When Marlon Brando died in 2004 at 80, more than afew obituary writers decided he hadn’t been acontender, after all. For them, this brilliant actor haddevolved into as much a loser as Terry Malloy, his punch-drunk boxer in “On the Waterfront,who is sold down the river and, with a face battered by fights and the pain of a brother’sbetrayal, famously eulogizes himself: “I coulda been a contender, I coulda been somebody,instead of a bum, which is what I am. Those who dismissed Brando reviewed his life as if itwere some kind of movie, one with a strong opening act, a bewildering middle and adisappointing conclusion deserving of a collective thumbs down.
2004年80岁的马龙·白兰度(Marlon Brando)去世时,不少讣告作者认为,他终究不是一个夺冠热门。在他们看来,这位聪明的演员堕落成了一个失败者,就像《码头风云》(On the Waterfront)里被他打得头晕眼花的拳击手特里·马洛伊(Terry Malloy)。马洛伊遭到兄弟出卖,他带着脸上的拳伤和心头的创伤,却还称赞自己道(这句话很出名):“我本应该是一个夺冠热门,本应是一个大人物,而不是现在这样的脓包。那些否定白兰度的人像评价某种电影那样评价他的一生——说它开场宏大,中间部分让人迷惑,结尾令人失望,应该遭到一致否定。
That’s the straight world’s take on Brando — call it the revenge of the mediocre on genius —and one reason it’s such a blast to hear the man himself talking about that life in thedocumentary “Listen to Me Marlon. The movie is almost entirely narrated by Brando, largelythrough snippets of audio recordings that he made over decades. Although it opens with a bitof text about the recordings, it doesn’t explain how the British director Stevan Riley and hiscollaborators got their hands on them. The press notes state that the recordings were“uniquely gifted to the production company for the movie; a recent article in The Los AngelesTimes suggests a more commercially expedient reason: The actor’s estate, BrandoEnterprises, “decided it was time for a flick to introduce him to a new generation.
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