首先感谢jake吧字幕组【Rachel】的无私翻译

多伦多：我们应该重新关注杰克.吉伦哈尔
【译自】Vulture影评
【作者】凯尔.布坎南
【翻译】Rachel

难道杰克.吉伦哈尔不是应该更具知名度吗？诚然，他很出名，但从另一方面来说，他的潜能还没有完全被挖掘出来。他能得到很多出演电影的机会，但是没必要全都去演。他有一张让人迷恋的脸和羡煞旁人的身材，但是在落选“最佳性感男士”之后并没有多少粉丝为其报不平。（LZ：那是因为吉粉都很高冷...理智啦）2005年杰克.吉伦哈尔凭借《断背山》当之无愧地获得了奥斯卡提名，在那之后就再也没有在任何奖季竞争中出现过。

看上去我像是在指责杰克演艺生涯的管理不善，但是我下面要说的恰恰相反：近几年来，杰克.吉伦哈尔仍然一如既往的杰出，在一系列小众电影比如《警戒结束》、《宿敌》和《囚徒》中都有着精彩的表演。所以问题并不在杰克.吉伦哈尔，而是我们——我们总是要求新晋影星具有超出其自身能力的公众吸引力。我们已经好几年没有真正关注过杰克.吉伦哈尔了，而现在是所有人都应该意识到这一点的时候了。

或许他在多伦多电影节上的新片《夜行者》能唤醒沉睡的我们。电影的名字像是与梦游有关，但其实它是一部特别搞笑欢脱的小成本电影。杰克.吉伦哈尔饰演花言巧语的犯罪现场狗仔——路.布鲁姆。为了演好这个角色，杰克.吉伦哈尔减重20磅，全身去毛、远离太阳，直到让肌肤看上去苍白得和鼹形鼠有得一拼。他在电影里面十分之出彩，焦燥迫切地等待着，在警察和哭哭啼啼的亲属离开之后，欢乐地检查现场以发现有价值的血腥镜头转卖给《早间新闻》。尤其是搜到什么可怕或可耻的事情时，他的嘴角会上扯成洋洋自得的裂嘴一笑，因为他的工作就是捡拾死神遗留下的东西，让那些可怜的受害者们死后还要蒙羞。

电影中有人把路叫做“卑鄙小人”。很形象的称呼！但电影的主角没有必要全都要迷倒众生，而杰克以路的残忍刻画出其黑暗的一面。路是一个在所有方面都冷酷无情的人，尤其体现在他很有自信地带着《早间新闻》主播（蕾妮.罗素）去吃晚饭的那个情节上，他威胁地宣称她除了和他上床之外没有任何选择，丝毫没有同情心地否决了她的任何异议。这段屈辱关系开始时她是强势的一方，但结束时却成为了他的半自愿人质。（罗素是《夜行者》导演丹.吉尔罗伊的妻子，这让这场戏更有看点。）

像《夜行者》这样的电影对于奖季而言太过古怪，但我希望杰克扮演的这个疯子能得到应有的关注，因为长久以来，这个演员值得我们的再一次关注。自2010年他主演的、备受重望的票房大片《波斯王子》哑火后，吉伦哈尔浴火重生，从此远离大制作转而投身更独立自我的小成本电影。在今年的电影《宿敌》中他成功地一人分饰两角；去年，他或许是星光熠熠的《囚徒》中最抢眼的角色了，或者说至少是最自然地与电影难以捉摸的基调融为一体的那一个。他在《警戒结束》中的表演同样无与伦比，还一个人撑起了被低估了的《源代码》——再加上《夜行者》，他已经连续有五部精彩绝伦的电影了。我尝试着找出另一位有五部好电影在手的演员，非常稀少非常难找。有时候，我认为有两部好电影在手的演员就可以算是一线明星了。

那为什么杰克.吉伦哈尔没能更有名一些呢？当我问我的同事这个问题时，其中一个人抱怨他最近演了太多关于反社会或者连环杀手的电影，而另一个则直接简单明了的说，“枫糖拿铁”——被泰勒.斯威夫特用来指代她针对吉伦哈尔的最新分手赞歌。无论是哪种原因，都可以解释为什么吉伦哈尔的女粉丝正在减少。而在Buzzfeed网站上传的《夜行者》宣传照中，他一脸猥琐地引诱恐吓蕾妮.罗素，说：“我喜欢你的黑色眼影。我喜欢你的味道。”相信看了的人是不会发出“他好性感”的感叹的。

也有可能是，吉伦哈尔虽然是大明星却没有相应的票房号召力。除了《波斯王子》能在国内勉强斩获9千万美元票房，没有其他电影能甚至接近《断背山》总共8千3百万的国内票房，他只有一部电影超过了1亿美元的及格线，那就是2004年的《后天》。这并不是一张票房杠杠的成绩单，但至少好过瑞恩.高斯林的不温不火，而看起来人们更渴望高司令。（LZ：原因只有两个字—公关，因为老吉没有司令强大的PR team。相对同辈，他的处事风格太老派，演戏之外更愿意把自己蔵起来）

我想这是他们的损失。凭借其个人魅力和他在喜剧片、剧情片及动作片上游刃有余的表演天赋，吉伦哈尔就是布莱德利.库珀没有出现之前的布莱德利.库珀。他没有出现在漫威英雄的意愿清单上，也许这就是天意：并不像其他的同龄演员，他从没出演过有续集的电影。而在2005年凭《断背山》获得奥斯卡提名时他才25岁，从那之后，再也没有比他年轻的演员获得过提名。或许我们只是不懂得要怎样对待像吉伦哈尔这样的演员而已，除非给他们定了型分了类。

又或许，我们总是希望有天赋的演员得到最好的资源成为最有名的那一个；但【杰克已经获得了他自己最想要的从影生涯。】大多数演员要么投身小成本独立电影要么参与高成本票房大片；但是吉伦哈尔却从中辟出一条两者兼顾的稀有之路。如果《夜行者》还不能更好地提升他的认可度，那么他的下一部作品也许能做到。吉伦哈尔已经确定出演由让.马克.瓦雷导演的电影《毁坏》，马修.麦康纳正是凭借其导演的《达拉斯买家俱乐部》让事业重返正轨的。同时，让.马克.瓦雷联手凯西.威瑟斯彭制作了今年冲奥热门之一的《狂野》。
如果好莱坞不知道怎么让杰克.吉伦哈尔更上一层楼的话，相信吉伦哈尔自己知道应该怎么做。

【原文】www.vulture.com/2014/09/lets-get-back-on-board-with-jake-gyllenhaal.html?mid=imdb
Toronto: We Need to Get Back On Board With Jake Gyllenhaal
By Kyle Buchanan

Doesn't it seem like Jake Gyllenhaal should be bigger? Certainly, he's famous, but in a way that still suggests potential not yet met. He's able to get a movie greenlit, but not necessarily able to open it. He's got a crush-worthy mug and a famously enviable body, but fan campaigns don't spring up when he's snubbed for Sexiest Man Alive. And though Gyllenhaal earned a well-deserved Oscar nomination in 2005 for Brokeback Mountain, he hasn't been in contention since.
It would seem like I'm building a case for career mismanagement here, but actually, I'm arguing quite the opposite: Over the past few years, Gyllenhaal has been turning in consistently excellent, surprising work in a series of underseen films like End of Watch, Enemy, and Prisoners. The problem is not with Jake Gyllenhaal, then — the problem is with us, the public that demands new movie stars yet has a more-than-capable one flying under the radar. We've been sleeping on Jake Gyllenhaal for years now, and it's time we all woke up.

Perhaps his new film at the Toronto Film Festival, Nightcrawler, can sound the alarm. The title sounds somnambulant but this is a startlingly funny, naughty little movie that casts Gyllenhaal as fast-talking crime scene paparrazo Lou Bloom, a starring role that prompted the actor to lose 20 pounds, shave his body, and stay out of the sun until his skin took on the pallor of a mole rat. He's terrific in it, unnerving and insistent as he brushes blithely past cops and crying relatives in order to grab the perfect bloody shot to sell to the early-morning news. When he stumbles upon something particularly gruesome and scandalous, his mouth twists upward in a grinning, self-satisfied rictus, because his job is to pick up where the Grim Reaper left off, condemning these poor victims to an undignified afterlife.

Someone else in the movie calls Lou a "twerp." That's accurate! But a character doesn't have to be likable to be fascinating, and Gyllenhaal commits to Lou's dark corners with ferocity. Lou is remorseless in every way, never more so than in a breathtakingly ballsy scene where he takes a reluctant morning-news producer (Rene Russo) out for dinner, then aggressively lays out to this woman why she now has no choice but to sleep with him, blocking every one of her protestations with a stunning lack of empathy. She came to this shame date as a power player, she leaves it his semi-willing hostage. (That Russo is married to Nightcrawler's director, Dan Gilroy, makes the scene even crazier.)

A movie like Nightcrawler is likely way too weird for awards season, but I hope Gyllenhaal's wacked-out star turn gets the attention it deserves, because the actor has been worthy of a second look for too long now. Since 2010, the year his would-be blockbuster effort Prince of Persia bombed, Gyllenhaal has reinvented himself as a gutsy performer who eschews traditional studio product in favor of smaller, more distinctive stuff. He was great in a dual role in this year's bonkers Enemy; the year before, he was perhaps the strongest player in the stacked cast of Prisoners, or at least the one that understood the movie's tricky tone most innately. He was also terrific in End of Watch, and he anchored the underrated Source Code capably — add Nightcrawler to the list, and that's five good, modest movies in a row. I'm trying to think of another movie star who's coming off the back of five good movies, and they're few and far between. Sometimes, I think A-listers would settle for two good movies in a row.

So why isn't Gyllenhaal bigger? When I put that question to my coworkers, one complained that he's made too many recent movies about sociopaths and serial killers, while another colleague simply instant-messaged, "MAPLE LATTES," a code word employed by Taylor Swift to indicate that many of her most recent break-up anthems were aimed at Gyllenhaal. Either reason may explain why Gyllenhaal's female fanbase has cooled, and it's not as though he'll be gunning for any "he's so hot" Buzzfeed posts with Nightcrawler, where he unnerves Rene Russo with creepy come-ons like, "I like the dark makeup under your eyes. I like the way you smell."

It's possible, too, that Gyllenhaal was never quite as big a movie star as he seemed. Excepting Prince of Persia, which limped its way to $90 million domestically, no movie Gyllenhaal has made since Brokeback Mountain has gotten even close to that film's $83 million gross, and the only film he's ever starred in that crossed the $100 million mark was 2004's The Day After Tomorrow. It's not exactly a resume laden with blockbusters, but it's a career that's at least comparable to Ryan Gosling's low-boil C.V., and yet people seem so much thirstier for the Gos.

Their loss, I suppose. With his charisma and flexible talent for comedy, drama, and action, Gyllenhaal was Bradley Cooper-ing before we really even had Bradley Cooper. He doesn't show up on Marvel superhero wish lists, but maybe that's by design: Unlike most of the other men in his peer group, he's never made a sequel to everything. And that Oscar nod for Brokeback Mountain back in 2005? He got it when he was 25, and no actor so young has been nominated since. Maybe we just don't know what to do with guys like Gyllenhaal anymore, unless we're suiting them up in spandex.

And maybe, though we always want the best and biggest things for talented actors, Gyllenhaal's got exactly the career he wants. Most actors consign themselves to microbudget indies and megabudget tentpoles; Gyllenhaal has somehow carved out the rare path in between. If Nightcrawler doesn't raise his profile much, his next project might do the trick, anyway: Gyllenhaal just signed on to a film called Demolition to be directed by Jean-Marc Vallée, the man who helped revive Matthew McConaughey's career with Dallas Buyers Club and is now poised to lend a long-overdue jolt to Reese Witherspoon in their Oscar-buzzed movie Wild. Even if Hollywood doesn't know what to do with Jake Gyllenhaal, it seems like Jake Gyllenhaal knows exactly what he's doing.