Name: 潘金蓮的迷宮電影評論速成班#9 (Pan's Labyrinth: Crash Course Film Criticism #9)
Uploaded: 2021-01-14T07:57:46.000Z
Duration: 11 min 21 s

From Georges Méliès's lunar landscape to the sands of Tatooine, movies have been

從 Georges Méliès 的月球景觀到星際大戰上塔圖因的沙灘，從電影的起源

transporting us to different worlds since the beginning of cinema.

電影不斷將我們帶至不同的世界

And a lot of these films use their fantasy worlds to comment on the real world that we

而許多電影用自己的科幻世界去評論我們所住的

Avatar can be read as a plea to protect the natural world, while The Hunger Games takes

腳色可以解讀成一種保護自然世界的請求，而飢餓遊戲

reality TV and income inequality to their brutal extremes.

將真人實境秀和收入不平等轉換到一個殘忍的極端值

And in 2006, a movie took on authoritarianism and the violent aftershocks of the Spanish

在 2006 年時，有一部電影採用了威權主義和西班牙內戰的殘忍餘波

Civil War—all through the eyes of an innocent young girl and the fairy tale world she discovers

透過一個無辜的年輕女孩的視角和她在森林裡發現的

Filled with original imagery and drawing on folklore and fantasy traditions, Pan's Labyrinth

羊男的迷宮充滿了原創意象，它借助了民間傳說和科幻傳統

takes us on a journey to a place as violent and cruel as it is beautiful and compassionate.

帶我們去一個充滿暴力和殘酷的地方，但也同時美麗而富有同情心

Acclaimed Mexican writer-director Guillermo

知名的西班牙編劇兼導演吉勒摩．戴托羅

del Toro was already an established filmmaker by the time he released Pan's Labyrinth

當他在 2006 年放映羊男的迷宮時，他早已是位有成的

From the gothic horror of Cronos and The Devil's Backbone, to the sly humor of his comic book

從哥德式恐怖片克洛諾斯和惡魔的脊椎，到黑色幽默的漫畫改編

adaptation Hellboy, del Toro had built a reputation.

地獄怪客，吉勒摩．戴托羅闖出了名聲

He's known for embedding rich, sympathetic characters—especially children and otherworldly

他出了名的懂得使用腳色豐滿且富有同情心的人物 - 特別是兒童和其他世界的生物

而這故事不只是關於他們的生活

With Pan's Labyrinth, he set out to combine both these impulses to create a story that

透過羊男的迷宮，他開始結合這兩種點子來創造

was half fantasy adventure, half historical political drama.

一個半幻想冒險，半歷史政治戲劇的故事

Set in 1944 just after the Spanish Civil War, the film follows Ofelia, played with wonder

故事設定於 1944 年，西班牙內戰結束後不久，電影的主角是奧菲莉由令人驚嘆

She's a young girl traveling with her pregnant mother to join her stepfather in the Spanish

她是一個年輕女孩，她和她懷孕的母親旅行到西班牙的鄉下去與繼父

The forces of fascist dictator Francisco Franco have an outpost there, from which they hope

法西斯獨裁者弗朗西斯科．佛朗哥在那裡有一個前哨，他們希望從那裡

to exterminate the rest of the anti-fascist rebels hiding in the hills.

殲滅躲藏在山上剩餘的反法西斯叛亂分子

And Ofelia's stepfather, Captain Vidal, is the commander of this outpost.

而 奧菲莉的繼父，少校維多是這個前哨戰的指揮官

Grimly portrayed by Sergi López, Vidal demands absolute loyalty and sees mercy as a sign

由沙吉．羅培茲飾演冷酷嚴格的維多，維多要求絕對的忠誠，並將憐憫

He won't hesitate to torture or kill anyone who even might be a threat to the new Spanish

他會毫不猶豫地折磨或殺害任何可能對新西班牙政權構成威脅

Now, the film opens with an unnamed narrator telling the story of Princess Moanna, the

現在，這部電影以一位不知名的旁白開場，講述了莫阿娜公主的故事

long lost daughter of the King of Underworld.

一個地底世界之王失蹤已久的女兒

And Ofelia is a voracious reader, especially of fairy tales.

奧菲莉亞喜好讀書，尤其是童話故事

So whether that story is coming from her imagination or her books, or is the actual

所以，無論這個故事是來自她的想像還是她的書，還是電影的真相

truth of the film is hard to pin down at first.

But the movie does suggest there's more to Ofelia's story than meets the eye.

但是，這部電影暗示了奧菲莉亞的故事不只侷限於我們看到的

She escapes Vidal's outpost and discovers a fantasy world in an ancient stone labyrinth

她逃出了維多的前哨站，並發現了隱藏在森林裡的一個古老的石頭迷宮中的

There she meets a faun, as menacing as he is magical, who tells Ofelia that she may

在那裡，她遇見了牧神，祂看起來就如祂奇幻的出身般充滿威脅性，祂告訴奧菲莉亞

她可能是失蹤已久的莫阿娜公主

And she has to complete three tasks to claim her birthright.

而她必須完成三件任務去贏回自己的權利

The action of the film then moves back and forth between these two worlds.

而整部電影便環繞在這兩個世界之間

In one, Ofelia's mother Carmen, played by Ariadna Gil, fights illness as her due

其中一個任務，奧菲莉亞的母親卡門，由艾妮安娜．姬兒飾演，一邊對抗疾病

Meanwhile, Vidal hunts the rebels, and Vidal's housekeeper Mercedes embarks on a dangerous

此時，維多追捕反叛分子，而他的管家瑪莎迪絲冒險幫助這些

And in the fantasy realm, Ofelia gets a key from the belly of a giant toad, reclaims a

而在奇幻世界裡，奧菲莉亞從一個大蟾蜍的肚子裡取得了一把鑰匙

dagger from a child-eating monster called the Pale Man, and finally – after her mother

從叫做瞳魔的一個吃小孩的怪物手中奪回了匕首，最後，在他的母親

dies in childbirth and the rebels storm the outpost – she steals her baby half-brother

死於分娩，而叛亂分子闖入前哨 - 她帶走了了她的同父異母的弟弟

and brings him to the center of the labyrinth.

There, Ofelia is confronted with a final choice, to give the baby to the faun as a sacrifice

在那裡，奧菲莉亞面對最後的選擇，將寶寶作為獻祭交給牧神

In the ultimate selfless act, Ofelia refuses them both, protecting her half-brother's

在最後的無私行為中，奧菲莉亞拒絕這兩個選項，他以自己的生命保護了

Vidal grabs the child and – spoiler alert – shoots Ofelia, leaving her for dead.

維多奪走了寶寶–暴雷警告–射殺並留下了死去的奧菲莉亞

As her blood drips down into the labyrinth, Ofelia is magically transported to a golden

當奧菲莉亞的血流進迷宮裡，他神奇地被傳送到

She finds herself healed, dressed in beautiful clothes, and wearing… not quite Ruby Slippers,

他發現自己穿著漂亮的衣服痊癒了，穿著也…也許不是紅寶石鞋

Her mother and father sit on two impossibly tall thrones, with a third seat for her.

他的母親和父親坐在高的不可思議的寶座上，而第三個座位等著她

And while we see Ofelia die in the real world, the closing narration tells us that she reigned

此時，我們看到奧菲莉亞死於真實的世界裡，結尾的旁白告訴我們

for centuries in the Underworld, that she was beloved by her people, and that traces

他統治了地底世界幾個世紀，深受人民愛戴

of her can still be found if you know where to look.

而如果你知道該看相哪，你仍能找到這些痕跡

The film ends on the image of a flower opening on a branch Ofelia had once touched, suggesting

電影以奧菲莉亞碰過的樹枝開了花為結尾，暗示了

Pan's Labyrinth is a film of strong contradictions, as beautiful as it is bloody.

羊男的迷宮是一部充滿強烈反差的電影，它很美卻也很血腥

It's a fairy tale about a child, but also a violent, R-rated film clearly made for adults.

它是關於孩子的童話，卻也是給大人的暴力限制級電影

Our job as film critics is to reconcile these contradictions as we construct our reading

我們身為影評人的工作就是在解讀這部電影時調解

One way to look at Pan's Labyrinth is to consider it through the lens of folklore.

其中一個解讀羊男的迷宮的方法是透過童話的濾鏡

Scholars have long suggested that fairy tales give children a framework to understanding

學者們長期以來認為，童話故事可以有個框架去讓孩子們了解

the sometimes arbitrary and brutal world of adults.

In this reading, the fantasy world operates as Ofelia's way to interpret the real world.

解讀這電影時，對於奧菲莉亞的奇幻世界就是他所解讀的真實世界

I mean, think about it: here's a young girl, dumped onto the front lines of a violent conflict,

我的意思是說，想想看：有個女孩被丟到這暴力衝突的前線

perpetrated by this scary man she's expected to call “Father.”

一切都由這個他得稱做「父親」的可怕男人所做

And on top of it all, her mother's in real danger.

The only way for Ofelia's mind to cope is to create a fantasy world through which she

而奧菲莉亞的心靈應對的唯一方法是創造一個幻想世界，通過它

can explore and understand what's actually happening to her.

他可以去探索並了解正在發生在他身上的事物

And what's actually happening is downright disgusting.

而正在發生的事情是徹頭徹尾的噁心

del Toro rarely pulls the camera away from violence, forcing us to confront Vidal's

戴托羅鮮少將鏡頭從暴力中轉開，強迫我們面對維多

homicidal wrath as he smashes a man's face with a wine bottle, prepares to torture a

用充滿殺意的憤怒將葡萄酒瓶砸向一個男人的臉，或是準備折磨一個叛亂分子

rebel, or shoots half a dozen people in cold blood.

Ofelia doesn't necessarily witness all of these attacks.

奧菲莉亞並沒有真正地目睹這些攻擊

But Vidal's menace and sadism is so intense that the film suggests that Ofelia lives in

但是維多的威脅和虐待如此密集，以至於電影暗示奧菲莉亞生活

Which is exactly why Ofelia has invented the fairy tale half of the film.

這就是為什麼奧菲莉亞創造了半部電影的童話故事

American scholar and fairy tale expert Jack Zipes writes in the Journal

美國學者和童話故事的專家 Jack Zipes 在美國民俗學雜誌

of American Folklore: “[Ofelia] wills herself into this tale … and creates it

中寫道：奧菲莉亞把自己寫進這個故事裡

so that she can deal with forces (her mother, Vidal, the end of the Civil War) impinging

好讓她處理這些衝擊著他生活的外力

(他的母親、維多和內戰的結束)

What happens in the fairy tale is what provides her with the courage to oppose the real cruelty

而在童話裡發生的事，給了他勇氣去對抗這些

Seen this way, when Ofelia outsmarts the giant toad and extracts the key or uses her ingenuity

以這種方式解讀，當奧菲莉亞智取巨型蟾蜍並取得鑰匙，或使用她的聰明才智

to outwit and outrun the Pale Man, she's actually figuring out how to stand up to the

戰勝且逃離瞳魔，他了解到該如何對抗他生活中

adults in her life who are ill-equipped or not willing to protect her.

del Toro's genius is to go back past the sanitized Disney version of fairy tales to

戴托羅是個天才，他回溯那些漂白的迪士尼童話版本

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潘金蓮的迷宮電影評論速成班#9 (Pan's Labyrinth: Crash Course Film Criticism #9)

ultimate

ancient

represent

reality