麻烦高手帮帮英译汉Morethananythingelseinthefilm,Nullahincluded,Ms.Kidmantethers“Australia”totheworldofhumanfeelingandbringsMr.Luhrmann’soutrageousflightsoffancydowntoearth.Thatmaynotbewherehepreferstom

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麻烦高手帮帮 英译汉
More than anything else in the film,Nullah included,Ms.Kidman tethers “Australia” to the world of human feeling and brings Mr.Luhrmann’s outrageous flights of fancy down to earth.That may not be where he prefers to make movies,but it’s a necessary place for even a fantasist to visit.Although many of his Western contemporaries like to root around in down-and-dirty realism,Mr.Luhrmann maintains a full-throttle commitment to cinematic illusion and what he characterizes as the “heightened artifice” of his so-called Red Curtain trilogy,“Strictly Ballroom,” “William Shakespeare’s Romeo + Juliet” and “Moulin Rouge.” You may not always see the people for the production design in these,but when you do — as in “Romeo + Juliet” and sometimes here — they spring forth from their fantastical milieus like fists.
A maximalist,Mr.Luhrmann doesn’t simply want to rouse your laughter and tears:he wants to rouse you out of a sensory-overloaded stupor with jolts of passion and fabulous visions.That may make him sound a wee bit Brechtian,but he’s really just an old-fashioned movie man,the kind who never lets good taste get in the way of rip-roaring entertainment.The usual line about kitsch is that it’s an affront,a cheapening of the culture,a danger.“Kitsch causes two tears to flow in quick succession,” Milan Kundera wrote.“The first tear says:How nice to see children running on the grass!The second tear says:How nice to be moved,together with all mankind,by children running on the grass!It is the second tear that makes kitsch kitsch.”
还有一段 Though looking bad (or at least less than perfect) on camera is a particular form of vanity for actors,Ms.Kidman has in recent years generally erred on the side of physical perfection,sometimes to the detriment of her performances.But she’s wonderfully and fully expressive here,from wince-worthy start to heartbreaking finish,whether she’s wrinkling her nose in mock disgust or rushing across a dusty field,her arms pumping so wildly that it’s a wonder well water doesn’t spring from her mouth.It’s a ludicrous role — not long after priming her pump,the barren widow turns into a veritable fertility goddess — but she rides Sarah’s and the story’s ups and downs with ease.Mr.Jackman gives the movie oomph; Ms.Kidman gives it a performance

Answer 1

比影片中其他任何东西,包括Nullah,尼可基曼让”澳大利亚”这部影片更贴近人类感情世界,并且让Luhrmann疯狂奔放的想像力得以真实呈现.澳大利亚可能不是Luhrmann想拍电影的地方,但它却是幻想家必参观之地.虽然许多与Luhrmann同时代的人喜欢在实际的现实主义里找题材,Luhrmann仍然非常热衷投入电影上的错觉感和他所谓的红幕三步曲（舞国英雄,罗密欧与茱丽叶,和红磨坊）里面他所描述的”升高的巧计”.在这些电影中,你可能不常见到制作设计的人,如果有 – 像在罗密欧与茱丽叶影片里或者有时在本片里面 － 这些人从他们的幻想圈子里成功地冒出头.
身为最高纲领派一员,Luhrmann不光只要引发你的欢笑和眼泪,他还想利用憾动的情爱和极美的感官视觉将你从感官因过度刺激而变得麻木不仁中唤醒起来.这听起来有点像是德国戏剧作家布莱克特,但Luhrmann真的只是一个老派的电影人,不想让热闹十足的娱乐被”好品味”扫兴.对於庸俗作品,人们会认为拍这种影片对他们是一种侮辱,对文化的贬低,是一种危险.米兰•昆德拉曾写说 “庸俗作品引起两种前后紧密相连的泪流”.”第一滴眼泪说：看见小孩在草地上跑是多麼好啊!第二滴眼泪说：能和所有人类一起被在草地上跑的小孩所感动是多麼好啊!就是第二滴眼泪让庸俗作品更加庸俗不堪”
尽管在镜头上看起来很糟 (或者说至少不是很完美),对演员却是一种特殊的自负表现形式,尼可基曼最近几年大体来说过度注重肢体美感的呈现,以致有时甚至还危害到她的表现.但她在本片却有极精采的演出而且表情丰富十足,从值得畏缩的开场到伤心欲绝的结场,不管她皱鼻子的嘲笑作呕模样或者在满布尘埃的原野上奔跑,她的双臂像失去控制般地上下来回,以致让人觉得井水不是从她的嘴里涌出真算是个奇迹!这是一个荒唐的角色 － 就在她为泵加完水不久后,这个不孕的寡妇就变成一个名副其实的生产女神 － 但她对於莎拉这个角色和故事高低起浮的情节却能架轻就熟地演出.Jackman为影片增添活力,尼可基曼在影片中却大秀演技.