Name: 《純真年代》：改編的完美典範！ (The Age Of Innocence: Adaptation Done Right)
Uploaded: 2025-11-17T17:11:23.000Z
Duration: 9 min 47 s

The first thing we see in Martin Scorsese's the Age of Innocence is an adaptation.

我們在馬丁·史柯西斯的《純真年代》裡看到的第一件事，就是一個改編。

It's Charles Gounod's adaptation of Goethe's tragic play Faust into a grand opera.

這是夏爾·古諾將歌德的悲劇《浮士德》改編成宏大歌劇。

Goethe's Faust is one of the most esteemed works in the history of literature, and

歌德的《浮士德》是文學史上備受推崇的作品之一，

Gounod's version was, for the better part of a century, the world's most popular opera opera.

而古諾的版本在將近一個世紀的時間裡，都是世界上最受歡迎的歌劇。

In his adaptation, Gounod changed Faust radically, simplifying and removing most of its deep metaphysical ruminations to focus on the tragic love story between Dr.

在他的改編中，古諾徹底地改變了《浮士德》，簡化並刪除了大部分深刻的形而上學沉思，以聚焦於一位老哲學家博士之間的悲劇愛情故事。

Faust, an old philosopher made young and powerful by selling his soul to the devil, and

浮士德，一位出賣靈魂給魔鬼而變得年輕有力的老哲學家，

Marguerite, the virginal maiden he seduces, then abandons.

以及瑪格麗特，他誘惑後又拋棄的處女少女。

Gounod supplanted the intellectual with the emotional.

而歌劇最擅長的就是濃烈的情感。

In every adaptation, across artistic mediums, there is a loss.

在每一次改編中，跨越不同的藝術形式，都會有所損失。

You lose something of the original, something vital, but

你會失去原作的一部分，一些重要的東西，但是

hopefully you gain something too, ideally something that the new medium is uniquely good at expressing.

希望你也能有所收穫，理想情況下是那些新媒介特別擅長表達的東西。

Scorsese's the Age of Innocence, from 1993, is of course, an adaptation of Edith Wharton's 1920 novel of the same name.

Scorsese 在 1993 年執導的《純真年代》，當然是改編自 Edith Wharton 同名小說。

And it too loses important elements of the original things that lovers of the book, like myself, are sad to miss.

它也失去了原作中一些重要的元素，那些像我一樣熱愛這本書的人會很遺憾錯過的。

And what it gains is uniquely filmmaker in certain ways.

而它所獲得的，在某些方面是獨屬於電影製作人的。

Scorsese's film is to Wharton's novel as Gounod's opera is to Goethe's play.

Scorsese 的電影之於 Wharton 的小說，就像 Gounod 的歌劇之於 Goethe 的戲劇。

One way to imagine adapting a novel into a film is as a process of setting words to music.

一種想像將小說改編成電影的方式，就像是將文字譜成音樂的過程。

That's literally true in the case of soundtracks and musical scores, but

這在音軌和配樂上是字面上的真實，但

The cinematic form has a rhythmic, melodious, emotionally charged quality that resembles the power of music.

電影形式具有一種節奏感、旋律感和情感充沛的特質，這與音樂的力量相似。

And the great directors have tapped into this quality with lighting, editing, blocking, camera movement, or in the case of Martin Scorsese, crazy.

而偉大的導演們則透過燈光、剪輯、構圖、鏡頭運動，或是像 Martin Scorsese 這樣，以瘋狂的方式來運用這種特質。

Consider this opening scene in the novel.

The narrator describes the opera while ironically commenting on all the absurd rules and protocols of the rich society assembled to watch it.

敘述者描述了這齣歌劇，同時諷刺地評論著聚集在此觀賞的富裕社會中所有荒謬的規矩和禮儀。

然後她將焦點轉向 Newland Archer。

The narrator shows us Newland's thoughts as he watches this seduction of Marguerite by Faust, and

敘述者讓我們看到 Newland 在觀賞 Faust 誘惑 Marguerite 時的想法，

then looks across the house at his soon to be fiance, May Welland, a young woman who he believes to be as pure and naive as the young woman in the show.

然後將目光轉向他即將訂婚的未婚妻 May Welland，他認為這位年輕女子和劇中的女主角一樣純潔天真。

The darling Archer thinks she doesn't even guess what it's all about.

親愛的 Archer 認為她根本不知道這一切是怎麼回事。

May is just too pure and too ignorant to understand the seduction for what it is.

May 太純潔、太無知，無法理解這場誘惑的本質。

Newlin does, of course, because he travels and reads books and thinks deeply.

Newlin 當然懂，因為他旅行、閱讀、深入思考。

And here is the key line with a thrill of possessorship in which pride in his own masculine initiation was mingled with a tender reverence for her abysmal purity.

這裡有句關鍵的句子，帶著一種佔有慾的興奮，其中混合著對自己男性啟蒙的驕傲，以及對她深不可測的純潔的溫柔崇敬。

Wharton is so brilliant in the ways she puts us into Newland's mind, while at the same time dissecting and satirizing his arrogance, his sense of superiority.

Wharton 在讓我們進入 Newland 的思緒，同時又解剖和諷刺他的傲慢、他的優越感方面，真是太 brilliant 了。

We'll read Faust together by the Italian lakes, he thinks, imagining all the paternalistic ways he'll educate his bride to be.

我們要在義大利湖區一起讀 Faust，他心想，想像著他將如何以各種家長式的態度教育他未來的妻子。

In Scorsese's version of the opening scene, we get the same action but lose that wry, biting commentary on Nuland and his society.

在 Scorsese 改編的開場戲裡，我們看到同樣的動作，但卻失去了對 Nuland 和他社會那種諷刺又尖銳的評論。

We lose the ironic distance of the narrator.

我們失去了敘事者那種反諷的距離感。

Scorsese does bring that narrator in briefly at the end of the scene, but

Scorsese 在場景結尾確實短暫地帶入了這位敘事者，但是

for the first five minutes he plunges us into the world of 1870s New York, into the now long demolished Academy of Music among the city's old money elite.

在最初的五分鐘裡，他將我們直接帶入了 1870 年代的紐約世界，進入了現在早已拆除的音樂學院，置身於這個城市的老錢精英之中。

As Francois Sammarselli says, the movie sets a different tone from the book.

正如 Francois Sammarselli 所說，這部電影營造的氛圍與原著不同。

To, quote, trigger identification with the characters and produce emotion.

為了，引述，引發觀眾對角色的認同並產生情感。

Instead of underscoring the role of conventions, Wharton immediately undercuts Gono's opera.

Wharton 沒有強調傳統的角色，反而立刻削弱了 Gono 的歌劇。

The whole first scene is operatic in its construction.

整場開場戲在結構上都充滿了歌劇感。

Michael Ballhouse's camera swoops around the house using every camera move imaginable.

Michael Ballhouse 的鏡頭在房子裡盤旋，運用了所有能想像到的攝影機移動方式。

Pans, tilts, tracks, dollies, cranes, shots that combine all of these things.

搖鏡、傾斜、軌道、滑輪、吊臂，以及結合所有這些的鏡頭。

Scorsese even invented a new technique to simulate what it's like to look through opera glasses.

Scorsese 甚至發明瞭一種新技巧，來模擬透過歌劇眼鏡觀看的感覺。

This six minute scene has 54 shots and 34 of them have camera movement of some kind.

這段六分鐘的場景有 54 個鏡頭，其中 34 個有某種形式的鏡頭移動。

In terms of duration, that's over 80% movement.

以時間長度來看，這超過 80% 的移動。

Is a dance designed to enchant the viewer.

In the novel, you, of course, can't hear the opera music.

在小說裡，你當然聽不到歌劇音樂。

The film, on the other hand, uses that music to achieve the same effect that Gounod achieved, a heightening of emotion.

相反地，電影利用這段音樂來達到 Gounod 所達到的同樣效果，也就是情緒的昇華。

And that emotion infuses the characters as well as us.

而這種情緒也感染了角色和我們。

When Newlin enters Mae Welland's box, he is, in the novel, quite standoffish in his first interactions with her cousin, the Countess Olenska, he's somewhat shocked by her impropriety.

當 Newlin 進入 Mae Welland 的包廂時，在小說中，他與她的表親 Olenska 伯爵夫人的初次互動相當冷淡，他對她的失禮感到有些震驚。

Does Daniel Day Lewis seem standoffish in his response to Michelle Pfeiffer?

Daniel Day Lewis 在回應 Michelle Pfeiffer 時，看起來有距離感嗎？

Here you kissed me once behind a door, but

在這裡，你曾在我身後親吻我一次，但

it was your cousin Vandy, the one who never looked at me.

那是你的表姊 Vandy，那個從來不看我的人。

No, he seems like a little boy, a bit startled, but utterly charmed.

不，他看起來像個小男孩，有點驚訝，但完全著迷了。

With the twinkling music playing behind them, this moment feels like a meet cute.

隨著背景播放著閃爍的音樂，這一刻感覺像是一場浪漫的邂逅。

In the novel, we're encouraged by Wharton's use of ironic distance to judge Newland Archer, just as he judges Mae for being swept away or seduced by a love story that actually is a seduction, one that he believes she can't recognize.

在小說裡，Wharton 運用諷刺的距離感，鼓勵我們去評判 Newland Archer，就像他評判 Mae 被一個他認為她無法辨識的愛情故事沖昏頭或誘惑一樣。

Who's being seduced in Scorsese's version?

在 Scorsese 的版本裡，又是誰被誘惑了？

Well, Newland Archer, for one, by Ellen Olenska.

嗯，首先是 Newland Archer，被 Ellen Olenska。

And us, we the audience, are being seduced by sound and image, by music and camera, movement.

而我們，觀眾，正被聲音和影像、音樂和鏡頭的動態所誘惑。

The irony of Newlin's judgment of May in the book is that really, he turns out to be the one who doesn't even guess what it's all about.

Newland 在書中評判 May 的諷刺之處在於，事實上，他最終是那個根本不瞭解一切是什麼的人。

Falling in love with Ellen Olenska, he fantasizes about breaking away from his society, only to learn in the end how thoroughly trapped he is by its absurd conventions, by the actions of people he believed himself so superior to.

他愛上了 Ellen Olenska，幻想著要擺脫他的社會，結果卻發現自己被其荒謬的習俗、被他自以為比他優越的人們的行為，徹底地困住了。

Most of all, Wharton ingeniously implicates the reader in Newland's fantasies by gradually reducing the ironic distance between narrator and protagonist as the book progresses until we see the world through Newland's eyes.

最重要的是，Wharton 巧妙地讓讀者捲入 Newland 的幻想，隨著書本的進展，逐漸縮小敘述者和主角之間的諷刺距離，直到我們透過 Newland 的眼睛看世界。

Scorsese, on the other hand, implicates us from the start.

相較之下，Scorsese 從一開始就讓我們捲入。

Now, that's not to say he isn't making a comment on this society.

這並不是說他沒有對這個社會發表評論。

If we reflect on the opera scene, we can see that he is showing us the reality of this universe, suggesting that those in the audience are on their own kind of stage, observed and policed by their peers, that they are actors as much as those playing Faust and Marguerite, their choices limited by the script of social conventions.

如果我們回想歌劇場景，就能看到他正在向我們展示這個世界的現實，暗示觀眾們自己也處於某種舞臺上，被同儕觀察和約束，他們就像扮演 Faust 和 Marguerite 的演員一樣，他們的選擇受限於社會習俗的劇本。

Scorsese makes this plain when he turns the camera around on the stage and points it at the audience.

Scorsese 在他把鏡頭轉向舞臺，指向觀眾時，就清楚地表明瞭這一點。

But the cinematic seduction ultimately proves too strong to resist.

但電影的誘惑力最終太強大，讓人難以抗拒。

Wharton implicates the reader by giving us access to Newland's thoughts.

Wharton 透過讓我們得以窺見 Newland 的想法，讓讀者身歷其境。

Scorsese doesn't have this tool, but he has others.

Scorsese 沒有這個工具，但他有別的。

The sheer emotional power of sound image in their combination.

聲音與影像結合後，純粹的情感力量。

again and again, scene after scene, image after luxurious image, Scorsese, Ballhaus and the other creative contributors bewitch us.

一幕又一幕，一個又一個場景，一個又一個奢華的畫面，Scorsese、Ballhaus 和其他創意貢獻者不斷地迷惑著我們。

They sink us deeper and deeper into a zone of fantasy and desire.

他們讓我們越陷越深，進入一個充滿幻想和慾望的區域。

So much of Scorsese's cinema, writes Leslie Stern, is about bringing into being imaginative worlds and the rituals necessary to sustain sustaining those worlds.

Leslie Stern 寫道，Scorsese 的電影很大一部分是關於創造想像中的世界，以及維持這些世界所必需的儀式。

The trick he has is to immerse us so thoroughly that we reach the limits of fantasy and forget that this is an imaginative projection.

他的絕招是讓我們徹底沉浸其中，以至於我們達到幻想的極限，卻忘了這只是一個想像的投射。

When the fantasy is finally shattered in the scene where the underestimated Mei gently but decisively tightens the knot, it plays like a horror movie.

當那個被低估的梅輕柔卻堅定地繫緊繩結時，幻想終於破滅，這一幕就像恐怖片一樣。

That's how it feels when our illusions are revealed for what they are.

當我們的幻覺被揭露本來面目時，感覺就是這樣。

Like Nuland, we want to believe that we have control over our lives, that we're free to make any choice we'd like, when in fact our menu of choices is much more limited than we're able to admit or even perceive.

就像 Nuland 一樣，我們都想相信自己能掌控生活，自由地做出任何選擇，但事實上，我們能選擇的選項比我們願意承認或甚至察覺到的要少得多。

Both Wharton's novel and Scorsese's film get us to think about how we as individuals relate to the web of our social world.

Wharton 的小說和 Scorsese 的電影都讓我們思考，我們個人如何與我們所處的社會網絡連結。

Scorsese does it in a different way than Wharton because he has to.

Scorsese 的做法和 Wharton 不同，因為他必須這麼做。

He's fully aware that a novel can't become a film without some loss, but he knows too, and

他完全明白，小說要改編成電影必然會有損失，但他也很清楚

shows in the Age of Innocence that there's a lot to gain in adaptation.

在《Age of Innocence》中，改編也能帶來很多收穫。

Hey everybody, thank you so much for watching this episode was brought to you by Squarespace, the all in one website platform for entrepreneurs to stand out and succeed online.

大家好，非常感謝收看本集節目，本集由 Squarespace 贊助播出，這是為創業家打造的一站式網站平臺，幫助你們在線上脫穎而出並取得成功。

To get started, you can use Blueprint AI, Squarespace's AI enhanced website builder, to get a fully customized site in just a few steps, or choose from their library of professionally designed design templates that are sleek and engaging.

開始之前，你可以使用 Squarespace 的 AI 增強網站建置工具 Blueprint AI，只需幾個步驟就能建立一個完全個人化的網站，或者從他們專業設計、簡潔又吸睛的設計範本庫中挑選。

Every website you make will be optimized for SEO, so you'll show up more often in search results.

你建立的每一個網站都會經過 SEO 優化，讓你更容易在搜尋結果中出現。

字幕列表影片播放

《純真年代》：改編的完美典範！ (The Age Of Innocence: Adaptation Done Right)

perceive

basically

audience

scene