Name: 窮人的象徵、意義和美感解析 | 非劇透分析 (The SYMBOLISM, MEANING, and BEAUTY of Poor Things Explained | Non-Spoiler Analysis)
Uploaded: 2024-12-14T12:43:49.000Z
Duration: 10 min 10 s

If there's anything Poor Things does better than any other movie this year that we can all agree upon, it's getting us talking.

如果說《可憐的東西》比今年任何一部電影都做得更好，而且我們都能達成共識的話，那就是讓我們議論紛紛。

I've heard the highest of praise for this movie, yet also the harshest of criticisms.

我聽到過對這部電影最高的讚譽，也聽到過最嚴厲的責備。

Some are calling this movie a masterpiece, while others are saying it's discount rate satire.

有人稱這部電影是一部傑作，也有人說它是一部打折扣的諷刺電影。

Personally, I'm in love with this film, and through my research and insights, I'd like to clarify what this movie is trying to tell us.

就我個人而言，我很喜歡這部電影，通過我的研究和見解，我想澄清這部電影想告訴我們什麼。

Through its many obscure symbols, striking visuals, and countless references.

它有許多晦澀難懂的符號、引人注目的視覺效果和數不勝數的參考資料。

So we'll discuss this movie in four sections.

是以，我們將分四個部分來討論這部電影。

The inspiration, the time period, the message, and the symbolism of Poor Things in this spoiler-free analysis.

在這篇不含劇透的分析中，您將瞭解到《可憐的人們》的靈感來源、時代背景、寓意和象徵意義。

The original source material that this film is adapting is a novel published in 1992, also titled Poor Things, by Alastair Gray.

本片改編自阿拉斯泰爾-格雷（Alastair Gray）1992 年出版的小說《可憐的事》（Poor Things）。

And the setup for this novel is very similar to the film.

這部小說的情節設置與電影非常相似。

Put simply, it's a comedic, quirky, and satirical reimagining of the classic Frankenstein story.

簡而言之，它是對經典故事《弗蘭肯斯坦》的喜劇化、離奇化和諷刺化再創造。

The film and the book have the exact same premise, which is an incredibly wild one, and here it is.

這部電影和這本書的前提完全相同，這是一個非常瘋狂的前提，它就在這裡。

A pregnant suicide victim is brought back to life by a mad scientist, replacing her brain with the premature brain of her unborn child.

一名自殺的孕婦被一名瘋狂的科學家復活，用她未出生孩子的早產大腦取代了她的大腦。

This reborn, baby-brained woman is the main character, Bella Baxter, played by Emma Stone.

艾瑪-斯通（Emma Stone）飾演的主角貝拉-巴克斯特（Bella Baxter）就是這位重生的嬰兒腦女人。

And through Bella's journey, encountering a series of interesting and diverse characters, Poor Things becomes a thought-provoking, social and political allegory, pointing out the absurdities in the expectations put on women, and the ironies in the desires of many men.

在貝拉的旅途中，她遇到了一系列有趣而多樣的人物，《可憐的東西》成為了一部發人深省的社會和政治寓言，指出了人們對女性期望的荒謬性，以及許多男性慾望的諷刺性。

Themes we'll of course dive deeply into in the later sections of this video.

當然，我們將在本視頻的後面部分深入探討這些主題。

The only difference between the book and the film is the book is told through other characters' perspectives of Bella.

書與電影唯一的不同之處在於，書中的貝拉是通過其他角色的視角講述的。

The movie, on the other hand, is told entirely through Bella's perspective, using a fascinating series of narrative and visual techniques.

而電影則完全通過貝拉的視角來講述，使用了一系列迷人的敘事和視覺技巧。

For example, Bella throughout the film for the most part has a very childlike mind, because she literally has the brain of a child.

例如，在整部影片中，貝拉的大部分思維都非常孩子氣，因為她真的有一個孩子的大腦。

So the film is captured in the most grand, wondrous, and curious way.

是以，影片以最宏大、最奇妙、最令人好奇的方式進行拍攝。

The same way a child would look around at every city, every building, every room that they enter.

就像一個孩子會環顧四周的每一座城市、每一棟建築、每一個房間一樣。

The world is always so animated and spectacular through the eyes of a young and innocent child.

在年幼無知的孩子眼中，世界總是那麼生動、壯觀。

The film specifically uses the most vibrant of colors and widest possible lenses to make every scene, location, and backdrop as big and extravagant as it can possibly be.

影片特別使用了最鮮豔的色彩和最寬廣的鏡頭，使每個場景、地點和背景都儘可能地宏大和奢華。

Even at times using fisheye-style lenses to capture a child's warped sense of focus through their eyes.

甚至有時使用魚眼式鏡頭，通過孩子們的眼睛捕捉他們扭曲的焦距感。

The film's musical score is also very playful, wandering, and purposely directionless, just like a child roaming through a home or a front yard.

影片的配樂也非常俏皮、遊離，故意沒有方向感，就像一個孩子在家中或前院漫遊。

The music specifically uses the most quirky and wavy strings and bendy woodwind sounds, like a dark and twisted version of a children's TV show theme song.

音樂中特別使用了最古怪的波浪形絃樂和彎曲的木管樂器音色，就像一首黑暗扭曲版的兒童電視節目主題曲。

Even the sound design was particularly meant to sound cartoony, clunky, and bouncy enough to remain consistent with the childish and curious style of the film.

就連音效設計也特別追求卡通、笨拙和跳動的音效，以保持與影片幼稚、好奇的風格一致。

But there's another aspect of the movie's inspiration that I have to mention.

但我不得不提到這部電影的另一個靈感來源。

The book itself was inspired by the Victorian era of novels which were being published in the mid to late 19th century, commonly known to be written as social commentary satire.

這本書本身的靈感來自 19 世紀中後期出版的維多利亞時代的小說，這些小說通常以社會評論諷刺著稱。

These novels in this time period very clearly inspired the set design, the wardrobe, and the style of social commentary for the film.

這一時期的這些小說顯然為影片的場景設計、服裝和社會評論風格提供了靈感。

The entire atmosphere and infrastructure of the film is heavily rooted in this time period.

影片的整個氛圍和基礎設施都深深植根於這個時代。

However, in multiple interviews, the team specified that they wanted to decorate this world with some details from various other time periods as well, to ensure that the film's criticisms on society were targeted at all points in time, most importantly, the current era we live in today.

不過，在多次採訪中，攝製組都明確表示，他們希望用其他不同時期的一些細節來裝飾這個世界，以確保影片對社會的批判是針對所有時間點的，最重要的是針對我們今天所處的時代。

This is why the film ventures into both classic and futuristic styles of drama and science fiction.

正因如此，影片在戲劇和科幻小說方面既有古典風格，又有未來主義風格。

The cityscapes of 1927's Metropolis, the satirical comedic style of 1972's Discreet Charm of the Bourgeoisie, and most obviously, the props and set design of 1931's Frankenstein.

1927 年《大都會》的城市景觀、1972 年《小資情調》的諷刺喜劇風格，以及最明顯的 1931 年《弗蘭肯斯坦》的道具和佈景設計。

The costumes also combine a diverse series of stylistic inspirations from many different time periods.

服裝還融合了一系列不同時期的風格靈感。

The puffy sleeved top of the Victorian era combined with the modern look of the high waisted skirt cut above the knees, also at times leading into the space age style of the 1960's and 1970's.

維多利亞時代的蓬蓬袖上衣與膝蓋以上剪裁的高腰裙的現代風格相結合，有時也會引領 20 世紀 60 年代和 70 年代的太空時代風格。

And when it comes to the narrative elements of the film, let's discuss what the filmmaker is specifically trying to tell us about our lives in the next section of this video.

說到影片的敘事元素，讓我們在本視頻的下一部分討論一下製片人具體想告訴我們關於我們生活的什麼。

The Message When it comes to the direct message of this film, the reality is there is no direct message.

資訊 說到這部影片的直接資訊，實際上並沒有什麼直接資訊。

In an interview with the New York Film Festival, the director Yorgos Lanthimos specifically said, It's exploring.

在接受紐約電影節採訪時，導演約里奧斯-蘭斯莫斯特別提到："這是一種探索。

It's mostly creating conditions for characters and situations where you reveal conflicts in human behavior, society around humans, and humans themselves.

這主要是為人物和情境創造條件，揭示人類行為、人類周圍的社會以及人類自身的衝突。

So the film is never preaching or directly speaking to us, it's simply pointing out ironies and absurdities in this satirical parallel world to make us realize how absurd and ironic the actual real world is.

是以，影片從不說教，也不直接對我們說話，它只是在這個諷刺的平行世界中指出諷刺和荒謬之處，讓我們意識到現實世界是多麼荒謬和諷刺。

And the specific way the film does this is it shows us how a woman would react to the world had she not been influenced by the common norms, customs, and expectations of society.

影片的具體做法是向我們展示，如果一個女人沒有受到社會普遍規範、習俗和期望的影響，她會對這個世界做出怎樣的反應。

Bella specifically has five stages of mental growth in this film, from a baby all the way to a woman.

貝拉在影片中具體經歷了從嬰兒到女人的五個心理成長階段。

And these stages occur over a very short period of time.

而這些階段都是在很短的時間內發生的。

And because of this incredibly rapid mental and emotional growth, Bella is uniquely capable of completely rejecting the pressure and societal expectations commonly put on women.

正是因為這種令人難以置信的快速心理和情感成長，貝拉才能完全摒棄通常加諸於女性身上的壓力和社會期望。

Since she matures at such a drastic pace, she is unable to be conditioned because mental conditioning requires time, repetition, and reinforcement.

由於她的成熟速度如此之快，是以無法對她進行心理調節，因為心理調節需要時間、重複和強化。

Bella is completely immune to these factors.

貝拉完全不受這些因素的影響。

For example, she is shamelessly open about her sexuality and non-judgmental of others no matter what they look like or where they're from.

例如，她恬不知恥地公開自己的性取向，對他人無論長相如何、來自哪裡都不加評判。

And no matter how manipulative her romantic partner can try to be, she never thinks twice about putting her foot down and saying no.

無論她的戀愛對象如何操縱她，她都會毫不猶豫地站出來說 "不"。

Because of Bella's unique brain chemistry, she can't be pressured or gaslighted or even persuaded to do anything she doesn't want to do.

由於貝拉獨特的大腦化學特性，她無法被施壓、被催眠，甚至被說服去做任何她不想做的事。

The only weakness she does have is her childlike innocence and naivety at first.

她唯一的弱點就是一開始像孩子一樣天真幼稚。

But when she gets burned from a mistake, she learns from it incredibly quickly.

但是，當她被錯誤燒傷時，她會以令人難以置信的速度從中吸取教訓。

And I'm not saying Bella is the perfect role model.

我並不是說貝拉是完美的榜樣。

I don't even think the film is trying to say that.

我甚至不認為這部電影想表達這個意思。

We as people can be a lot more self-aware with a lot more forethought.

我們作為人，可以有更多的自知之明，更多的深謀遠慮。

But it's more what Bella represents in finding and protecting one's independence that we can all look up to.

不過，貝拉在尋找和保護自己的獨立方面所代表的意義更值得我們所有人學習。

And I want to discuss in a little more detail what Bella represents in relation to her surrounding characters and what those characters signify in the real world we live in, in the final section.

在最後一部分，我想更詳細地討論一下貝拉與她周圍人物的關係，以及這些人物在我們生活的現實世界中的意義。

The Symbolism It's no mistake in this film that Willem Dafoe's character's name is Godwin.

象徵意義 在這部影片中，威廉-達福飾演的角色名叫戈德溫，這一點沒有錯。

Godwin is the mad scientist, surgeon, and professor who gave Bella life when she wasn't supposed to have it.

戈德溫是一位瘋狂的科學家、外科醫生和教授，他在貝拉不該擁有生命的時候給了她生命。

Either as the mother of the baby or the unborn baby itself.

無論是作為嬰兒的母親，還是作為未出生的嬰兒本身。

This specific name and dynamic between Bella and Godwin symbolizes how beliefs in philosophy, spirituality, and religion can at times be instilled into us before we really even get a chance to determine if we actually chose to believe in it.

貝拉和戈德溫之間這個特定的名字和動態象徵著哲學、靈性和宗教信仰有時是如何在我們真正有機會確定自己是否真的選擇相信之前就被灌輸給我們的。

And I don't think the film is at all downplaying religion or any idea of God with this observation.

我不認為影片的這一觀點是在貶低宗教或任何關於上帝的觀念。

And that seems to be proven by the fact that Bella and Godwin have a very loving and supportive relationship, like a lot of people do with their God.

貝拉和戈德溫的關係就像很多人和上帝的關係一樣，充滿了愛和支持，這似乎也證明了這一點。

Bella fortunately encounters many friends and strangers with differing philosophies and beliefs, allowing her to develop her own morals and values on a very even and unbiased playing field.

幸運的是，貝拉遇到了許多有著不同理念和信仰的朋友和陌生人，這讓她能夠在一個非常公平公正的環境中發展自己的道德觀和價值觀。

She's respectful of them enough to absorb their insights, but far away enough from them to question and challenge them without any second thought.

她既尊重他們，吸收他們的真知灼見，又遠離他們，不假思索地提出質疑和挑戰。

Duncan Wedderburn and Max McCandles also represent two juxtaposing forms of male-to-female admiration.

鄧肯-韋德伯恩（Duncan Wedderburn）和麥克斯-麥坎德斯（Max McCandles）也代表了兩種並列的男女愛慕形式。

Duncan, representing the shallow, superficial form, and Max, representing the much more passionate and genuine form.

鄧肯代表著膚淺、表面的形式，而馬克斯則代表著更熱情、更真實的形式。

In reality, a Duncan can often easily disguise himself as a Max, which is reflected in the and how Bella doesn't truly detect the difference between them at first.

在現實生活中，鄧肯往往可以輕易地把自己偽裝成麥克斯，這一點從貝拉一開始並沒有真正察覺到他們之間的區別就可以看出。

But most importantly, what I haven't said about Bella and what may be the most important symbolically for the movie, is she represents a second shot at life for not only the unborn baby, but also the mother.

但最重要的是，我還沒有提到貝拉，而這可能也是這部電影最重要的象徵意義，那就是她不僅代表了未出生嬰兒的第二次生命，也代表了母親的第二次生命。

The mother, being suicidal, suffered a lot of misfortune in her life, and had the baby been born, she may have also had to suffer a similar experience in intergenerational trauma and oppression.

這位有自殺傾向的母親一生中遭遇了很多不幸，如果孩子出生，她可能也要經歷類似的代際創傷和壓迫。

Bella is the rewritten story of both women, discovering a new life of greater independence and liberation.

貝拉》改寫了這兩位女性的故事，她們發現了更加獨立和自由的新生活。

 A living, breathing symbol of the end of this crushing cycle of pressure.

這是一個活生生的象徵，象徵著結束這種令人窒息的壓力循環。