Here is an oddity: intriguing and yet weirdly exasperating, like a sentimental tribute, or a one-joke epic, or a monomaniacal act of stylistic pedantry.
颇有些古怪，影片引人入胜，却又令人无名地气恼，仿若一篇多愁善感的颂词，抑或抖了个机灵的史诗，又或是偏执的花哨卖弄。
It’s an animation imagining the last months of Vincent van Gogh’s life, and specifically (but inconclusively) investigating the theory first aired in the 2011 biography by Steven Naifeh and Gregory White, that he did not shoot himself but was actually shot as a bizarre prank by a local bully, one René Secrétan, a 16-year-old who was tormenting poor Vincent and loved to swagger round the fields in a cowboy costume carrying a pistol. So on his deathbed Van Gogh claimed he had killed himself, perhaps out of weary despair, or a desire not to make posthumous trouble for the neighbourhood, or perhaps simply to avoid the ignominy of an absurd end, and claim the awful glamour of suicide.
它是一部动画电影，描绘了文森特▪梵高生命中最后几个月的经历，尤其提及了史蒂芬▪奈伊费和格里高利▪怀特2011年首映传记片的理论，即梵高并非死于自杀，而是在一次怪异的打闹中，被当地的小混混开枪击中，小混混名叫雷内▪塞克雷坦，16岁的他折磨着贫困潦倒的文森特，塞克雷坦喜欢一身牛仔打扮，腰里别着手枪，在农田里耀武扬威。梵高在弥留之际说他自杀，可能出于厌倦和失望，或是不愿死后给邻居带来麻烦，或只是不愿背上恶名，死得如此滑稽，所以谎称自己堂堂正正地自杀了。
But the real point of this film is that every frame is a pastiche of a Van Gogh canvas, and everything has avowedly been painted by hand. Landscapes pulse and throb, swirl and scintillate; brushstrokes bristle on skies or people’s faces like autumn leaves. Sometimes specific images are coyly referenced – although the film stops short of the sunflowers themselves.
可电影的卖点是，每一帧都模仿了梵高的画作，据称全系手绘而成。风景跳动、勃发、旋转、闪烁；画笔像秋叶般扫落在天空或人脸上。不时有个别画面忸怩地有所指涉，尽管不止要表现向日葵本身。
Directors Hugh Welchman and Dorota Kobiela have created live-action footage with actors playing scripted roles and then digital software appears to have been used to facilitate the over-painting. It is a little like the rotoscope technique on Richard Linklater’s eerie, dreamlike film Waking Life from 2001, or Ari Folman’s Waltz With Bashir in 2008.
导演休▪韦尔奇曼和多洛塔▪科贝拉让演员按照剧本角色实景演出，然后运用数字技术上色。有点像理查德▪林克来特2001年诡异、梦幻般的影片《半梦半醒》或阿里▪福尔曼2008年影片《与巴什尔跳华尔兹》中的逐格动画技术。
But the point is that here actual, real oozing paint has been used: intricately, painstakingly. Audiences are entitled to ask: might not the same effect have been achieved much more easily with digital trickery from a laptop? Are Welchman and Kobiela like old school London cab drivers finding their way around with “the knowledge” while everyone else has satnav? It’s not clear. But the result is a continuously weird and dreamlike film for which dreaminess and weirdness may not have been always appropriate.
但不同是这里使用了粘稠的真颜料：繁复且费力。观众有权提问：笔记本电脑上的数字特技难道不更易于实现同样的效果吗？大家都用卫星定位时，韦尔奇曼和科贝拉却喜欢老牌伦敦出租车司机凭“经验”来找路？说不清楚。效果就是从头到尾的怪异、梦幻，那种梦幻性和怪异性并非总是恰如其分。
Douglas Booth plays Armand Roulin, the son of local postmaster in Auvers-sur-Oise, where Van Gogh’s life ended in illness and poverty – this is the bearded Joseph, played by Chris O’Dowd (both of whose images are of course based on Van Gogh’s portraits).
道格拉斯▪布斯饰演阿曼德▪罗林，瓦兹河畔欧韦小镇一个邮局局长的儿子，贫病交加的梵高在那里结束了一生。邮局局长是留着胡子的约瑟夫，由克里斯▪奥多德饰演。当然，父子二人的形象都来自梵高的人物画。
On the narrative pretext of delivering a letter from Van Gogh to his brother Theo, Armand makes it his business to discover what actually happened and he talks to many famous portrait subjects. Van Gogh is played by Robert Gulaczyk and the flashbacks are in the form of monochrome pencil drawings.
故事说阿曼德要替梵高给弟弟提奥寄一封信，阿曼德决心要找出事情真相，他和许多著名的肖像人物对话。梵高由罗伯特▪古拉齐克饰演，追忆部分以单色素写的形式表现出来。
It’s accomplished and, in a way, impressive. And as Van Gogh did paint so much, so indefatigably, it is almost as if a whole pictorial world could perhaps be put together, just as this film has been put together, from his canvases alone.
影片达到了目标，在某种程度上，令人称赞。梵高的确不知疲倦，创作了很多作品，他的油画作品仿佛把整个图画世界都拼接起来了，正如影片所做的那样。
But it also becomes oppressive, self-admiring and even a bit pointless. Does it imply that the spirit of Van Gogh is lingering behind, after his death, looking at everything in this pastiche Van Gogh way? Or have we simply been plunged into Van Gogh Land, like Disneyland? As an exercise in style, Loving Vincent is of interest, but it doesn’t tell us that much about his work or his life.
可影片也强人所难，一味自恋，甚至有点不知所指。难道说梵高死后，他的精神就只藏在这种梵高式的模仿之后吗？或是我们只是跳进了梵高乐园，就像迪士尼乐园一样？作为一种风格的尝试，《至爱梵高》很有意思，可对梵高的作品或他的生活，影片却乏善可陈。
联系客服
