The Invisible 隐形人
小阿姨David S. Goyer has really become known as the go-to guy as a writer for comic book films. He found great success launching Blade into a franchi and earned a lot of credibility after Batman Begins. Unfortunately, his move from writing to directing with 2004’s Blade: Trinity was met with less than enthusiastic results, with many theorizing that Goyer should stick to writing. The Invisible, directed but not written by Goyer, puts a finishing move on that thought and adds another one: not o nly should Goyer not direct, but if he does venture behind the camera again, he should not be picking any scripts he didn’t write himlf.
羊泉大卫·S·高耶作为连环漫画电影编剧的关键人物越来越为人熟知。继“蝙蝠侠前传”以后，他又因成功被授权发行了“刀锋战士”而名声倍增。不幸的是，他在2004年的电影“刀锋战士：三位一体”中从编剧摇身变为导演，结果收获平平，看来他还是应该继续做编剧。电影“隐形人”，高耶是导演，而非编剧，于是除了结束做导演的想法外，又增加一条新的推论：别说高耶不能做导演，即使他愿意在摄像机后冒险，他也不应该采用不是他编写的剧本。
The Invisible is a thinly veiled metaphor for the unen lives that teenagers live. The teenagers in particular are Nick Powell (Justin Chatwin) and Annie Newton (Margarita Levieva) –two kids who, by fir
st appearances, couldn’t be more different. Nick is a stellar student who has a promising future ahead of him. His school and mother take great pride in Nick’s skills, even though nobody –not even his own mother –really knows him. Annie, on the other hand, is quite the little thug. She lends out money, steals cars, and has a bunch of other thugs working for her to do her dirty work. The two cross paths when Annie is given the mistaken idea that Nick turned her in to the cops and accidentally kills him trying to exact vengeance for crossing her.“隐形人”是对青少年不被了解的生活的一种隐喻。青少年具体是指尼克·鲍威尔（贾斯汀·查特温）和安妮·纽顿（玛格丽塔·利维埃娃）-- 猛一看，两个孩子完全不同。尼克是个前途无量的好孩子，他的学校和母亲皆以他的能力自豪。即使如此，没有人–即使是他的母亲–真正地了解他。安妮则完全相反，是个小太妹。她放贷、偷车，并指挥一群小太保帮她干那些肮脏的勾当。他们两个人的交集是因为安妮错以为尼克把她供给了警察，出于报复她把尼克给杀了。
Of cour, actually killing Nick would be a bit of a downer, so instead the film makes Nick “mostly dead,”allowing him to walk the Earth, although he’s not exactly a ghost. Instead Nick parades around, lamenting his lost life, spelling out to the audience his realization that he’s dead, followed by his realization that he’s alive, followed by that inevitable connection formed once he realizes the girl who killed him can actually still kind of hear him… when it’s convenient for the plot, that is. The vocali
zed realizations are spoiled by the story, which doesn’t leave any sort of mystery in Nick’s assault or st atus as a living/dyingperson. Instead the picture lays out all the
pieces and then lets Nick reinforce them with his words. After a while, you begin to feel envy for the characters who can’t hear Nick.
宝宝不爱喝水当然，尼克被杀死有点让人沮丧，所以电影安排尼克“几乎死了”，允许他在地上走动，尽管他不是鬼魂。于是尼克四处游荡，哀悼他失去的生命，向他的听众解释他已经死了，跟随着“他还活着”的意识，跟随着那条不可避免的纽带-- 他发现杀死他的女孩能听到他说话……每当剧情需要的时候。这种有声的自我认知被故事滥用，不管尼克活着还是死了，他的内心冲突和心理状态没给观众留下任何悬念。画面描述出了一切细节，再加上尼克的喋喋不休，没过多久，你便开始妒嫉那些听不到尼克说话的角色了。
You’d think a movie from someone who has spent so much time developing comic books into movies would do a better job establishing the rules for his picture. Then again, Goyer didn’t write the movie so he can’t completely be blamed. There ems to be a fair amount of inconsistency as to Nick’s apparitional capabilities.
关于日的诗句你可以想一下，一位花了大量时间把漫画发展成电影的人，应该可以建立一些规则，把他的电影做得
更好。再一次声明，这部电影不是高耶写的，所以不能完全责怪他，尼克幽灵般的能力显然有不少矛盾的地方。
Conveniently, Nick is always nearby when the latest big development for his ca is taking place, like some sort of odd “plot advancement n” –very little that affects the overall story of the film happens without him haunting nearby. Annie can hear him one moment but then not the next. Then there’s the really odd one: Nick can interact with normal objects, but the interactions only happen in Nick’s perceptions. Any changes he makes disappear as soon as the camera pans away. It would be an interesting concept if it had any u in the film. Instead it just ems like a way to let Nick vent his anger and frustration without actually accomplishing anything in a far too obvious attempt at extending the metaphor of teenage life being invisible.
好在每当主线情节发展的时候，尼克总是在附近，就象某些诡异的“情节推动意识”–很小，但能影响整个电影故事，每当他不在附近出没的时候。安妮上一刻还能听见他说话，下一刻就听不见了。而真正奇怪的是这个：尼克可以和普通物体互动，但这种互动只存在于他的认知，摄像机一旦移开，他做过的任何改变立刻消失。这是个有趣的理念，如果它真的对电影有帮助，但看上去电影中这只不过是让尼克发泄怒气和沮丧的方式，并没有作出任何明显的尝试，来延伸出对青少年隐形生活的比喻。
o型血的人寿命长吗
罗马帝国时间Instead of being a haunting tale of mystery, The Invisible focus on trying to be a simple dramatic (and at times near-romance) story between two teens who find they share a deep connection despite their differences. Sadly, this means more teen angst than all the John Hughes movies combined with half of “Buffy the Vampire Slayer.” Nick and Annie are constantly brooding over how unfair life is and their respective lost parents –becau the idea that they share a connection becau Annie nearly
killed Nick isn’t enough for an audience to grasp.米苔目
比之一个让人难以忘怀的神秘故事，“隐形人”更注重于打造一个简单的剧情（有时近乎言情）片：两个少年男女发现不管性格如何迥异，他们之间存在着深深的联系。悲哀的是，它包含的青少年的焦虑，多于约翰·休斯所有的电影再加上一半“吸血鬼猎人巴菲”。尼克和安妮总是闷闷不乐于生活的不公平和他们受人尊敬的失去的父母–这使他们之间产生了纽带，似乎安妮差点杀死尼克并不足以抓住观众。
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