首先感谢【jake吧字幕组】郭畅的翻译

杰克.吉伦哈尔最近找到了自己的定位。
他的新电影《夜行者》给予了他一个带有熟悉的黑暗气息并且无比重要的舞台。他在其中饰演消瘦的路易斯.布鲁姆，由小毛贼进化为所谓“洛杉矶新闻摄影师”。
一天晚上，他发现一队影片制作组正在抓拍附近高速上一场车祸的画面，并仔细拍下了这一血腥的场面。他眼前一亮， 第二天晚上就带着便携式摄像机和警用电台上了路，一路搜寻各类意外，赶往现场拍摄下碎落一地的玻璃以及断骨的业余视频。
路易斯自豪于自己的专业程度，正如他在这个新行业里游走于危险的道德边缘。他将自己所拍下的视频素材交给当地新闻电视台的主管（蕾妮.罗素），雇佣了一名“实习生”来帮他引路，并快速把自己打造成一个无所畏惧的记者和生意人。他为了抢新闻，行为也越来越出格。不久之后，他开始在洛杉矶的夜晚游荡，开着野马（车）、赶在警车到达事发现场之前拍下死者照片。

吉伦哈尔看起来有些病态。据报道，他为了饰演这个角色瘦了20磅，你可以从他突出的眼睛和憔悴的身形上看到这种饥饿感。这个形象很符合这部电影。吉伦哈尔曾表示，希望自己看起来像一头郊狼。这在他寻找受害者以及独家夜间新闻时表现得很明显。他既有努力工作的一面，也有潜在的反社会一面。有时言词比较滑稽，带着些傲慢并缺乏同情心。你会被他的职业精神所吸引，同时又会对他的道德准绳产生排斥。

这不是你印象中的那个电影明星杰克.吉伦哈尔。现在甚至都不太能说他是电影明星。这在很大程度上是一种恭维。《波斯王子》的失败已经证明他还不能够独自扛起一部票房大片，更不用说成为动作片主角。甚至在他的代表作《断背山》中，他的才华也没有得到完整的展示。他淡泊、安静地茁壮成长；甘于为他人配戏，不在乎自己是否是公众关注的中心。
因此，我们能够说吉伦哈尔充其量只一名性格演员吗？从他的外表和从影履历来看并非如此，称之为性格演员与其说是赞美不如说是贬低。但是在过去的几年里，吉伦哈尔开创出一条坚定、且与众不同的方法派表演之路，以挖掘具有挑战性、带有破坏性的、动态的角色，并往往带有同等的电影人创作激情。完全投入到角色之中已经成为他作为一个演员的新标志。他为了电影《警戒结束》的拍摄，历时5个月与洛杉矶警察一起巡逻以进行角色研究。他还曾为了扮演《囚徒》中警探一角，观看了100小时的审讯录像。为了演好《夜行者》，他搭狗仔队的车，追逐警车，在高速的车流中穿行。

如今，他开始重新专注于角色的塑造和所选的电影。他的再生也意味着挑战犯罪、疯狂和权威的极端，这些是否都是巧合？在2012年的电影《警戒结束》中，他扮演一个在洛杉矶南区巡逻的顽皮警察，胸前带有一个GoPro的摄像头，就像是为了路易斯.布鲁姆这个角色在试镜一样。他的表演非常生动辛辣，特别是与他的搭档迈克尔.佩纳在一起时， 两人合作搜查毒品、与罪犯枪战。吉伦哈尔曾一度表示： “我想当一名侦探”。
一年之后，在影片《囚徒》中，他在调查宾夕法尼亚州一个宁静的小镇上2名女童失踪的案件。他所饰演的探长洛基，行动起来如同电影的节奏一样，不紧不慢。虽然你不知道他的过去，但是吉伦哈尔通过他冷静的举止，对情绪的控制，身上各种纹身，以及感恩节那天独自一人来到中国餐馆，给观众留下了线索。这个男人有心魔，当他追捕绑匪的时候，你就开始期待他的爆发，正如同破案线索断掉时他将自己的键盘猛地砸在桌上。

它慢慢的变得更加疯狂，这是一种情绪上的变化，很可能受到他在电影《死亡幻觉》中饰演的那个让人不安的青少年、或者《十二宫》中那个漫画家出身的侦探的影响。狂叫、双手砸向一面镜子（拍摄的时候他甚至伤到了自己），这种情绪在电影《夜行者》中表现得淋漓尽致。这一次他又将警方置于险境。当你看到他瘦长的脖子和干瘦的面颊，你可能会想到马修.麦康纳为电影《达拉斯买家俱乐部》所作出的转型，以及他自那些低级的浪漫喜剧之后的东山再起。你会好奇吉伦哈尔是否在走和马修同样的路，从《爱情灵药》这类轻喜剧转型至一些对他有一定意义、或者有助于他重新定位的角色。
他在2014年的另一部由丹尼斯.维纶纽瓦导演的电影《宿敌》在3月份上映。这部电影虽然并不算出彩，但是它展示了吉伦哈尔超强的演技。他在影片中饰演两个面貌极为相似的角色，不断在忧郁与不满中来回变换。维纶纽瓦也曾导演过《囚徒》，所以他很了解这个“全新的吉伦哈尔”。而之后吉伦哈尔扮演警察、侦探，或者夜行者等类似角色，都只是水到渠成。这些角色很有可能让他一不小心就成了电影明星。

【原文】By Jake Kring-Schreifels on October 31, 2014

Jake Gyllenhaal has recently found his identity.
His new movie Nightcrawler, out today, gives him a platform that is at once darkly familiar and incredibly distinguished. He plays the wiry Louis Bloom, a petty thief who hatches into a self-appointed Los Angeles news videographer.
One night he sees a film crew capturing footage of a nearby highway car crash, zooming its lens into the bloody mess. His eyes light up. The next night he's on the road with a camcorder and police radio, driving to accidents and shooting amateur videos of broken glass and broken bones.
Louis prides himself on being professional even as he tightropes the dangerous ethics of his new trade. He submits his graphic footage to the director of a local news station (Rene Russo), hires an "intern" to help him navigate the road, and quickly develops a reputation as a fearless reporter and negotiator. The stakes get higher as he goes deeper. Soon enough he's prowling LA in a Mustang and filming dead bodies before the police have shown up.
Gyllenhaal looks sickly. He reportedly lost 20 pounds for this role, and you can see the hunger in his bulging eyes and gaunt figure. It works for this movie. Gyllenhaal has said he wanted to look like a coyote, and it's clear he's become one when he scavenges for victims and their private nocturnal traumas. He's seen as both a hard-working individual and a potential sociopath, speaking, sometimes comically, with arrogance and total lack of empathy. You gravitate to his entrepreneurial spirit and then his moral compass repels you.

There is a renewed devotion to his craft and to the movies he chooses now. Is it a coincidence that his renaissance has also meant navigating the extremes of crime, insanity, and authority? In End of Watch (2012), he plays a prankster cop patrolling LA's South Side, wearing a GoPro camera on his chest as if auditioning to become Louis Bloom. He's animated and sarcastic, especially with his partner (Michael Peña), often tag-teaming drug busts and shootouts. "I want to be a detective," Gyllenhaal says at one point.
A year later, in Prisoners, he was investigating the disappearance of two little girls in a sleepy Pennsylvania town. His Detective Loki, like the movie, moves at a slower pace. You don't know his backstory but Gyllenhaal gives you clues: in his calm demeanor, his controlled aggression, his diverse tattoos, and his solitary trip to a Chinese restaurant on Thanksgiving. This man has demons, and as he hunts for kidnappers you're waiting for an eruption, like when he slams his keyboard into his desk after hitting a dead end in the case.
It's a slow descent into madness, an emotional arc possibly gathered from his troubled teen in Donnie Darko or cartoonist-turned-detective in Zodiac. He has a boiling point in Nightcrawler, too, screaming and slamming his hands into a mirror (he accidentally injured himself while shooting the scene). This time he's putting police into danger, too. When you see his slender neck and bony cheeks, you think of Matthew McConaughey's transformation for Dallas Buyers Club and his career resurgence after flimsy rom-coms. You wonder if Gyllenhaal is taking the same step, graduating from, say, Love & Other Drugs, to roles that mean something to him, that help redefine him.
His other 2014 movie, Enemy, directed by Denis Villeneuve, came out back in March. It got lost in the shuffle but it's a small powerhouse of acting. Gyllenhaal plays two characters that are doppelgängers, continuing to expand his facial spectrum between melancholy and disgruntled. Villeneuve also directed Prisoners so he knows a lot about this new Gyllenhaal. Now it's just a matter of time until their next project, when Gyllenhaal plays a cop, a detective, and a nightcrawler who are all doppelgängers of one another. That might accidentally make him a movie star.

The End

看夜行者的时候我想到的是秃鹫，就是竞争对手被送上救护车的时候，看到他的那个镜头，还有他在车祸现场移动尸体时那个镜头，蛮吓人的。

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