本文对杰克演绎生涯进行了点评和回顾...照例感谢jake吧字幕组【Melinda】的辛苦翻译

为什么杰克·吉伦哈尔应该凭《夜行者》赢得奥斯卡奖
2014年9月19日
【转自】NME
【作者】丹.布莱特莫
【翻译】Melinda

杰克·吉伦哈尔并不需要一个假鼻子或怪异的腔调来塑造角色。有那双眼睛就足够了。它们能表达一切情感，从《死亡幻觉》里的困惑悲伤到《断背山》里禁忌之爱的痛苦。眼睛是他扮演的角色的灵魂之窗，而非利用名气搏到尽后茫然的反映。
他的最新电影《夜行者》展现了洛杉矶的大街小巷，一如斯科塞斯的《出租车司机》一片中的纽约。它把观众带回到了天使之城的穷街陋巷中，就像我们在《亡命驾驶》中通过瑞恩·高斯林扮演的逃亡司机看到的一样。吉伦哈尔饰演路.布鲁姆，一个胆大妄为的梦想家和反社会者，被吸引到了自由犯罪新闻记者昼伏夜出的世界。

手持数码摄像机和一个警用频道无线电扫描仪，他在街头帮派血拼和可怕的事故发生时加入了罪案记者们“比谁先到犯罪现场”的比赛。这是唯利是图者在另一个层面上的竞争，因为好的片段价值数千美元——卖给极度渴望在下一个黄金时段独家播放血腥新闻的电视台——因为“见血才有头条”。
但是，当布鲁姆开始进入犯罪现场并制造新闻而不是追逐它时，丹.吉尔罗伊的电影进入了一个黑暗的境界......想想《美国杀人狂》男主与《出租车司机》男主合二为一，因为布鲁姆的野心使他为了追求收视率而打破了自己的道德底线，而他眼中的美元符号反映了颠覆美国梦的扭曲道义。他这样评价自己的工作：“我想说，如果你见到我，那将是你生命中最糟糕的一天。”

和迪卡普里奥在斯科塞斯导演的《华尔街之狼》中饰演的乔丹.贝尔福特一样，当吉尔罗伊的故事进入可怕又出人预料的高潮时，明显可以看出布鲁姆的毫无下限，而吉伦哈尔的表演绝对称得上是大师级别。他给这个易怒的角色注入了情感的深度，一种不安定的情绪。布鲁姆是反派也是主角，他的旁白因迂回曲折而变得更加可怕。
该片本月初首次亮相于多伦多国际电影节。看过它，你就会明白为什么把这片放在万圣节首映是那么地合适。

他在浪漫喜剧《爱情与灵药》中的亮相让女孩们喜欢上了他；而他在铁血警匪片《警戒结束》中饰演的警察一角，让男孩们都想成为他。
吉伦哈尔通过复杂的表演展现了他的表演天赋，他在2001年破类型化的邪典经典《死亡幻觉》中饰演了一个苦恼的青少年，备受一只邪恶的兔子折磨。理查德·凯利的超现实主义电影记录了唐尼在一场离奇的事故中幸免于难，因此而质疑生命、宇宙和万物的意义。

吉伦哈尔时代的来临始于2005年的《锅盖头》，该片由美国前海军陆战队士兵安东尼·斯沃福德所写的书改编而成。由《007大破天幕杀机》的导演萨姆·门德斯执导，讲述了狙击手斯沃福德（吉伦哈尔饰演）与其搭档、目标侦测员特洛伊（彼得·萨斯加德饰演），在1991年中东第一次海湾战争爆发时的经历。二十一世纪的全金属外壳标志着吉伦哈尔“收起稚气”，远离《后天》类爆米花电影。
他迄今为止赢得的唯一一次奥斯卡提名来自于同年拍摄的《断背山》。在李安改编的安妮.普罗克斯的短篇小说《断背山》中，吉伦哈尔与已故的希斯·莱杰联袂主演。两人扮演在1963年牧羊时相遇的牛仔。该剧展示了两人跨越二十年来复杂纠葛的浪漫情缘，最终只剩下了杰克（吉伦哈尔饰）保留的，他与恩尼斯（莱杰饰）曾经拥有、却早已失去的一切。

与大导演合作显然有助于他的发展，而出演大卫·芬奇导演的《十二宫》则完美展现了他神经质的脆弱。基于报纸漫画家成为业余侦探的真实故事（并且后来成为真正的犯罪小说家），芬奇的电影重点表现了罗伯特·格雷斯密斯对于追踪70年代旧金山连环杀手“十二宫”的痴迷。
与格雷史密斯及唐尼.达克这类内敛的角色不同，吉伦哈尔也可以扮演沉着的男子汉。《训练日》编剧大卫.艾耶选择了吉伦哈尔出演洛杉矶警察布莱恩·泰勒，他与搭档麦克·萨瓦拉（迈克尔·佩纳）一起，在2012年讲述不向恶势力低头的警匪片《警备结束》中走上街头。这是一部刺激的伪自拍片，由演员带领我们进入的一次恐怖之旅。

吉伦哈尔可能不像与他同龄的其他演员那样多产，但他对自己扮演的角色一向很挑剔（电脑游戏改编电影《波斯王子》里的达斯坦是意外），显示出其背后的职业选择不单单是为了出演超级英雄系列大片和丰厚的薪资。
出演像《夜行者》中路.布鲁姆这种道德沦丧的怪物，对于一个似乎是急于摆脱好莱坞浮华、扮演平凡者或者不合适宜之人的演员来说，是一个合乎逻辑的行为。
他赢得各类奖项和金色奥斯卡小人的时候注定已经到来。

【原文】
Why Jake Gyllenhaal Should Win An Oscar For Nightcrawler
By Dan Brightmore
19th September 2014

Jake Gyllenhaal doesn't need a prosthetic nose or weird accent to build a character. The eyes have it. Communicating everything from bewildered sorrow in Donnie Darko to the pain of a forbidden love in Brokeback Mountain they are a window into the soul of his characters not the vacant reflections of a celebrity burning the candle at both ends. His latest film Nightcrawler does for the boulevards of Los Angeles what Scorsese's Taxi Driver did for New York. It puts the audience back on the mean streets of the city of angels we saw behind the wheel with Ryan Gosling's getaway driver in Drive. Gyllenhaal plays Lou Bloom, a wide-eyed dreamer and sociopath drawn to the nocturnal world of freelance crime journalism.

Armed with a digital video camera and a police radio scanner he joins the race to be the first at the scene when street gangs battle and horrific accidents occur. It's ambulance chasing on another level as the right footage is worth thousands of dollars to TV news stations desperate for the next gory prime time exclusive - because "if it bleeds it leads". But when Bloom starts trespassing on crime scenes and making the news not chasing it, Dan Gilroy’s film enters a darker realm... Think American Psycho meets Taxi Driver as Bloom's ambition sees him smash his moral compass in the chase for ratings while the dollar signs in his eyes reflect the twisted morals of a subverted American dream. He says of his job: "I like to say that if you’re seeing me, you’re having the worst day of your life."

Like DiCaprio's Jordan Belfort in Scorsese's The Wolf of Wall Street, Bloom's focus knows no barriers as Gilroy's story careers to a chilling climax made unpredictable and totally compelling by Gyllenhaal's masterclass. He brings emotional depth to an edgy role but it's the emotion of uncertainty. Bloom is antagonist and protagonist, his voiceover narrating twists and turns that become ever more macabre. The film debuted at the Toronto International Film Festival earlier this month. See it and you'll see why a Halloween release date is so fitting.

Judging by his rom-com outing in Love & Other Drugs, girls like him and with hard hitting emotional cop drama End of Watch guys want to be like him. Gyllenhaal announced his talent with a complex performance as a troubled teen tormented by sinister visions of an evil rabbit in the genre-mashing 2001 cult classic Donnie Darko. Richard Kelly’s surreal film charts Donnie’s bizarre odyssey as he survives a freak accident and questions the meaning of life, the universe and everything.

Gyllenhaal came of age in 2005’s Jarhead based on the book by former US Marine Anthony Swofford. Sam 'Skyfall' Mendes’ film follows the fate of sniper Swofford (Gyllenhaal) when he is paired with target spotter Troy (Peter Sarsgaard) as the Gulf War breaks out in the Middle East in 1991. A Full Metal Jacket for the noughties it marked the moment when Gyllenhaal 'put away childish things' and moved on from popcorn films like The Day After Tomorrow. He earned his only Oscar nomination to date that same year for Brokeback Mountain. In Ang Lee's adaptation of Annie Proulx's short story, Gyllenhaal starred with the late Heath Ledger. The pair played cowboys who meet while herding cattle in 1963. The drama reveals their complex romantic entanglement across two decades as Jack (Gyllenhaal) comes to terms with everything he and Ennis (Ledger) have lost.

Working with great directors has clearly helped his development and being cast in David Fincher's Zodiac proved a perfect foil for his edgy vulnerability. Based on the true story of newspaper cartoonist turned amateur sleuth (and later a true crime author) Fincher’s film focuses on Robert Graysmith's obsession with tracking the Zodiac serial killer in '70s San Francisco. And a counterpoint to introspective characters like Graysmith and Donnie Darko, Gyllenhaal can play the macho guy with aplomb. David 'Training Day' Ayer cast Gyllenhaal as LAPD cop Brian Taylor. He takes to the streets with partner Mike Zavala (Michael Pena) in 2012’s uncompromising look at inner city policing, End of Watch. It's an adrenalized piece of cinema verite led by an actor who takes us on a ride along primed by fear.

Gyllenhaal may not be as prolific as other actors his age but being choosy about the roles he plays (Dastan in computer game spin-off Prince of Persia aside) shows a thought process behind career choices not concerned with just bagging a hero franchise and hitting paydirt. Taking the part of a morally bankrupt monster like Lou Bloom in Nightcrawler is a logical move for an actor seemingly eager to shed the trappings of Hollywood vanity to play anti-heroes and awkward antagonists. His time for awards recognition and a golden Oscar statuette has surely come.

The End

希望能得到小金人