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(单词翻译:双击或拖选)
今天我们以一部让人毛骨悚然的哥特式恐怖片开始，这是一部西班牙影片，叫做《灵异孤儿院》。这个故事是关于劳拉的，她是一位三十多岁的、幸福的已婚妇女，她和她的丈夫还有收养的九岁的儿子回到了她童年时代的大孤儿院。不用说，事情往往不会按计划发展。开始是她儿子假想的朋友逐渐变得很真实，然后是孤儿院以前的一名评分教师出现了。说太多就会影响这部影片，但是只要说该部电影具备有现代扭曲的典型鬼故事的所有特点就足够了。
[注释]
1.gothic adj. 哥特式的 2.suffice v. 足够 3.hallmark n.特点 4.input2 n. 投入 5.script n. 剧本 6.haunted adj. 困惑的，令人烦恼的 7.orchestrate v. 编管弦乐曲 8.ambiguity3 n. 含糊，不明确 9.resemble vt. 象, 类似 10.critic n. 评论者 11.resonate v.（使）共鸣 12.Francoism n. 佛朗哥政权 13.institutional adj. 制度上的 14.facilitate vt. 推动，促进 15.suspense4 n. 悬念 16.creepy adj. 爬行的 17.cliche5 n. 陈词滥调 18.excessively adv. 过分地，非常地 19.red herring n. 转移注意力的话 20.discreet6 adj. 小心的，慎重的 21.distraught adj. 悲痛的 22.understated adj. 不夸张的 23.benign7 adj. 仁慈的，和蔼的 24.Catalan n.（西班牙）加泰罗尼亚语 25.painterly adj. 美术的 26.compelling adj. 引人注目的 27.psychology8 n. 心理学，心理状态 28.paranormal adj. 超过正常的，超过正常范围的 29.auction9 vt. 拍卖 30.Yankee n. <美> 美国人，美国佬
[积少成多]
rely on 依赖，依靠
例句1：Charities rely on voluntary donations/contributions.
慈善事业依靠自愿捐赠。
例句2：Now that you are grown up, you should not rely on your parents.
既然你长大了，就不应该依靠你的父母。
The Orphanage
REPORTER: We start today with a chilling gothic horror on The Orphanage set in Spain. It's a story about Laura; a happily married woman in her thirties who with a nine year old adopted son and husband, returns to the huge orphanage that was once her childhood home. Needless to say, things don't go according to plan. Firstly when her son's imaginary friend starts to feel very real and then when a former teacher from the old orphanage with a score to settle turns up. It will spoil the film to say much more but suffice it to say that the film bears all the hallmarks of a classic ghost story told intelligently and with a modern twist. Perhaps not surprising then that the producer is Oscar winning Guillermo del Toro who made Pan's Labyrinth10. In fact in some of the film's publicity11 The Orphanage is built as being presented by del Toro which he says reflects even more of a commitment to the project. So what does that actually mean in terms of input? Here's the view of director and hotly tipped new talent Juan Antonio Bayona.
JUAN ANTONIO BAYONA: He told me once that Pedro Almodovar who produced The Devil's Backbone12 told him once that a good producer is the one who is always there when you need him and who is never there when you don't need him. So that's what he did. Of course he read the script, he gave us a few suggestions, we took some and then he saw the first editing of the movie and he loved it at the first editing. And for me Guillermo was the person who led me to do the movie the way it was meant to be. Without Guillermo it would not be an orphanage.
REPORTER: The film is marked by a brilliantly performance from Belen Rueda as the haunted mother and the superbly orchestrated tension that relies on the power of suggestion as Bayona acknowledges.
JUAN ANTONIO BAYONA: I think that simplicity13 and ambiguity are more scary than all these glory effects and all these digital effects you know. So I try to go back to that kind of horror movie, it's more a horror movie like in the reign14 of the seventies you know. One thing what that happened in Spain. It's funny that a lot of people wanted to see the movie more than once and every time they saw the movie again, they found a completely different story.
REPORTER: And that compulsion to literally15 review the film places The Orphanage in the same category as Momento and the other's which it resembles in some ways. It was a huge box office hit in Spain particularly, out grossing the latest Hollywood offerings from Pirates of the Caribbean and Shrek franchises16. So I asked film critic and lecturer Maria del Garda was that because it was a particularly Spanish horror film?
MARIA DEL GARDA: I think there's a way in which it resonates as a great horror come ghost story. I think we mustn't forget that because I think the ghost story is actually terribly important in a country that's trying to lay to rest its ghosts.
Now here is a film that is talking about coming to terms with the past without mentioning Francoism, without hammering home those historical details. So I think the mood of the film, the idea that you have to deal with your past to come to terms with your present and prepare for your future has a huge resonance17 for a country that only now has, if you like, had the institutional or the official courage to put through legislation that will facilitate that process. So I think the resonance of that film is very, very important in Spain.
REPORTER: Let's talk about it in pure terms of craft from the director's point of view. I mean it has all the classic hallmarks of a great horror or ghost movie as you say, and suspense, a big haunted house, a scare crow, lots of creeks18 and bangs, creepy characters, dolls which are always good.
MARIA DEL GARDA: Lights that appear from nowhere.
REPORTER: Yeah, all that stuff but it works. Why does it work here when it could so easily be in a cliche?
MARIA DEL GARDA: Because I think that he doesn't use it excessively. I mean I think that you can use footsteps coming up to a door once, you can use mysterious lights appearing from under a door once, you can use clues and the film is laden19 with clues, lots of red herrings and he does that I think very, very skillfully. So often with Hollywood what you're getting is a repetition of those effects so they become almost a parity20 of themselves. Heno doesn't do that. I think the other thing is that those effects are balanced by very discreet performances. He never goes for "hamming up" acting21. If you think of Belen Rueda who plays the part of Laura the distraught mother who takes over the orphanage and wants to take care of these children. On the one hand of course she's like a Wendy figure from Peter Pan, but on the other hand there is almost an understated quality to her performance. And there are moments that there's a wonderful character of a social worker called Benigna which of course in Spanish means benign and she is anything but benign. She is ominous22, she looks quite dangerous.
REPORTER: She is very scary, isn't she?
MARIA DEL GARDA: Very, very, very scary. She's played by a wonderful, Catalan actress called Montserrat Carulla. It was a great performance. But um, again that is understated and there's only one moment associated with that role where you get this terrible gawk and it flashes again for an instant and then it's gone. So I think he knows that less is more, he doesn't overstate things and I think that's one of the things that gives the film its power. Also from the very beginning you get the sense that this is a film about secrets. Think about the opening credits, they're almost presented in, in a classic Hollywood-like way, much more, very Hitchcock and the sound score I think, the way in which the, not just the musical sound track but sound effects are used, again big echoes of Hitchcock I think. But there's that sense from the very beginning that we're peeling away secrets, we're going to investigate what's there within and again the house has lots of hidden doors and this big emphasis on framing and doors and windows and frame spaces and paintings and pictures and of course the film has a great painterly quality. So I think that sense of us being on a journey of discovery is there from the very beginning so we feel part of that process; what's being told to us, what's not being told. And that makes us if you like, buy into Bayona's vision for the film, that's what makes it so compelling.
REPORTER: Now, she is also, the actress I mean, a mother and what is very interesting is how again, she manages to convey that unconditional23 love of a mother that will stick around and try and find out the truth against all the rational odds24 if you like. The husband is much more realistic and says "look we've just got to give up here". The mother will do anything; she stays in that house by herself in the scariest situations. Do you think a part of this film is about what, the psychology if you like, of a mother?
MARIA DEL GARDA: I think it is, I think the film has both a psychological and paranormal explanation for her actions. So on the one hand she is a mother who is desperate when she loses her child and in many ways what, um the horrors of the film, the fantasies of the film could be the fantasies of her imagination. That's one of the straits of the film but we never know for sure whether it's all in her mind (and of course we know from Goya the sleep of reason produces monsters of the mind) or whether these are indeed uh paranormal activities in a haunted house. That's one of the things about the film isn't it? That it defies a very clear in position of a single meaning and I think again that's one of the things that the film shares with Guillermo del Toro's work, of course Guillermo del Toro was the producer of the film and I think both of them have this extraordinary attraction to horror but actually go beyond the norm to look at how horror can deal with those most terrible aspects of ourselves. I think they both share the idea that horror is capable of testing both the characters and the audience to look into those most terrible places within themselves.
REPORTER: Just one final point which is that the film apparently25 has been auctioned26 by Hollywood. Do you think that he would do that? You think he would go along with that idea? You think the film with benefit from a Hollywood treatment?
MARIA DEL GARDA: I don't think it would benefit from a Hollywood treatment. I'm not sure if Hollywood will even contract him to direct it even if they do go ahead with it. Um, I sort of think it's a rather small and almost perfectly27 formed feature and I'd really hate to see Hollywood get its hands on it. I think again, those resonances28 that speak, have spoken so clearly to a Spanish audience, will sort of be lost if it's situated29 in deepest Montana.
REPORTER: So the message is to Bayona, "Don't take Yankee dollar".
MARIA DEL GARDA: Yeah, although that's easier said than done.
REPORTER: Maria del Garda there on the Monsters in the Mind, the buffet30 of the new film The Orphanage which is out now.
《灵异孤儿院》
记者：今天我们以一部让人毛骨悚然的哥特式恐怖片开始，这是一部西班牙影片，叫做《灵异孤儿院》。这个故事是关于劳拉的，她是一位三十多岁的、幸福的已婚妇女，她和她的丈夫还有收养的九岁的儿子回到了她童年时代的大孤儿院。不用说，事情往往不会按计划发展。开始是她儿子假想的朋友逐渐变得很真实，然后是孤儿院以前的一名评分教师出现了。说太多就会影响这部影片，但是只要说该部电影具备有现代扭曲的典型鬼故事的所有特点就足够了。也许会毫不惊奇，获得奥斯卡奖的吉尔莫·德尔·托罗继《潘神的迷宫》之后，又担任了这部影片的制片人。事实上在影片的宣传中，德尔·托罗说，在《灵异孤儿院》里更多的是反映了对这部影片制作的承诺。因此根据对它的投入这意味着什么？我们来听一下导演胡安·安东尼奥·巴亚纳这位最新发现的天才的看法。
胡安·安东尼奥·巴亚纳：他曾告诉我，制作《鬼童院》的佩德罗·阿莫多瓦告诉他，一个好的制片人是当你需要他时，他就会出现，你不需要他时，他就不会出现。因此这就是他这位制片人所做的。当然他看过剧本，他也给我们提了几点建议，我们也接受了一些，然后他看到这部电影最初的编辑，他非常喜欢。对我来说是吉尔莫引导我拍了这部电影。没有吉尔莫就不会有《灵异孤儿院》这部影片。
记者：这部电影的成功离不开贝兰·鲁达饰演困扰母亲的出色表现，和巴亚纳建议的出色的管弦乐制造的紧张氛围。
胡安·安东尼奥·巴亚纳：我认为，简单和含糊比你知道的所有壮丽和数字的效果更可怕。因此我尽量回到这样的恐怖电影，这更像是七十年代的恐怖电影。这是发生在西班牙的一件事情。有趣的是，很多人不只一次地想看这部电影，而且每次他们看完这部电影，他们都觉得是一个完全不同的故事。
记者: 现在我们回顾一下，这部《灵异孤儿院》和它同一类别的《记忆碎片》和其他的影片在某些方面都相类似。尤其是在西班牙，与最新的好莱坞作品《加勒比海盗》和《史瑞克》相比，这部电影有相当高的票房。所以我问了影评者及讲师玛丽亚·德尔·加尔达，这是因为它是一部特别的西班牙语恐怖片吗？
玛丽亚·德尔·加尔达：我认为它作为一个非常恐怖的鬼故事，在某方面和观众产生了共鸣。我认为我们不要忘记，因为我觉得鬼故事其实在一个国家极其重要。
现在我们谈论的这部电影是与过去相关的，只是没有提到佛朗哥政权，没有提到破坏家园这些历史细节。因此我认为这部电影的情感和你不得不回想起过去的思想，这些与你的现在和将来的准备都有巨大的共鸣。一个国家现在有制度上的或者官方的勇气通过立法推动这一进程。所以我觉得这部电影的共鸣在西班牙是非常非常重要的。
记者：现在让我们从导演的角度谈谈这部电影的制作。我的意思是正如你所说它拥有一部伟大的恐怖或鬼电影所应有的全部经典标志：悬念、一个大鬼屋、一只让人害怕的乌鸦、大量的溪流和隆隆的巨响、爬行的人物、还有总是漂亮的洋娃娃。
玛丽亚·德尔·加尔达：而且没有灯光。
记者：是啊，所有这些都在鬼电影中出现过。但是为什么这些陈词滥调的东西会在这部影片中起作用呢？
玛丽亚·德尔·加尔达：我认为是因为他没有过分地使用它们。我的意思是，我认为你可以使用脚步走到门一次，你可以使用在门下面出现神秘的灯光一次，你可以使用线索和充满线索的电影，大量的转移注意力的话，我觉得他处理这些都非常巧妙。你熟悉的好莱坞重复运用这些效果，他们几乎成为他们自己的奇偶。但是他并不这样做。我认为另外就是，这些效果都被很谨慎的表演所平衡。他从来不主张“加重平衡”表演。如果你想起贝兰·鲁达扮演劳拉的一部分，这位接管孤儿院的悲痛的母亲想要照顾这些儿童。当然一方面她就像《小飞侠》里温迪这个人物，另一方面，她的表演一点都不夸张。这里有这样一个人物，她是一名社会工作者，在电影里叫做“Benigna”，在西班牙语中意思是和蔼的，当然她不是和蔼的，她是不祥的，而且看起来相当危险的。
记者：她是让人感到很害怕的，不是吗？
玛丽亚·德尔·加尔达：非常，非常，非常可怕的。她表演得太完美了，这位讲加泰罗尼亚语的女演员叫蒙特塞拉特·卡鲁拉。她表演得真是太好了。不过这里也没怎么过分运用，只让这个角色出现了一会儿，让你看到这个可怕的怪物，出现了一瞬间然后很快就消失了。因此我认为他知道出现越少，得到的效果越好，他并没有过分地多次运用这些东西，所以我认为这就是这部电影其中的一个魅力。还有，从一开始你就意识到这是一部关于秘密的电影。想一想开始的场景，他们几乎是用一种典型的好莱坞似的方式展现，更多的是像希区柯克的风格，还有声音的表现方式，不只是音乐声音轨道，而且使用了声音效果，还有那种希区柯克式的巨大回响。但是我们从一开始就有一种感觉--我们正在剥离它的神秘，我们想要调查里面的情节，这个房子里有很多隐藏的门，主要侧重于楼板、门窗、框架空间及绘画和图片，当然这部电影也涉及了许多美术性。我觉得我们从一开始感觉像是一次探索发现的旅程，因此我们能够感觉到这一进程的每一部分。什么要告诉我们，什么不会告诉我们。就是这让我们购买巴亚纳的电影，就是这让这部影片引人注目。
记者：现在，这位女演员，我的意思是，她也是一位母亲，很有趣的是如何再次设法表达一位母亲的无条件的爱，这种爱一直坚持着，并尝试发现所有这些合理的怪事的真相。丈夫却更为现实，他说：“我们就在这里放弃吧”。这位母亲愿意做任何事情，在那么恐怖的情况下，她独自留在这个房子里。你认为这部电影的这一部分是关于什么的？是一位母亲的心理状态吗？
玛丽亚·德尔·加尔达：我觉得是。我认为这部电影可以从心理上和超自然现象来解释她的行为。一方面她是一位失去了孩子的绝望的母亲，在许多方面，这个电影的恐怖和这个电影的幻想可能是她自己的幻想。这是这部电影精彩之一，但是我们从来没有确切地知道是否这一切存在于她的脑海中（当然我们从戈雅知道，睡眠时会在脑中产生怪物），或者是否这些的确是在一个鬼屋的超自然活动。这是这部电影的一个特点，不是吗？它没有表达一个明确的意义，我再次认为这是与吉列尔莫·德尔·托罗一起工作的原因，当然，吉列尔莫·德尔·托罗是这部影片的制片人，我觉得对于恐怖来说，这些都有非凡的吸引力，实际上已经超越了这个标准，让我们看看恐怖如何可以处理那些我们自己最可怕的方面。我认为他们共同认为恐怖能够测试演员和观众，让他们探查到他们自己那些最可怕的方面。
记者：最后一点，就是这部电影显然已被好莱坞拍卖。你认为他会这么做吗？你认为他会赞同这个想法吗？你认为电影会从好莱坞得到好处吗？
玛丽亚·德尔·加尔达：我认为不会。即使他们确实开始行动了，我也不确定是否好莱坞会与他签合同让他来导演。嗯，我认为这种可能性相当小，它几乎完全形成了自己的特点。我真的不愿意看到好莱坞得手。我再次认为，这些很明显是西班牙观众的共鸣，如果把它放到最深处的蒙大拿，就会失去它的意义。
记者：所以这个信息是给巴亚纳的，“不要拿美国人的美元”。
玛丽亚·德尔·加尔达：是的，但说起来容易，做起来难。
记者：玛丽亚·德尔·加尔达脑中出现了怪物，这部新电影《灵异孤儿院》马上要上映了。
收听单词发音 |
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orphanage
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| n.孤儿院 | |
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input
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| n.输入(物)；投入；vt.把(数据等)输入计算机 | |
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ambiguity
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| n.模棱两可；意义不明确 | |
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suspense
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| n.（对可能发生的事）紧张感，担心，挂虑 | |
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cliche
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| n./a.陈词滥调(的)；老生常谈(的)；陈腐的 | |
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discreet
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| adj.(言行)谨慎的；慎重的；有判断力的 | |
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benign
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| adj.善良的，慈祥的；良性的，无危险的 | |
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psychology
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| n.心理，心理学，心理状态 | |
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auction
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| n.拍卖；拍卖会；vt.拍卖 | |
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labyrinth
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| n.迷宫；难解的事物；迷路 | |
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publicity
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| n.众所周知，闻名；宣传，广告 | |
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backbone
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| n.脊骨，脊柱，骨干；刚毅，骨气 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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literally
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| adv.照字面意义，逐字地；确实 | |
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franchises
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| n.（尤指选举议员的）选举权( franchise的名词复数 )；参政权；获特许权的商业机构（或服务）；（公司授予的）特许经销权v.给…以特许权，出售特许权( franchise的第三人称单数 ) | |
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resonance
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| n.洪亮；共鸣；共振 | |
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creeks
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| n.小湾( creek的名词复数 )；小港；小河；小溪 | |
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laden
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| adj.装满了的；充满了的；负了重担的；苦恼的 | |
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parity
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| n.平价，等价，比价，对等 | |
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21
acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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22
ominous
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| adj.不祥的，不吉的，预兆的，预示的 | |
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23
unconditional
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| adj.无条件的，无限制的，绝对的 | |
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24
odds
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| n.让步，机率，可能性，比率；胜败优劣之别 | |
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25
apparently
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| adv.显然地；表面上，似乎 | |
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26
auctioned
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| v.拍卖( auction的过去式和过去分词 ) | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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28
resonances
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| n.共鸣( resonance的名词复数 )；（声音） 洪亮；（文章、乐曲等） 激发联想的力量；（情感）同感 | |
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29
situated
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| adj.坐落在...的，处于某种境地的 | |
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30
buffet
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| n.自助餐；饮食柜台；餐台 | |
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