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杰克.吉伦哈尔在了不起的《夜行者》中陷入恐怖的心理深渊
【文章】肖恩. 奥.康内尔
【翻译】越海

不知为何，杰克.吉伦哈尔作为一个演员并没有得到他应有的赞誉。他在《城市乡巴佬》中闪亮登场，并在一系列了不起、大胆和另类作品诸如：《死亡幻觉》、《断背山》、《锅盖头》、《好女孩》，以及大卫.芬奇的大师之作——《十二宫杀手》中大放异彩。
一方面，迪卡普里奥（莱昂纳多.迪卡普里奥）和德普（约翰尼.德普）因其著名的冒险电影享誉世界；另一方面，吉伦哈尔依然保持着他对《囚犯》、《宿敌》类电影的热爱。

终于，吉伦哈尔应该可以凭借《夜行者》获得主流观众的喜爱。这部下流的、关于行外汉的当代惊悚电影，讲述了一个专门抓拍悲惨事件，然后高价卖给追求收视率的本地新闻制作人的夜猫子狗仔。路易斯.布鲁姆（吉伦哈尔饰）是一位失业中的话唠骗子，致力于寻找各种工作机会。在一次四处收刮金属偷卖给废品站的回家途中，布鲁姆看见一位老手夜行者（比尔. 帕克斯顿饰）在拍摄一位警察在车祸中的救援行动。他很快找到了参与这个“游戏”的方法。很快，他就开始监视警用频道，在灯红酒绿的洛杉矶追寻着属于自己的突发新闻。

路易斯.布鲁姆让人着迷，有部分是因为他可以随心所欲。你甚至会看好几遍《夜行者》，就是为了弄清关于他的一切是否真实、准确。这多数是因为吉伦哈尔精湛的演技——谨慎（在保守秘密方面）而又完全开放。
布鲁姆是一个生活在底层的小偷。一个很会拍马屁的骗子，对无下限有着独道见解的倡导者。他在追寻有收视保证的新闻中找到了商机——有流血就有头条。而且他还找到了一位人格扭曲的导师——在一家收视率很低的洛杉矶电视台工作的晚间新闻制片人，妮娜（蕾妮.罗素饰）。她需要路易斯的独家新闻，同时路易斯也需要她所带来的接纳、认可和尊敬。

《夜行者》是编剧兼导演丹.吉尔罗伊的导演处女作，但他的之前的的经历漫长并令人印象深刻。他撰写了《谍影重重4》和《人类有堕落》，与哥哥东尼（本片制片）及弟弟约翰（剪辑）一起合作了这部《夜行者》。他聪明地运用了周围人的才华，从摄影罗伯特.艾斯威特到编曲詹姆斯.纽顿.霍华德。这部电影的视觉和色调参考了《出租车司机》和《借刀杀人》到奥利弗.斯通的疯狂《抓狂电台》等影片。但不要误会。《夜行者》是绝对的原创，我们从未在荧幕上见过，令人不安地慢慢渗入了一个我相信是的的确确存在着的疯狂小社会。《夜行者》既讲了一群为拍到新闻不惜一切的疯子，也讲了地方新闻背后的肮脏交易。永远都不要停止拍摄。

现在，我不打算透露关于《夜行者》的几个最有趣秘密。但要知道：这部电影不惧把我们带到一个下流的、肮脏的故事中，阐述了在经济动荡时代下问题多多的新闻行业和另类的行业伦理观。它筑起一面反映当代社会大都市生活的镜子，而导游则是一位一跃成为时代宠儿的反社会精神病患者。

【原文】
Somehow, Jake Gyllenhaal doesn’t get full credit for the chances he takes as an actor. And yet, this is a performer who burst on the scene in City Slickers, but boasts such incredible, daring and unconventional films as Donnie Darko, Brokeback Mountain, Jarhead, The Good Girl and David Fincher’s masterpiece, Zodiac. But the DiCaprios and Depps of the world get lauded for their high-profile risks, while Gyllenhaal keeps delivering with the likes of Prisoners or Enemy.
The tide should turn in Gyllenhaal’s favor, finally, with Nightcrawler, a seedy, after-hours contemporary thriller about the insomniac ambulance chasers who record exclusive video at human tragedies, then sell them for top dollar to ratings-hungry local news producers. Louis Bloom (Gyllenhaal) is an out-of-work hustler, a hard-working fast talker who chases job opportunities around every corner. On the way home from a scavenger hunt – during which he sells stolen metals to salvage yard managers – Bloom sees a veteran nightcrawler (Bill Paxton) filming a police rescue at a car crash. Ever the sponge, Bloom figures out how to get his foot in the game. Soon, he’s monitoring a police scanner and chasing his own breaking news opportunities around Los Angeles’ neon-drenched streets.

Louis Bloom fascinates, particularly because he shifts shapes as he adapts to his scenario. You will spend the bulk of Nightcrawler trying to figure out what, about him, is accurate and true. Most of that is due to Gyllenhaal’s mesmerizing performance, which is both guarded (in the way it protects secrets) and completely open. Bloom is a pariah and a thief. He’s a smarmy grifter, but an entrepreneur with a taste for what's seedy. He finds his niche in the tracking of ratings-worthy news, where whatever bleeds tends to lead. And he finds a twisted mentor in Nina (Rene Russo), a late-night producer at a low-rated L.A. news cast who needs Louis’ exclusive footage as much as he needs to be accepted, recognized and respected.
Nightcrawler marks the directorial debut of writer-director Dan Gilroy, but his previous credentials are lengthy and impressive. He penned The Bourne Legacy and The Fall, and collaborates here with siblings Tony (who produces this film) and John (who edits). He wisely surrounds himself with talent, from cinematographer Robert Elswit to composer James Newton Howard. The film’s visual and tonal references can include everything to Taxi Driver and Collateral to Oliver Stone’s menacing Talk Radio. But make no mistake. Nightcrawler is its own original monster, a disturbing jog into a demented community I’m sure exists, but one we haven’t seen on screen before. Nightcrawler has as much to say about the dirty dealings behind the scenes at local news as it does about the psychos willing to get footage to continue the story. Don’t ever stop filming.
For now, I’m going to protect some of Nightcrawler’s juiciest secrets. Know this: the film is unafraid to plunge us into a seedy, sleazy story of questionable journalism and indie-business ethics during a time of economic uncertainty. It holds a mirror up to a major city in a modern time, but introduces a psychotic, sociopathic tour guide who instantly becomes one for the ages.

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