I love this conversation because there's so much to love about all of them and you can't really argue with somebody who picks Rushmore or the royal tannin bombs or the grand Budapest hotel.

我喜歡這樣的對話，因為它們都有很多值得喜愛的地方，你真的無法與那些選擇拉什莫爾或皇家單寧彈或布達佩斯大飯店的人爭論。

So really the conversation is less about competition and more about how one particular movie in this director's filmography affected someone personally.

是以，真正的對話與其說是關於競爭，不如說是關於這位導演的電影作品中的一部特定電影如何影響了某人的個人。

How one particular angle of Anderson's vision hit that person squarely in the face because of where or when or who they were at that moment in their lives.

安德森的視野的一個特定角度如何正中那個人的要害，因為他們在生命中的那個時刻在哪裡、什麼時候、是誰。

For me, that film is the Darjeeling limited.

對我來說，這部電影是《大吉嶺有限》。

The story about three brothers on a spiritual journey through India.

關於三兄弟在印度的精神之旅的故事。

The brother who brings them together, Francis says the journey is about trust, but it's really about communication how after a year of not speaking and a lifetime of upper middle class anxiety, their ability to talk with each other coherently has completely broken down.

把他們帶到一起的兄弟弗朗西斯說，這個旅程是關於信任的，但它實際上是關於溝通，在一年不說話和一生的中上階層焦慮之後，他們彼此連貫地交談的能力已經完全崩潰。

The first conversation they have on the train, tells you everything you need to know.

他們在火車上的第一次對話，告訴了你一切你需要知道的。

It plays like some hilarious group chat where one or all three of the brothers has terrible cell service and struggles to keep up to you want to read a short story I wrote in France.

它就像一些熱鬧的群聊，其中一個或所有三個兄弟都有糟糕的手機服務，並努力跟上你想閱讀我在法國寫的一個短篇小說。

Mm hmm mm hmm mm hmm mm hmm.

嗯，嗯，嗯，嗯，嗯，嗯，嗯，嗯，嗯。

I think everybody knows that close friends and especially family don't always answer the questions that you ask them.

我想每個人都知道，親密的朋友，特別是家人並不總是回答你問他們的問題。

They answer the question that they think your question implies.

他們回答他們認為你的問題所暗示的問題。

They try to anticipate where you're going at its best.

他們試圖在最好的情況下預測你的去向。

This makes for a wonderful shorthand but at its worst assumptions like these can be incredibly frustrating and make for a stilted communication that never hits its mark with everyone zigzagging and working at cross purposes.

這就形成了一種美妙的速記，但在最糟糕的情況下，像這樣的假設會令人難以置信地感到沮喪，並使溝通變得僵硬，每個人都在曲折地工作，永遠無法達到目標。

In the Darjeeling limited, Jack Francis and Peter spend a lot of time communicating to themselves through each other.

在《大吉嶺有限》中，傑克-弗朗西斯和彼得花了很多時間通過對方與自己交流。

Kind of Francis is especially guilty of this.

弗朗西斯在這方面尤其有罪。

He organizes this bogus spiritual journey to process his father's death now a year passed.

他組織了這次假的精神旅行來處理他父親的死亡，現在已經過去一年了。

He thinks maybe that if you can't connect his brothers through discovering some deep profundity in India that the tragedy will be senseless.

他認為也許如果你不能通過發現印度的一些深層的深刻性來連接他的兄弟，那麼這個悲劇將是毫無意義的。

After all, we're told that pain makes us stronger, that it has lessons to teach what if it doesn't.

畢竟，我們被告知，痛苦使我們更強大，它有教訓，即使沒有教訓又如何。

He's so desperate for connection that he spends the entire movie liberalizing it in the form of an agreement.

他是如此渴望聯繫，以至於他在整部電影中都在以協議的形式將其自由化。

Let's make an agreement.

讓我們達成一個協議。

Let's make another agreement, let's make another agree.

讓我們達成另一個協議，讓我們達成另一個協議。

Let's make another agreement.

讓我們達成另一項協議。

We agree to that.

我們同意這一點。

We agree to that.

我們同意這一點。

We agree to that and we agree to that and you agree to that Jack and Peter process the grief in their own ways.

我們同意這一點，我們也同意這一點，你也同意傑克和彼得以他們自己的方式處理悲痛。

Jack writes a short story about the funeral and he's also grieving by the way the end of a romantic relationship, something that's detailed in a really great short film that precedes Darjeeling called Hotel chevalier with Natalie Portman.

傑克寫了一個關於葬禮的短篇小說，他也在為一段浪漫關係的結束而悲傷，這一點在《大吉嶺》之前的一部非常棒的短片中得到了詳細說明，這部短片名為《Hotel chevalier》，與娜塔莉-波特曼合作。

The brothers seem to think that his solution to everything is to run away, but as that little gift from his ex shows grief is like a scent, It lingers and has a deep link with memory run away and it will follow.

兄弟們似乎認為他解決一切問題的辦法就是逃跑，但正如他前妻的那份小禮物所顯示的，悲傷就像一種氣味，它揮之不去，與記憶有很深的聯繫，逃跑，它就會跟隨。

You try to destroy it and you'll only unleash the aroma in a more potent form, but it's peter I think.

你試圖破壞它，你只會以更強烈的形式釋放出香氣，但它是彼得我想。

Who takes the tragedy hardest?

誰對悲劇的承受力最強？

Not only is he the angriest of the three, but his entire life has become distorted.

他不僅是三個人中最憤怒的，而且他的整個生活都變得扭曲了。

His caring wife is weeks away from having their first child and he's in India, he appropriates his father's belongings, namely his prescription sunglasses, which make the world unfocused in the world.

他體貼的妻子還有幾周就要生第一個孩子了，而他在印度，他侵佔了父親的財物，即他的處方太陽鏡，這使得世界上沒有焦點。

Tannenbaum's Richie hides behind giant sunglasses so that the world I can't see him in darjeeling.

坦尼鮑姆的裡奇躲在巨大的太陽鏡後面，這樣世界上我就看不到他在達吉林。

Jack wears prescription sunglasses so that he can't see the world.

傑克戴著有處方的太陽鏡，這樣他就看不到世界了。

I think that communication has been at the heart of West Anderson's style from the start, it might be that he has similar anxieties to Francis, A need to ensure that a message given has been received.

我認為溝通從一開始就是韋斯特-安德森風格的核心，這可能是他與弗朗西斯有類似的焦慮，需要確保給出的資訊被接收。

This is one way to read all his 90 and 100 and 80 degree quick pans in the same way that Francis asks for an agreement for everything.

這是解讀他所有90度、100度和80度的快速平移的一種方式，與弗朗西斯要求對所有事情達成協議的方式相同。

Anderson takes the Kuleshov effect where viewers derive meaning from the relationship between two shots perfected by Hitchcock and fills in all the missing information showing how those two or three or four compositions are connected.

安德森採用了希區柯克完善的庫裡肖夫效應，即觀眾從兩個鏡頭之間的關係中獲得意義，並填補了所有缺失的資訊，顯示這兩個或三個或四個構圖是如何連接的。

Of course wes Anderson loves to match personal crises with visual motifs and he doesn't shy away from obvious ones either, like brothers unwilling to feel real trauma, all having some form of painkiller symbols of failed communication can come in the form of a dropped bag.

當然，韋斯-安德森喜歡用視覺主題來匹配個人危機，他也不迴避明顯的主題，比如兄弟們不願意感受真正的創傷，都有某種形式的止痛藥，象徵著失敗的溝通可以以掉包的形式出現。

A command shouted at no one in particular.

對著沒有人的地方喊出的命令。

A soft whisper before sex.

性愛前的輕聲細語。

A sense of moving forward but not getting anywhere.

有一種向前邁進但沒有進展的感覺。

Can be a train that gets lost.

可以成為一列迷路的火車。

How can a train be lost?

火車怎麼會丟失呢？

Jack's tendency to turn his life into the perfect fiction can be made physical in the form of an ipod speaker and this too is likely a personality trait that Anderson shares.

傑克把自己的生活變成完美的小說的傾向可以通過ipod音箱的形式來實現，這也可能是安德森共有的人格特徵。

I mean, how is this any different from this?

我的意思是，這和這個有什麼不同呢？

Mhm.

嗯。

I don't necessarily think the Darjeeling Limited is the formal peak of Anderson's work, but I think that it's the most human of his films since the ensemble is limited mostly to three people.

我不一定認為《大吉大利》是安德森作品在形式上的高峰，但我認為這是他的電影中最有人情味的一部，因為合奏主要限於三個人。

We get a deeper dive into each personality and much more importantly into the web that makes them in many ways a single organism.

我們更深入地瞭解每個人的個性，更重要的是瞭解使他們在許多方面成為一個單一有機體的網絡。

One of my favorite things about the film are not so obvious visual flourish is the design of the train compartment, namely these two equally sized panels on both sides of the interior wall.

我最喜歡的一點是，影片的視覺效果並不明顯，就是火車車廂的設計，即內牆兩側的這兩塊同樣大小的面板。

One is a mirror and the other is an internal window, but of course it's hard to tell those two things apart, Francis, jack and Peter are constantly throwing barbs at one another.

一個是鏡子，另一個是內窗，當然，這兩個東西很難區分，弗朗西斯、傑克和彼得不斷地互相吐槽。

Feeling out the contours of their own identities.

感受到他們自己身份的輪廓。

Sometimes they hit the target.

有時他們會擊中目標。

Other times it's reflected back.

其他時候，它被反射回來。

Mostly it's both.

大多數情況下是兩者都有。

And I guess that's the point about communication.

我想這就是關於溝通的重點。

You can't help speaking to yourself when you speak to others.

當你對別人說話時，你會忍不住對自己說話。

Others can't help hearing something about themselves, even when they know that you're projecting onto them.

其他人忍不住要聽一些關於他們自己的事情，即使他們知道你在投射到他們身上。

The Darjeeling Limited is my favorite Wes Anderson movie.

大吉嶺有限》是我最喜歡的韋斯-安德森電影。

It came out when I was just starting college trying to find my identity in others and it hit me square in the face and yeah, I do think it's the best for now but that's not definitive.

它出現的時候，我剛上大學，想在別人身上找到自己的身份，它正中我的下懷，是的，我確實認為它是目前最好的，但這不是確定的。

It's just the opening salvo in a conversation between me and everybody who watches this channel, a bunch of film geeks.

這只是我和所有看這個頻道的人之間的對話的開場白，這群電影怪人。

So what do you think?

那麼你怎麼看？

Yeah.

是的。

Hey everybody thanks for watching.

嗨，大家好，感謝觀看。

I've been waiting forever to do a video on Wes Anderson.

我一直在等待做一個關於韋斯-安德森的視頻。

This was so much fun and meet my friends really do have these conversations all the time about which we think is the best and you know I love all, I love Moonrise Kingdom and I love life aquatic and and and they're also good.

這真是太有趣了，遇到我的朋友們真的一直有這樣的對話，關於我們認為哪個是最好的，你知道我喜歡所有的，我喜歡《月升王國》，我喜歡生活中的水產和，而且他們也很好。

But you know everybody's got their favorite for one reason or another, this is mine.

但是你知道每個人都有自己的最愛，因為有這樣或那樣的原因，這是我的。

What's yours?

你的是什麼？

Let me know in the comments.

請在評論中告訴我。

And if you want to subscribe to this channel you can click right over here and if you want to pledge a dollar or $3 helps the most per video.

如果你想訂閱這個頻道，你可以點擊這裡，如果你想認捐一美元或3美元，對每個視頻最有幫助。

Thank you so much for watching.

非常感謝您的觀看。