[譯] Roger Ebert影評

《我是愛》── 四星


       她可明白嫁入豪門，從此踏入的是一個怎樣的家庭？她只知道她嫁入的是一個在米蘭有著自己的紡織廠的義大利豪族，但她可曾明白，從俄羅斯遠嫁義大利作商人婦，就算享盡榮華富貴與寵愛，但卻永遠無法真正融入這個豪門貴族。
      於是當我們看見螢幕上的Emma（Tilda 史雲頓所飾）在Recchi的豪宅里為長輩準備生日宴時，她看起來更像一個高級管家，或是宴會置辦者，而不像一位雍容的女主人。長長的宴會桌盡頭，是一家之主Edoardo。宴會上當然少不了她的兒子，和丈夫Tancredi (Pippo Ferzetti所飾)。老頭子在宴會上宣佈了一個出人意料的決定：他決定退位讓賢了，把重任交給他的兒子Tancredi--還不止他的兒子，還有他的孫子，Edo，也就是Emma的兒子，也將一起繼承家族大業。
       喜訊傳來，Emma真的開心嗎？──她的丈夫和兒子就將一起繼承家族的大業了，可她看起來卻只有一種淡漠的世故感。Tilda 史雲頓是一個大膽的演員──她的表演方式內斂，從不把角色情感臉譜化於表演中。因此，《我是愛》可以說是為她貼身塑造了這個角色，台詞不多，但她的每每舉手投足都是無聲的傾訴。例如：在電影中我們得知，她有一個自己獨立的小空間；於是當家族餐宴一切準備就緒後，她只是安靜地上樓，隱匿於她的寢室裡。
       Luca Guadagnino電影的開頭短短幾幕，已塑造了一個栩栩如生的豪族形象──Recchi家族，就如《教父》裡的柯里昂家族，又如Visconti的《豹》中的薩里納親王家族。 看《我是愛》，幾乎不可能不提到《豹》：不僅僅是因為兩部電影講述的都是有關義大利貴族的故事，而是因為兩部電影都有家族遺業繼承的情節，以及那使貴族們隱匿的高牆崩塌的愛慾與情慾。而Guadagnino顯然也有意讓兩部電影間的關係更顯而易見：且看Tancredi這個名字──在《豹》中，Alain Delon飾演的薩里納親王的外甥就是這個名字。
      《我是愛》中，Recchi家族的生活方式一直都一成不變。居於豪宅；做著與時尚有關的行業；無挑戰無風險；有涵養；保守傳統之下暗湧著各種慾望；所行之處都顯耀著家族的優渥。Emma能說一口流利的義大利語，而擺脫不去的俄羅斯口音似乎在提醒著她從來就不真正屬於這裡。
       很少有女演員能像史雲頓這樣能把情慾的急促洶湧掌握得恰到好處──她的表演就是這麼的自然真切。當她得知自己的女兒Elisabetta是同性戀的時候，做為母親她表現出理所當然的驚愕，但做為一個女人，她又自然而然地流露出本性裡的驚訝與 好奇。她以前當然聽說過同性戀這回事，她明白一顆心若是作出這樣的選擇自然是有它的緣由。
       電影開頭的生日宴的餐點，是由她的兒子Edo的朋友Antonio負責的。早在她與這位年輕的廚師商討餐點事宜時，一絲特別的情愫已在她心底蕩漾開來了。之後，當她到San Remo看望女兒時碰巧遇上Antonio，她情不自禁地決定偷偷跟著他。這一幕是完全沒有對話的，鏡頭也只是靜靜地尾隨著Emma沿著小巷魚貫而上。追隨得越久，總有一個拐角會遇上的。
       床戲自然也是必不可少的。很多女演員們經常被要求出演床戲，但是史雲頓與每個曾共戲角色的床戲都稍有不同，她明白對於不同的角色，情慾就如語言或味覺一樣特殊、獨一無二。Emma洶湧而來的情慾就如水壩瀉閘一般，迸流而出不止是激情，還有歡愉。但就如所有婚外情一樣，她的外遇也同樣傷害到了她的丈夫、兒子，還有整個家族。不過大多數這樣有聲望的家族總能搞定這種小小的外遇事件。可是在感情里，情感的延續性遠比承諾和交付重要得多。電影正是記述了這段看似莫名的情慾如何出人意料地改變了Emma的人生。
       全片中，導演Guadagnino也給這個豪族裡的其他家庭成員應有的關注。比如Allegra(Marisa Berenson所飾)，Emma的丈夫的看門人；還有老女僕Ida(Maria Paiato所飾)，這個已在Recchi家族服侍多年，比誰都更瞭然發生在這個家族的一切事，也更明白Emma在這個豪族中的微弱訴求；還有Emma的兒子Edo，這個還未經歷商場爾虞我詐的磨練，依然對自己的情緒毫不掩飾的年輕繼承人。最後，是這個讓人感覺有著和教會一樣，要求奉獻多過真實「信仰」的傳統的Recchi家族。
      總而言之，《我是愛》是一部令人驚讚的電影，它是如此深厚，複雜，卻也富有人性。無關富與貧，卻有關舊與新。它只是講述了一個古老的關於保守傳統和真實情感的心靈之戰。為了Emma這個角色，Tilda 史雲頓學會了如何說一口帶著俄羅斯口音的義大利語，而她在此片中的表演只是演藝生涯中微不足道的一小步吧。但她確實煥活了Emma這個這麼多年來一直默默迎閤家族的一切需求，但卻在短短幾天裡勇敢地接受自己心靈的真實訴求的婦人形象。不管最終等來的那個人是Antonio與否，她的心一定等了好久了吧。




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I am Love
BY ROGER EBERT / June 23, 2010
cast & credits
Emma ---- Tilda 史雲頓
Edoardo Jr.---- Flavio Parenti
Antonio ---- Edoardo Gabbriellini
Allegra ----Marisa Berenson
Elisabetta ---- Alba Rohrwacher
Tancredi ---- Pippo Delbono
Ida ---- Maria Paiato

Magnolia Pictures presents a film directed by Luca Guadagnino.
Written by Guadagnino, Barbara Alberti, Ivan Cotroneo and 華特 Fasano.
Based on a story by Guadagnino.
In Italian, Russian and English, with English subtitles.
Running time: 120 minutes.
Rated R (for sexuality and nudity).



Did she understand when she married her husband what sort of family she was joining? She knew they were rich Italian aristocrats, operators of textile mills in Milan. But did she understand that as a wife from Russia, she would serve and provide and even be loved, but would never truly be a member?

When we see Emma (Tilda 史雲頓) she is preparing the Recchi house for the birthday party of the patriarch. She seems to relate more as a caterer than as a hostess. At the head of the table is the grand old Edoardo (Gabriele Ferzetti). Among those gathered are his son and her husband, Tancredi (Pippo Delbono). The old man makes an unexpected announcement: He is retiring, and putting Tancredi in charge. But not Tancredi alone. His grandson, their son, Edo (Flavio Parenti) also will share the responsibility.

Is Emma filled with joy? Her husband and son will inherit the dynasty? She is so calm and expert, it's hard to say. Tilda 史雲頓 is a daring actress who doesn't project emotions so much as embody them. 「I Am Love」 provides an ideal role for her, in that her actions speak instead of words. We learn she has her own private space, that after launching a family event, she likes to leave it running smoothly and retire to her room upstairs.

The opening act of Luca Guadagnino's film establishes the stature of the Recchi family as surely as the Corleones are established in 「The Godfather,」 or the Salinas in Visconti's 「The Leopard.」 It may be impossible to write about this film without evoking 「The Leopard,」 not simply because they both involve Italian aristocrats, but because they involve matters of succession, and the way that love and lust can breach the walls aristocrats live behind. Guadagnino makes the connection inescapable by the use of the name Tancredi; in 「The Leopard,」 Alain Delon pays the Salina nephew of that name.

The Recchi family has been living in a particular way for a long time. Cushioned by great wealth, working in an industry associated with style, never challenged, well-educated, its hungers cloaked in tradition, it occupies its place of privilege effortlessly. Emma speaks Italian fluently, but with a Russian accent, a reminder that she is not quite one of them.

Few actresses can embody urgent sexual desire so well as 史雲頓. She is realistic about such feelings. When she learns her daughter Elisabetta (Alba Rohrwacher) is a lesbian, she reacts not as a mother, possibly with shock, but as a woman, in surprise and curiosity. She has heard of such things. The heart has its reasons.

The feast opening the film is prepared by Antonio (Edoardo Gabbriellini), a friend of her son Edo's. She consults with this young chef, and a feeling passes into her. Later, on a visit to her daughter in San Remo, she happens to see Antonio, and with decision follows him through the streets. This is all done without dialogue. The camera is pursuer and pursued. The longer she follows him, the more certain they must meet.

Of course they make love. Actresses are often called upon to enact sex in the movies. 史雲頓 does it differently with each character, understanding that sexuality is as distinctive as speech or taste. Emma is urgent as if a dam has burst, releasing not passion but happiness. Of course this affair threatens her relationship with her husband, her son and her family. But most long-established families have overcome the inconveniences of adultery. Continuity is more important than commitment. The film now observes the ways, not predictable, in which this new sexual act affects Emma's role.

All this time, Guadagnino has been paying due attention to other important members of the family. There is Allegra (Marisa Berenson), gatekeeper of her husband. There is the long-serving housekeeper Ida (Maria Paiato), who sees and understands everything and in many ways is Emma's refuge in the household. There is the personality of Emma's son, Edo, as yet untouched by the ordeals of business life, more open in his personal feelings. And there is the overarching sense in which the Recchi family embodies a tradition which, like a church, requires devotion if not belief.

「I Am Love」 is an amazing film. It is deep, rich, human. It is not about rich and poor, but about old and new. It is about the ancient war between tradition and feeling. For this role, Tilda 史雲頓 learned to speak Italian with a Russian accent, as Tilda 史雲頓 would, but her performance is nothing as trivial as a feat of learning. She evokes Emma as a woman who for years has accepted the needs of the Recchis and discovers in a few days to accept her own needs. She must have been waiting a long time for Antonio, whoever he would be.


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由於很喜歡I am Love這部電影，而最近又正好有空，於是就拿Roger Ebert的影評練練手，拙譯了一番，歡迎指正：）
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