首先感谢jake吧字幕组Jane同学的无私翻译

夜行者：为什么杰克.吉伦哈尔应得最佳男主
【译自】赫芬顿邮报
【作者】胡卡罕
【翻译】Jane

《夜行者》并不是一部推理小说式的电影，但属于描写黑色洛杉矶一类的作品。所以我立即跑到电影院去观看，因为我最近也在写黑色洛杉矶一类的东西。老天，该片一点也没让我失望。这是今年奖季最好看的电影之一，它一定会获得许多大奖，包括杰克.吉伦哈尔凭此收获最佳男主。而在他刚刚出道的时候，我从未看好这个长相标致的奶油小生。

电影围绕杰克塑造的怪人卢.布鲁姆而展开。卢是标准的洛杉矶失败者，在经济复苏突如其来的时候，无法找到一份有意义且稳定的工作。一开始他是一个靠倒卖偷来的金属为生的小偷，很快他便顺理成章地成为了一个新闻摄影师。
当布鲁姆不小心闯进了一起交通事故的现场，他立即知道如何巧妙地打道德和法律的擦边球来获得新闻猛“料”：他因此弄到了抢手的事故视频，然后卖给一家当地媒体。

如果你在洛杉矶生活过，你之前一定见过这一类无业游民，甚至会对他们恶语相向。也就说，他们是底层人中的底层，就像食腐动物一样靠吃最低等的东西为生。在洛杉矶文化当中，布鲁姆与狗仔队没什么区别，都是卑劣地靠满足人们的低级趣味为生，惹人厌恶却一定会存在。

就本片而言，杰克似乎做如今当红男演员都会做的事情：瘦到脱相。杰克塑造的布鲁姆，削瘦的脸颊、面色灰黄，总是蜷缩着胸脯。这个近乎畸形的怪人让我们忍不住对比起明星光环中的他，比如《锅盖头》当中那个健美魁梧，脱衣有肉的年轻人。

但我觉得，他身材的改变只是一个噱头罢了。
吉伦哈尔真正出彩的地方在于他对电影中对白的处理，（他的讲话）全盘照搬了美国励志演讲用语，就像卡耐基、本杰明.富兰克林演讲时用的那些语句一样。这些话都是用来引导人们创造实现属于自己的幸运美国梦。如果你曾经去过那种在酒店举行的房地产研讨会，你就一定曾经听到过类似的用语。这些词语就像流水线上的泡沫塑料一般，专为某种用途而生产，每个行业各取所需。易于口口相传。

单单从技术角度来看，这些独白起到了两个非常重要的作用：第一，这些杂乱无章的声音几乎成了电影的背景音。但是同时它又十分巧妙地产生了一个看似矛盾的效果：因为这一类独白刻意按照同一个套路而作，所以其实非常容易被观众忽略掉。就像你已经习惯了的白噪音——清晨街头驶过的垃圾车沙沙声。因此，整部电影与其说是像脱口秀，倒不如说是像一部默剧。吉伦哈尔的动作也采用了哑剧表演的夸张手法。而我们都知道哑剧其实非常考演员功力。

第二点便是这类对白起到了讽刺的作用——慷慨激昂的诸多排比重复更凸显了其内容的空泛。吉伦哈尔是个反英雄式的人物，他对无偿实习和企业发展等的解读听起来很空洞，尤其是在这个经济发展迟缓的特殊时期，每个人都不得不降薪、甚至免费工作。

本片对白的巧妙之处在于，它处理起来既简单也很困难。简单是因为一旦你决定这个人物要以这样的方式说话，那么这个人物只需要一直保持这样的风格就好。但是同时这一点也很困难，因为这种一致性如果没有一定的风格，则很可能让观众不耐烦。而这种不耐烦往往在剧本已完成一半的时候你才会发现，然后便开始一路厌烦你创造的这个主角的语言。

剧本完成之后，成功与否便全赖于演员干净利落的表演。这也是为什么我觉得杰克.吉伦哈尔在这部逆袭黑色洛杉矶的影片中的表演，值得一个最佳男主的原因。就算没有减肥，吉伦哈尔也已在许多电影中把原本扁平的角色塑造得栩栩如生。他做到了很难实现的一点——将一个漫画人物变成了现实中与我们交谈的、野蛮迷人的大活人。

【原文】
Nightcrawler: Why Jake Gylenhaal Deserves Best Actor
Khanh Ho for HUFFPOSTT

Nightcrawler is not a Mystery but it is a work of LA Noir, so I ran off to watch it in the theaters because I'm writing something LA Noir and, boy, was I not disappointed. It's one of the best movies of the season and most assuredly will garner some big awards, including Best Actor for Jake Gyllenhaal whom I never cared for at the beginning of his career when he was just some pretty-boy heartthrob.
The movie hinges around Jake Gyllenhaal's creepy Louis Bloom, a typical LA loser, who can't find meaningful, sustained employment in a recovery economy sputtering back to life. We encounter him first as a thief -- someone who scavenges metal illegally -- and he transitions into a logical next step: a news cameraman.
When Bloom stumbles onto the scene of an accident, he realizes that he has the knack for breaking rules, both ethical and legal, and gets what those in the news business call a "get": he gets great footage, which he then sells to a local news station.

The true genius of Gyllenhaal's character is the way that his dialog -- his narration -- is relentlessly constructed around the language of American boosterism. It is the language of Dale Carnegie, of Benjamin Franklin. It is the language of bootstrap-make-your-own-luck-American-Dreaming. If you've ever been to a real estate seminar in a convention hotel, you have probably come across this type of language. It is the language of the weekend retreat. It is the language crafted out of Styrofoam for any purpose, for every corporate need. It is the verbal equivalent of a spork.

From a craft point of view, the language does two very important things: first, it is almost the soundtrack to the movie, the rambling voice. But there is also something paradoxical about the voice that is pure genius: because it is quite deliberately constructed to conform to the same formula, it is also entirely easy to tune out. It becomes the white noise -- the Doppler swish of a trash truck in the early morning. And the movie becomes less of a talkie and more of a silent movie. Gylenhaal's movements take on the exaggerated expressiveness of a pantomime. And pantomimes are truly scary things.
The second work that this kind of dialogue does is that it performs the work of satire -- it implodes with each repetition, becoming hollow. Gyllenhaal is an anti-hero and his own adaptation of the language of unpaid internships and corporate rise rings hollow, especially during this very specific economic moment when the economy staggers and everybody buckles under to the demands that we work for less or, even, work for free.

The End

作者从专业的角度解析了为什么说杰克演得好、好在哪里里

只有我一个人不喜欢这个角色吗