首先感谢咱吧字幕组【越海】TX的无私翻译

Nightcrawler【夜行者】
Meet Lou Bloom: the antihero of 2014【认识一下路·布鲁姆：2014年度另类之星】
【译自】帝国杂志
【作者】丹·乔林
【翻译】越海

Plot 【故事大纲】
Los Angeles-based night-drifter Lou Bloom (Gyllenhaal) is looking for a job. After stumbling upon a pre-dawn car wreck, he spots a cameraman (Paxton) recording the carnage. Hours later, he sees the same images on the morning news. Finally, Bloom has found his calling...【出没于洛杉矶夜晚的流浪汉路·布鲁姆（吉伦哈尔饰）正在寻找一份工作。就在一天的黎明之前，他偶然撞见了一起车祸，看见一位摄影师(帕克斯顿饰）在拍摄纪录这场灾难。几个小时后，他就在晨间新闻上看到了相同的照片。终于，布鲁姆找到了他的使命...】

但是路并不关心对与错，对名誉也没啥追求（至少不是直接地）。他的理想更为现实一些，使得他更像是这个物欲横流时代的产物。
他想要的，只是成为一个成功的的商人、进入管理层。简单来说就是：当老大。

虽然他只有一台摄像机、一部警用频道扫描仪、一辆车和一个名叫瑞克、走头无路的皮条客“助手”（这个紧张兮兮的可怜家伙由《四头狮子》男星里兹·阿迈德饰），他却能大言不惭地称之为“我的公司”。看到这样的配置，你可以预料到路成长为自由罪案现场摄像师的新闻之旅有多讽刺。

并且，当然，我们还有外表“无坚不摧”的电视台编剧蕾妮·罗素告诉新手路“新闻”就像“富有的白人被贫穷的少数民族杀掉”一样。
“哪里有流血，哪里就是焦点”。但同时令人惊讶的是本片还顺带“调戏”了一把现代企业文化。

他空洞的管理演讲简洁又古怪，就像是《学徒》中的参赛者，从头到尾散发着不劳而获的商人气息；仿佛是想把一切人类行为、以及令人困惑的道德规范，通通塞进僵硬的职业发展与业绩评价的选择框里。【注：《学徒》，美国一档创业型真人秀节目】
现在，想象一下这种人带着摄像机出现在犯罪现场。每一段可怕视频的拍摄与播放都意味着向成功又迈进了一步。你不知道是应该大笑，痛哭还是发抖。

这部电影是编剧丹·吉尔罗伊（《铁甲钢拳》，《谍影重重4》）的导演处女作。完全的创作自由让他充分发挥了自身水平。不仅因为他出色的剧本——本片是以人物为主的惊悚片，更注重人物心理的刻画而非故事情节的跌宕；但同时也具有视觉上的冲击，这得益于摄影师罗伯特·爱斯维特镜头下的都市夜景。
该片是继迈尔克·曼的《借刀杀人》和古拉斯·温迪·雷弗恩的《亡命驾驶》之后，又一部生动再现了洛杉矶阴冷夜景的影片。吉罗尔伊还特别设计了一场惊险绝伦的追车大战，而且创新地采用了现实中真正发生的飞车追逐。

然而归根结底，这是吉伦哈尔的个人秀。我们曾见识过他表演中这种入木三分的令人不安：从《死亡幻觉》中离经叛道的高中生，到《十二宫》中焦躁不安的连环杀手调查者，再到去年《囚犯》中刻板且沉默寡言的警探。但是他在这部电影中完完全全与角色融为一体、并且超越了自我。

作为路易斯·布鲁姆，他看起来苍白又焦躁，与其说是单薄不如说是削瘦。他说话带有鼻音，语速极快，说起自己的成功座佑铭时带点喜感，却又很像那么回事儿。
吉尔罗伊在剧本里没有提及布鲁姆的成长背景，但吉伦哈尔的表演填补了这一空白。我们也不需要知道，只需感受就好——由此可以体会到杰克给出了很多值得深思的表演。

【结论】
尖锐、黑暗，极具讽刺意味且令人毛骨悚然，加之杰克·吉伦哈尔奉献的、从影以来的最佳表演，本片就是2014年的《亡命驾驶》。

【原文】
In Taxi Driver, Travis Bickle thirsts for justice. In The King Of Comedy, Rupert Pupkin craves celebrity. Both are deranged loners who go to obscene lengths to achieve their warped ideas of The American Dream. And in Nightcrawler’s Lou Bloom (Jake Gyllenhaal) we find, more than 30 years later, the spiritual younger brother to these iconic Scorsese/De Niro creations: another dark-roaming misfit with malformed ambitions. But Lou doesn’t feel driven to right perceived wrongs or achieve fame (directly, at least). He has a more modest destiny in mind, making him the product of these ever more nakedly materialistic times. All Lou Bloom wants is to be a successful businessman. A manager. In short: your boss.

This sententious oddball armours himself in hollow management speak, exuding all the unearned business acumen of a contestant on The Apprentice. It’s as if he wants to shove all the variety of human behaviour and its baffling concept of morality into the rigid checkboxes of career development plans and performance reviews. Now imagine someone like that turning up to crime scenes with a video camera. Every gruesome clip flogged and televised is a step towards success. You don’t know whether to laugh, cry or shudder.

Behind all this is screenwriter Dan Gilroy (Real Steel, The Bourne Legacy), making his directing debut. Full creative freedom has brought out the best in him. Not only is it a cracking script — a character-driven thriller relying on psychological manipulations over plot twists — but there’s visual impact too, courtesy of DP Robert Elswit’s urban nightscapes. The drama is vibrantly captured in the same streetlight-drenched LA stalked by Michael Mann in Collateral and Nicolas Winding Refn in Drive. Gilroy also choreographs one particularly breathtaking car-chase, which is innovative in that it is actually a car-chase.

Inside it all, though, is Gyllenhaal. We’ve seen him nail discomfort: from metaphysically dislocated high-schooler Donnie Darko, to Zodiac’s twitchy killer-hunter, to his tightly buttoned-up cop in last year’s Prisoners. But here he both transforms and transcends. As Lou Bloom he is pale and wired, looking less gaunt than stretched. He talks in a nasal, high-register patter, reeling off his careerist jargon in a way that is borderline comedic, but for the edge he gives it. Gilroy provides no backstory for Bloom; it is Gyllenhaal’s performance that fills in the cracks. We don’t need to know, just to feel — and in that sense the actor serves plenty to chew on.

Gloomy and disturbing, slick but queasy, Nightcrawler isn’t the kind of movie you’d expect to attract Oscar buzz. But Gyllenhaal’s performance may yet earn it that kind of attention, just as De Niro did for Taxi Driver. The darkest horse has entered the 2014 race.

Verdict
Sharp, dark, satirical and bone-rattlingly thrilling, with a career-peak turn from Jake Gyllenhaal. It’s this year’s Drive.

The End

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