伍迪?艾倫寫給巴黎的情詩

 The past cannot be changed. The future is yet in your power. 過去無法改變，未來卻由你掌控。

 I never change， I simply become more myself. 我并沒有變，只是越來越接近真實的自己。

電影海報

讓人聯(lián)想到荷蘭后印象派畫家梵高的《星夜》(Starry Night)

如果沒有被一系列的宮廷穿越劇所累，“穿越”本是個很美妙的詞匯。幸好，伍迪?艾倫帶著電影《午夜巴黎》(Midnight in Paris) 出現(xiàn)了。

鐘情這部影片，并不是否認(rèn)“活在當(dāng)下”最重要。身兼編劇和導(dǎo)演，伍迪?艾倫把自己的文化世界掰開了，揉碎了，在文藝之都巴黎拍成電影，用影像藝術(shù)呈現(xiàn)給我們來看。

如果要歸類，就是文藝片吧。

故事主線并不復(fù)雜：好萊塢劇作家Gil Pender與未婚妻Inez來到巴黎度假。Gil一直苦于找不到可以信任的人修改自己的第一本小說，而且還很無奈地得不到Inez及未來岳父母的支持，更讓Gil無法忍受的是Inez夸夸其談的偽知識分子朋友。某晚從聚會逃出的Gil只身游蕩在午夜的巴黎，莫名其妙就加入了一群20年代穿著打扮年輕人的聚會，發(fā)現(xiàn)自己竟置身于音樂家科爾?波特（Cole Porter）、作家斯科特?菲茨杰拉德夫婦（Zelda and Scott Fitzgerald）、海明威（Hemingway）、格特魯?shù)?斯泰因（Gertrude Stein）及畢加索（Picasso）等藝術(shù)家的文化圈子。這意外的穿越徹底改變了Gil對巴黎的認(rèn)識，也讓他結(jié)識了畢加索美麗的巴黎情人Adriana（影片中為數(shù)不多的虛構(gòu)人物）。

整部電影的色調(diào)幾乎都是蜂蜜色的，甜蜜透明。尤其是前三分多鐘，沒有人物，沒有對白，巴黎的白天，夜晚，晴天，雨天，一幀幀畫面，伴隨著曲調(diào)悠揚的香頌，緩緩鋪展。每一幀，都像是伍迪?艾倫寄來的一封明信片。心曠神怡啊，你仿佛能聞到塞納河左岸“花神”咖啡館里咖啡的醇香，聽到古董店里老物件伴隨著雨滴聲的綿綿絮語……

伍迪?艾倫仿佛也不愿意打破這意境，先是傳飄出Gil和Inez的對白聲音幫助熒幕前的觀眾過渡。Gil無限憧憬二十年代的巴黎，想象中更是把這座城市設(shè)定在微風(fēng)細(xì)雨中，而Inez則甚至不能想象在美國之外的地方生活，一開始影片好像就暗示了這段插科打諢的愛情故事的結(jié)局。

這段對白，發(fā)生在莫奈創(chuàng)作《睡蓮》的池塘邊。如果說景色、建筑物可以復(fù)制照搬，那從此刻開始，伍迪?艾倫就是要著力展示文藝之都的非浪得虛名了。

那如何展示？他70年代時寫的一篇小短文Twenties Memory（二十年代回憶錄），應(yīng)該可以算得上是電影劇本的前身吧。如果你對這樣的情節(jié)感興趣，又對巴黎有向往，或是想知道美國文藝大家們都有著怎樣的性格，又或是想列個暑期閱讀書單什么的，我想，這部電影就是個很好的起點。

伍迪?艾倫憑此片獲得第84屆奧斯卡金像獎最佳原創(chuàng)劇本獎和第69屆金球獎最佳編劇獎。

Twenties Memory

二十年代回憶錄

伍迪?艾倫 著〓孫仲旭 譯

I FIRST came to Chicago in the twenties， and that was to see a fight. Ernest Hemingway was with me and we both stayed at Jack Dempseys training camp. Hemingway had just finished two short stories about prize fighting， and while Gertrude Stein and I both thought they were decent， we agreed they still needed much work. I kidded Hemingway about his forthcoming novel and we laughed a lot and had fun and then we put on some boxing gloves and he broke my nose.

我第一次到芝加哥是在20年代，為了看一場比賽，我跟歐內(nèi)斯特?海明威在一起，我們都在杰克?鄧普西的訓(xùn)練營住。海明威剛寫完有關(guān)職業(yè)拳擊賽的兩個短篇，我和格特魯?shù)?斯泰因都覺得不錯，不過認(rèn)為還需要再打磨一下。關(guān)于他即將完成的長篇小說，我經(jīng)常跟海明威開玩笑，然后我們戴上拳擊手套，他打破了我的鼻子。

That winter， Alice Toklas， Picasso， and myself took a villa in the south of France. I was then working on what I felt was a major American novel but the print was too small and I couldnt get through it.

那年冬天，艾麗絲?托卡拉斯、畢加索還有我在法國南部租了幢別墅，我當(dāng)時在寫一本小說，我感覺是美國小說中的巨著，然而字體太小，我沒能完成。

In the afternoons， Gertrude Stein and I used to go antique hunting in the local shops， and I remember once asking her if she thought I should become a writer. In the typically cryptic way we were all so enchanted with， she said， “No.” I took that to mean yes and sailed for Italy the next day. Italy reminded me a great deal of Chicago， particularly Venice， because both cities have canals and the streets abound with statues and cathedrals by the greatest sculptors of the Renaissance.

下午時，我和格特魯?shù)?斯泰因經(jīng)常去本地鋪子里淘古董。記得有次我問她，我是不是該去當(dāng)個作家。她以令我們都著迷的不置可否的特有方式說：“不?！蔽野涯钱?dāng)作意思是“對”，第二天就坐船去了意大利。意大利讓我時時想起芝加哥，特別是威尼斯那兒，因為兩個城市都有運河，街上都到處是文藝復(fù)興時期最偉大的雕塑家創(chuàng)作或者設(shè)計的雕像和大教堂。

That month we went to Picassos studio in Arles， which was then called Rouen or Zurich， until the French renamed it in 1589 under Louis the Vague. (Louis was a sixteenthcentury bastard king who was just mean to everybody.) Picasso was then beginning on what was later to be known as his “blue period，” but Gertrude Stein and I had coffee with him， and so he began it ten minutes later. It lasted four years， so the ten minutes did not really mean much.

那個月，我們?nèi)チ水吋铀髟诎柕漠嬍?，那里以前叫魯昂或蘇黎世，直到法國人在1589年將它重新命名，當(dāng)時由“含糊人”路易統(tǒng)治（路易是個16世紀(jì)的混蛋國王，對誰都刻薄）。畢加索當(dāng)時正開始后來人們所稱的“藍(lán)色時期”，不過我和格特魯?shù)?斯泰因跟他喝過咖啡，10分鐘后他就開始了這一時期，持續(xù)了4年，所以那10分鐘咖啡時間并非真的意義重大。

 The first step towards getting somewhere is to decide that you are not going to stay where you are. 要想到達(dá)某個目標(biāo)，第一步就是離開你原來所在的地方。

 Your new life starts today. Dont waste it by trying to get back what was taken away. 你的生活從今天開始，不要浪費時間，試圖回到回不去的曾經(jīng)。

Picasso was a short man who had a funny way of walking by putting one foot in front of the other until he would take what he called “steps.” We laughed at his delightful notions， but toward the late 1930s， with fascism on the rise， there was very little to laugh about. Both Gertrude Stein and I examined Picassos newest works very carefully， and Gertrude Stein was of the opinion that “art， all art， is merely an expression of something.” Picasso disagreed and said， “Leave me alone. I was eating.” My own feelings were that Picasso was right. He had been eating.

畢加索是個矮個子，他走路的樣子滑稽：他把一只腳挪到另一只腳前面，直到他可以走他所謂的“步子”。他那些叫人開心的想法把我們逗得哈哈大笑，可是到了30年代后期，正當(dāng)法西斯主義塵囂日上時，很少有什么事可以讓人大笑。我和格特魯?shù)?斯泰因很細(xì)致地研究畢加索的最新作品，格特魯?shù)?斯泰因的看法是：“藝術(shù)，所有藝術(shù)都是對某種事物的表達(dá)?！碑吋铀鞑煌?，并說：“別煩我，我在吃東西。”我個人感覺畢加索說得沒錯，他的確吃了有一陣子了。

Picassos studio was so unlike Matisses， in that， while Picassos was sloppy， Matisse kept everything in perfect order. Oddly enough， just the reverse was true. In September of that year， Matisse was commissioned to paint an allegory， but with his wifes illness， it remained unpainted and was finally wallpapered instead. I recall these events so perfectly because it was just before the winter that we all lived in that cheap flat in the north of Switzerland where it will occasionally rain and then just as suddenly stop. Juan Gris， the Spanish cubist， had convinced Alice Toklas to pose for a still life and， with his typical abstract conception of objects， began to break her face and body down to its basic geometrical forms until the police came and pulled him off. Gris was provincially Spanish， and Gertrude Stein used to say that only a true Spaniard could behave as he did; that is， he would speak Spanish and sometimes return to his family in Spain. It was really quite marvelous to see.

畢加索的畫室跟馬蒂斯的很不一樣，體現(xiàn)在畢加索的畫室邋遢，馬蒂斯則把一切都放得絕對井井有條。很奇怪的是，得反過來說才是實情。那年9月，有人出錢請馬蒂斯畫寓意畫，但因為他妻子生病，一直沒有畫，最后用墻紙貼上充數(shù)。這些事我記得清清楚楚，因為都發(fā)生在我們?nèi)≡谌鹗勘辈磕翘琢畠r公寓的那年冬天之前。那里偶爾下雨，來得急，去得快。西班牙立體派胡安?格里斯說服艾麗絲?托卡拉斯為他畫靜物當(dāng)模特兒。他以自己對物體典型的抽象概念，開始把她的臉和身體破壞成基本的幾何形狀，直到警察來把他帶走。格里斯不是西班牙首都的人，格特魯?shù)?斯泰因常說只有一個真正的西班牙人，才會像他那樣行事：即說西班牙語，并不時回到西班牙的家里。真的很讓人開眼。

I remember one afternoon we were sitting at a gay bar in the south of France with our feet comfortably up on stools in the north of France， when Gertrude Stein said， “Im nauseous.” Picasso thought this to be very funny and Matisse and I took it as a cue to leave for Africa. Seven weeks later， in Kenya， we came upon Hemingway. Bronzed and bearded now， he was already beginning to develop that familiar flat prose style about the eyes and mouth. Here， in the unexplored dark continent， Hemingway had braved chapped lips a thousand times.

我記得一天下午，我們正坐在法國南部一間同性戀酒吧里，把腳舒舒服服地放在法國北部風(fēng)格的凳子上。當(dāng)時格特魯?shù)抡f：“我想吐?！碑吋铀饔X得那樣說很有趣，我和馬蒂斯把這句話看作該出發(fā)去非洲的暗示。7個星期后，在肯尼亞，我們遇到了海明威，他給曬成了古銅色，還蓄了胡須，他已經(jīng)開始形成描寫眼睛和嘴唇的那種平實文風(fēng)。在那里，在未經(jīng)探索的黑大陸，海明威勇敢地面對無數(shù)次嘴唇開裂。

“Whats doing， Ernest?” I asked him. He waxed eloquent on death and adventure as only he could， and when I awoke he had pitched camp and sat around a great fire fixing us all fine derma appetizers. I kidded him about his new beard and we laughed and sipped cognac and then we put on some boxing gloves and he broke my nose.

“怎么樣，歐內(nèi)斯特？”我問他。他滔滔不絕地大談死亡及冒險，也只有他才有資格談。我醒來時，他已搭起帳篷，正坐在一個大火堆旁給我們準(zhǔn)備很好吃的烤香腸開胃小食。對他剛蓄起來的胡須，我開他的玩笑，我們大笑，還喝白蘭地，然后我們戴上拳擊手套，他又打傷了我的鼻子。

That year I went to Paris a second time to talk with a thin， nervous European composer with aquiline profile and remarkably quick eyes who would someday be Igor Stravinsky and then， later， his best friend. I stayed at the home of Man and Sting Ray and Salvador Dali joined us for dinner several times and Dali decided to have a oneman show which he did and it was a huge success， as one man showed up and it was a gay and fine French winter.

那一年，我第二次去了巴黎，去跟一個瘦削而且神經(jīng)質(zhì)的歐洲作曲家談事情，他的臉側(cè)面像鷹，眼神銳利無比，他后來成了伊戈爾?斯特拉文斯基，我后來成了此人最好的朋友。我待在曼和斯汀?雷的家里，薩爾瓦多?達(dá)利來吃過幾次飯。達(dá)利當(dāng)時決定舉辦一次個人畫展，他真的舉辦了，并取得了極大成功，因為只有一個人來看。那是在法國度過的一個愉快而美好的冬天。

I remember one night Scott Fitzgerald and his wife returned home from their New Years Eve party. It was April. They had consumed nothing but champagne for the past three months， and one previous week， in full evening dress， had driven their limousine off a ninetyfoot cliff into the ocean on a dare. There was something real about the Fitzgeralds; their values were basic. They were such modest people， and when Grant Wood later convinced them to pose for his “American Gothic” I remember how flattered they were. All through their sittings， Zelda told me， Scott kept dropping the pitchfork.

我記得有天晚上，斯科特?菲茨杰拉德和他妻子參加完新年晚會回到家里，那是在4月。過去3個月里，除了香檳酒，他們不吃不喝。之前那個星期，他們身穿整整齊齊的晚禮服，在一次挑戰(zhàn)中，把他們的高級轎車開下90英尺高的懸崖，掉進(jìn)了大海。關(guān)于菲茨杰拉德夫婦，有一件事是真的：他們的價值觀屬于人所共有的那種。他們都是很謙虛的人，格蘭特?伍德后來說服他們?yōu)樗摹睹绹礁缣仫L(fēng)格》當(dāng)模特時，我記得他們有多么受寵若驚。賽爾妲告訴我他們坐著不動被畫時，斯科特老是把干草叉弄掉。

I became increasingly friendly with Scott in the next few years， and most of our friends believed that he based the protagonist of his latest novel on me and that I had based my life on his previous novel and I finally wound up getting sued by a fictional character.

后來幾年內(nèi)，我跟斯科特越來越熟，我們的多數(shù)朋友都相信他的最新小說中的人物是以我為原型，我則按照他的上一部小說生活，到頭來，我被一個虛構(gòu)人物起訴。

Scott was having a big discipline problem and， while we all adored Zelda， we agreed that she had an adverse affect on his work， reducing his output from one novel a year to an occasional seafood recipe and a series of commas.

斯科特當(dāng)時在自律方面嚴(yán)重不足，盡管我們都喜歡賽爾妲，但我們一致的看法，是她對斯科特的工作有負(fù)面影響，把他的產(chǎn)量從每年一部長篇小說降低到偶爾寫寫海鮮菜譜和一系列逗號。

Finally， in 1929， we all went to Spain together， where Hemingway introduced us to Manolete who was sensitive almost to the point of being effeminate. He wore tight toreador pants or sometimes pedal pushers. Manolete was a great， great artist. Had he not become a bullfighter， his grace was such that he could have been a worldfamous accountant.

最后，在1929年，我們一起去了西班牙。在那里，海明威把我們介紹給馬諾萊特，此人敏感到身上幾乎有脂粉氣。他穿緊身斗牛褲，有時候是自行車緊身褲。馬諾萊特是個偉大而又偉大的藝術(shù)家，要不是當(dāng)了斗牛士，他風(fēng)度優(yōu)雅得本來可以當(dāng)一位舉世聞名的會計師。

We had great fun in Spain that year and we travelled and wrote and Hemingway took me tuna fishing and I caught four cans and we laughed and Alice Toklas asked me if I was in love with Gertrude Stein because I had dedicated a book of poems to her even though they were T. S. Eliots and I said， yes， I loved her， but it could never work because she was far too intelligent for me and Alice Toklas agreed and then we put on some boxing gloves and Gertrude Stein broke my nose.

 Dont let your dreams just be dreams. 別讓你的夢想僅僅只是夢想。

 In the end， you''''ll realize that everything you worry is just a waste of time and energy. 到最后你會發(fā)現(xiàn)，所有擔(dān)心的事情根本就是浪費時間和精力。

我們那年在西班牙玩得開心無比。我們旅行、寫作；海明威帶我去釣金槍魚，我釣到了4罐；我們歡笑；艾麗絲?托卡拉斯問我是不是愛上了格特魯?shù)?斯泰因，因為我把一本詩集獻(xiàn)給了她，盡管那是T.S.艾略特寫的詩。我說沒錯，我愛她，不過永遠(yuǎn)不可能有結(jié)果，因為她對我來說太聰明了，艾麗絲?托卡拉斯表示同意，我們就戴上拳擊手套，格特魯?shù)?斯泰因打破了我的鼻子。

↑靜靜的塞納河，及最著名的地標(biāo)艾菲爾鐵塔

↑地道的法國式歌舞廳“紅磨坊”(Moulin Rouge)，電影《紅磨坊》就在這里實地取景

↑盧浮宮及美籍華人建筑師貝聿銘設(shè)計的盧浮宮入口“玻璃金字塔”

↑莫奈畫作《睡蓮》的取景池塘

伍迪?艾倫在短文中“拽”的文藝大家的形象在影片中都被高度還原，整部劇中處處是亮點，處處有驚喜。（以上、以下圖片分別來自影片截圖及互聯(lián)網(wǎng)）

科爾?波特（Cole Porter），美國人，天才的百老匯音樂家，一戰(zhàn)期間移居巴黎。電影中科爾?波特彈唱的曲子《Lets Do It》出自他為1928年的音樂劇《巴黎》所作配樂。

Birds do it， bees do it

Even educated fleas do it

Lets do it， lets fall in love

成名于20年代，大紅于30年代的科爾?波特，與其他百老匯創(chuàng)作家的最大不同在于：他的作品都是自己包攬詞與曲。有一部根據(jù)波特的人生歷程改編的影片——《小可愛》（DeLovely），有興趣的可以找來看看。

科爾?波特

6歲的科爾就在母親的輔助下開始了音樂學(xué)習(xí)。10歲時完成了處女作“Song of the Birds”，后又發(fā)表了多部音樂作品。童少年時代科爾所展示出的音樂天賦已讓人不容小視。

 Life is like a mirror， we get the best results when we smile at it. 生活像一面鏡子，當(dāng)我們朝它微笑的時候，得到的回應(yīng)是最美好的。

 Dont blame your past for what you dont have. Blame your present. Ask yourself this: “What can you do now to get what you want now?” 別為了你無法擁有的東西而責(zé)怪你的過去，要怪就怪你的現(xiàn)在。問問自己：“為了你現(xiàn)在想得到的，你做了些什么？”

斯科特?菲茨杰拉德（Scott Fitzgerald），美國20年代著名作家，最著名的小說為《了不起的蓋茨比》（The Great Gatsby，或譯作《大亨小傳》）。此書堪稱美國社會縮影的經(jīng)典代表，描述上世紀(jì)二十年代美國人在歌舞升平中空虛、享樂、矛盾的精神與思想。

賽爾妲?菲茨杰拉德（Zelda Fitzgerald）是斯科特?菲茨杰拉德的妻子，富家女，有天賦的芭蕾舞者和作家，因生活浮華和情緒多變而著稱，當(dāng)時評論多指責(zé)其消費鋪張而導(dǎo)致丈夫不得不靠撰寫蹩腳的三流小說以謀生。但有女權(quán)主義者認(rèn)為菲茨杰拉德毀掉了一位才華遠(yuǎn)勝過他本人的女子，因為他的作品中曾多次借用妻子的書信和日記段落。賽爾妲40年代起被診斷為精神失常，后在精神病院的火災(zāi)中喪生，與丈夫合葬。

約瑟芬?貝克（Josephine Baker），生于美國、移居法國的黑人歌手、演員和舞蹈家，被稱為“黑人維納斯”或“黑珍珠”。 影片中，約瑟芬是以舞者身份出場，一支舞讓男主人公Gil的眼睛都直了（筆者也是一樣）。

歐內(nèi)斯特?海明威（Ernest Hemingway），14歲開始學(xué)習(xí)拳擊，參與過兩次世界大戰(zhàn)，20年代曾在巴黎短暫居住，與菲茨杰拉德是很好的朋友。后來兩人大概因文人相輕而開始互相看不順眼。賽爾妲則從一開始就不喜歡海明威，說他表里不一，缺乏男子氣概，甚至無端斷定他是同性戀。海明威則評論說：菲茨杰拉德被女人毀掉了。