推 testu:PUSH! 04/28 17:48
http://city.udn.com/50132/3946132?tpno=0&cate_no=0
紐時摘譯：電影矛盾的大師
A Master of Movie Contradictions
By Manohla Dargis
DENNIS HOPPER – Actor, filmmaker, photographer, art collector, world-class
burnout, first-rate survivor – never blew it, as he put it in his famous
line from “Easy Rider.” Unlike the villains and freaks he has played over
the decades – the psycho with the mommy complex in “Blue Velvet,” the mad
bomber with the grudge in “Speed” – he has made it through the good, the
bad and some spectacularly terrible times. He rode out the golden age of
Hollywood by roaring into a new movie era with “Easy Rider.” He hung out
with James Dean, played Elizabeth Taylor’s son, acted for Quentin Tarantino.
He has been rich and infamous, lost and found, the next big thing, the last
man standing.
丹尼斯‧霍伯─演員、電影製片人、攝影師、藝術品收藏家、世界級過氣名人、
一流生存高手─從未搞砸，就像他在電影《逍遙騎士》中最為人知的一句台詞
所說的。他曾在數十年的演出生涯中飾演反派角色與怪咖，包括《藍絲絨》中
有戀母情結的精神病患，《捍衛戰警》中心懷怨恨的瘋狂炸彈客。然而他卻與這些
角色不同，安然走過了美好、低迷甚至一些特別糟糕的歲月。他以《逍遙騎士》
開創電影的新紀元，跨過好萊塢的黃金時代。他常與詹姆士‧狄恩泡在一起，
飾演伊莉莎白‧泰勒的兒子，代理昆汀‧塔倫提諾。他曾經腰纏萬貫、聲名狼藉、
迷途知返、曾經是下一個大人物、僅存的碩果。
Lately Mr. Hopper, who turns 74 on May 17, has been in the news again. In
March his lawyer in a contentious divorce from Mr. Hopper’s fifth wife,
Victoria, announced that the actor has terminal prostate cancer and was too
ill to appear in court. That same week a gaunt Mr. Hopper showed up with both
smiles and Jack Nicholson to receive a star on Hollywood Boulevard.
Mr. Nicholson, next to Mr. Hopper, was wearing a sensationally ugly shirt
decorated with the stars and stripes and the image of the two doomed
motorcyclists from “Easy Rider,” the movie that made Mr. Hopper a director
and broke Mr. Nicholson out of B-movie irrelevance. It was a sublime,
ridiculous Hollywood moment, canned and simultaneously real.
下個月17日滿74歲的霍伯最近再次成為媒體焦點人物。他近來正與第5任妻子
維多利亞打一場鬧得不可開交的離婚官司。委任律師上個月聲稱，霍伯已經罹患
末期攝護腺癌，病情重得無法親自出庭。同一個星期的某一天，形容枯槁的霍伯
帶著微笑與傑克‧尼柯遜聯袂前往好萊塢星光大道留下手印。站在霍伯身旁的
尼柯遜穿著一件看來極為醜陋的星條圖案襯衫。這件襯衫另外印有2人當年
在《逍遙騎士》中所扮機車騎士角色的圖像。該片使霍伯成為導演，並使尼柯遜
突破劣質電影演員的格局。那是令人讚嘆卻又可笑的好萊塢時刻，既做作，也真實。
It was also a perfect gesture for Mr. Hopper, who has straddled seemingly
contradictory realities for much of his career, wearing a loincloth in Andy
Warhol’s “Tarzan and Jane, Regained Sort of ...” in 1963 only to show up
as a snitch opposite John Wayne in “The Sons of Katie Elder.” Inspired by
Vincent Price to collect art (yes, that Vincent Price), Mr. Hopper bought a
couple of early Warhols for $75, snapping up other masterworks from the likes
of Roy Lichtenstein, Jasper Johns and Jean-Michel Basquiat. Later, when “
Easy Rider” was released, Warhol, who immortalized Mr. Hopper on
silk-screen, mused on the influence he had on the actor who’s “so crazy in
the eyes”: “You never know where people will pick things up.”
對霍伯而言，這也是一種完美的表態。在職業生涯的泰半時光中，他都腳跨看似
彼此矛盾的真實情境。他曾穿著一件腰布出現在安迪‧沃荷1963年的《Tarzan and
Jane, Regained Sort of...》中，最後在《一門四虎》中成為與約翰‧韋恩對頭的
告密者。他曾受文森特‧普雷斯啟發而收集藝術品。霍伯以75元的價錢買下安迪‧
沃荷的幾件早期作品，此後相繼收集幾位名家的作品，包括羅伊‧李奇登斯坦、
傑士伯‧瓊斯、尚米榭‧巴斯奇亞。沃荷曾經以絹布製版印刷法讓霍伯留下永恆
形象，不久之後《逍遙騎士》發片時，沃荷深思自己的對這位「兩眼如此狂野」
的演員所產生的影響，他說：「你永遠不知道人們會在什麼地方有所感悟。」
In Mr. Hopper’s case the lines of influence are perhaps more overt than they
might initially seem, winding from the American flag in one of Mr. Johns’s
paintings, for instance, to the one that Peter Fonda wears like a target on
the back of his motorcycle jacket in “Easy Rider.” Mr. Hopper didn’t just
have a great eye for buying art; he also pushed his own aesthetics to the
brink and at times over the edge. Among the most striking formal strategies
in “Easy Rider” are the propulsive, eye-thwacking edits that were a
signature of Mr. Hopper’s longtime friend, the collagist and avant-garde
filmmaker Bruce Conner (“A Movie”).
以霍伯的例子而言，影響的痕跡可能比乍看之下更明顯。例如瓊斯一幅畫作中的
美國國旗，以至彼得‧方達在《逍遙騎士》中所穿著機車夾克背後有如標靶的
圖案。霍伯不只具備鑑賞並買下藝術作品的獨到眼光，他還把自己的美學觀推到
極致甚至過了頭。《逍遙騎士》中最令人注目的形式策略是推進重擊式剪接。
這是霍伯長年好友，拼貼藝術家兼前衛電影製片人布魯斯‧康納（“A Movie”）
的特色。
In 1970 he started “The Last Movie,” a prophetic title if ever there was
one. Bankrolled by Universal, he traveled to the Peruvian Andes to make a
film about a stunt man who, after production on a violent Hollywood-style
Western wraps, stays behind. Played by Mr. Hopper, the stunt man (though not
necessarily in this order) hooks up with a local prostitute; coordinates a
sex show for debauched tourists; jaws on about “The Treasure of the Sierra
Madre”; and takes perhaps lethal part in another film shoot, this one staged
as a ritual by Indians using equipment made from twigs.
1970年，霍伯開始拍攝“The Last Movie”。這個片名充滿先知性的意味。
在環球公司資助下，他前往秘魯安地斯山區拍攝一部有關一名特技演員的電影。
這名演員在激烈的好萊塢式西部電影拍攝完工後，留了下來。霍伯扮演的這個角色
（雖然未必依此順序）與當地一名妓女勾上，為放蕩的觀光客安排一場性演出，
對《碧血金沙》嘮叨不休，並在另一部影片演個可能要命的腳色。這一次是以
嫩枝製作的裝備執行印第安人的一項儀式。
The film was doomed, though – badly released, mocked and soon dismissed, as
was Mr. Hopper. He more or less dropped out from the public eye until he flew
off to the Philippines in 1976 to play the zonked-out photojournalist in
Francis Ford Coppola’s “Apocalypse Now.” Chattering like a hopped-up
monkey, cameras clattering around his neck, T. S. Eliot’s words rolling
around in his mouth, dirty, disheveled and totally bonkers, the character is
a wonder.
這部影片註定失敗：發行弄得很差，受到嘲諷，很快就被打入冷官，一如霍伯。
他自此幾乎銷聲匿跡，直到1976年才前往菲律賓參加法蘭西斯‧福特‧柯波拉
執導的《現代啟示錄》一片演出，飾演片中疲倦不堪的攝影記者艾略特。
他有如猴子活蹦亂跳般的吱吱叫，幾部照相機在脖子上碰撞作響，全身髒兮兮，
頭髮凌亂，十足瘋狂，這個角色令人眼睛一亮。
If the pleasure of his performance is tinged with discomfort, it’s because
Mr. Hopper has never been afraid of looking ridiculous. Few actors can
navigate the line between terror and comedy as unnervingly, evidenced by his
mesmerizing turn in David Lynch’s “Blue Velvet.” Where does that character
end and Mr. Hopper begin? You don’t know, and not knowing is the space in
which Mr. Hopper works.
如果他演出的快樂含有不愉快的成分，這是因為霍伯從不怕讓自己看起來好笑。
鮮有其他演員能夠像他那樣在恐怖與搞笑之間來去自如，同時令人感到不安。
他在大衛‧林區執導的《藍絲絨》一片中令人著迷的演出就是具體證據。這個角色
在何處結束？霍伯又從哪兒開始？你不會知道，而不知道正給了霍伯表現的空間。
If his life doesn’t fit notions of stardom it’s because Mr. Hopper has
charted his own course from the start. After signed a contract with Warner
Brothers in 1955, he shook off the studio yoke, went to New York to study
with Lee Strasberg, began collecting art, starred in the experimental film “
Night Tide” and collaborated on an art project with Marcel Duchamp. He
photographed his famous friends on and off the set and the Reverend Dr.
Martin Luther King Jr. in Alabama.
如果霍伯的一生不符合明星的定義，那是因為打一開始他就摸索著自己的路。
1955年與華納兄弟簽約後，他擺脫攝影棚的束縛，前往紐約向李‧史斯拉斯伯格
學習，開始蒐集藝術作品，在實驗性電影《夜潮》中擔任主角，並與馬塞爾‧
杜象攜手執行一項藝術計畫。他經常在拍攝過程及空檔時拍下知名好友們的身影，
並在阿拉巴馬州為金恩博士留影。
He helped make Mr. Nicholson a star and did his bit to jump-start American
cinema. Not bad for someone who “blew it.”
霍伯把傑克‧尼柯遜捧成明星，並為美國電影的起飛盡了一己之力。對一個曾經
「搞砸了」的人來說，這一切還真不錯。
原文參照：http://www.nytimes.com/2010/04/11/movies/11dargis.html
2010-04-20/聯合報/G5版/UNITEDDAILYNEWS 陳世欽 原文請見紐時周報十二版上
--
NY Ｂ NY LA CR ρ ｍ 鳥
口-口 口-口 口-口 口-口 口-口 口-口 口-口 口-口 口-口
U U U U U U U U U
蘇光 蘇維拉 寶貝蘇 蘇-Rod 蘇朗斯頓 蘇區特 蘇吉 蘇夫曼 蘇蘭克林
--
※ 發信站: 批踢踢實業坊(ptt.cc)
◆ From: 59.115.134.223