Oh, I can go. I'm not doing anything today.

我可以走了我今天什麼都不做

Why don't we go together?

我們為什麼不一起去？

Luca Guadagnino's coming-of-age romance Call Me By Your Name operates invisibly.

盧卡-瓜達格尼諾（Luca Guadagnino）執導的青春愛情片《請以你的名字呼喚我》（Call Me By Your Name）以無形的方式展開。

The film is visually striking, for sure, but in every aspect, it really excels in its sensuality and subtlety.

這部影片在視覺效果上無疑是震撼人心的，但從各方面來看，它真正出眾之處在於其感性和細膩。

Look at how people walk downstairs in Call Me By Your Name.

看看《請以你的名字呼喚我》中人們是如何走下樓梯的。

Why did Oliver just touch that wall?

奧利弗為什麼要碰那堵牆？

Why are we now shown him dusting off his bike?

為什麼我們現在看到的是他在撣掉自行車上的灰塵？

Why is Elio touching his hair so much?

埃利奧為什麼經常摸自己的頭髮？

Why does his hand linger so painfully on this rail?

他的手為何如此痛苦地停留在這根欄杆上？

On page 4 of the Call Me By Your Name screenplay, the film's screenwriter James Ivory gives the simple direction Oliver is coming down the stairs.

在《請以你的名字呼喚我》劇本的第 4 頁，影片編劇詹姆斯-伊沃裡（James Ivory）給出了奧利弗下樓梯的簡單方向。

On page 10, he cuts straight from should we take Anchisa's bikes to Elio and Oliver are riding bicycles.

在第 10 頁，他從 "我們是否應該騎安琪莎的自行車 "直接切到 "埃利奧和奧利弗正在騎自行車"。

But when director Luca Guadagnino gets on set, he puts into practice a lesson drilled into him by the legendary Italian film director Bernardo Bertolucci.

但是，當導演盧卡-瓜達格尼諾進入拍攝現場時，他就開始實踐意大利傳奇導演貝爾納多-貝託魯奇給他上的一課。

And he said, Luca, you're so naive.

他說，盧卡，你太天真了。

Scripts, they don't count.

腳本，它們不算數。

You have to throw the script when you start the movie.

電影開拍時，你必須扔掉劇本。

And I took the lesson by the letter.

我照著信上的內容上了一課。

Part of a film director's job on set is to direct performances and determine the blocking of the scene, the movement of actors within the space.

電影導演在片場的部分工作是指導表演，決定場景的分區和演員在空間內的移動。

So every chance he gets, Luca Guadagnino emphasises the tactile nature of this world.

是以，盧卡-瓜達格尼諾一有機會就會強調這個世界的觸感。

In this scene, Guadagnino directs Armie Hammer to curiously feel out the texture of the wall and all of a sudden this house is given an extra tactile dimension.

在這個場景中，瓜達格尼諾指導阿米-漢默好奇地摸索牆壁的紋理，頓時這棟房子就多了一種觸感。

Let's now re-edit the bike scene to show how Ivory wrote it in the screenplay.

現在讓我們重新剪輯一下自行車那場戲，看看艾弗裡在劇本中是怎麼寫的。

Should I give him Anchisa's bike?

我應該把安琪薩的自行車給他嗎？

And now as Guadagnino directed it.

而現在，瓜達格尼諾執導了這部影片。

Should I give him Anchisa's bike?

我應該把安琪薩的自行車給他嗎？

Should I give him Anchisa's bike?

我應該把安琪薩的自行車給他嗎？

It's not much, but now whenever you see them riding, you can feel your own hands on the handlebars and really place yourself on that bike.

雖然不多，但現在每當你看到他們騎車時，你就能感覺到自己的手握在車把上，真正把自己放在那輛自行車上。

Directed as it is, the world becomes not just a beautiful thing to see with your eyes, but a place you can touch, feel and linger upon.

在這樣的指導下，世界變得不僅僅是一個可以用眼睛看到的美麗事物，而是一個可以觸摸、感受和流連忘返的地方。

Let's jump forward a little to page 19 in the screenplay and watch the scene at the same time.

讓我們向前跳一下，跳到劇本的第 19 頁，同時觀看這一幕。

Anchisa approaches Elio, carrying a large fish wrapped up in a t-shirt which he uncovers for Elio.

安奇薩拿著一條用 T 恤衫包著的大魚走近埃利奧，為埃利奧揭開魚皮。

Let's pause here.

讓我們暫停一下。

In this script, Anchisa takes the fish straight to the kitchen.

在這個劇本中，Anchisa 直接把魚送到廚房。

But remember, as soon as Guadagnino gets on set, he throws this script into the fiery pits of hell.

但請記住，瓜達格尼諾一到片場，就把劇本扔進了地獄的火坑。

So he decides to create a few more actions which add to Elio's character and emphasise yet another important sense.

是以，他決定再創作一些動作，以豐富埃利奧的性格，並強調另一種重要的感覺。

This film sounds incredible.

這部電影聽起來令人難以置信。

Notice particularly how it makes the house a character of its own.

尤其要注意的是，它是如何使房屋獨具特色的。

Listen to the knock on this door and you can feel its weight.

聆聽敲門聲，你就能感受到它的分量。

Now listen to the silence.

現在靜靜聆聽。

And listen to how this book cuts it like a knife echoing throughout the house.

聽聽這本書是如何像刀子一樣切割它，在整個房子裡迴盪。

Listen to this bell, how loud and crisp it is.

聽聽這鈴聲，多麼響亮，多麼清脆。

And now listen to that sound barely reaching Elio's room.

現在聽聽那幾乎傳不到埃利奧房間的聲音。

With just this difference in sound, you can feel the size and emptiness of the house.

僅憑這種聲音上的差異，你就能感受到房子的大小和空曠。

Guadagnino also places a heavy emphasis on taste.

瓜達格尼諾還十分重視口味。

There is a lot of eating in this movie and most of it is not sexual but simply epicurean in nature for the simple purpose of sensual enjoyment.

這部電影中有很多吃的鏡頭，其中大部分都不是性愛鏡頭，而僅僅是為了感官享受而進行的美食。

But of course there is the peach scene.

當然，還有水蜜桃場景。

You need look no further than this simple question from T.S. Eliot's classic poem

您只需看看 T.S. 艾略特經典詩歌中的這個簡單問題即可

The Love Song of J. Alfred Prufrock.

阿爾弗雷德-普魯弗洛克的情歌

Do I dare to eat a peach?

我敢吃桃子嗎？

But in Call Me By Your Name, Guadagnino combines the natural taste of the fruit with the taste of a slightly more sexual substance.

但在《請以你的名字呼喚我》中，瓜達格尼諾將水果的天然味道與略帶性感的物質味道相結合。

The question of daring thus becomes the question of daring to eat a peach.

是以，"敢不敢 "的問題就變成了 "敢不敢吃桃子 "的問題。

The question of daring thus becomes sexual in nature.

是以，"膽量 "問題在本質上就變成了 "性 "問題。

But it's not something you just think about or intellectualise.

但這不是你想一想就能解決的問題，也不是智力問題。

It's something you can disgustingly almost taste on the screen.

你幾乎可以在螢幕上噁心地品嚐到它的味道。

Do I dare to eat a peach?

我敢吃桃子嗎？

And finally notice how the film smells.

最後，請注意膠片的氣味。

There's this obvious example.

有這樣一個明顯的例子。

Elio is really enjoying himself in there.

埃利奧在裡面玩得很開心。

But notice that this theme of dirty used clothing runs throughout the film.

但請注意，骯髒的舊衣服這一主題貫穿了整部影片。

This is what Guadagnino lets us smell after they have sex.

這就是瓜達格尼諾讓我們聞到的他們做愛後的味道。

And immediately after we're treated to this.

緊接著，我們就看到了這一幕。

I don't know that much about lakes but listen to the mosquitoes.

我不太瞭解湖泊，但聽過蚊子的聲音。

This lake you can definitely smell.

這個湖你一定能聞到。

But let's return to the lyrics of Sufjan Stevens which I used to open this video.

不過，還是讓我們回到蘇菲揚-史蒂文斯（Sufjan Stevens）的歌詞上來吧，我曾用它作為這段視頻的開場白。

This quote talks about a paradoxical clarity that comes through lack of vision.

這句話說的是一種因缺乏遠見而產生的自相矛盾的清醒。

By focusing on the invisible one can truthfully feel an experience rather than seeing and intellectualising it.

通過關注無形的東西，人們可以真實地感受到一種體驗，而不是將它看成是一種知識。

And I think this philosophy is also true for the film's story.

我認為這一理念同樣適用於影片的故事。

It took Call Me By Your Name almost 10 years to find funding and get made because there was no obvious antagonist or even conflict.

請以你的名字呼喚我》花了近 10 年時間才找到資金並製作完成，因為它沒有明顯的對立面，甚至沒有衝突。

In fact the world of this film is a utopia.

事實上，這部電影的世界就是一個烏托邦。

Elio lives in the most beautiful house in the most picturesque town.

埃利奧住在風景如畫的小鎮上最漂亮的房子裡。

He is fed wonderful food every day.

它每天都能吃到美味的食物。

He spends his time swimming in lakes and pools, writing and transcribing music.

他經常在湖泊和泳池中游泳、寫作和抄寫音樂。

At night they go out dancing and there are girls all over him.

晚上，他們出去跳舞，有很多女孩圍著他轉。

It's perfect.

太完美了

And in any other gay romance it would be so easy to create conflict within the story by bringing in obvious homophobia.

如果是其他同志題材的愛情小說，很容易在故事中加入明顯的同志恐懼症，從而製造衝突。

But Call Me By Your Name steers clear of this cliché.

但《請以你的名字呼喚我》避免了這種陳詞濫調。

In fact it pushes it in the opposite direction.

事實上，它把它推向了相反的方向。

Gay couples are shown to be friends in this world and Mr Perlman explicitly denounces homophobia.

在這個世界裡，同志情侶是朋友，帕爾曼先生明確譴責了對同志的恐懼。

When I tell you to play, you'll play.

我讓你玩，你就得玩。

You're too old not to accept people for who they are.

你太老了，不能接受別人的本來面目。

What's wrong with them?

他們怎麼了？

What's wrong with them?

他們怎麼了？

You call them Sonny and Cher behind their backs?

你在背後叫他們桑尼和雪兒？

This is an idealistic scenario for kids growing up in the 2020s, let alone the 1980s.

對於 2020 年代成長起來的孩子來說，這是一個理想化的場景，更不用說 20 世紀 80 年代了。

You could not wish for a better environment to fall in love with someone.

沒有比這更好的戀愛環境了。

This is utopia.

這就是烏托邦。

But then we get this scene which finally brings to light the film's conflicts which until this point have been invisible.

但是，我們看到的這一幕終於揭示了影片中的衝突，而在此之前，這些衝突一直都是隱形的。

I may have come close but I never had what you two have.

我也許曾經接近過，但我從未擁有過你們倆所擁有的一切。

Something always held me back or stood in the way.

總有些事情讓我退縮，或者擋住了我的去路。

How you live your life is your business.

如何生活是你自己的事。

Just remember our hearts and our bodies are given to us only once.

請記住，我們的心和身體都只有一次。

And before you know it your heart's worn out.

不知不覺中，你的心已經疲憊不堪。

And as for your body, there comes a point when no one looks at it.

至於你的身體，總有一天會無人問津。

Much less wants to come near it.

更不願意靠近它。

Luca Guadagnino has said that the antagonist of this film is time.

盧卡-瓜達格尼諾曾說過，這部電影的對手是時間。

In fact, Mr Perlman's monologue echoes the words of Elio himself just before he leaves with Oliver.

事實上，帕爾曼先生的獨白與埃利奧本人在與奧利弗離開前所說的話如出一轍。

God, we wasted so many days.

天啊，我們浪費了這麼多天。

Why didn't you give me a sign?

你為什麼不給我一個暗示？

I did.

是的

You didn't give me a sign.

你沒給我暗示

I did.

是的

When it went.

什麼時候走？

When watching the film you kind of forget about the fact that Oliver's presence is temporary.

觀看影片時，你會忘記奧利弗的存在只是暫時的。

In other words, the antagonistic force of time is invisible and so his departure sneaks up on us.

換句話說，時間的對抗力量是無形的，是以他的離去是悄無聲息的。

We're just as shocked as Elio when it happens.

當事情發生時，我們和埃利奧一樣震驚。

But I don't think time is the true antagonist in this film.

但我不認為時間是這部電影的真正對手。

Oliver could easily come back to Crema next year.

奧利弗明年很可能回到克雷馬。

In fact, in the books he does.

事實上，在書中他確實是這樣做的。

But in the film there's one thing stopping him and Elio correctly guesses it before Oliver even mentions anything about it.

但在影片中，有一件事阻止了他，在奧利弗提到這件事之前，埃利奧就猜對了。

Oh, you're getting married?

哦，你要結婚了？

I suppose.

我想是的

I might be getting married next spring.

明年春天我可能就要結婚了。

In his monologue, Mr Perlman hints that he also had an experience like Elio's.

在獨白中，帕爾曼先生暗示自己也有過類似埃利奧的經歷。

But he says,

但他說

Something always held me back or stood in the way.

總有些事情讓我退縮，或者擋住了我的去路。

This line is split into internal and external elements.

這條生產線分為內部和外部兩個部分。

The internal element I always saw as that fear and anxiety that anyone would have when approaching love.

我始終認為，內在因素是任何人在面對愛情時都會產生的恐懼和焦慮。

But there's also that external element.

但也有外部因素。

Something always stood in the way.

總有些東西擋住了去路。

And for both Elio and his father, that is mostly heteronormative society which creates an invisible anxiety towards same-sex relationships.

而對於埃利奧和他的父親來說，這主要是異性戀社會對同性關係造成的無形焦慮。

It's such a pervasive anxiety that Mr Perlman can't even tell his wife about it.

這是一種無處不在的焦慮，以至於帕爾曼先生甚至不能告訴他的妻子。

Does mom know?

媽媽知道嗎？

I don't think she does.

我覺得她不知道。

Like Elio, Mr Perlman has the perfect life.

和埃利奧一樣，帕爾曼先生也擁有完美的人生。

He has a perfect house in the most beautiful town with the most extraordinary occupation.

他在最美麗的小鎮擁有一棟完美的房子，從事著最特殊的職業。

But ultimately he has the most beautiful, intelligent and empathetic wife.

但最終，他擁有了最美麗、最聰明、最富有同情心的妻子。

While watching the film, we see their marriage as the perfect ideal relationship.

在觀看影片時，我們將他們的婚姻視為完美的理想關係。

And so when Mr Perlman reveals that this supposedly utopian marriage is in fact built on a lie, the illusion is broken and we are left with immense tragedy.

是以，當帕爾曼先生揭露這段所謂烏托邦式的婚姻其實是建立在謊言之上時，幻想破滅了，留給我們的是巨大的悲劇。

Look here, for example, at the subtlety of Stuhlberg's performance in this scene when he finds out Oliver is getting married.

舉個例子，看看斯圖爾伯格在發現奧利弗要結婚的這場戲中的精妙表演。

Pay attention to his long, drawn-in breath before his response and the knowing way he looks at his wife afterwards.

注意他在回答之前長長地吸了一口氣，以及回答之後看向妻子的眼神。

Well, speaking of which, I'm trying to tell you guys I got engaged.

說到這個，我想告訴你們我訂婚了。

Ah, wonderful!

啊，太好了！

Congratulations, Oliver.

恭喜你，奧利弗。

Listen, we'll leave you, we'll let you speak to Elio.

聽著 我們先走了 讓你跟埃利奧談談

Happy Hanukkah!

光明節快樂

Happy Hanukkah!

光明節快樂

Mr Perlman says congratulations, but inside he feels just like Elio, longing for the heat of an ephemeral summer that can never again exist.

帕爾曼先生嘴上說著恭喜，但內心卻和埃利奧一樣，渴望著那短暫的、再也不可能出現的炎熱夏天。

Yes, heat.

是的，加熱。

In this final shot, Elio isn't telling us that he longs for that summer again.

在這最後一個鏡頭中，埃利奧並沒有告訴我們他渴望再次回到那個夏天。

We can feel it.

我們能感覺到。

We can feel the heat of the fire reflected on his tear-streaked face.

我們可以從他滿是淚痕的臉上感受到火的溫度。

And we are reminded of that heat.

我們會想起那股熱浪。

The sweltering heat of the bus.

巴士上的悶熱。

The heat of the sun beating down on us as we ride into the distance.

當我們騎車駛向遠方時，太陽的熱浪撲面而來。

The heat that makes water taste like air.

讓水變得像空氣一樣的熱量

The heat that sets dreams on fire.

點燃夢想的熱量

Open your eyes and you will see Elio sitting in front of a fire.

睜開眼睛，你會看到埃利奧坐在火堆前。

But I entreat you to close them.

但我懇請您關閉它們。

And now, you will see without your eyes the first time that you kissed me, boundless by the time I cried.

現在，你會在不經意間看到你第一次吻我時的情景，看到我哭泣時的無邊無際。

The first time that you kissed me, boundless by the time I cried.

你第一次吻我的時候，我哭得一塌糊塗。

This is the second video I've ever made on this channel.

這是我在這個頻道上製作的第二個視頻。

The first was a review of a Netflix teen drama show, Young Royals, and this is a bit of a departure from that.

第一篇是對 Netflix 青春劇《少年皇家》的評論，而這篇與之有些不同。

Call Me By Her Name is just a bit too beautiful, and I was inspired by video essayists like The Nerdwriter and Tony Zhu to create something a little more poetic for this week.

Call Me By Her Name》實在太美了點，我受到 The Nerdwriter 和 Tony Zhu 等視頻隨筆作家的啟發，為本週創作了一些更有詩意的作品。

For my next video though, I think I will return to a more casual style and review an up-and-coming or a new film or show.

不過，在我的下一個視頻中，我想我會迴歸更隨意的風格，評論一部新近上映的電影或節目。

But as I said, this is my second video, so I'm still just experimenting and trying things out.

但正如我所說，這是我的第二個視頻，所以我還在不斷嘗試。

If you want to join me on this creative journey, then make sure you're