Name: 重溫《請以你的名字呼喚我》。 (Revisiting Call Me By Your Name.)
Uploaded: 2024-07-16T00:35:38.000Z
Duration: 14 min 38 s

I gotta go to town in a little bit and pick some things up.

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

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 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？

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。

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

電影開拍時，你必須扔掉劇本。

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。

我應該把安琪薩的自行車給他嗎？

而現在，瓜達格尼諾執導了這部影片。

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。

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。

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。

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.

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。

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

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。

Elio is really enjoying himself in there.

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。

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 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。

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。

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。

You call them Sonny and Cher behind their backs?

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.

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。

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。

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。

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重溫《請以你的名字呼喚我》。 (Revisiting Call Me By Your Name.)

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