，不可能直接搬去纳什维尔'装模作样直到成功'。更糟的是她有前科（具体原因随着剧情展开），必须戴着电子脚镣，这让她无法外出演出，只能笨拙地把牛仔靴套在脚镣上。

She's she's kind of working class and proud, but she has no contacts at all within show business, within media, a way that might get her heard by someone important. She's got no money. She can't just decamp to Nashville and, you know, fake it till she makes it kind of thing. She has, of course, a criminal record, specifically for what we find out in the fullness of time, but so she's got this ankle tag to lug around with her, which means she can't stay out and do gigs. She has to pull her cowboy boots on.

这种细节的精妙之处在于：看着牛仔靴笨拙地套住脚镣的画面，无需台词就能道尽她的困境。她还有两个孩子，虽然深爱他们，但服刑期间抚养责任落到了由朱莉·沃尔特斯精彩演绎的母亲身上。

I mean, again, it's just like the neatness of this. Having the cowboy boot pulled on clumsily over the ankle tag kind of tells you all you need to know about her situation without a word being spoken. And also, she has two children, and she she, you know, she loves it. She's obviously not been looking after them while she's been in prison. That's been, fallen to her mother who's played beautifully by Julie Walters.

孩子们来得太早了，这再次限制了她寻找工作和演出机会的自由。她在格拉斯哥的Grand Ole Opry表演，这几乎就是事业天花板——直到苏菲·奥康内多的角色带着阶级与金钱的优势登场，给了她一线希望。

But the children have come along too soon. You know? They they they are restricting again her ability to to to move around, find work, find find gigs where where she might be. So she's kind of, she's playing at the Grand Ole Opry in Glasgow, and that's about as far as her her career will go. And then, of course, Sophie O'Nedro's character comes in and brings with her the advantages of class and of money and and and is able to kind of give her some sort of sense of hope that she might actually make it.

本质上这是个经典的'明星诞生'故事，但剧本最了不起的是你始终无法确定她能否成功。这里没有套路化角色，她的奋斗轨迹前所未见。

Now it is, in a sense, a kind of a straightforward star is born story. It's to the enormous credit of the writing that you never know for one second whether she will make it or not. Yeah. There are no stock characters here. She's not charting this path that you've seen before.

电影里大多数人都是善意的，希望她成功。苏菲的角色就是典型代表，她愿意倾注关注正是因为看到了罗丝琳值得被栽培的闪光点。而那些持保留态度的人也有充分理由——罗丝琳本身就是个令人抓狂的角色。

People are gen generally in this film are nice, and they want to see her do well. I mean, Sophie's character, of course, is the kind of alpha example of this because she is able to lavish this attention and care because she sees something that's worth, worth elevating in Roselyn. But, generally, people want to see her to see her do well. People who don't want to see her or rather have misgivings about her have misgivings for very good reasons. And she is herself a very exasperating figure.

她绝非什么'强势女性'，对吧？她不负责任，还会无端树敌。

You know? She's anything but a strong female character. Right? She's irresponsible. She makes enemies pointlessly.

当她刚开始做清洁工时——在她天赋被发现之前——她一边打扫卫生一边偷喝威士忌。就像你提到的，有个绝妙的吸尘场景，她醉醺醺地转来转去，还放声高歌。但你会希望她在这过程中一切顺利，这正是故事动人之处。另外，我们得聊聊杰西·巴克利和朱莉·沃尔特斯之间惊人的母女化学反应。

When she's doing the the cleaning because she starts out working as a house cleaner before she, before her her talent is kind of unearthed. She's raiding the whiskey cabinet and then, you know, hoovering as you mentioned, there's kind of fantastic, hoovering scene, where she's going around drunk and they sing at the top of her lungs. But you want to see her do well throughout all of this, and that's that's kind of what works so well. Also, we should talk about the amazing mother daughter chemistry between, between Jesse Buckley and Julie Walters. Yeah.

有个特别时刻，沃尔特饰演的角色总在照顾两个孩子，她觉得罗莎琳实际上是个缺席的母亲，需要走出这个阶段，进入人生的下一篇章——照顾孩子，找份稳定工作确保他们生活无忧。她对女儿总追逐不切实际的梦想心怀不满。她说：‘我给孩子们做饭时，他们不喜欢我的肉末。’

There's a there's a particular moment where they're talking about, Walter's character kind of constantly looking after these two children, and, she feels that, Rosalyn is effectively an absent mother and needs to get past this phase and and and move on to this the next phase of her life, which is looking after the kids and and and taking a sensible, stable job to to to make sure things are okay for them. And she has a chip on her shoulder about her daughter kind of constantly chasing this impossible dream. And she says, you know, when I'm cooking for these kids, they don't like my mince.

比如‘肉末’那句台词。

Like the mince line.

‘他们不喜欢我的肉末，喜欢你的。’罗莎琳回答：‘我没有肉末，我的肉末就是你的肉末。’注意，我这不是在说反话。

They don't like my mince. They like your mince. And, Roselyn replies, I don't have a mince. My mince is your mince. Now I'm not I'm not being ironic.

不。那句台词像标枪一样直戳我心。

No. That line skewered me like a javelin through the middle.

同感。

Same.

我从没听过这种亲子对话——也许是苏格兰特色？但苏格兰式的...

I have not heard, like, the kind of parent child maybe it's a Scottish thing. I don't know. But but the Scottish

是这样吗？

Is that is it?

苏格兰式的亲子关系，那种传承简单食谱的方式。我直到最近半年才发现‘我的肉末’——多年来我的肉末其实都是妈妈的配方。现在我终于...

The Scottish parent child dynamic, that passing down of, like, a simple recipe. I've only recently, within the last six months or so, discovered my mince. My mince was my mom's mince for for for years. Yeah. And I finally

你有了自己的肉末。

You've got your own mince.

这真是...这真是令人遗憾，我...我搞砸了。但正是这种通过优美而极其精炼的对话，来揭示人性最核心本质的方式，处理得非常精妙。我想说的是，这部电影绝非平庸之作。

This is this is a sad I'm I'm missing up. But this just this kind of this this way of identifying, like, kind of the absolute the the core kind of essentials of human nature through this kind of beautifully written and very, very efficient dialogue is very beautifully done. The film is anything but mints, basically, is what I'm trying to say.

确实如此。我们还收到了您精彩的来信。看到一部以苏格兰为背景、沉浸于苏格兰文化的电影令人耳目一新。卡米表示：苏格兰在电影中真是被严重忽视的地区，能看到这样的影片太棒了。

Is. And we got some fantastic correspondence from you as well. Thought it was so refreshing seeing a movie set in Scotland and immersed in Scottish culture. I think Scotland is a really neglected area of films. Great to see movies like this, says Cami.

亲爱的苏格兰杰出影迷詹姆斯：感谢来信。二月份时，我当地影院为《野玫瑰》做了场盲映。虽然我对乡村音乐几乎一无所知，但这位渴望实现歌手梦想同时又要养育孩子的母亲故事让我着迷。杰西·巴克利的表现惊艳绝伦，她那惊人的歌喉让我想听她唱更多曲子。

Dear Spectacular Scottish subs. James, thanks. Back in February, my local cinema chain gave an unseen screening of an upcoming film which turned out to be Wild Rose. I know next to nothing about country and western country music, but I was spellbound by this charming story of an aspiring singer trying to fulfill her dreams and also be a mother to her children. Jesse Buckley is stunning in the role with a stupendous singing voice I'd gladly hear sing more tunes.

诚然故事套路熟悉，但当它以如此真挚、动人又幽默的方式呈现时，这些都无关紧要。我力荐大家寻找这部瑰宝。来自尼古拉·米勒德博士的分享：去年夏天我初次遇见新秀歌手罗莎琳·哈伦。尽管对乡村音乐有些过敏，我还是去了她在卡姆登的演出——穿着牛仔靴的罗莎琳（即惊艳的杰西·巴克利）用充满力量与激情的现场表演震撼全场。

Sure, the story is very familiar, but when it's told in such a heartfelt, touching and humorous manner, it doesn't matter. I encourage everyone to seek out this absolute gem. This is from, doctor Nicola Millard. I first encountered an up and coming singer called Rosalyn Harlan last summer. Despite being slightly allergic to country music, I moseyed along to a gig in Camden where Rosalyn, aka the fabulous Jesse Buckley in cowboy boots, blew the entire room away with a live set full of power and passion.

因此去年十月我赶赴伦敦电影节参加《野玫瑰》欧洲首映，同样被征服。编剧妮可·泰勒献给乡村音乐的情书起初看似落入俗套，就在你以为猜到结局时，它却转向更迷人的方向。单是可乐嗝那段就值六次爆笑——那可乐嗝简直神来之笔，而晕染的睫毛膏痕迹也恰到好处。虽有人将其与《一个明星的诞生》比较，但我认为《野玫瑰》更接近艾伦·帕克的《追梦者》。

As a result, I galloped along to the European premier of Wild Rose at the London Film Festival last October and was equally enthralled. Screenwriter Nicole Taylor's love letter to country music initially looks like it's playing out every cliche in the book, but just when you think you know where it's going, it heads off in another more intriguing direction. It passes the six laugh test even just for the coke burp. I mean, the Coke burp is genius with flying colors, but also smudges well across the three mascara run line. Comparisons have been made between this and A Star Is Born, but I think Wild Rose shares far more cinematic DNA with Alan Parker's commitments.

音乐类型虽不同——这里是格拉斯哥乡村而非都柏林摇滚——但主题相同：才华横溢的工人阶级青年用音乐挣脱平庸生活的枷锁。本片唯一诞生的明星是杰西·巴克利。《野玫瑰》虽是乡村题材，却拥有真正的灵魂——这句话就该印在海报上。

The music may be different instead of so. It's country and it's Glasgow, not Dublin, but it has the same theme of young, talented, working class people using music to escape the shackles of their mundane lives. The only star to be born in this film is Jesse Buckley. Wild Rose may be about country, but it has real soul. Should be on the poster.

太美了。其实在访谈前播放的片段里，当被问'为什么是乡村音乐'时，她那种标志性回应方式——先引用哈伦·霍华德'四分之三真实'的经典定义，随后又反悔般将手按在胸口说'它能释放这里的东西'，这种直白坦诚的表达完美诠释了她为何需要音乐——因为在日常生活中无法肆意宣泄情感，所以需要这个音乐出口来释放。

Beautiful. And actually, the way in which was in the clip that we played before the interview, but the way in which she says, you know, her go to response to, you know, why country? She says, oh, it's three quarters in the truth, which is that Harlan Howard's famous description of country. But then she kind of goes back on herself, and she put think she puts her hand on her chest and says, it gets what's in here out, which is just this incredibly kind of direct, honest way of expressing, you know, why she needs that, why it is, you know, in her normal life, she can't be kind of all, you know, emotional and effusive. And so she needs that kind of musical outlet to to to to to get through that.

我们还没提到呢，片中还有'低语鲍勃'哈里斯的客串演出。

We have even mentioned as well, there's a cameo from Whispering Bob Harris in the film as well.

以及苏格兰民谣传奇菲尔·坎宁安和阿利·贝恩也...

And Phil Cunningham and Ali Bain as well, Scott's folk legends, who

他们是

are the

她是Jaggy Nettles乐队的一员

part of the Jaggy Nettles, her band

乐队。而且

band. And

我是说，这部电影真的懂音乐，尤其懂那种特定的音乐场景，准确得惊人。

that that I mean, you know, the film just it it understands music and it understands that particular music scene Yeah. So accurately.

是啊，快去看吧，太棒了，真的非常棒。那么接下来。

Yeah. Go and see it. It's so good. Really, really is. Right then.

从《野玫瑰》

From Wild Rose

说到《地狱男爵》。

to to the Hellboy.

《地狱男爵》。

Hellboy.

对，所以

Yeah. So

我要不要像念《雷霆沙赞》那样特别地念《地狱男爵》？不用？好吧。

Should I find a way of saying Hellboy like I did with Shazam? No? Okay.

地狱男爵。哦，天哪。好吧，我们来聊聊《地狱男爵》。

Hellboy. Oh, boy. Okay. So let's talk about Hellboy.

那就继续吧。

Go on then.

这是对黑马漫画系列的一次全新重启改编，原作由迈克·米格诺拉创作，此前曾非常著名且近期被吉尔莫·德尔·托罗在2004年和2008年2月改编成两部电影。最初，这个版本是作为德尔·托罗三部曲的第三部诞生的。

This is a new sort of reboot y adaptation of the Dark Horse comic series, which was, created by Mike Magnola and has previously, very famously, and also very recently been adapted into two films by Guillermo del Toro in 2004 and 02/2008. Initially, this version started life as the third part of the del Toro trilogy.

哦，真的吗？

Oh, really?

是的。原计划是制作第三部德尔·托罗的《地狱男爵》电影，但项目走向了德尔·托罗不太感兴趣的方向，所以他退出了。原版地狱男爵朗·普尔曼也离开了。这留下了一个空缺，花了十一年时间才决定如何填补。

Yeah. So that was the original plan was to make a third Del Toro Hellboy film, but the project went under a direction that Del Toro was not particularly interested in pursuing. So he departed did it? As did the original Hellboy, Ron Perlman. So this left this sort of vacuum where it's taken eleven years to to to work out how to, to fill it.

至少在理论上，这个空缺由尼尔·马歇尔填补，他是《狗士兵》和《黑暗侵袭》的导演，后来转向电视剧领域。他执导了《权力的游戏》中两场宏大的季终战役，包括黑水河之战和另一场我记不清名字的第四季终战。所以他既有粗犷的漫画恐怖风格，也擅长这种阴郁壮观的场面。理论上是个很棒的选择。

And it has been filled, in in in theory, at least, by, Neil Marshall, the director of Dog Soldiers and the Descent, and who had laterally moved into television. He directed two enormous sort of series climaxing episodes of Game of Thrones, the Battle of Blackwater. And the other big battle, whose name escapes me, but the end of season four. So he'd he'd he'd done he's got this kind of, you know, feel for gutsy comic horror, but also for this kind of grim, bleak spectacle as well. So in theory, great director

来执导

to to choose for

而取代原版地狱男爵朗·普尔曼的，是大卫·哈伯，他在《怪奇物语》中饰演啤酒肚警长，为此角色增肌不少。问题在于德尔·托罗的处理方式是将地狱男爵塑造成后现代弗兰肯斯坦式的角色，既有莽撞的动作戏，又带着童话般的魅力和深刻悲情。对我来说，德尔·托罗电影的标志性场景是地狱男爵与鱼人亚伯在图书馆喝着墨西哥啤酒，跟着巴瑞·曼尼洛唱歌。

this And, kind of in in place of, of of the original Hobby Ron Perlman, you have David Harbour, who's who played the barley police chief in Stranger Things, who's significantly barlier for this role. He's he's bulked up. Now the issue with this is Del Toro's approach to this material is basically to turn Hellboy into this sort of postmodern Frankenstein like character. And there's, you know, there's there's knuckleheaded action in there, but there's also this fairy tale like glamour to it and this real kind of searching pathos. Like, for me, the defining scene of those, del Toro films is the one in which Hellboy and Abe Sapiens sit down, Yusma, because you know what I'm gonna say, in the library with a six pack of Mexican beer and sing along to Barry Manlow.

对吧？这可不是标准奇幻动作大片的套路。

Right? So this is not a kind of a standard action fantasy blockbuster beat.

嗯。

Mhmm.

但它完美概括了德尔·托罗电影的精髓。新版基调完全不同，极度血腥，充满愤世嫉俗的粗口，让人联想到《死侍》的成功让片方认为：当下这种美国R级片的尖酸刻薄风格正流行，所以我们要重塑角色来迎合。若与原版对比，它惨败；单看本身，它依然惨败。

But it beautifully encapsulates what those del Toro films are about. The tone of this is completely different. It is kind of incredibly relentlessly gory, very cynical, very foul mouthed in a way that makes me think that people saw the success of Deadpool at Fox and thought, okay. So this kind of, nasty you know, in America, r rated is the term that's often used as sort of nasty, cynical, sort of very snipey, jokey tone is doing well at the moment, so we need to recalibrate this character in order to fit that. So you can kind of compare it to the Guillermo del Toro films in which respect it's a staggering failure, or you can judge it on its own merits in which respect it's a staggering failure.

前提是，故事实际上设定在德尔·托罗电影之前。于是你看到，地狱男爵最初被带到英国，协助在新森林中追捕巨人。但他卷入了这个更大的阴谋，涉及由米拉·乔沃维奇饰演的一位亚瑟王时代女巫的复活。当然，他还再次与养父（伊恩·麦克肖恩饰演）发生冲突，我们可以在以下片段中听到其中一次争执。

The the the premise is that, it's actually set before the del Toro films. And so you have, Hellboy being brought across The UK initially to help out with, hunting down giants in the New Forest. But he gets embroiled in this broader plot that involves, the resurrection of an Arthurian, sorceress played by Milajovovich, of course. And, he also gets another chance to to feud with his adopted father who's played by Ian McShane, and we can listen in to one of those feuds in this clip.

欢迎回到活人的世界。几乎没留下什么伤痕。你恢复得真快。

Welcome back to the land of the living. Hardly a scratch left. You heal fast.

我在哪儿？

Where am I?

培根、鸡蛋和黑布丁，亲爱的。你看上去需要一顿正经的英式早餐。来吧，坐下吧，别站着了。

Bacon, eggs and black pudding, dear. You look like you could use a proper English breakfast. Go on. Sit Sit down before you fall down.

我怎么到这儿来的？

How did I get here?

有人用货车把你送来的。确切说是四个人。顺便说，你欠我300英镑。

Men with a van. Actually, four men. You owe me £300, by the way.

抱歉，我们认识吗？

I'm sorry. Do I know you?

当心那贾巴沃克，我的孩子！那咬人的牙，那抓人的爪。当心——

Beware the jabberwock, my son. The jaws that bite, the claws that catch. Beware

贾巴沃克鸟。

The jab jab bird.

还要避开那弗拉米鸟的喋喋不休。

And shun the frumies frumies banter snatch.

爱丽丝。小爱丽丝·莫纳汉。

Alice. Little Alice Monaghan.

不那么小的爱丽丝·莫纳汉。

Not so little Alice Monaghan.

如果你觉得伊恩·麦柯肖恩的声音听起来不一样，那是因为实际上是由《美国甜心》中的萨莎·莱恩饰演通灵角色阿尔兹玛。不，萨莎·莱恩在《美国甜心》中表现惊人。

Now if you're thinking Ian McShane's sounds different, that's because that's actually Sasha Lane from American Honey who's cast as Alzma, who's the the psychic character. No. Sasha Lane, amazing in American

天啊。

my god.

让我震惊。

Blew my mind.

杰作。不，非常有才华。但不得不说，她的才华不包括英国口音。这部电影里的口音从一开始就是个问题。

A masterpiece. No. Very talented. Her talents do not include English accents, I have to say. The accent in this is a sticking point from the very start.

我想你可以从这部电影中看出来，记得上次我们一起上节目时，我们讨论的是《波西米亚狂想曲》。

And I think you can see in the way that this film you know, I think last time we we were on together, we were talking about Bohemian Rhapsody.

是你在说。

And You were talking.

是我

I was

在讨论《波西米亚狂想曲》。虽然你嘴上说不认同，但最后你其实同意了我的观点。

talking about Bohemian Rhapsody. And you really agreed with me at the end of the sentence, even though you said you didn't.

你绝对没有。

You didn't Definitely didn't.

内心深处。但当你观看《波西米亚狂想曲》时，你会发现那部电影是抢救出来的成果。它的剪辑方式显得突兀且不连贯。比如，当电影需要特写某人以捕捉其对某事的反应时，却会切到广角镜头或俯拍镜头之类。这种情况在《地狱男爵》中频频发生。

Deep down. But when you look you know, when you watch Bohemian Rhapsody, you can see that that film is a salvage job. The way it's been edited is kind of twitchy and incoherent. And when you know that the film needs to go to a close-up of someone because you need the reaction to something, for example, it will cut to a wide shot or an overhead or something like that. This constantly happened in Hellboy.

表演方面——萨切尔琳娜的表演并不出色。片中所有表演其实都不怎么样。伊恩·麦克肖恩念台词的样子，就像他开拍前五秒才刚拿到剧本。他念开场独白时，听起来就像这辈子第一次见到这段台词，完全是在即兴发挥。

The performances I mean, Satchelina's performance is not good. None of the performances in it really are very good. Ian McShane, he's reading these lines like he's just like Clap Tie on the script five seconds before he's come on camera. I mean, he does the opening monologue, and it sounds like he's never seen it before in his life. He's just sitting down to read off the top of his head.

但比起糟糕的表演，更致命的是影片的拼凑式剪辑——几乎到了支离破碎的地步。全片几乎没有两个场景能流畅衔接。更别提单个场景的内部结构了：比如萨莎·莱恩饰演的通灵角色抵达大屠杀现场时，她说'这里发生过可怕的事'。

But the performances, not good as they are, are totally stitched up by the way in which this film has been put together, which is basically bordering on incoherent. There are barely two scenes that flow together properly. Right? And let alone that in in the actual internal structure of the scenes, as I say, there's a moment where they they arrive at this massacre, Sasha Lane's character who is psychic. She comes and says, you know, something terrible happened here.

接着镜头本该推近她的面部，展现她感知到恐怖事件时的反应。但实际却莫名其妙切到俯拍镜头。可能是现场表演没到位，或是素材无法剪辑成连贯画面。整部电影就是场持续不断的灾难。基调也问题重重——开场就充满令人窒息的恶意与恐怖，且毫无缓和。

And then, you know, the camera sort of prepares for a big, you know, a sort of a a pan into her face to show us the kind of the the horror, but, you know, she's sensing what's happened there. And instead, it cuts this overhead shot for no reason. So presumably because the performance wasn't there or the you know, it it didn't for whatever reason, what happened on set wasn't able to be cut into some incoherent. So it's just a total and relentless mess. The tone is also the fact that it starts out just so relentlessly nasty and horrible, and it just does not let up.

这种压抑感随时间累积，二十分钟后，观众看着这些恶心怪物只会麻木。尤其那个芭芭雅嘎女巫角色——

That's deadening over time, you know, twenty minutes of that, and you just kind of you've been shown all these kind of horrible revolting creatures, and you're like, yeah. There's that one that stands out, which is the Baba Yaga witch character.

是啊，我不...

Yeah. I don't

记得这个场景吗？它与前后剧情毫无关联。我猜保留的唯一理由是视觉奇效。地狱男爵拜访住在鸡脚屋的女巫芭比安卡，这个设定借鉴了漫画原著对民间传说的有趣融合。还有换婴怪的情节——

know if you you recall this one. That scene has nothing to do with anything around it. I think the only reason it's in there is because it works. But this is a a point which Hellboy visits the the the witch Balbianca in her house, which is on this kind of big walking chicken legs thing, which is part of, you know like the Hellboy comic books, it's tapping in interestingly to different folklore ideas. There's another thing with changelings as well.

萨莎·莱恩的角色幼时被换婴怪调包，是地狱男爵救了她。这些本可成为亮点创意，最终呈现却惨不忍睹。当一部本该由专业团队打造的电影沦落至此，人们难免要追问原因。

It's Sasha Lane's character when she was a baby. She was rescued by Hellboy because she was taken away and replaced with a changeling. So it's using all these, you know, potentially interesting ideas, but the result is just catastrophic. Now when a film ends up like this and theoretically, people who would have made a good job are involved, you start to ask some questions or wonder some things.

所以为什么会变成这样？

So why is it ended up like this?

我不认为这是巧合，在这部电影的宣传巡演中，尼尔·马歇尔全程缺席。

I don't think it's a coincidence that on the publicity tour for this film, Neil Marshall has been nowhere to be seen.

他

He

首映式他也没出席，我记得是这样。他肯定没接受过任何相关采访，网上也找不到他谈论此片的片段。这完全像是多方干预导致作品被拉扯得四分五裂的迹象。如果连一个场景都剪辑不连贯，那只能说明现场拍摄时导演把控失序，很可能存在多方意见博弈的情况。

wasn't he wasn't at the premiere, I don't believe. He's certainly not done a single interview for it. I've not seen any clips of it talking about it online. It just smacks of muddling kind of interference being pulled in five different directions at once. And scenes if you can't cut a scene together, it's because the direction on the day has been all over the place, possibly competing voices in there somewhere.

简直糟透了。我是说...吉列尔莫·德尔·托罗看到自己塑造的角色被糟蹋成这样，不知会感到解脱还是悲哀。但建议大家重温德尔·托罗的版本——如果你还没看过，务必找来看看，那才是二十一世纪怪物电影的完美典范，而这部新作完全不是。

It's just awful. I mean, it's it's it's kind of I don't know if Guillermo del Toro will be relieved or just sad to see the legacy of this character tarnished so badly, but, you know, go back to the del Toro film. If you haven't seen them, seek them out because they are beautiful. They're such a wonderful treatment of how you do a monster movie in the twenty first century, and this just is not.

我们收到大量相关来信。这封是最新的：作为漫画铁粉，我怀着期待进场——预告片呈现的基调与漫画很接近。虽然喜欢德尔·托罗的派拉蒙电影，但那终究是德尔·托罗的风格。不过开场几个场景确实惊艳，简直像直接从漫画分镜搬上银幕。

We've had a lot of correspondence on this. This is one hot off the press, actually. Being a big fan of the comics, I went in full of hope as what I had seen in the trailer, similar in tone to these comics. And whilst I enjoyed the original Del Toro Paramount movies, they were very much a Del Toro product. Anyway, in the first few scenes, I was impressed as these scenes were almost cut out of the comics and placed on the big screen.

可惜好景不长。特效拙劣，剧本更差，台词生硬不自然——尤其强行加入的粗口（漫画里地狱男爵根本不爆粗）。主演之间毫无化学反应。如果电影整体水准在线，配角改编我尚可容忍，但事实并非如此。这绝对是我在影院看过最烂的电影之一。此致，肖恩·奈特。

However, the impression did not last. The CGI was terrible as was the script with dialogue feeling clunky and unnatural, especially where the swearing was involved. Hellboy doesn't actually swear in the comics, and there seemed to be little to no chemistry between the film stars. I could ignore the liberties taken with the support characters if the rest of the film was up to scratch, but it simply wasn't. And this ended up being one of the worst movies I have seen in the cinema.

官方片长标注两小时，但观众通过某种跨维度传送门体验到的实际时长约三个半小时。

Yours sincerely, Shaun Knight. The official Hellboy running time is two hours, but probably down to an interdimensional portal of some kind. Audiences experiences as around three and a half.

漫长到离谱。大卫？演到一个半小时时感觉要结束了，结果又硬生生展开新剧情。继续说吧。

It feels so long. David? It's it's feels like it's about to wind up after about an hour and half, and then it just launches into this other thing. Anyway, so go on.

我想补充：若有人想看亚瑟王世袭题材，推荐《寻找亚瑟王》。大卫·哈伯和萨莎·莱恩演得不错，但生硬的解说和强行插入的支线太多，还妄想用血腥场面替代戏剧张力。大段剧情沉闷乏味——能把地狱男爵拍得这么无聊也是种本事。感谢李·厄尔的来信。本片是部毫无魅力、血腥混乱的倒退之作。

I was gonna say if anybody wants to see a King Arthur kind of hereditary story, go and watch Seek Out the Kid Who Would Be King. David Harbour and Sasha Lane are good, but there's so much clunky exposition and unnecessary subplots crowbarred in, plus a belief that you can substitute graphic gore for building dramatic tension. Large chunks of it are just dull, and you really have to try to make hell you really have to try to make hellboy dull. Thank you very much for that, Lee Earl. Hellboy is a charmless, gory mess and a step backwards to the franchise.

开场称阿曼是

In the opening scene, Arman is described as the world's greatest paranormal investigator, a phrase lifted straight from the comics yet throughout the film. He's a bumbling, hot headed, demonic roadie that has all the questions and none of the answers. Del Toro and Parliament's depiction was truer to the source material. There, Hellboy was impatient and quick with his fist, but ultimately, he brought his a game and justify his reputation as the best of the best. I'm a fan, but not a fanboy and can appreciate when an adaptation goes off pace.

但地狱男爵要么是忠实于原著的老手，要么就是个毫无内涵的地下世界懒汉。鱼与熊掌不可兼得。来自爱尔兰利什郡的加里。艾莉·丹尼尔斯表示，《第一次快乐停留》电影没有虚假宣传，不像我们最近上映的那些片子。预告片明明白白告诉你：这是个从地狱来的红色大块头，身边围绕着一大堆疯狂的超自然闹剧。

But either Hellboy is the season pro from the source material or he's a gourdless underworld Lebowski. You cannot have it both ways. Gary from County Leash in Ireland. Ellie Daniels says first time Happy to Stay film doesn't advertise itself to be something it isn't, unlike us that recently hit the cinemas. The trailer says here's a big red guy that was sent from hell and a whole lot of crazy supernatural shenanigans surrounding him left, right, and center.

电影确实兑现了这个承诺。然而影片几乎从头到尾都是不间断的动作场面，几乎没给观众留下消化剧情的时间。另外值得注意的是，它怎么才被评为15禁？哈利·梅什曼。特蕾莎·梅什曼。

That's exactly what the film delivered. However, it was particularly nonstop action right from the start and almost never gave the audience a moment to process what was happening. Another important note, how is it only rated a 15? Harry Meishman. Theresa Meishman.

今晚我和爱人去看了最新《地狱男爵》电影的首映。首先我们都没看过前作，但我觉得这并不重要，因为大部分时间我们都能理解剧情。只要看过预告片，你就知道该期待什么。这部电影呈现了我长久以来见过最密集的连续动作戏——开场五分钟就开打，直到演职员表滚动时还在轰炸你的大脑。除了几处CGI瑕疵外，《地狱男爵》整体表现堪称完美。

This evening, myself and my better half went to see the first showing of the latest Hellboy film to hit the big screen. First off, neither of us had seen any of the Hellboy films before, but I don't think that mattered as we seemed to just about understand what was going on most of the time. All you need going on all you need going into this film is to have seen the trailer, and you know what to expect. The film delivered the most nonstop wall to walk action walk to wall action I've seen in a long time that kicks off in the opening five minutes and doesn't stop bombarding your brain until the credits roll. Apart from a few wobbly CGI moments, Hellboy absolutely delivers all round.

我喜欢它不过分严肃的态度，能坦然接纳自己的荒诞元素。

I like the fact it didn't take itself too seriously and recognize its own ridiculous bits.

什么？再来两个。

What? Two more.

好的。

Okay.

这是尼尔·基廷的评论：看到开场的亚瑟王桥段时，我还以为这是正片前的短片。可能是某个刚毕业或还在电影学院的学生拍的，野心勃勃但误入歧途的作品——那种你职业生涯后期回想起来会既怀念又尴尬的电影。不幸的是，这部'短片'持续了整整两小时。

This is from Neil Keating. During the opening King Arthur Business, I thought, this must be a short film before the main feature. Something ambitious but misguided maybe by someone just out of or still in film school. The sort of film that you would look back on later in your career with nostalgia and mild embarrassment. Unfortunately, that film continued for the next two hours.

纯粹是胡言乱语。亲爱的《利斯的阳光》和《猜火车2》，你们谁是谁？

Such absolute drivel. Dear Sunshine on Leith and Trainspotting two. Who's who?

请选《利斯的阳光》。

Sunshine on Leith, please.

我的快乐建立在别人的...我本来完全准备好接受新版'这到底是什么鬼东西？'——保莱特，我喜欢你这个小玩笑。原版吉尔莫·德尔·托罗的《地狱男爵》是部迷人的动作喜剧恐怖爱情片，朗·普尔曼演绎的 charismatic 地狱男爵极具魅力，里面还有我最爱的'美女救英雄'场景之一。

My pleasure in other people's. I was fully prepared to take the new what the hell is this boy? I like what you did there, Paulette. The original Guillermo del Toro Hellboy was a charming action comedy horror love story. Ron Perlman's charismatic Hellboy was easy to love, and it has one of my favorite girl saves boy scenes in it.

这部2019年的《地狱男爵》糟透了。它要么是对英国当前混乱局面的一种巧妙隐喻（allegory），要么就毫无意义。影片像是几段短片生硬拼接而成，节奏断裂得让我脖子都快扭伤了。

This 2019 Hellboy was horrible. It was either a clever is it allegory? Allegory. For the current mess The UK has found itself in, or completely pointless. It seemed to be shot as several shorts chopped together so jerkily I had whiplash.

所有角色似乎都能在时空里无缝瞬移。观影时我甚至希望后排有人开始吃墨西哥卷饼和抠脚趾甲，好分散我被重力压进座椅的煎熬感——这体验可真是绝了。

Everyone seemed to be able to teleport seamlessly in and out of time and place. During the film, I wished for someone to start eating Mexican food and picking their toenails on the seat behind to distract me from the feeling of gravity pushing me down into the seat. That's an amazing thing.

但除此之外

But apart from that

我儿子现在已到合法观看这部《地狱男爵》的年龄（不用再借克拉文特的高顶礼帽、摩纳哥护照和别人的爸爸了），他后悔浪费的每一分钟。他们到底拍了什么？问得好。向杰森·艾萨克森问好，保莱特·格里菲斯也受不了这版地狱男爵——这可是我最爱的读者来信之一。

My son, who is now legally old enough to see this hellboy without borrowing Kravant's top hat, Monaco, and someone else's dad, regretted every wasted minute. What have they done? What indeed. Hello to Jason Isaacson down with this hellboy, Paulette Griffiths. That's one of my favorite emails ever.

我们能结束这个话题了吗？

Can we put that to bed now?

我想是的。

I think so.

我精疲力尽了。

I'm exhausted.

永远别再提它了。

Let's never talk of it again.

永远别

Let's never

除非它下周冲进票房前十。也许吧。你觉得呢？或许有可能。

Apart from in the box office top 10 next week. Maybe. Do you reckon? Maybe.

哦，对了。《神奇乐园》？

Oh, right. Wonder Park?

是的。我们来聊聊派拉蒙和尼克儿童频道联合出品的新动画《神奇乐园》。故事讲述了一个名叫琼的小女孩，她在脑海中构想出一个主题公园。

Yes. Let's talk about Wonder Park, which is a new animation from, Paramount and Nickelodeon. It's a story about a young girl, who visits a theme park inside her head. Her name is June. She's voiced by an actress called Brianna Densky.

过去几年里，她和母亲用纸板、细绳等手工材料搭建了这个名为'仙境'的庞大幻想主题公园，由她的毛绒玩具们负责运营。后来母亲因患癌症（成年观众能含蓄理解到病情严重）需要住院治疗，留下她和由马修·布罗德里克配音的父亲在家。仙境项目随之被遗弃并彻底消失。

And she spent the last few years of her life, building a home with her mother of cardboard and string and all these kind of amazing craft materials. This sprawling imaginary theme park called Wonderland, which is operated by, her Cuddly Toys. Then her mother, has to go to hospital for something that grown ups in the audience are very gently given to understand is fairly nasty form of cancer. And she's left at home, with her father, who's voiced by Matthew Broderick. The Wonderland project is abandoned and then swept away.

她逐渐失去了对生活的热情。父亲送她去参加暑期数学营途中，琼逃进森林，意外发现了她和母亲当年构想的乐园——如今已破败不堪的现实版。她重逢了曾经管理乐园的玩具伙伴们，这些角色现在终日躲避名为'黑猩猩僵尸'的前吉祥物军团的追杀。

She loses her kind of vigor and enthusiasm for life. And so the father packs her off to, maths camp for the summer. On the way to maths camp, June runs away and stumbles across in the forest, a real life full scale version of the park she and her mother had imagined in a state of total disrepair. And so she bumps into, again, real life versions of her toys who used to run the park, who are now spending their whole time fleeing this invasion of formerly cuddly mascots, called chimpan zombies, and here they are in the process of doing just that.

我们撑不住了！迎宾熊布玛？快逃命啊！嘿罗伯特，夹子女王快跑！

We can't keep up. Boomer the welcome bear? Run for your life. Hey, Robert. Get moving, Pinch Queen.

怎么回事？我们为什么要追布玛？

What's going on? Why are we chasing Boomer?

噢，我们没在追

Oh, we're not chasing

他。是他们在追我们。格斯，把雨篷撞倒！

him. You're chasing us. Gus, knock that awning down.

交给我

I'm on it.

超级，开打吧。史蒂夫？我草拟撤离计划。你当诱饵。

Super, start the fight. Yep. Steve? I'm draft up an exit plan. You're the bait.

是啊，当然，我在呢。正忙着当诱饵呢。这儿发生什么事了？

Yeah. Of course, I am. Baiting away. What is going on around here?

看起来像什么？急性恐慌僵尸？

What does it look like? Acute pan zombies?

这边。晚餐准备好了。来吧。子弹上膛。蹦跳着逃向安全地带。

Over here. Dinner is served. Come on. Locked and loaded. Skipping to safety.

蹦跳着逃向安全地带。我几乎脱离危险了。这么可爱，却又这么调皮。

Skipping to safety. I'm almost out of danger. So cute, but so naughty.

世界级的诱饵。好吧。这相当到位地抓住了它的基调。我是说，显然，她现在要做的就是和她的玩具们一起让乐园重新运转起来，你知道，恢复到应有的状态。我记得，几年前《头脑特工队》上映时，我看这部电影时觉得这有点像皮克斯版的《千与千寻》，它把一个小女孩生活中的动荡时期，把她内心的混乱映射到这段穿越各种奇异荒诞景观的奇幻旅程上，通过延展并放入这个奇幻世界，让她所经历的一切变得非常生动可感。

World class bait. Okay. So that pretty ably captures the tone of it. I mean I mean, you know, obviously, what she's got to do now is work with her toys to get the park running, you know, back up to to spec again. And I remember, you know, when Inside Out was released, a few years ago, remember I kind of seeing that film and thinking this is actually a little bit like Pixar's version of Spirited Away, and it's taking this tumultuous time in a young girl's life and mapping her inner turmoil onto this kind of fantastical journey across really weird, absurd landscapes and and, you know, making it kind of very vivid and appreciable what she's going through by stretching out and putting into the into this kind of fantastical world.

虽然把《神奇乐园》比作尼克儿童频道版的《头脑特工队》有点牵强，但这能让你对电影的意图有个大致概念。归根结底，它比《头脑特工队》或《千与千寻》都要简单得多。它纯粹是关于她重新找回因母亲住院而失去的希望感和创造力。这个前提其实相当直白，但有趣的是它蕴含了很多潜力。可惜的是，电影的制作方式让它变成了围绕乐园的威利·旺卡式场景堆砌。

Now it's a stretch to say that Wonder Park is like Nickelodeon's version of Inside Out, but it's a kind of it gives you a sort of an idea what the film is going for. Ultimately, it's far far more simple than than either Inside Out or Spirits. It's it's it's purely about her rediscovering her sense of hope and her sense of creativity that she's lost by her mother kind of, having to go into hospital. And that premise is actually I mean, it's it's it's it's fairly straightforward, but it's it's it's it's interesting that it's it's sparks with a lot of potential. Unfortunately, the way in which the film has been made is it comes up with these Willy Wonka style set pieces around the park.

所以她和小动物们会去一个游乐设施，试图修复它。你知道，可能是那种把球体抛来抛去的巨型装置，你坐在球体里弹跳着到达另一边；或者是烟花汇成的河流，非常壮观；又或者是充满气球的失重房间。这些单独的情节设计得确实很巧妙。但缺乏贯穿的主线，所以就像一系列零散的冒险，而没有真正的情感冲击力。我认为部分问题还在于配音阵容为英国市场做了大量本地化。

So she and the animals will go to, one ride, and they'll try and repair it. You know, it will be this kind of enormous thing that's throwing, orbs around the park that you'll sit in the orb and, you know, bounce around and end up at the other side or there'll be, like, a big river of fireworks and it will be all very spectacular, or an antigravity room full of balloons. So there's all these individual episodes that are actually really well, cleverly thought up. But the through line isn't there, and so it's just like this kind of series of scrapes rather than something with real emotional purchase. I also think part of the problem is the voice cast has been heavily localized for The UK.

比如欢迎熊布姆在英国版里由汤姆·贝克配音，而那对总是争吵的海狸兄弟由两位YouTuber乔·萨格和卡斯帕·李配音。当你大量这样做时，就会出现一种诡异的腹语玩偶般的脱节感——你听到的对白和嘴型动作（当然嘴型始终是按美国原版配音制作的）之间不协调。因为这部电影的...

So you have Boomer the Welcome Bears mentioned there is, is voiced by Tom Baker in The UK release. And these two, Beaver brothers who are always feuding are voiced by Joe Sugg and Casper Lee, the two YouTubers. Now when you do this, if you do it a lot, there there becomes this kind of weird sort of ventriloquist dummy disconnect between the dialogue you're listening to and and and the voice movements, which, of course, always the the mouth movements are always modeled on the original American cast recording. And because this film does its

相同特征。

same characteristics.

对。没错。因为他们有录音棚的参考素材。所以动画在这方面没能很好地协调统一。

Yeah. Right. Exactly. Because they have reference footage from from from the booth. So there's there's a kind of a the animation doesn't quite kind of come together in in that way.

我是说，有个场景是埃蒙·霍姆斯和露丝·朗以琼阿姨和叔叔的身份出现。这已经太过分了，是埃蒙·霍姆斯和露丝·朗啊。这真的，已经让人无法再信服了。

Mean, there's at one point, Eamonn Holmes and Ruth Lang turn up as as June's aunt and uncle. Know, this has just gone too far. It's Eamon Holmes and Ruth Ruth Lanham. This is know, it's it's not gonna ring through anymore.

那样做？

Do that?

大概纯粹是为了增加本地吸引力吧。他们会在每个地区都这么操作，找些电视名人、YouTuber来对目标观众说话，以此增强代入感。所以对我来说，这和《遗失的环节》形成了有趣的对比——前者核心创意很吸引人但执行不到位，而后者故事虽简单，工艺却精湛得多。

Purely so that it's got more of a a local appeal, suppose. They'll do this in every territory. You know, there will be TV personalities, YouTubers, who will speak to the the target audience that will just kind of give it more of a sense of relevance. So for me, it stands as a really interesting compare and contrast with Missing Link because the original the core idea is so appealing, but the execution is not there. Whereas with Missing Link, you have this very, very straightforward story, but the craftsmanship is much superior.

我绝对更愿意看后者。

I would far, far rather see the latter.

好吧。

Okay.

不过这个也还行吧。

Although, this is fine ish.

还行吧。好，我们还有点时间聊个简短的，新闻前做什么？

Fine ish. Right. We've got time for a short one before we get some news. What are we gonna do?

那说说《小人物》，我们之前聊过《倾听男人心》进前十。本片编剧蒂娜·戈登也联合创作了《男人要什么》（改编自《女人百分百》），并执导了这部重构汤姆·汉克斯喜剧《长大》的作品——我们谈《雷霆沙赞》时也提过。现在电影界有种奇怪趋势，这些老套身体互换类高概念喜剧正被重新包装成职场黑人女性故事，本片就是对《长大》的类似改造。

Okay. So let's talk about Little, which is, you know, we spoke about What Men Want in the top 10. And this is actually Tina Gordon who co wrote What Men Want, an adaptation of What Women Want, also, co wrote and directed Little, which is a a reworking of Big, the Tom Hanks comedy we also spoke about when we're talking about Shazam. So it's it's this kind of weird, I don't know, moment in cinema where these, old body swap style high concept comedies are being recentered on black women in the workplace. This does very much the same thing, for for Big.

雷吉娜·霍尔饰演的乔丹·桑德斯是个咄咄逼人、刻薄的软件公司老板，对同事员工毫无尊重。某天停车场甜甜圈车司机的女儿用魔法许愿说"希望你变回小孩，好记起该如何善待他人"。次日她醒来就变回13岁模样，而由伊萨·雷饰演的助理则有机会摆脱老板阴影，在职场上崭露头角。小版雷吉娜由《喜新不厌旧》童星马茜·马丁扮演。

You have Regina Hall who's playing Jordan Sanders, this sort of go getting, quite nasty software developer boss who doesn't treat her colleagues or employees with any respect. So the daughter of the donut van driver in the car park outside one day magic signs says, I wish you were little so you could, you know, you could remember how how it is to Yeah. To to treat people nicely. So she wakes up the following morning, she's and transported back to her, 13 year old self. And her PA, who's played by, Issa Rae, then gets a chance to step out of her boss's shadow and, come into her own in the workplace, while the 13 year old version of Regina Hall is played by Marcy Martin, who is in a TV series called Black

就是那部

ish, which

我不熟悉这个。

I'm not familiar with.

说来奇怪，我上周其实刚看了几集。

I've I weirdly, just watched a couple of episodes that last week, actually.

好吧。所以她必须重返校园。基本上，她要在当初决定成为那种强势、野心勃勃、不讨人喜欢的年纪，重新经历校园生活以求做得更好。当然，这里的喜剧化学反应建立在私人助理要假装管束这个实际上是她老板的小女孩。

Okay. So she has to go back to school. And, basically, at the age at which she decided to become this kind of thrusting, ambitious, not very pleasant person and relive those school days in order to do things better. Of course, the so so the comic chemistry here is predicated on the PA being in or having to pretend to be in charge of this young girl who's actually her boss. Yeah.

现在他们正和一位迫切想让这位风云开发者入读当地中学的社工交谈。

And so here they are talking to a social worker who's desperate to get, this this, hotshot developer enrolled in the local middle school.

任何处于义务教育年龄段儿童的父母或监护人，必须送孩子去公立学校、私立学校或家庭教育项目。现在说什么？现在说的是让这孩子入学，否则有人要坐牢。就现在。说什么？

Any parent or guardian of a child during the ages of mandatory attendance shall send such child to public school, private school, or a homeschooling program. Say what now? Say what now is enroll this child in school or somebody is going to jail. That's what now. Say what?

你说的有人是指你。就是你。今天就把她注册入学，我会核实你是否照办。

By somebody, do you mean You. That would be you. Now, enroll her there today, and I will be checking that you do so.

不，听好了女士。我是个商人，有公司要经营。

No. Look here, lady. I am a businesswoman, and I have a company to run.

卖女童子军饼干的。她只是特别当真。我就——

It sells Girl Scout cookies. She just takes it really seriously. I'm like

所以我没空应付儿童服务局，更没时间上学。明白吗？

So I don't have time for child services, and I sure don't have time for school. Okay?

说清楚，如果不照办，我会让你进寄养系统，让你这位傻乎乎的阿姨坐牢。所以

And let me be clear, I will have you in foster care and your goofy aunt over here in jail if you don't. So

SRA和雷吉娜·霍尔实际上是一对非常出色的喜剧搭档。可惜的是，为了引入玛茜·马丁的角色，雷吉娜被写出了电影，并非因为这位年轻演员演技不佳——她其实表现不错。但问题在于这个角色的设定要求一个13岁的孩子全程以成人化的方式表演，呈现出一种过度用力的戏剧学院派风格。虽然她确实有喜剧天赋，节奏感也很好，但这样的表演方式终究让人感到不适。

SRA and Regina Hall actually make a really good comic pairing. It's a shame when Regina is written out of the film in order to bring on Marci Martin, not because she's a bad young actress, because she's she's not. But the nature of that character is that you have this very intense kind of stage school kid performance for the vast majority of the movie where you have a 13 year old acting like an adult. And for me, this just because of the nature of that, not because of anything that she's you know, she's she's funny. She's got good comic timing.

嗯。她确实全情投入，但这种表演长时间下来实在令人烦躁——而本片恰恰非常冗长。伊萨·雷是极具才华的喜剧演员，雷吉娜·霍尔早在《闺蜜假期》就证明了自己，她还有部佳作《支持女孩们》（安德鲁·布哈尔斯基执导）下月将在英国上映。总体而言，和《男人想要什么》类似，本片的创意过早耗尽，剩下的内容最终并不那么有趣。

Mhmm. She's very throwing herself into it, but it's it's just it's grating at length, and this is very much at length. I think Issa Rae is incredibly talented comic performer. Regina Hall obviously, proved herself in Girls Trip, before, and she's in a great film called Support the Girls, Andrew Buchalski film that's coming out next month in The UK. It just, in sum, feels like the again, similar to the problem with what men want, the concept burns itself out too quickly, and what's left behind isn't ultimately that funny.

好了，我们开始吧。本周电视电影选择环节，很多人都在猜测罗比会选什么。

Okay. There we go. Right. TV movie of the week. Loads of you have been guessing what Robbie is gonna choose this week.

梅根·穆斯克列了个很棒的片单：吉尔莫·德尔·托罗初版《地狱男爵》、《惊惧骤起》、《可怜母牛》、《谜中谜》、《丁丁历险记》、《初恋这首情歌》、《史努比与查理·布朗》、《泰坦尼克号》、《欢乐谷》、《玩偶之谷》、《生命之书》、《猎巫将军》。梅根说这份片单很棒。

Megan Musko. There's a great list actually quickly. The original Hellboy, Guillermo del Toro's first one's in there. Sudden fear, Poor Cow Charade, Adventure Tintin, Sing Street, Snoopy and Charlie Brown, Titanic Joy, Beyond the Valley of the Dolls, The Book of Life, Witchfinder General. Megan says good list.

确实是个好片单。

It is a good list.

不过《谜中谜》永远是首选——谁能拒绝加里·格兰特和奥黛丽·赫本同框呢？约翰·麦克布莱恩说：理智选择《初恋这首情歌》因为它很棒，但感性上必须选《地狱男爵》。这个IP设定本就酷炫，加上德尔·托罗的想象力更造就了独特魅力。虽有瑕疵但足够精彩，在重启版上映前重温原版很有必要。罗比可能...

But always, Charade, love a good Cary Grant and Audrey Hepburn film and here you get both in one place. John McBrain says my head says Sing Street because it's just great, but my heart says heart, sorry, says it has to be Hellboy. The concept of Hellboy is such a cool one and then when you add in the imagination and imagery of Guillermo del Toro, you get something special. It's not without flaws, but it's awfully good, and it's worth being reminded about the original before seeing the forthcoming reboot. Robbie may

在不去看即将上映的重启版之前。没错。

Before not seeing the forthcoming reboot. Yeah.

罗比可能选《地狱男爵》，也可能冷门选择《可怜母牛》。迪克西·安妮·贝尔投票给《生命之书》——这部被低估的佳作；托马斯·布莱克表示本周重看了《丁丁历险记》，意外地经得起时间考验...

Robbie may choose Hellboy, or he may go left field and pick poor cow. I don't know. Dixie Anne Bell, I vote for the book of life because it's excellent and not enough people know about it. Thomas Bleck, we rewatched the adventure of Tinton this week. It stood up surprisingly well.

作为动作冒险片依然合格，希望彼得·杰克逊能执导计划中的续集。

Works as a decent action adventure story. I hope that Peter Jackson gets to direct the planned sequel.

他们真的会拍续集吗？

Will they ever do a sequel?

他被其他事情分心了。是《圣杯神器》吗？引擎。《致命引擎》。我想他是被这个分心了，所以现在可能...

He got sidetracked by something. Was it Mortal Instruments? Engines. Mortal engines. He got sidetracked by, I think, and so possibly now.

我不知道。能再看到一部就好了。

I don't know. It would be nice to see another one.

没错，完全同意。伊恩·约翰逊说我是《初恋这首情歌》的超级粉丝。我也是。我认为任何能让更多观众看到它的方式都只有好处。

Yeah. Totally. Ian Johnson says I'm a big fan of Sing Street. Me too. I reckon that anything leads to it being seen by a big audience as possible is nothing but positive.

但我有种奇怪的预感，罗比会选择更具争议性的《乔伊》。我记得电影上映时他赞不绝口，还配上了他完美的第二巴松管乐谱。劳伦·罗斯，我觉得罗比会选《初恋这首情歌》。我选《乔伊》，这是我2016年的年度最佳电影，也是我一生中最爱的电影之一。

But I've got a funny feeling Robbie will opt for the divisive divisive even, Joy. I seem to remember that he was singing its praises when it came out accompanied by his immaculate second bassoonist score. Lauren Rose, I think Robbie will pick Sing Street. My pick is Joy. It was my film of 2016 and I think one of my favorite films of all time.

顺便问下，大卫·O·拉塞尔什么时候再拍新片？老兄，都多久了，快点吧。

When is David O'Russell gonna make another film, by the way? Come on, mate. It's been ages. Come on.

问得好。我也不知道，但你懂的...确实拖太久了。

Good question. I don't know, but you yeah. Come on. Long overdue.

塔拉·考特在《猎巫将军》和《初恋这首情歌》间犹豫，珍·克雷斯威尔说电视上正在放文森特·普莱斯的片子。必须是文森特·普莱斯，快结束我们的煎熬吧。

Tara Court, toss-up between witchfinder general and Singh Street, Jen Creswell, Vincent Price is on the TV. It has to be Vincent Price. Put us out of misery.

好吧听着，喜欢《乔伊》的人应该会...你知道的

Okay. Look. Love joy love joy would have, you know

不是喜欢《乔伊》。

Not love joy.

不是《乔伊》。不是...不是这个周末。别再提了。

Not joy. Not not this weekend. Not more.

我也是。

I I too.

铁杆粉丝

Big fan

欢乐的。看过

of joy. Had

如果是《地狱男爵2：黄金军团》，我可能会选它，因为在这两部地狱男爵电影中，那部最棒。但关于这两部地狱男爵电影，你明白我

it been Hellboy two: The Golden Army, I probably would have chosen that because of the two Hellboy films, that's the best. But of the two Hellboy films, do you see what I

的意思吗？是的。

did? Yeah.

没错。但我要选《突如其来的恐惧》，因为这是一部1952年由琼·克劳馥主演的黑色电影。它是那种经典却不够知名或理应更知名的黑色电影之一。最近看完出色的《银湖之底》后——容我再推荐一次——

Yeah. But I'm gonna go for Sudden Fear because it's a it's a film noir from 1952 starring Joan Crawford. It's one of those kind of classic noirs that is not well known enough or as as well known as it should be. And after having seen the excellent Under the Silver Lake recently let me just plug again.

《银湖之底》太棒了。他给你钱了吗？

Wonderful Under the Silver Lake. He paying you?

他应该给的。毕竟我是唯一喜欢它的影评人。但重看之后，它真的重新点燃了我对黑色电影的热情。所以这绝对是重温本片的绝佳机会。人们对它不太熟悉。

He should be. He should be because I'm the only critic that liked it. But after seeing it again, that's really reinvigorated my enthusiasm for for film noir. So this is definitely a great chance to revisit this. People don't know it so well.

琼·克劳馥饰演一位剧作家，爱上了由杰克·帕兰斯扮演的年轻演员。她先是在自己的作品中解雇了他，后来却对他神魂颠倒并最终结婚。但他的背景中有阴暗的勾当，隐约让人想起比利·怀尔德更早的经典黑色电影《双重赔偿》。影片背景设在旧金山，某种程度上为这座城市作为《迷魂记》中诡异阴森之地的形象做了铺垫——后者出现在接下来的十年。因此在黑色电影的脉络中，这是部关键作品，但人们不了解它，这大概就是没人选它的原因。但如果这周有机会看《突如其来的恐惧》，一定要看。

Joan Crawford stars as this playwright who falls in love with a younger actor played by Jack Palins, who she sacks from one of our productions and then, comes to be besotted by him and then and then marries him. But there are sinister goings on, on in his background that slightly recall Double Indemnity, one of the really classic foundational noirs by Billy Wilder beforehand. It's also it's set in San Francisco and is kind of almost prepping San Francisco as this strange sinister weird location for vertigo, which comes in the the following decade. So that as a part of the noir join the dots journey, it's a pivotal film, but people don't know it, and that's why I think probably no one chose it. But it's definitely if you get a chance to watch Southern Fear this Southern Fear this week, do.

今晚18:00在Talking Pictures TV频道就有播。不过我也想提醒你关注周日午夜12点第四频道的《辛格街》。

Well, it is on tonight, 06:00, Talking Pictures TV. But if I can also draw your attention to Singh Street, which is on 12:00 midnight, Sunday, channel four.

但你做不到。A

You can't, though. A

一部大片。

huge film.

开得像偷来的一样。

Drive it like you stole it.

没错。烂到骨子里了。

Right. So bad, it's bad.

是啊。哦。那些候选烂片。

Yep. Oh. The contenders.

《伦敦陷落》《老爸夏令营》《重返地球》《宿醉2》《异教徒》翻拍版。电视电影，烂得纯粹。凯瑟琳·阿什沃斯说《宿醉2》，我只看了片段就觉得自己需要洗个澡。马特·尼尔森认为《重返地球》无聊透顶，但远不及《伦敦陷落》的灾难程度。史蒂芬·琼斯投票给《杰瑞·巴特勒拯救自由世界2.0》，不过凯奇的《异教徒》在愚蠢和荒谬程度上也不遑多让。

London has fallen, daddy day camp, after earth, the hangover part two, the wicker man remake. TV movie, so bad it's bad. Katherine Ashworth Ashworth says the hangover part two, I've only seen bits and I felt I needed a shower. Matt Nelson, after earth is awfully dull, but it's nowhere near the travesty that his London has fallen. Stephen Jones, my vote would be for Jerry Butler saves the free world two point zero, though Cage's wicker man isn't far off for sheer ineptitude and wrong headed headedness.

尼克·达斯汀说，《老爸夏令营》唯一的优点是让我在后半段睡着了，醒来时正好在放片尾字幕。迈克提议，既然有代课老师在，我们干脆把《伦敦陷落》列为本周正式电视电影来捣乱。

Nick Dusting says, daddy day camp, whose one redeeming feature is I fell asleep through most of the second half and woke as the credits rolling. Mike says, since we have the cool substitute teachers in, let's mess around and put London has fallen as the proper TV movie of the week.

不。这就像

No. It's like

就是不行。

the Just no.

烂到极致就是《伦敦陷落》。有位《地狱男爵》的通讯员提到，这片子现在堪称时政寓言。我是说，《伦敦陷落》简直不能更直白了。觉得这就到头了？

Bad it's bad, it's London Has Fallen. And one of the Hellboy correspondents mentioned that that film kind of now qualifies as a current affairs allegory. London Has Fallen. I mean, it could not be any more on the nose. Think it's the end of it.

饰演副总统的摩根·弗里曼在演讲中说‘哦，你并没有错过什么’。但他在演讲中又提到，有太多人无缘无故地死去。这基本上就是整部电影用一句话概括的内容。

Morgan Freeman, who plays the vice president, says in the speech oh, you're not missing anything. But he he says in the speech, far too many people died for no good reason. And that's basically the film in a sentence.

好吧。那无论如何都要避开它。今晚11点在第五频道。好的。就这样。

Okay. Avoid it at all costs then. 11:00 tonight on five. Right. There we go.

我们是不是该聊聊值得一看的作品？

Should we move on to something that you should see?

是的。九十年代中期，这是乔纳·希尔的导演处女作，当然由他本人担任制片。乔纳·希尔作为《龙虎少年队》和《超级坏》的主演，实际上曾两度获得奥斯卡提名。

Yes. Mid nineties, which is the directorial debut of Jonah Hill, and it's produced Jonah Hill, of course, being the star of the Jump Street films and Superbad and actually two time Academy Award nominated.

《点球成金》。

Moneyball.

《点球成金》。

Moneyball.

没错。他太出色了。我

Yeah. He's brilliant. I

超爱乔丹·皮尔。他正在与美国一家名为A24的制作公司合作，这家公司也曾为博·伯翰和格蕾塔·葛韦格提供导演处女作的机会，我认为必须说成果非常丰硕——博·伯翰的《八年级》和格蕾塔·葛韦格的《伯德小姐》。与这两部电影类似，这部作品虽非自传性质，但与希尔的童年经历相关，就像《伯德小姐》显然关联葛韦格的成长经历，而《八年级》则带有博·伯翰赖以成名的网络视频/YouTube元素。故事背景设定在九十年代中期的洛杉矶，城市低层建筑蔓延的区域。

love Jordan. Player. And he's working with this, production company in in The States called a twenty four, who also gave directorial debuts to Bo Burnham and Greta Gerwig with, I think you'd have to say, very fruitful results for, eighth grade for Bo Burnham and Lady Bird for Greta Gerwig. And along the lines of both of these films, this is kind of there's an it's not an autobiographical work, but it's connected to, Hill's childhood just as, obviously, Lady Bird was connected to Greta Gerwig's own up upgrading and, also eighth grade with its kind of online video YouTube y aspect to to to what Bo Burnham, became famous for. It's set in, of course, the mid nineties of the title in Los Angeles, the low rise urban sprawl part of the city.

影片围绕一个13岁男孩史蒂维展开，他试图在世界上找到自己的位置。史蒂维由桑尼·苏尔季克饰演，他曾在约戈斯·兰西莫斯的电影《圣鹿之死》中饰演两个脆弱孩童之一。他天生带着那种‘圣鹿’般的气质——大眼睛，极度脆弱，让人忍不住想把他搂在怀里像小鹿斑比那样安抚。他正踏入荒野般的世界。

And it centers on this, 13 year old kid called Stevie who's basically trying to find his place in the world. Stevie is played by Sonny Soljic, who was the one of two vulnerable children here, raising the vulnerable children in The Killing of a Sacred Deer, the Jorgos Lanthimos film. And he basically he has that kind of sacred deer look about him, the very wide eyes, very vulnerable. You want to kind of take him and cuddle him like a little Bambi or something. He's going out into the wildness.

他13岁。家庭生活相当艰难。单亲母亲（凯瑟琳·沃特斯顿饰）显然非常慈爱，但被各种责任分散了精力。影片还暗示她成为单亲母亲源于某种从未曝光的隐痛，这种阴影始终萦绕不去。而他年长得多的哥哥由卢卡斯·赫奇斯饰演，是个彻头彻尾的——

He's 13 years old. Home life is quite difficult. His single mother, Catherine Waterston, is obviously very loving, but she's quite distracted, I think, by responsibilities. There's also this suggestion that the fact she is a single mother is rooted in some sort of unhappiness that is not ever brought out into the sunlight, but it's hovering there. And his much elder brother played by Lucas Hedges, who is just a thoroughly nastical

他是个糟糕透顶的家伙。

He's a horrible piece of work.

欺凌弱小又孤僻，实在不是个好相处的人。所以史蒂维在寻找朋友，当他看到几个年纪稍大的孩子在镇上的滑板店外闲逛时，以为自己找到了伙伴。他们大概十五六岁，其中鲁本年纪小很多，但另外三个男孩——雷由尼切尔·史密斯饰演，他像是这个团体里的代理父亲角色，滑板技术好到可能成为职业选手。还有个四年级生总拿着摄像机到处拍，那种斯派克·琼斯式的拍摄风格后来发展成了...

Bully and a loner and and not a nice person to be around. So Stevie is looking for friends, and he thinks he locates some when he sees these slightly older kids messing around outside a skate shop in town. And they are maybe 15, 16. One one of them is is Ruben is is much younger, but the the three other guys, Ray is played by Nichelle Smith, who is this, kind of almost like the surrogate father figure of the group who has the the skateboarding skills to potentially go professional. There's a fourth grade who's this guy who walks around with a video camera shooting everything in that kind of Spike Jones y way that kind of grew out.

九十年代中期真实的滑板文化，嗯。孕育了斯派克·琼斯的职业生涯，也是拉里·克拉克《半熟少年》的灵感来源，对本片影响深远。年轻的鲁本由吉奥·加利西亚饰演，史蒂维的到来让他松了口气，自己不再是团体里最年轻的成员，他开始滑稽地摆出一副老资历核心成员的姿态。还有个角色由吉恩·普雷奈特饰演，他的绰号不适合在节目里说，算是团队里那种外向的酷小子。

The the real mid nineties skate culture, of course Mhmm. Birth Spike Jones's career. Also, Larry Clark's kids as well, which is a massive touchstone for this film. There's young Ruben who's played by Geo Galicia who is relieved with, with Stevie's arrival that he's no longer the younger member of the group and starts quite amusingly annoying amusingly lording around that he's, you know, this kind of sophisticated core member rather than a new arrival. And there's also a a fourth character played by Gene Prennett, whose nickname we can't say on air, but it's kind of this this sort of gregarious cool guy of the team.

对他来说，装作毫不在意才是上策。而雷则渴望通过努力成为职业滑板手，尽管可能失败。史蒂维就这样逐渐融入了这个有趣的四人团体——他只是坐在那里等待被自然接纳。嗯。加入后，由于接触到这些大孩子的活动，他的成长进程似乎提前了，这正是电影的核心：与年长者厮混，过早体会成长的滋味。影片没有明确的主线剧情...

And for him, it's it's it's better to kind of look like you're not trying at And for Ray, he wants to try and succeed, obviously, with the risk of failure at becoming a professional skateboarder. So there's this interesting kind of quartet of types that Stevie finds himself he gradually becomes a friend just by sitting around and waiting for him to be kind of naturally absorbed into the group. Mhmm. Once he does so, because he has access to these activities that slightly older kids will do, he starts going through the the coming of age process a little earlier than he perhaps should do, but this is actually the the thrust of the film is it's about hanging around with these older kids and learning what it means to grow up slightly ahead of your time. Now the the there's nothing there's no kind of central plot line to it beyond that.

高潮部分安排了个大事件，可能是剧本研讨时决定需要个收尾标志。但本质上这是部群像电影：孩子们练习滑板特技，听着精选的九十年代嘻哈流行乐，还有特伦特·雷诺与阿提克斯·罗斯创作的出色配乐。

It does climax in a kind of a a large event, which I think has probably been during some script workshopping set set, session. They decided there had to be some kind of big thing at the end that you can kind of say, okay. The film stops after this. But most mostly, it's a hangout movie. And so you have these kids practicing skating stunts, listening to music on a just exceptionally well chosen range of period hip hop and pop music on the soundtrack, and then also these fantastic a a brief but fantastic score by Trent Reznor and Atticus Ross as well.

他们参加派对，未成年饮酒，因愚蠢的特技受伤。有段剧情是史蒂维在派对上被稍年长的女孩引诱——这明显致敬了拉里·克拉克的《半熟少年》，那部电影以近乎虚无主义的视角展现九十年代纽约青少年的滑板圈伪家庭关系，以及相互怂恿做坏事的行为。

They are going to parties, and they are drinking underage. They are injuring themselves by trying to do silly stunts. There's a section in which Stevie at one of these parties, finds himself being seduced in a way by a slightly older, but still obviously young girl. That's actually one of the key, touchstones for the Larry Clark's Kids film because Kids was this incredibly sort of cynical, even nihilistic look. Children growing up in New York City in the nineties, and having this kind of surrogate family of of the skateboarding community, but also coercing each other into doing things that they shouldn't be doing.

乔纳·希尔处理这个场景的方式在我看来更显温情而非剥削。虽然展现了两小无猜的探索，但镜头毫无猥亵感，只是诚实而温柔地呈现，处理得相当谨慎。这部电影最打动我的正是其始终如一的克制基调，绝不哗众取宠。

The way in which Jonah Hill films this scene, for me, was sweeter rather than exploitative. It's not kind of obviously, you know, those two children are doing things that people start to do at that age, but the film is not leering, don't think. The film is is very much just kind of depicting it fairly honestly and fairly sweetly, and it's it's handled with quite a lot of care. I think this is something that really struck me that works about this film is it's very, very careful control of tone throughout. It's never trying to showboat.

喜剧元素从不夸张，尽管充满乔纳·希尔标志性的尖刻对话。实际上这些闲聊往往漫无目的，比如孩子们与保安长达五分钟的无意义争执，重点只是呈现他们相处的...

The comedy doesn't ever grow too broad, although there's a lot of abrasive, back chat in that Jonah Hill familiar style. When it happens, actually, it tends to be quite aimless. You know, there's a the kids have this five minute argument with the security guard about almost nothing. And it's just the pleasure of kind of hearing them be

会怎样

How it would

自然状态。

with each other.

对。没错。是的。

Yeah. Exactly. Yeah.

对。还有个精彩场景是法院外的广场，滑板少年们聚集在那里，警察赶来驱散他们。那场景就像惊飞鸽群，几百个滑板少年四处逃窜。但整段戏其实没什么实质性内容。

Yeah. There's another great scene where there's a a concourse outside of a courthouse is is this place where skaters will congregate, and the police arrive to chase them away. And it's like scattering pigeons. You know, there are hundreds of skaters just going everywhere. And the scene really kind of amounts to nothing.

电影结束时我回顾思考：到底发生了什么？我们跟着这个孩子，看着他即将步入青春期。他有过些小尝试，但我不确定这些是否有意义。而正是这种不确定感让人耳目一新，非常美妙。我喜欢这部电影没有试图对整体下什么宏大的论断。

And at the end of the film, I found myself looking back and thinking, what's actually happened here? You know, we've been with this kid, and we've watched him kind of get to the cusp of teenage hood. And he's had little forays here and little forays there, but I don't know whether any of it counts or anything. And, actually, the sense of not knowing was really refreshing and really lovely. I just enjoyed the fact that this film was not trying to to say some kind of grand statement about the Totally.

对比瑞恩·高斯林的导演处女作《迷河》，那片子就像在到处讨人情——这里学点马力克，那里加点林奇风格，结果成了荒谬浮夸的大杂烩。《九十年代中期》则是部聪明的处女作。派对场景有个绝妙的长镜头：跟着那个外号不宜重复的孩子从花园到冰箱拿啤酒，再跟拍回花园。长镜头本是种炫技手法，但这个简单的一分钟镜头完美营造了派对氛围。

Contrast this with something like Lost River, the Ryan Gosling, film, which he he did as his directorial debut, which just looks like he's calling a lot favors from, know, Nicholas winning ref, and he's trying to do a bit of turns Malik here, bit of ref in there, bit of David Lynch there. And it's just this kind of totally preposterous overblown mess. Mid nineties is a really smart first film. You know, in these party scenes, there's this great tracking shot where it follows one of the kids with the nickname we can't repeat, in from the garden to the fridge to pick up some beers, and the tracking shot continues and follows them back out to the garden. Now tracking shots are this big kind of showboating style of cinematography that you you often see people just say, oh, look how confusing and circuitous we can make this camera movement.

背景乐放着赫比·汉考克的《西瓜人》，既酷又充满阳刚气。

How cool. How how macho. And this is just like a minute long. It's very simple, but it beautifully establishes this the atmosphere at this party. I think you got Herbie Hancock's watermelon man playing in the background.

它就是...把基本功做对了。

And it's just, you know, it's doing the basics right. It's getting the basics right.

作为处女作确实令人惊艳。制作公司的历史也很有趣——他们为这些跨界新人导演提供了安全网。电影特别忠于导演本人，里面所有音乐都是他童年听的，他从未想过有天能以导演身份把这些放进电影。

Yeah. I've I'm so impressed with this as it being his first film. And and it's it's interesting kinda talking about the the history of the production company and stuff and and that kind of support almost kind of like safety net that they've given these kind of new filmmakers although they're kind of established in other worlds within the film world sort of thing. But it's so true to him as well. Like, all the music that's in it is the music that he listened to when he was a kid and never ever thought that he'd get to the point where he was able to put this in a film as a filmmaker.

对。音乐运用并不刻意怀旧。电影没有以2010年代的视角回顾九十年代中期...

Right. And the music cues aren't overtly nostalgic. Yeah. The film does not feel like it's looking back at the mid nineties '10. Through Yeah.

没错。没有玫瑰色滤镜。给我的感觉像是部九十年代拍好就塞进鞋盒床底，二十年后才拿出来的片子。

Exactly. Through rose tinted glasses. What it feels like to me is a film, and this is I'm sure the intent, is a film that was made in the mid nineties, then put in a shoebox somewhere, shoved under a bed, and then he's got out, you know, twenty years later and said, have a look at this.

真的非常棒。我特别佩服。

Yeah. It's really, really good. I'm really impressed. I am.

那音乐简直了，我差点需要去做理疗。我点头点得太猛了

And the music mean, I almost needed physio. I was nodding my head so much

对啊。

to Yeah.

太疯狂了。

It's insane.

《液体剑》一响起，感觉就像

Liquid swords comes on. It's like

而且剧本也是绝了。我很好奇到底有多少是即兴发挥，多少是按剧本走的，因为很多孩子本身就是真正的滑手。要在真实滑板世界的可信度与他们需要表演之间取得平衡，选角和各方面都很出色。但剧本的编排方式也让人感觉特别新颖，非常真实。

And it's it's it's so the script as well. I mean, I'd I'd be interested to find out from how much of it was was improvised and how much of it was scripted because a lot of the kids are real skaters. But to get that balance right of of kind of authenticity of that world of them being real skaters, but requiring performances out of them is brilliant with the casting and stuff as well. But also the script and how he's put it all together as well just feels feels really fresh. It just feels really true as well.

确实。这和我预想的电影相差甚远。我原以为是滑板版的《超级坏》，结果完全不是。

Yeah. It wasn't the film I was expecting to see by quite some distance. I thought it was gonna be super bad on skateboards and it's not.

没错。好了，接下来是《九十年代中期》。我们还有时间聊两部吗？

Yeah. Here we go. Alright. Mid nineties then. Well, we got time for a couple more?

我们来聊聊《杀死希特勒与大脚怪的人》。

Let's talk about The Man Who Killed Hitler and then The Bigfoot.

这是一部电影？

As this is one film?

这是一部电影。是的。正如片名所示，这是个十足的奇片。这是导演罗伯特·克拉什科夫斯基的首部长片，由伟大的山姆·艾里奥特主演——他刚拍完《一个明星的诞生》就立刻进组了。

This is one film. Yes. This is as the title suggests, it's a curio and a half. It's the first feature from another first feature from a director called Robert Kraszkowski. And it stars Sam Elliott, the great Sam Elliott, who I think came to the shoot almost instantly off the back of A Star Is Born.

于是他完成了《一个明星的诞生》的拍摄。几天后，他又马不停蹄地投入《杀死希特勒的人》的拍摄，接着是《大脚怪》。我特别喜欢这个片名，因为它在中途突然转变了风格。《杀死希特勒的人》原本铺垫的是一个可能严肃黑暗的架空历史故事。

So he wrapped in A Star Is Born. A few days later, he was off filming, The Man Who Killed Hitler. And then The Bigfoot. Now I love this title because it kind of throws you off course halfway through. The Man Who Killed Hitler is setting up this kind of potentially serious dark alternate history story.

然后你听到这个构思：他杀了希特勒，接着是大脚怪。剧情就像发卡弯般急转成奇幻冒险，最终沦为B级片的荒诞闹剧，让你完全猜不透走向。电影正是利用这点大做文章。有场戏里，山姆·埃利奥特...

And then the idea you're saying, well, he killed Hitler and then the Bigfoot. It's moving it like this kind of hairpin turn into fantasy, into grindhouse silliness at the end, and it really leaves you not knowing what to expect. And the film absolutely trades on that. You know, there's at one point, Sam Elliott

我脑子里浮现的是约翰·利特高的形象。抱歉。

John Lithgow in my head. Sorry.

对，就是《大脚怪》那段。

Right. On the Bigfoot. Exactly.

《大脚怪与亨德森一家》。没错。在英国这片叫《哈利与亨德森一家》，美国也是。但每当提起大脚怪电影，至今这仍是标杆之作。

Bigfoot and Hendersons. Yeah. Right. I mean, that's a resonance for because that was Harry and the Hendersons in The UK, right, but and in The US. But whenever you hear I mean, that's the kind of definitive Bigfoot movie up until this point.

本片或许能颠覆这个地位。确实，电影里山姆·埃利奥特有句台词，他回顾自己杀了希特勒又杀大脚怪的一生时说：'这和你期待的漫画情节完全不同'——简直一针见血。

This either has a potential to unseat it. Yeah. I mean, the film actually even says Sam Elliott has this line in it where he says, well, he's reflecting back on his life of having killed Hitler and then the Bigfoot. He says, it's nothing like comic book that you want it to be. And that's like that kind of absolutely nails it.

影片以极其严肃的态度处理这个双段式故事，莫名让我联想到《贝奥武夫》。都是伟大英雄斩杀两大灾厄怪兽的传说，中间隔着半辈子光阴——贝奥武夫先杀格伦德尔母子，隔了约五十年才屠龙。而本片里由《波尔达克》主演艾丹·特纳饰演的山姆·埃利奥特年轻版...

The film approaches this two part story in a spirit of utter seriousness. And it actually weirdly reminded me of Beowulf in that you have this story where a great hero slays these two apocaly monsters, you know, with this kind of half a lifetime's gap in between, you know, Beowulf is Grendel, Grendel's mother. And then this very, very long, I think, fifty years elapses or something, then he slays the dragon. And in this, this Sam Elliott or rather the the young version of Sam Elliott, who's played by Aiden Turner from Poldark. Yeah.

他刺杀希特勒——片名已点明。而后美国政府与加拿大政府重新征召退役特种兵山姆·埃利奥特去猎杀大脚怪。他的人生就这样被两桩离奇任务框定：两次杀戮。山姆以庄严悲怆的表演诠释这段经历，此处可听他追忆前半生。

He assassinates Hitler is the title, of course, says. Yeah. And then Sam Elliott's character is is reenlisted as a a retired kind of former soldier special operative by The US and Canadian governments to go and kill Bigfoot. So, you know, this is his life is kind of bookended by these two incredibly strange jobs in which he has to kill someone. And Sam Elliott approaches this with magnificent gravitas, and here we can hear him reflecting on, the first part of his life.

德军频繁转移，我如影随形。我像镰刀般横扫他们的田园驻地，他们动我便动，直到时机成熟，直到确认目标，直到追上他。当真？德方掩盖真相，我们也是。历史仍按你知道的轨迹前进。

The Germans, they moved a lot, and I moved with them. I shattered the right back and forth across their field garden lands, and I moved when they moved until the time was right, until I knew where he was, until I knew it was him, and I caught up with him. You're serious? The Germans covered it up, and so did we. And history marched on just like you read about.

当我找到那个可悲之人时，他的言论早已脱离掌控，他的思想仍在尽其所能地荼毒世间。那天我只杀了个凡人，他所代表的恶潮势不可挡。

By the time I got to that miserable man, his words had grown beyond him, and his ideas continued to do all the damage they could possibly do without him. That day I just killed a man. What he stood for was unstoppable.

那声音，老兄。

That voice, man.

这是来自电影中段那段关键独白。不得不说，这段独白让我眼眶湿润。表演实在精湛。正如我所说，他对待得非常认真。从配乐就能听出来，不是那种你可能会联想到约翰·卡朋特风格的廉价恐怖片式处理。

That's from this pivotal monologue in the middle of the film. A monologue, I have to say, made me well up. I mean, it's incredibly well performed. And as I say, he's taking it very seriously. You can hear by the score, you know, rather than this kind of grindhouse y sin thing that you might expect with a John Carpenter style.

配乐采用了类似约翰·威廉姆斯那种饱满真挚的风格，这完全改变了你接收这个故事的视角——表面上看这故事荒诞得离谱。这是部关于生命意义的沉思之作，他的一生被两起高调又荒谬的刺杀事件所框定。他在反思双手沾满鲜血的人生意义。本质上这是个饱经沧桑的老兵角色，承受着未确诊的创伤后应激障碍，源自二战经历。

There's this very sort of rich, open hearted John Williams style approach to the music, which, you know, completely again, it alters the way in which you receive this story, which on the face of it is completely absurd twice over. It's a kind of a film that is a reflection on mortality and, you know, the fact that his life, as I say, has been bookended by these two high profile and ridiculous assassinations. He's reflecting on what it means for your life to have amounted to having killed people. You know, it's he's effectively an old soldier character Yeah. Who is suffering from a kind of, you know, undiagnosed PTSD from what he's been through, what he saw in the second World War.

杀死希特勒其实无济于事，因为意识形态会继续蔓延——这正是他独白中探讨的。这个主题在大脚怪章节里得到镜像式呈现：必须刺杀大脚怪是因为它传播瘟疫般的致命病菌，必须从源头切断传染链。值得一提的是，大脚怪特效由传奇特效师道格拉斯·特朗布尔监制，这位《宇宙静悄悄》导演兼实拍特效大师，也曾为泰伦斯·马力克《生命之树》打造惊艳太空场景。

This idea that killing Hitler actually doesn't achieve anything because the ideology marches on without him, which is what he was talking about in that monologue. That's kind of reflected in this fairground mirror sense in the Bigfoot section of the story because Bigfoot has to be assassinated because he is spreading this plague, like a real kind of germ like plague to human beings. And so he has to be got rid of because, again, there's a sense of contagion, and it has to be cut off at the root. And when his character comes face to face with Bigfoot, should say as well, the special effects on this were supervised by Douglas Trumbull, the the kind of legendary special effects adviser, who directed Silent Running and has done an incredible a real practical effects guru. He did the amazing kind of space sequences on Terrence Malick's Tree of Life.

嗯。这种处理有种让实体特效焕发奇迹感的直觉，质感真实可触，完全不是CGI的路子——CGI风格会彻底毁掉这部电影。

Mhmm. And it just has this kind of intuitive sense for how to make something look wondrous in a way that is, you know, physical. It's palpable. It's it's it's it's very, very not CGI. CGI approach would have been totally wrong for this film.

当主角最终面对大脚怪时，它是个瘦骨嶙峋、阴森可悲的生物，完全不是《大脚哈利》里约翰·利特高那个憨厚形象。影片充满了诡异发人深省的元素，让我想起《巴布亚魔怪》——布鲁斯·坎贝尔饰演养老院里对抗埃及木乃伊的老年猫王，同样荒诞的设定。

And when the character comes face to face with Bigfoot towards the end, Bigfoot is this sort of slightly scrawny, pathetic, sinister creature rather than the big friend of John Lithgow that we all know from, from from Bigfoot and the Hendersons. So the film is doing a lot of deeply, deeply strange and and sort of thought provoking stuff. It remind me a lot of Bubba Hotep, this the the film which Bruce Campbell plays, this elderly Elvis Presley who battles an Egyptian mummy in a retirement home. I mean, it's, you know, this absurd, bizarre setup. Mhmm.

但影片借此探讨衰老议题，思考相当深刻。如果冲着希特勒和大脚怪去看就错了，该为内核故事和萨姆·艾里奥特动人的表演而去，看完定会深感满足。

But it's being used to say things about aging that are actually fairly well thought through and profound. I think, you know, if you go and see this film for Hitler and Bigfoot, you're doing it wrong. But go and see it for the man and for the story at the core of it and for this beautiful Sam Elliott performance. And I think you come out of it pretty pleased with what you've seen.

听起来它让你很意外。

Sounds like it surprised you.

非常非常意外，片名像是低俗噱头，实际完全不是那么回事。

It did very, very much because the title suggests kind of grindhouse nonsense, and that's not what it is at all.

太棒了。好了，以上就是《那个杀了希特勒又干掉大脚怪的男人》。最后...

Amazing. Alright. There we go. That is the man who killed Hitler and then the Bigfoot. One last

是的。我们来聊聊《尤利：卡洛斯·阿科斯塔的故事》，这部影片基于古巴芭蕾舞者卡洛斯·阿科斯塔的生平改编。他曾效力于英国国家芭蕾舞团和皇家芭蕾舞团。导演是墨西哥电影人伊利亚·博兰，他的妻子保罗·拉弗蒂是编剧，长期与肯·洛奇合作。

Yes. Let's talk about Yuli, the Carlos Acosta story, which is based on the life of Carlos Acosta, the Cuban ballet dancer. He danced with the English National Ballet and the Royal Ballet. And it's directed by Ifyar Bolan, who is a Mexican film director and is married to the screenwriter Paul Laverty, who always works with, Ken Loach. Yeah.

拉弗蒂以撰写多部肯·洛奇剧本闻名，包括《我是布莱克》。没错，他实际上是导演的丈夫，因此他们合作改编阿科斯塔回忆录《无路回家》的部分内容顺理成章。影片在传统传记片和闪回叙事间切换，并采用类纪录片手法——现代戏份展现真实的阿科斯塔指导舞蹈编排，这些场景明显受到其童年经历启发。

Famously done a lot of Ken Loach scripts, including I, Daniel Blake. Yeah. He's actually the director's husband, and so there's the kind of it makes sense that they'll be working together on this story, which has been partly adapted from Acosta's memoir, No Way Home. Now it's it's certainly ambitious. It splits between straight biopictal and flashback, and this kind of quasi documentary approach where you have the present day sections of the story are the real Carlos Acosta directing a dance production that seems to have been heavily inspired by his childhood.

排练过程中，他翻阅着父亲为其制作的剪贴簿，记录了他从古巴街头与孩子们共舞的童年，到成为芭蕾舞者，再到获得英国等地顶级舞团邀约的成名之路。这些照片触发了更传统叙事的闪回场景——坦白说，这些闪回对我毫无感染力，说教意味过于浓重。

And while he's doing this, he's leafing through a photo album, a scrapbook that was compiled by his father when he was a kid of his own rise to fame. So from his his early days kind of dancing on the streets in Cuba, you know, with with other kids all the way through to becoming a ballet dancer and then, you know, getting these incredibly, high profile postings in in in The UK and elsewhere. And then those provoke the flashback scenes, which are told more conventionally. Obviously, the flashback scenes did absolutely nothing for me whatsoever. They're they're very, very didactically presented.

所有人物的心理活动都通过直白对话呈现。比如当他纠结是否接受英国合约时，直接打电话对父亲说：“我不想签约，这会让我远离家乡。”父亲立即回应：“你必须接受，你有天赋也有能力，否则就是虚度人生。”他又说：“我不愿...

You've got this idea that everyone just says exactly what's on their mind all the time. So if he's having to wrestle with his conscience about accepting the the contract in The UK, He gets on the phone to his father and talks to his father about it and says, oh, I don't want to accept this contract because it will take me away from home. The father says, you have to accept this contract because you have this the the talent and the skill to to fulfill it, and you would be just squander your life if you didn't do it. He says, I don't want to

离开母亲。唉，这...

leave my mother. Ah, this

诸如此类。毫无微妙感可言，简直像是《九五年夏天》的反面——所有潜台词都被摆上台面。对父亲而言，儿子接受邀约至关重要，因为其家族有奴隶制背景。

and ah, that. There's no kind of subtlety. It's it's almost like the opposite of mid nineties, in fact. It puts everything on the table in terms of the dialogue. It's very I mean, it's important to his father that he does accept this because his father's descended from slaves.

这被视为阿科斯塔血脉摆脱世代宿命、成就伟业的关键机遇。现代戏份确实尝试了创新，虽不敢说完全成功，但算大胆的尝试。可惜最终败笔仍在于传统传记片那种按部就班的平庸叙事。

And so there's this idea that this is the big shot for the Acosta bloodline to to to escape this kind of, bakes in destiny and do something great and do something marvelous. The present day scenes are certainly trying something new. I'm not wildly convinced that they they they totally work, but I think it's a bold gambit. Gambit. I think in the end, it just falls down too much on the the straightforward methodical paint by numbers biopic side of things.

不过能看到部分段落进行如此野心勃勃的尝试，仍是件好事。

But nice to see something more ambitious being tried in part.

好的。以上是BBC广播五台《另类制作》栏目，罗比推荐的本周电影。

Okay. Well, this has been a something else production for BBC Radio five live. Robby, your movie of the week.

《野玫瑰》。

It's Wild Rose.

是啊。

Yeah.

节目就到这里。最后我急着讨论古巴芭蕾舞者，感觉有点仓促。你还有什么需要补充的吗？

So that was the show. I feel like I rushed you at the end talking about Cuban ballet dancers. Was there anything else you needed to add about?

主要是想对比下《白乌鸦》，这是当下另一部备受关注的芭蕾题材电影。

Only really to compare and contrast to The White Crow, which is the other ballet film that's sort of in the ether at the moment.

对，就是费因斯那部。

Yeah. The Fiennes film.

拉尔夫·费因斯导演的没错。那部新年传记片虽然结构上更传统，直接截取他人生的重要片段按时间线展开。而《尤利》则是时空跳跃，用舞蹈诠释他的人生片段。

The Ralph Fiennes film. Exactly. The the New Year early life biopic. I mean, for me, even though that's a more in structurally, a more straightforward biopic, it just zaps back to an interesting point in his life and and takes us through a to b, rather than with Yuli, it's kind of jumping around in time. It's interpreting parts of his life as dance.

有些部分平铺直叙。我认为《白乌鸦》处理得更成功，也让芭蕾舞段落更有意义。那部电影拍摄舞姿的方式简直像在拍超人。

It's presenting other parts straightforwardly. I think The White Crow does it more successfully, and it makes the ballet kind of count for something as well. I mean, to me, the the way in which the dancing is shot in that film just makes it look superhuman.

在《白...

In in white

在《白乌鸦》里确实如此。而《尤利》就差些——舞蹈处于尴尬的定位，你分不清是剧院排练还是正式演出（结尾确有正式表演）。

In the white progre. Yeah. And in in Yuli, less so. It kind of the dancing and it sits in this really weird space where you know it's being performed in a theater as a rehearsal or or or an actual performance towards the end as well. You get you get some proper performance as well.

但电影呈现方式很诡异：消掉现场音效，后期叠上配乐。就像马克说的「剧情声」与「非剧情声」——这些声音是电影世界真实发生的？还是外部强加的？

But it's not presented as such in in the film, like, drop out the sound and they put music over the top. And it's kind of it's it's it's that thing Mark talks about things being diegetic or non diegetic. Like, are they actually happening within the world of the film? Mhmm. Or are they being layered on from the outside?

就像歌舞片里人们突然起舞的设定。这片虽有真实舞蹈，却处理得像虚构桥段。真遗憾，毕竟近年我最爱的舞蹈电影是《舞出我人生：街舞》。

And it's like that way that dancing in musicals, it's like this accepted conceit that people will just break into dance. And this film has real world dancing in it, but it almost treats it like a conceit. And to me, that's a it's a bit of a shame because, you know, I still think some you know, one of my favorite dance films recently is Step Up to the Streets. Right?

抱歉，你说什么？

Sorry?

《舞出我人生：街舞》。你知道《舞出我人生：街舞》的。

Step Up to the Streets. You know Step Up to the Streets.

是的，我知道。你突然提到这部你最近最爱的舞蹈电影让我有点意外。

Yes. I do. You just threw me with that one of your favorite dance films of recent times.

因为和所有《舞出我人生》系列一样——虽然成功程度不一——它本质上都是为华丽舞蹈找借口，比如通过街舞对决、排练等现实情节来展现。这类舞蹈片段目的明确。而像《爱乐之城》这种，当高司令和石头姐在山坡上，背后映着紫罗兰色天空时，你清楚那是幻境，是好莱坞制造的纯粹甜蜜幻象。

Because that builds in, you know, very like, as all the Step Up films do, with varying degrees of success, but it's it's excuses for people to dance incredibly, like, as, you know, real world plot events because they're dancing at dance offs or rehearsals or whatever. And you know exactly where you stand with those dance numbers. And in something like La La Land, for example, when Gosling and Stone are up on the the the hillside Yeah. With that incredible purple sky behind them. You know that that's a fantasia, you know that that's just pure kind of Hollywood confection.

可能是我太爱挑剔、过度思考，但《尤利》在这两种模式间摇摆得令人不适。我边看边想：为什么这段不奏效？明明舞蹈本身很棒——毕竟是卡洛斯·阿科斯塔和他的舞团在表演，技艺无可挑剔，但就是...

And maybe this is me just being the kind of critiquey, overthinky person, but Yuli falls really uncomfortably between those two choices and I was watching and thinking why is this not working because the dancing is obviously great. Like it's Carlos Acosta and it's his company that are also, performing so you know impeccable talent wise, you know, but it's just

在银幕上没达到效果。

On screen, it's not working.

对我来说感觉很别扭，这就是原因。

It sits it sits oddly for me. That's why.

我就想听你说完这个观点。

Thought I'd just like you finish that.

不，谢谢。

No. Thank you.

我先读封约翰的邮件，刚收到的。其实节目结束时才看到。还没看《旺达幻视》，但从预告片里，我已经受够了它那句乏味宣传语的陈词滥调。

I'm gonna do an email first from John. Came in. We didn't get time to do. In fact, it came in just as we finished the show. Haven't seen Wanda Park, but from the trailers, I've enjoyed the tired zaniness of its bland strapline.

如果动物们经营一个主题公园会不会很疯狂？我没想到道歉这么容易就能编出来。我没想到构思一部电影的基础这么简单，但顺着这个思路，我已经为可能的续集想出了几个点子。如果水母经营一家手工面包店会不会很疯狂？

Wouldn't it be crazy if animals run a theme park? I hadn't realized it was this easy to formulate sorry. I hadn't realized it was this easy to formulate the basis of a film, but in a similar vein have come up with a few ideas for a possible sequel. Wouldn't it be crazy if jellyfish ran an artisan bakery?

好吧。

Okay.

如果狨猴经营一家小型家族会计师事务所会不会很疯狂？如果根茎类蔬菜经营一家现代舞蹈工作室会不会很疯狂？或者像我未婚妻说的，如果这周的提案能获得投资会不会很疯狂？好莱坞高管们欢迎随时联系我，我是约翰。

Wouldn't it be crazy if marmosets run a small family owned accountancy firm? Wouldn't it be crazy if if if if root vegetables run a contemporary dance studio? Or as my fiance commented, wouldn't it be crazy if a pitch this week got funding? Hollywood execs welcome to contact me at their leisure, John.

其实狨猴那个点子听起来挺不错的。

Actually, the Marmosets one sounds quite good.

是吗？那就像家族经营的，它有...

Yeah? That's like a Family owned It's got

有点像《动物乌托邦》那种横向思维的

some of that Zutropolis style lateral

仔细想想。这个点子确实有潜力，没错。

thinking about it. It's got it's got legs, that one. Yeah. Right.

还有尾巴。

And tails.

又到了本周DVD推荐时间。正值复活节假期，就像被砸碎的豆袋椅在回收橡木地板上撒满珠子一样，学校把孩子们放到了街上，他们简直无处不在。当然，我们都爱自己的孩子，但不可否认所有人同时外出就像《金刚狼3》里Z世代的噩梦。那么还有什么比抱着一包新发行的布鲁塞尔芽菜DVD，躲过这场利宾纳果汁肆虐的末日景象更好的选择呢？过去两周我可没少喝利宾纳。

It's time for DVD of the week. It's the Easter holidays and like smashed bean bag spilling beads across your reclaimed oak floor, schools have loosed children upon our streets and they've gone absolutely everywhere. Of course, we all love our own kids, but there's no denying having everyone's out and about at the same time is a Logan's One style Gen Z nightmare. So what better way to hunker down and wait out this Ribena soaked hellscape than with the Brussels sprout new DVD release? I drank a lot of Ribena over the last two weeks.

这个不错。但你会带什么进你的儿童防护地堡呢？罗比又会选什么作为本周DVD推荐？哦对了，选择，选择，还是选择。

This is good. But what would you bring into your childproof bunker? And what will Robbie make his DVD of the week? Oh, right. Choices, choices, choices.

你们很多人都给了我们很棒的建议，我

Loads of you have given us some great suggestions, I've

不得不说。其实我把清单弄丢了。真的。等一下。你的清单在哪？

got to say. Lost my list, actually. Actually. Hold on a sec. Where are your list?

这周有太多纸条了。现在我手上有五棵树（指代五部电影）。好的。候选影片有《黑月升起》、《热与尘》、《欢乐满人间2》、《托帕兹先生》、《秘密服务》、《大量电影》、《一、二、三》、《莎士比亚》、《瓦拉》、《沉浮》、《抱歉打扰》、《看管人》、《基督最后的诱惑》、《标准收藏版》、《圣女之歌》。伊恩·约翰逊说，罗比对《欢乐满人间2》的喜爱几乎和马克一样，所以我认为他会选择这部作为新人推荐。

So many bits of paper this week. Since I've got five trees in my hand. Right. The choices are Black Moon Rising, Heat and Dust, Mary Poppins Returns, Mister Topaz, On Secret Service, Masses of Cinema, One, Two, Three, Shakespeare, Walla, Sink or Swim, Sorry to Bother You, The Caretaker, The Last Temptation of Christ, Criterion Collection, The Song of Bernadette. Ian Johnson says, Robbie being almost as fond of Mary Poppins returns as Mark was, so I think he'll opt for it as the newbie choice.

虽然我希望他让我意外，选择那部被严重低估的《抱歉打扰》。我猜罗比的老片选择会是《基督最后的诱惑》。凯伦·理查森，我想特别提一下《圣女之歌》，有人在IMDb上评论说："如今再也拍不出这样的电影了"。邓肯·库姆斯表示："我非常喜欢《基督最后的诱惑》。

Although I hope he proves me wrong and goes for the criminally underseen, sorry to bother you. I reckon Robbie's oldie choice will be the last temptation of Christ. Karen Richardson, I'd like to give a shout out to Song of Bernadette as someone commented on IMDb. They don't make them like this anymore. Duncan Coombs, I really like The Last Temptation of Christ.

你不需要信教也能欣赏它。如果要观看的话请注意，影片很残酷。《基督最后的诱惑》是绝对的杰作，拥有电影史上最伟大的结局之一，在《永恒之门》上映期间选择它很合适。但我必须把这个位置留给詹姆斯·卡格尼和比利·怀德的《一、二、三》，这是一部真正未被发现的经典，可能是史上最搞笑的电影，急需重新发行。

You don't need to be religious to appreciate it. If you're gonna watch it, be warned. It's brutal. The Last Temptation of Christ is an absolute masterpiece, one of the greatest endings in cinema, and would be an appropriate pick as long as it at Eternity's Gate is in cinemas. But I have to give the spot to James Cagney and Billy Wilder's one two three, a true undiscovered classic and possibly the funniest movie ever made that was in dire need of a rerelease.

基思·亚当斯。所以我在想这周会选出哪张近乎完美的DVD发行版。

Keith Adams. So I wonder which practically perfect DVD release will be chosen this week.

是啊。我是说，看，新人选择当然是《欢乐满人间2》。不过要说明，《抱歉打扰》也很值得一看，因为它当时只在少数影院上映过。

Yeah. I mean, look, newbie choice Yeah. Is Mary Poppins Returns, of course. And, you know, with the caveat that Sorry To Bother You is very worth seeking out because it had a small cinema release. Yeah.

如果你还没看过的话，现在正是观看的好时机。但《欢乐满人间2》，它真的非常令人愉悦。

And now is the time to to pounce on that if you haven't seen it before. But Mary Poppins Returns, I mean, it is just delightful.

太棒了。没错。

Florious. Yeah.

至于老片选择

For the oldie

等等。难道不只是一个选择吗？我们要迎来一个新人还是

Hold on. Is it not just one choice? Are we getting a newbie and

一个老手？不，不。我们是一个新人和一个老手。是基思提到+1 23的吗？

an oldie? No. No. We're a newbie and an oldie. Was it Keith who mentioned +1 23?

是哈尔。不。哈尔？对。是哈尔·基钦。

It was Hal. No. Hal? Yeah. Was Hal Kitchen.

哈尔·基钦。对。好吧。哈尔，我同意。123这部电影，再次证明它绝对是一部应该比现在更广为人知的佳作。

Hal Kitchen. Yeah. Okay. Well, Hal, I agree. One two three is, again, it's it's just one of these films that deserves to be far more widely known than it is.

这是比利·怀尔德执导的冷战时期西柏林背景的喜剧，詹姆斯·卡格尼饰演一个试图向苏联推销可口可乐的软饮销售员，结果却成了老板那位社交名媛女儿的监护人。影片节奏极快，充满辛辣讽刺的幽默感，总让我联想到阿曼多·伊安努奇的风格

It's a Billy Wilder comedy, set in Cold War West Berlin, where James Cagney plays this, soft drink salesman who's trying to sell Coca Cola to the Soviets but ends up chaperoning around his boss's socialite daughter. It's incredibly rapid fire, fast paced, very amusingly cynical comedy, and it really makes me think of, Armando Iannucci stuff

是啊。

Yeah.

比如《灵通人士》和《斯大林之死》

Like, In the Loop and, The Death

。

of Stalin.

对。虽然不确定是否影响了伊安努奇的创作，但感觉上应该有渊源。

Yeah. I don't know if it is an influence on Iannucci's material, but it feels very much like it should be.

确实。

It's Yeah.

他的作品与此同属一脉。所以，如果那些极其老套的迂回表达配上音乐能逗乐你，或者你曾被那些主打电影中的类似桥段逗笑过，不妨找来看看《一二三》。

His stuff and this are in the exact same tradition. So if your ribs have been tickled by either of those incredibly corny circumlocution that are to fit with music, but if your ribs have been tickled by either of those of you in chief films do seek out one two three.

来自1961年。好了，本周内容到此结束，本期播客就到这里。我们将在周五凌晨1点提前回归，届时大概会边吃复活节彩蛋，边聊《葛丽塔》之类的电影。

From 1961. There we go then. That has been us this week, and this has been the podcast. We are back again on Friday at the earlier time of 01:00, eating Easter eggs, probably. I'm chatting about films like Greta.

《红色密令》。

Red Joan.

就这样吧。还有其他影片待定。周五见。

There we go. And others. TBC. See you there.

BBC广播五台。

BBC Radio five Live.

大家好，我是彼得·克劳奇，五台让《彼得·克劳奇播客》第二季回归了。这次我们将更深入探索职业足球的疯狂世界。

Hello. My name is Peter Crouch, and five live have brought that Peter Crouch podcast back for a second season. This time, we're going to delve even deeper into the mad world of professional football.

这是杰森的留言：嗨，彼得。我有个朋友住在西班牙，那边人们都叫你'芦笋'。

This is from Jason. Hi, Peter. A pal of mine lives in Spain. Over there, you are known as the asparagus.

哦，我猜芦笋是又长又细的那种...

Oh, I assume asparagus is a long, thin

什么叫你猜？难道你从没见过芦笋吗？

What do you mean you assume you've never seen an asparagus?

这里是《彼得·克劳奇播客》，我是彼得·克劳奇。

That Peter Crouch podcast with me, Peter Crouch.

进展确实很顺利。

It is really nice going.

听着，我并不反对。现在就收听并订阅BBC Sounds吧。

Listen. I am not adverse to an. Listen and subscribe now on BBC Sounds.