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《夜行者》影评 | 2014多伦多电影节
【译自】Collider（著名影评网站）
【作者】马特.高德伯格
【翻译】越海
NIGHTCRAWLER Review | TIFF 2014
by Matt Goldberg

地方新闻都是病态的。
如果我去找你，和你谈一些陌生人的可怕死亡事件——除了让你对城市生活更恐慌以外毫无意义——你恐怕会觉得我不仅疯了，还十分残忍。
不得不说你是对的。

丹.吉尔罗伊的《夜行者》——一部令人心寒却同时让你脉搏加速的电影——充分体现了地方新闻的本质，并将这些本质融入了角色灵魂之中。

主演杰克.吉伦哈尔交出了他今年最令人满意的答卷，吉尔罗伊的电影是一幅严谨、颓废却难以判断是非的肖像画，处处透露着的冷漠算计与无情的野心，肆意穿梭在洛杉矶夜晚的街道上。

路.布鲁姆（吉伦哈尔饰）是个贼，他相信踏实且有道德地“工作”会比小规模的犯罪获得更多。一天晚上他开车经过了一个车祸现场，他注意到一个“夜行者”——一位摄影师（比尔.帕克斯顿饰）拍下车辆残骸然后卖给新闻台，路仿佛找到了命中注定的职业。

他用当掉一辆偷来的自行车的钱买了一部摄影机，干起这份工作来的他得心应手。但无论如何，随着他对权利的欲望日渐增长，为了实现他扭曲的人生目标，他在这条令人不安的路上越走越远。

路在电影中第一次出场时，他正在非法入侵他人住宅，当他被保安拦下查询时，他不仅揍了保安一顿，还偷了他的手表。路没有只想着如何脱身，他还想满载而归。这一刻，吉尔罗伊让我们知道路并不会堕落到哪去——因为他已经触底了。考虑到他无所顾虑且坚定不移，我们只是想看他还能走多远。

关于路众多令人担忧的事情之一是他不在乎金钱上的成功会带来同等的权力与尊重，有人曾告诉他报酬就是狗屁，但却没能打消他的念头。他想拥有一切的一切，只是因为他的野心是他唯一的向导。
谁都能挣钱，但就像他告诉新闻主任尼娜（蕾妮.罗素饰）的一样，他不仅仅是想成为一个成功的夜行者，他还想拥有演播室和里面的所有人。他毫无收敛之心，贪心的索取一切回报。我们所期待的成功，是一副黑暗、疯狂和扭曲的写真。

尽管电影描述的是当代，吉尔罗伊却增添了一个细节——在詹姆斯.牛顿.霍华德的电子吉他配乐的帮助下，重现了八十年代的复古之光。电影暗示了尼娜对新闻的理解绝对不是新现象，而且我们甚至从来没有想过去反驳或质疑它，我不认为布鲁姆是这种新闻的制造者，但他对新闻之外的事也是一无所知。他没必要担心法兰克崇高的理念——车祸残骸是否符合“新闻”的标准。地方电视新闻和新闻业毫无关系；它纯粹是种投机主义。在这里，机会被视为最高价值，寄生虫们，比如路和尼娜有权自由支配，直到他们吸干这整个世界。

吉尔罗伊每一秒都在触动我们的神经，无论这是否是一场飞车追逐带来的激动；路找到了最露骨也是最下流的威胁方式，或是一种新形式的冷酷无情。《夜行者》令人刻骨铭心，我们伸长了脖子看着一场野心互相碰撞造成的“车祸”，等待着更大的爆炸发生。我们着迷于这种病态可怕的狂欢，我们没法把注意力从路令人震惊的道德沦陷上移开。他总是饥肠辘辘而且什么也满足不了他。我们都必须要忍受着身体里扭曲的情感。

作为导演和编剧，就算吉尔罗伊使出浑身解数，没有吉伦哈尔，《夜行者》什么也不是。我没有足够的形容词来形容他的表演中所蕴含的能量。以下是我观看电影过程中草草写下的：激烈，冷血，黑色喜剧，精于算计，令人不愉快的，可怕的，孤独的，古怪的天真，以及让人毛骨悚然。

在一场戏中，路以一种权威之姿来威胁尼娜，吓得我坐回了椅背。他的语气平静而严厉、句句清晰，相比之下，绝对会让你觉得终结者更加可爱。这种表演能让威胁穿过屏幕，紧紧掐住你的脖子，然后生吃了你的灵魂。

因为不同的原因，《夜行者》让我痉挛，大笑，畏惧，和坐立难安。我们都知道地方新闻令人毛骨悚然，总是唤起我们内心深处最糟糕的欲望。而吉尔罗伊不仅仅是提醒了一个我们一直默许的弊病的存在，他还在观察人们——当道德和利益不再被看做社会的基础而是障碍时，人们到底愿意付出代价多少来实现他们的目标。

评分：A

【原文】
Local TV news is sociopathic.
If I came up to you and began our conversation talking about the horrible deaths of total strangers that had no larger implication than seizing on your deep-seated fears about city living, you would think I’m not only insane, but predatory.
And you would be right.

Dan Gilroy’s chilling, pulse-pounding Nightcrawler manifests the essence of local news and puts it inside a protagonist where a soul should be.
Anchored by Jake Gyllenhaal giving the best performance of the year thus far, Gilroy’s film is a scathing and decadently amoral portrait of calculation and ruthless ambition speeding through the dark streets of Los Angeles.

Lou Bloom (Gyllenhaal) is a thief who believes he has the work ethic to achieve far more than petty crimes. One night while driving past a car crash, he observes a “nightcrawler”, a cameraman (Bill Paxton) capturing footage of the wreck to sell to news stations, and Lou finds his calling.
Equipped with a camera he bought by pawning a stole bicycle, Lou takes to his new profession like a shark to water. However, as his appetite for power increases, he goes to increasingly disturbing lengths to achieve his grotesque goals.

When we meet Lou, he’s in the middle of breaking and entering, and when confronted by a security guard, he not only beats the man, but also steals his watch. Lou doesn’t just want to get away; he wants to get away with more. Gilroy immediately lets us know this won’t be a matter of how far Lou will fall because he’s already at the bottom. We want to see how far he’ll go considering he has no scruples and an abundance of determination.
One of the many, many disturbing things about Lou is that he doesn’t care about the money success brings as much as the power and the respect. He’s told that the pay is shit, but that doesn’t deter him. He wants to own everyone and everything because ambition is his only guide. Anyone can make money, but as he tells news director Nina (Rene Russo), he doesn’t want to just be a successful nightcrawler. He wants to own the studio and everyone in it. He has no limits and demands unlimited rewards in return. It’s a dark, demented, and twisted portrait of what we’re supposed to expect from achieving our goals.

If the cost of our dreams is the lives of others, so be it. Nina doesn’t bat an eye when she tells Lou that he should “Think of the newscast as a screaming woman running down the street with her throat cut.” (Nightcrawler is filled with these great lines) The disconnect between reality and action has become so gaping that morality doesn’t even enter the picture. The plea for journalistic integrity from Frank (Kevin Rahm), the station’s assignment editor, is treated with all the respect of a mouse fart. As the old adage goes, “If it bleeds, it leads,” and if Nina wants the news gushing, Lou is more than happy to provide a bloodbath.
Although the movie takes place in the present day, Gilroy gives it a subtle, 80s retro sheen with the help of James Newton Howard’s electric guitar-infused score. The implication is that Nina’s brand of news is in no way a new phenomenon, and we’ve made no attempt to refute or even question it. I don’t think Bloom is a product of this kind of news, but he’s also never known anything else. He doesn’t have to worry about Frank’s lofty ideals about whether or not bloody car wrecks qualify as “news”. Local TV news isn’t about journalism; it’s about opportunism. And where opportunity is seen as a paramount value, parasites like Lou and Nina are given free reign to suck the world dry.