在蒂姆?伯顿(Tim Burton)导演的3D电影《爱丽丝漫游仙境》(Alice in Wonderland)中，柴郡猫(Cheshire Cat)总是炫耀自己的隐身秘技；而这部影片也能让你在戴上3D偏光眼镜后有一种时空瞬移的独特观感。每一幕场景都给观众带来一些新鲜奇特的东西──如果还不能称之为“仙境”的话──但每个新场景的出现又会让观众忘记上一幕给人留下的印象。从一方面来看，这是由于奇幻影像的纷至沓来以及真人和电脑合成动作的完美结合，让人目不暇接；但从另一方面来看，这也表明伯顿及其创作团队和以往许多电影工作者一样，被小说原作者刘易斯.卡罗尔(Lewis Carroll)出的难题搞得无所适从。这个难题并非爱丽丝在结尾突如其来的一句乌鸦与书桌的谜语(Why is a raven like a writing-desk?)，而是把这部天马行空、美妙绝伦的小说改编成影视作品怎么就这么艰难。
少儿爵士舞视频 The Cheshire Cat boasts of his evaporating skills in Tim Burton's 3-D 'Alice in Wonderland,' which has its own way of evaporating before your polarized eyes. Every scene brings something new and remarkable -- if not quite wonderful -- to look at, yet every scene sweeps away specific recollections of the previous one. Looked at through one lens, that's a tribute to the immediacy of the images, as well as the wizardly integration of live and computer-generated action. Looked at through another, though, it's a signal that Mr. Burton and his colleagues, like so many filmmakers before them, were flummoxed by the Lewis Carroll conundrum -- not the one about why a raven is like a writing desk, but why that peerless author's enchanting pro should be so resistant to dramatization.
迪斯尼公司(Disney)1951年出品的同名动画片至今仍拥有忠实的影迷和坚定的恶评者，而这部影片试图再次展现爱丽丝掉进兔子洞和在镜子里的奇遇之旅。观众并不是冲着尽人皆知的情节来电影院的，伯顿执导以及迪斯尼出品是两块享誉全球的金字招牌──这年头可比刘易斯?卡罗尔的名字响亮多了，其合力打造出的电影作品让人期待艺术价值和票房收入的双丰收。相比原着中维多利亚时代的背景，影片设定更具中世纪色彩，略带一丝危险的气息，同时充满丰富多彩的场景和动作，不仅让观众在影院中为之赞叹，而且日后在迪斯尼主题公园中更将成为引人入胜的娱乐体验。等角定理
争做新时代好队员
To be fair about Disney's latest attempt to chronicle Alice's trips down the rabbit hole and through the looking glass -- the studio's 1951 animated version still has its passionate partisans and detractors -- drama isn't what the target audience will be coming for. Both Mr. Burton and Disney are global brands -- better-known brands than Lewis Carroll the days -- and the merchandi they've manufactured fulfills two ts of expectations. It
's more gothic than Victorian and slightly tinctured with danger, but fully equipped with the sort of exuberant action that sits well in movie theaters and better still in the great theme-park hereafter.
澳大利亚演员米雅?瓦斯科斯卡(Mia Wasikowska)饰演女主角爱丽丝，尽显其甜美神韵。在影片中，爱丽丝已经芳龄19，重新回到童年“兔子洞”里的魔幻世界，因此知道这一切只不过是南柯一梦。不过，
在编剧琳达?伍尔沃顿(Linda Woolverton)的剧本设定中，爱丽丝要比实际年龄天真得多。不管是不是在做梦，爱丽丝还是被扯进红桃王后（Red Queen，海伦娜?邦汉?卡特(Helena Bonham Carter)饰演）和白王后（White Queen，安妮?海瑟薇(Anne Hathaway)饰演）之间的权利斗争当中，而可怜的爱丽丝在幻境中最能依靠的向导是由约翰尼?德普(Johnny Depp)饰演的“疯帽匠”(Mad Hatter)。
The heroine is played with sweet verve by the Australian actress Mia Wasikowska. This Alice, at the ripe young age of 19, is returning to the magical world of her childhood, so she knows it's all a dream. Still, Linda Woolverton's screenplay makes it clear that she's much less sophisticated than she thinks. Dream or not, Alice is caught up in a power struggle that's raging between the forces of the Red Queen (Helena Bonham Carter) and the White Queen (Anne Hathaway), and the poor girl's most reliable guide is the Mad Hatter, who is played by Johnny Depp.
你可以想象得到──也正如德普的影迷所期望的那样──“疯帽匠”絮絮叨叨，骂骂咧咧，这一点虽然和电影《加勒比海盗》中杰克船长(Jack Sparrow)一角有类似之处，但“疯帽匠”说话口齿不清，笑的时候露出大豁牙，让人不由地想起劳伦斯?奥利弗(Laurence Olivier)在影片《艺人》中扮演的日薄西山的歌舞艺人阿尔奇?赖斯(Archie Rice)，或是扮演《科学怪人》的青年鲍里斯?卡洛夫(Boris Karloff)在演绎《卡萨布兰卡》中男主角亨弗莱?鲍嘉(Humphrey Bogart)的那种风格。在影片里，介乎于人和生物之间的角色比比皆是，比如脖子粗粗、眉毛浓浓、头顶秃秃的叮当兄和叮当弟(Tweedledum and Tweedl24孝图
咸鱼烧茄子edee)等；而在轻喜剧氛围中，“疯帽匠”的有趣显得尤为突出。（我也很喜欢“蓝色毛毛虫”(Blue Caterpillar)，艾伦?里克曼(Alan Rickman)的配音可谓惟妙惟肖。）不过，海伦娜?邦汉?卡特饰演的红桃王后可一点也不有趣，她雷厉风行，嘴唇弯得像丘比特的弓，有演员贝蒂?戴维斯(Bette Davis)那样高高的额头，小身子上长了一个硕大的脑袋。每次她大喊“砍掉她的脑袋！”的时候，影院里就会响起一阵哄堂大笑；每当她进入画面，观众的注意力就会集中到她的身上。
As you might expect -- as his fans surely expect -- Mr. Depp's mincing, flouncing Mad Hatter bears more t
han a passing remblance to Jack Sparrow, though Hatter's faint lisp and gap-toothed grin also suggest Laurence Olivier's Archie Rice in 'The Entertainer,' or a young Boris Karloff doing Humphrey Bogart. He's very funny in mildly funny surroundings that are peopled -- creatured -- by such bizarre creations as the doughnut-necked, beetle-browed and shaved-headed Tweedledum and Tweedledee. (I did like the Blue Caterpillar, intimately voiced by Alan Rickman.) But there's nothing mild about Ms. Bonham Carter's Red Queen. She's quick and fierce, with Cupid's-bow lips, a Bette Davis forehead and a huge cranium atop a tiny body. She gets a big laugh every time she howls 'Off with her head!' and she stops the show every time she's on screen.
鬼泣武器
红桃王后的引人注目在很大程度上归功于演员的精彩演技，这也折射出影片整体所缺乏的一种素质。海伦娜?邦汉?卡特把一个非主角演绎得熠熠生辉，显示出她寥寥几笔就能刻画出角色内涵的深厚功力。在伯顿导演的《理发师陶德》(Sweeney Todd)一片中，她扮演开肉派店的洛薇特夫人(Mrs. Lovett)。在评论其演技的文章中，我赞美她恰如其分的表演天赋，彷佛一位能歌善舞的女人，一颦一步都恰到好处；而她的这种特质在这部影片中再次得以展现。比如，当红桃王后说，“我这里需要一头猪”，意思就是吩咐下人给她上脚凳，而她显然习惯于把脚搁在猪温暖的肚子上。海伦娜?邦汉?卡特把皇家颐指气使但又故作轻描淡写的语气和神态刻画得入木三分。德普本来也应该大放异彩才对，这次却平淡无奇。和整部片子的感觉一样，他饰演的“疯帽匠”虽然古怪搞笑，但无法给人一种新鲜感，让海伦娜?邦汉?卡特鹤立鸡群的表现显得有些突兀和不自然。
How she does it says a lot about the actor's craft, and helps to clarify what the movie is missing. Ms. Bonham Carter's star turn in a condary role is exquisite for its precision and economy. In writing about her performance as the pie maker Mrs. Lovett in Mr. Burton's 'Sweeney Todd,' I admired her song-and-dance-woman's n of timing, and that's vividly in evidence once again. When the Red Queen says 'I need a pig here,' it's a regal request for a footrest issued casually; she's clearly accustomed to comforting her feet with warm pork bellies. Mr. Depp can be a phenomenal performer too, but not this time. Like the production as a whole, his Mad Hatter is an ag
reeably whimsical yet unsurprising asmblage, while Ms. Bonham Carter's absolute monarch is a force of unnature and a triumphant illogician.
《爱丽丝漫游仙境》这部影片最让人感到意外的是其情节的毫无意外。难道伯顿把精力都放在电影特效上，甘于让情节流于平庸？这个假设不无道理，这是重视电脑特效的影片的通病，彷佛需要一位陆军元帅而不是一个导王宠惠
演来统领整个拍摄过程。
The most surprising thing about 'Alice in Wonderland' is its general lack of surpri. Was Mr. Burton so distracted by the demands of the complex effects that he had to ttle for conventionality? It's not an unreasonable assumption; distraction has become endemic to such productions, which need the rvices of a field marshal rather than a director.
无论出于什么原因，这部影片给人的感觉是华丽但又支离破碎，一开始还有些拖沓。电影缓缓展开的序幕告诉大家，爱丽丝不但是个做着漫游仙境之梦的小姑娘，而且还是个即将被推进可怕婚姻牢笼中的准新娘。（如果说片头的那段颜色苍白的场景象征着家庭对她的冷酷和无情，这堪称既不赏心悦目，也不吸引观众的败笔。）饰演白王后的安妮?海瑟薇在剧中的作用不大，只是个好看的花瓶而已；她有点心不在焉，彷佛一个在华丽客厅中无所事事的贵妇，等待指甲上染好的颜色慢慢变干。一
连串追逐和别出心裁的打斗场面把影片推向一个似乎有意缩短的高潮部分，更像《龙与地下城》(Dungeons & Dragons)里的场景，而不是卡罗尔小说中的世界。影片的3D效果很好看，但并不能弥补其主题和情节的苍白。
Whatever the cau or caus, the results are showy but patchy, and initially pokey. A leisurely preface shows Alice not only as a child, dreaming her Wonderland dreams, but as a bride-to-be faced with the prospect of imprisonment in a ghastly marriage. (If that ction's bleached, almost colorless look was meant to be a comment on the bloodless society of Alice's upbringing, it was an unattractive and uninviting idea.) As the White Queen, Ms. Hathaway has little to do but look pretty, which she does, and vaguely abstracted, like a woman wandering around a beauty parlor while she waits for her nails to dry. A succession of chas and fanciful combats, more akin to Dungeons & Dragons than to Carroll, leads to a peculiarly truncated climax. The 3-D effects are enjoyable, but the added depth can't make up for deficits in the concept or the plot.
从骨子里看，这部电影的主题可谓老生常谈，无非是一个青春期成长的故事。爱丽丝从自己的幻想中获得安宁，变得更加坚强。在情节方面，虽然显得毫无情节可言，但也不能全怪电影制片者，因为他们没有解开刘易斯?卡罗尔书中的谜题，没有破解小说所蕴含的密码，因为卡罗尔天马行空的巨着本身就缺乏清晰的脉络，即使电影的影像表达力再怎么出色，只能有限度地把故事表达出来。卡罗尔
两部著作中那些如流星划过天际的精华部分根本无法用画面表达出来，甚至连约翰?泰尼尔(John Tenniel)这样的原着的插画家也不例外。那是一种语言和逻辑之间交融的闪光，一种笑看人世的讽刺，一种大智若愚
的升华。对那些曾经试图或将来计划把这两部作品搬上银幕的人来说，可能的结局就是抱着小说，暗自哭泣。
课外书推荐 At bottom the concept is earnest bordering on commonplace, a coming-of-age story in which Alice takes therapeutic refuge in her fantasies and emerges from them a stronger person. As for the plot, or lack of it, the filmmakers can be blamed only up to a point. They haven't solved the Lewis Carroll conundrum, haven't cracked the structural code, becau Carroll's discursive masterworks don't have much structure and can be dramatized only up to a point, even though their imagery is endlessly tantalizing. The unizable esnce of the two books isn't pictures at all, the Tenniel illustrations notwithstanding. It's the scintillating interplay of language and logic, satiric wit and sublime silliness. For tho who have tried to capture the books on screen, and for tho who will try in the future, it's a ca of read 'em and weep.
Joe Morgenstern
