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Spielberg Revitalizes Classic Sci-Fi Thriller1
War of The Worlds
斯皮尔伯格新作——科幻惊悚电影《世界大战》
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There is something scary under the streets of urban New Jersey2 ... and when it breaks through the pavement even scarier things start to happen.
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Tom Cruise stars as Ray Ferrier, a divorced father taking care of his two children on what turns out to be an eventful weekend as extraterrestrials wreak3 havoc4 on the planet. Adapted from H.G. Wells's 1898 novel, War of The Worlds taps into deep fears about unknown, unseen, unstoppable invaders6. The story became a part of American popular culture when a 1938 radio dramatization by a then-young Orson Welles sparked genuine panic. It was first made into a film 50 years ago, but with this new version, Steven Spielberg shows he can depict7 outer space aliens that are not benign8 and friendly, as they were in his films E.T. and Close Encounters Of The Third Kind.
Spielberg: I thought why can't try my hand at the kind of film that Ridley Scott made when he did the first Alien, which is one of my favorite scary science fiction movies of all time. It's just something I had always wanted to do. I had wanted to do War of The Worlds ever since I read the book in college before I actually became a filmmaker. It's a great piece of 19th century literature. It was something that I really respected when it was first made by George Pal9 in 1953(54); and I just thought we could make a version a little darker and closer to the original novel.
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Screenwriter David Koepp, who collaborated10 with Spielberg on the first two Jurassic Park films, says they made a conscious effort in this script to avoid the clichés and stock scenes of "alien invader5" movies: no montage of world cities or landmarks11 being destroyed, no breathless broadcasters trying to describe the carnage, no "big picture" overview12 from some battlefield commander. Instead, Koepp says it tells the story through the eyes of this one man and his family.
Koepp: One of the things that I thought was so brilliant about the book that no one had ever exploited was its point of view. These vast global events were told from the point of view of one man on the periphery13 and I think that's the genius of it. So we made our rule 'if Ray doesn't see it, we can't see it.' Then you go about trying to tell your story.
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Co-star Tim Robbins believes the continuing appeal of the story is that it draws on the apprehensions15 of its audiences.
Robbins: I think the original novel was a warning against the quickness with which industrialization and modernization16 was happening; but each generation has applied17 their own fears to it. In the 1930's, when Orson Welles did the radio play, there was the impending18 fascism in Europe. In the 1950's when it was done as a movie there was the communist threat. Today we are living in times when there is a different fear, so I guess each generation will find its interpretation19 of this classic novel.
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Director Spielberg says some of the scenes of panicked crowds running for safety were inspired by news video from the 2001 9-11 attacks: "a searing image that I've never been able to get out of my head" is the way he describes it. While it may reflect real life fears, however, Spielberg insists the film does not make a political statement.
Spielberg: This movie is a reflection and there are all sorts of metaphors21 you can certainly divine from the story. I was hoping it would be more like a prism: everyone can see in a facet22 of the prism what they choose to take from the experience of seeing War of The Worlds. I tried to make it as open for interpretation as possible, without having anybody come out with a huge political polemic23 in the second act of the movie. I think there are politics certainly underneath24 some of the scares and some of the adventure and some of the fear, but I really wanted to make it suggestive enough for everyone to have their own opinion. But I certainly gave you enough rope to hang me with.
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War of The Worlds also features Dakota Fanning and Justin Chatwin as the two children of Cruise's character. The amazing scenes of destruction are brought to life through vividly25 realistic computer imagery and the cinematography of Janusz Kaminski. The soundtrack score is by another frequent Spielberg collaborator26 and Oscar-winner, John Williams.
Alan Silverman for the Voice of America in Hollywood.
注释:
scary [5skZEri] adj. 引起惊慌的
pavement [5peivmEnt] n. 人行道,公路
extraterrestrial [7ekstrEtE5restriEl] n. 外星人
wreak havoc 带来灾难
adapt [E5dApt] vt. 改编
dramatization [7drAmEtai5zeiFEn] n. 改编成戏剧
panic [5pAnik] n. 惊慌,恐慌
depict [di5pikt] vt. 描述
screenwriter [5skri:n7raitE] n. 编剧
carnage [5kB:nidV] n. 大屠杀,流血
periphery [pE5rifEri] n. 外围
apprehension14 [Apri5henF(E)n] n. 忧虑,担心
fascism [5fAFiz(E)m] n. 法西斯主义
divine [di5vain] vt. 预测,预言
polemic [pC5lemik] n. 争论
1 thriller | |
n.惊险片,恐怖片 | |
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2 jersey | |
n.运动衫 | |
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3 wreak | |
v.发泄;报复 | |
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4 havoc | |
n.大破坏,浩劫,大混乱,大杂乱 | |
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5 invader | |
n.侵略者,侵犯者,入侵者 | |
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6 invaders | |
入侵者,侵略者,侵入物( invader的名词复数 ) | |
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7 depict | |
vt.描画,描绘;描写,描述 | |
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8 benign | |
adj.善良的,慈祥的;良性的,无危险的 | |
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9 pal | |
n.朋友,伙伴,同志;vi.结为友 | |
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10 collaborated | |
合作( collaborate的过去式和过去分词 ); 勾结叛国 | |
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11 landmarks | |
n.陆标( landmark的名词复数 );目标;(标志重要阶段的)里程碑 ~ (in sth);有历史意义的建筑物(或遗址) | |
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12 overview | |
n.概观,概述 | |
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13 periphery | |
n.(圆体的)外面;周围 | |
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14 apprehension | |
n.理解,领悟;逮捕,拘捕;忧虑 | |
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15 apprehensions | |
疑惧 | |
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16 modernization | |
n.现代化,现代化的事物 | |
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17 applied | |
adj.应用的;v.应用,适用 | |
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18 impending | |
a.imminent, about to come or happen | |
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19 interpretation | |
n.解释,说明,描述;艺术处理 | |
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20 metaphor | |
n.隐喻,暗喻 | |
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21 metaphors | |
隐喻( metaphor的名词复数 ) | |
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22 facet | |
n.(问题等的)一个方面;(多面体的)面 | |
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23 polemic | |
n.争论,论战 | |
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24 underneath | |
adj.在...下面,在...底下;adv.在下面 | |
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25 vividly | |
adv.清楚地,鲜明地,生动地 | |
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26 collaborator | |
n.合作者,协作者 | |
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