韦斯·安德森与《布达佩斯大饭店》

∷宋云峰

1. 电影奇才安德森

韦斯·安德森，美国电影导演兼编剧，1969年出生于得克萨斯州的休斯敦市，被称为“作者导演”。他全面介入了自己电影制作的各个层面，包括编剧、摄影、美术设计、配乐选曲等。毕业于哲学专业的安德森，1994年与好友欧文·威尔逊拍摄了13分钟黑白短片《瓶装火箭》（Bottle Rocket），这部作品得到了著名导演、制片人詹姆斯·L. 布鲁克斯（James Brooks）的赞赏，在他的支持下，安德森于1996年将其拍成了长片。1998年推出的反映成长烦恼的《青春年少》（Rushmore）获得广泛好评，频获各种电影奖项（包括洛杉矶影评人协会大奖）。后来的《穿越大吉岭》（The Darjeeling Limited）入围威尼斯国际电影节竞赛单元。这部表现小人物苦乐参半生活的影片充分显示了安德森古怪的冷幽默和颇具个性的视觉风格，他始终保持着自己鲜明的个性和独立的精神，这些特点使他被称为新一代的比利·怀尔德（Billy Wilder）。为安德森获得声誉的影片有《天才一族》（2001）、《月升王国》（2012）、《了不起的狐狸爸爸》（定格动画片，2009）以及近作《布达佩斯大饭店》。2014年12月16日，安德森获得美国评论家选择奖最佳导演奖提名。

安德森电影苦乐参半的悲喜剧形式，非传统的场面调度及明显的风格化倾向都受到了法国导演弗朗索瓦·特吕弗（Francois Truffaut）和路易·马勒（Louis Malle）的影响。安德森也曾多次声称迈克·尼科尔斯（Mike Nichols）的电影《毕业生》（The Graduate）是他长久以来的灵感源泉。同时他也深受美国经典文学的影响，尤其是菲茨杰拉德（F. Scott Fitzgerald）和塞林格（J. D. Salinger）的作品。菲茨杰拉德的那句名言“美国人的生命中没有第二幕”（There are no second acts in American lives）和安德森电影的很多主人公都对得上号，他们往往会从成功事业和卓越声望中迅速跌落（虽然后来有些人也能在一定程度上卷土重来）。作品经常以一个破碎或异常的家庭圈子为焦点，其中至少会有一个人物已长大成人，却仍在期望得到父母或父辈的认可。许多影评人注意到安德森电影里强烈的同情心和人文关怀，并因此将安德森的作品与法国导演让·雷诺阿（Jean Renoir）、弗朗索瓦·特吕弗（Francois Truffaut）的作品相提并论。

Anderson has chosen to direct mostly fast-paced comedies marked by more serious or melancholic (忧郁的) elements, with themes often centered on grief, loss of innocence, parental abandonment, adultery (通奸), sibling rivalry and unlikely friendships. His movies have been noted for being unusually character-driven, and by turns both derided (嘲笑) and praised with terms like “literary geek chic (文学极客的时髦) ”. The plots of his movies often feature thefts and unexpected disappearances, with a tendency to borrow liberally from the caper genre（轻松夸张的涉及抢劫或盗窃的犯罪影片）.

《布达佩斯大饭店》电影海报

奥地利作家斯蒂芬·茨威格

导演韦斯·安德森

安德森喜欢使用俯视视角来呈现桌面上的物体，例如书本或文档。这种手法有效地提供或增加了喜感。其所有作品都以一个慢镜头收尾。安德森还不吝利用自己的美术天才为影片增色，例如使用有限的几种主色调、手绘布景以及手工模型等。影片中所使用的歌曲大多来自于上世纪六七十年代的英国乐队，例如滚石（Rolling Stones)、披头士（The Beatles）等。

Anderson has been noted for his extensive use of flat space camera moves, obsessively symmetrical (对称的)compositions, snap-zooms (快速变焦), slow-motion walking shots, a deliberately limited color palette (调色板), and hand-made art direction often utilizing miniatures (微缩模型). These stylistic choices give his movies a highly distinctive quality that has provoked much discussion,critical study, supercuts (超级剪辑) and mash-ups (混搭), and even parody (戏仿). Many writers, critics and even Anderson himself have commented that this gives his movies the feel of being “self-contained worlds”(自我想象的世界), or a “scale model household” (使用按比例缩小的模型拍摄的场景). Anderson frequently uses pop music from the 1960s and 70s on the soundtracks (电影原声) of his films, and one band or musician tends to dominate each soundtrack.

在回应有人批评他的电影是“形式大于内容”时，安德森说，“我一直在努力避免重复自己，但我的电影看起来却像是在不断重复。这并非是我刻意所为，我所做的只是想让电影保持个人特色，而非仅仅让观众感觉有趣。我知道有批评说我的电影是形式大于实质，而且为追求形式而妨碍了人物的塑造。但我所做的每一个决定都只是为了带动人物的发展。”

“I want to try not to repeat myself. But then I seem to do it continuously in my films. It’s not something I make any effort to do. I just want to make films that are personal,but interesting to an audience. I feel I get criticized for style over substance, and for details that get in the way of the characters. But every decision I make is how to bring those characters forward.”

2. 《布达佩斯大饭店》——安德森风格的集大成者

由韦斯·安德森编剧并导演的喜剧电影《布达佩斯大饭店》于2014年上映后在全球范围内受到好评，获得英国电影学院（BAFTA）奖11项提名（获得最佳影片、最佳导演和最佳男演员奖），金球奖最佳影片奖（音乐喜剧类）以及奥斯卡奖9项提名（包括最佳影片和最佳导演奖提名）。安德森在其所有作品中都彰显着浓烈的“作者电影”特征，从主题内容到艺术风格都形成了自己鲜明的特点。《布达佩斯大饭店》更是将复古式美学风格与怀旧主题天衣无缝地结合在一起，创造出一个浑然天成的昨日世界。故事的灵感来自奥地利作家斯蒂芬·茨威格，自有一种戏仿经典文学叙事的表达方式，以年轻的女读者开始，进入到小说作者的叙述，进而步入故事主人公古斯塔夫的世界。在影像上则以上世纪80年代的1.85:1画幅、60年代的16:9画幅以及30年代的4:3画幅加以区隔。套层式的叙事吸引读者步步深入，最终坠入安德森创造出的那个如梦如幻的异想世界。

3.《布达佩斯大饭店》的故事情节

影片是一个四层结构的套层故事，但设置并不复杂，主要故事发生在第四层，偶尔切回第三层，并且其他层的故事不推进也不发展，只是作为讲故事的视角切入。故事发生在20世纪30年代的欧洲，一位传奇的大饭店大堂经理与他年轻的门童意外卷入一个大家族的遗产之争，随着一幅名画的藏与追，经历了爱情、凶杀、越狱以及战争的考验，最终将这些经历和财富留给了一位作家。而本片正是导演向奥地利作家茨威格致敬的作品。导演表示尽管故事跟茨威格的书作没有必然联系，可影片追寻的，正是茨威格小说《昨日的世界》（Die Welt von Gestern）里那种独特的东欧氛围和旧欧洲的情怀。

Prologue （序幕）

In the present, a teenage girl approaches a monument to a writer in a cemetery. In her arms is a memoir penned by a character known only as “The Author” (Tom Wilkinson). She starts reading a chapter from the book.The Author begins narrating the tale from his desk in 1985 about a trip he made to the Grand Budapest Hotel in 1968.

Located in the fictional Republic of Zubrowka, a European alpine (阿尔卑斯山的) state ravaged (破坏) by war and poverty, the Young Author (Jude Law) discovers that the remote mountainside hotel has fallen on hard times.Many of its lustrous (有光泽的) facilities are now in a poor state of repair, and its guests are few. The Author encounters the hotel’s elderly owner, Zero Moustafa (F. Murray Abraham), one afternoon, and they agree to meet later that evening. Over dinner in the hotel’s enormous dining room,Mr. Moustafa tells him the tale of how he took ownership of the hotel and why he is unwilling to close it down.

Part 1—M. Gustave

The story begins in 1932 during the hotel’s glory days when the young Zero (Tony Revolori) was a lobby boy, freshly arrived in Zubrowka after his hometown was razed (毁掉) and his entire family executed. Zubrowka is on the verge of war, but this is of little concern to Monsieur Gustave H. (Ralph Fiennes), the Grand Budapest’s devoted concierge (看门人). The owner of the hotel is unknown and only relays important messages through the lawyer Deputy Kovacs (Jeff Goldblum). When he is not attending to the needs of the hotel’s wealthy clientele (客户) or managing its staff, Gustave courts (取悦，讨好) a series of aging women who flock to the hotel to enjoy his “exceptional service”. One of the ladies is Madame Céline Villeneuve “Madame D” Desgoffe und Taxis (Tilda Swinton), with whom Gustave spends the night prior to her departure.

大堂经理古斯塔夫（拉尔夫·费因斯饰）

Part 2—Madame C.V.D.u.T.

One month later, Gustave is informed that Madame D has died under mysterious circumstances. Taking Zero along, he races to her wake and the reading of the will, where Kovacs, coincidentally the executor of the will, reveals that in her will she has bequeathed (遗赠给) to Gustave a very valuable painting, Boy with Apple. This enrages (激怒)her family, all of whom hoped to inherit it. Her son, Dmitri Desgoffe und Taxis (Adrien Brody) lashes out (猛烈抨击) at Gustave. With the help of Zero, Gustave steals the painting and returns to the Grand Budapest, securing the painting in the hotel’s safe (保险柜). During the journey, Gustave makes a pact (协议) with Zero: in return for the latter’s help,he makes Zero his heir. Shortly thereafter, Gustave is arrested and imprisoned for the murder of Madame D after forced testimony (证词) by Serge X (Mathieu Amalric), Madame D’s butler (男管家). Upon arriving in prison, Gustave finds himself stuck in a cell with hardened criminals, but earns their respect after he “beat the shit”out of (狠狠地揍) one of them for “challenging [his] virility (男子气概)”.

Part 3—Check-point 19 Criminal Internment Camp （19号监狱）

Zero aids Gustave in escaping from Zubrowka’s prison by sending a series of stoneworking tools concealed inside cakes made by Zero’s fiancée Agatha(Saoirse Ronan). Along with a group of convicts (囚犯）including Ludwig (Harvey Keitel), Gustave digs his way out of his cell. The group narrowly escape capture after one of them sacrifices himself to kill a large posse of (一大群) guards with his “throat-slitter”and Ludwig and his crew escape by car after wishing Gustave and Zero well.Gustave then teams up with Zero to prove his innocence.

Part 4—The Society of the Crossed Keys （十字钥匙协会）

Gustave and Zero are pursued by J. G. Jopling(Willem Dafoe), a cold-blooded assassin (暗杀者)working for Dmitri, who kills Kovacs when he refuses to work with Dmitri. Gustave calls upon Monsieur Ivan(Bill Murray), a concierge and fellow member of the Society of the Crossed Keys, a fraternal order (共济会) of concierges who attempt to assist other members.Through the help of Ivan, Gustave and Zero travel to a mountaintop monastery (修道院) where they meet with Serge, the only person who can clear Gustave of the murder accusations, but Serge is strangled (被勒死) by a pursuing Jopling before he can reveal a piece of important information regarding a second will from Madame D. Zero and Gustave steal a sled and chase Jopling as he flees the monastery on skis. During a faceoff at the edge of a cliff, Zero pushes the assassin to his death and rescues Gustave.

Part 5—The Second Copy of the Second Will

Back at the Grand Budapest, the outbreak of war is imminent (迫近的), and the military have commandeered (征用，霸占) the hotel and are in the process of converting it into a barracks (兵营). A heartbroken Gustave vows to never again pass the threshold (门槛). Agatha joins the two and agrees to go inside and retrieve the painting, but Dmitri discovers her. A chase and a chaotic gunfight ensue before Gustave’s innocence is finally proven by the discovery of the copy of Madame D’s second will, which was duplicated by Serge before it was destroyed, and which he subsequently hid in the back of the painting. This will was to take effect only if she was murdered. The identity of Madame D’s murderer and how Gustave is proved innocent are left ambiguous (模糊不清的)［though earlier in the film a suspicious bottle labeled“strychnine” (士的宁，一种有剧毒的化学物质) can be seen on Jopling’s desk］. The will also reveals that she was the owner of the Grand Budapest. She leaves much of her fortune, the hotel, and the painting to Gustave,making him wealthy in the process, and he becomes one of the hotel’s regular guests while appointing Zero as the new concierge.

《布达佩斯大饭店》剧照

Epilogue (尾声)

After the war, which it is implied Zubrowka lost,the country is annexed (合并). During a train journey across the border, soldiers inspect Gustave’s and Zero’s papers. Zero describes Gustave being taken out and shot after defending Zero (whom the soldiers had attempted to arrest for his immigrant status), as he did on the initial train ride in the beginning of the movie. Agatha succumbs to（患，染上）“the Prussian Grippe” (普鲁士流行性感冒) and dies two years later, as does her infant son. Zero inherits the fortune Gustave leaves behind and vows to continue his legacy at the Grand Budapest, but a Communist takeover of Zubrowka and the ravages (毁坏后的残迹) of time slowly begin to take their toll on both the building and its owner as Zero is forced to “contribute”his entire inheritance to the government to keep the dying hotel in business. In a touch of irony, the painting Zero and Gustave fought so desperately to take now sits on a wall,forgotten and crooked (歪的).

Back in 1968, Mr. Moustafa confesses (坦白) to the Author that the real reason that he cannot bring himself to close the hotel has nothing to do with his loyalty to Gustave,but because it is his last remaining link to his beloved Agatha and the best years of his life. The Young Author later departs for South America and never returns to the hotel.Zero dies soon after.

In 1985, the Author completes his memoirs (回忆录)beside his grandson.

Back in the present, the girl continues reading in front of the statue of the Author, a sign that Zero and Gustave’s story and that of the hotel will live on.