After tons of hype, NASA-like secrecy and several elusive trailers, Interstellar, English-American director and producer Christopher Nolan’s latest sci-fi project, blasts off to infinity and beyond, along with this year’s award season hype.
在几支神秘莫测的预告片与铺天盖地的宣传之后，由英裔美国导演兼制作人克里斯托弗•诺兰执导的科幻新作《星际穿越》终于伴着今年颁奖季的宣传“点火升空”，登上大荧幕，“超越无极限”。
Nolan is one of my favorite directors in the industry right now, and not just because he has made the Batman trilogy (2005-2012) and Inception (2010). He is also responsible for keeping the notion of “the original big-budget Hollywood spectacular” alive in an era of reboots and adaptations.
诺兰是目前我最喜爱的电影导演之一。他不仅曾执导过《蝙蝠侠》三部曲（2005-2012）和《盗梦空间》（2010），更难得的是他还是这个重拍与改编盛行的时代中一直坚持“原创好莱坞视觉大片”理念的人。
In Interstellar, Nolan takes this idea to the extreme. Big, bold and beautiful, Interstellar is a visually and audibly stunning film, with vast expanses of space, huge planets and tiny spaceships floating by to an incredible score from German composer Hans Zimmer.
在《星际穿越》中，诺兰也将这一理念发挥到极致：宏大的场面、大胆的想象、优美的背景，这都让《星际穿越》成为一场视觉与听觉的盛宴。而德国作曲家汉斯•季默更是为这部充斥着浩瀚宇宙、庞大行星以及飞行的渺小宇宙飞船的大片锦上添花。
In the near future Earth has been devastated by drought and famine, and humanity is facing extinction. A group of explorers embark on an interstellar voyage into the unknown in search of a planet that can sustain life. Cooper (Matthew McConaughey), the pilot of the crew, must decide between seeing his children again and the future of the human race.
（影片中）近未来的地球饱受干旱与饥荒，人类濒临灭绝。一组探险人员因此开始星际航行，希望在未知的宇宙中找到一颗能让人类继续生存的星球。飞行员库珀（马修•麦康纳 饰）必须做出艰难抉择：是拯救人类的未来，还是与孩子们再相见。
So, as you might have guessed, the story is divided into two parts — one that takes place on Earth and another that takes place in space. Much of the outer space photography brings to mind Mexican director Alfonso Cuaron’s Gravity — spectral and spectacular — and even gives you a little bit of cinematic revelation from Stanley Kubrick’s 2001: A Space Odyssey. Of course, everything looks so familiar that it feels a bit emulated and lacking in variation.
你也许已经猜到了，故事分成两部分：一部分发生在地球上，另一部分则发生在宇宙间。影片中很多外太空的影像都让我们想起阿方索•卡隆的《万有引力》——诡异而壮观——你甚至还会看到斯坦利•库布里克《2001太空漫游》的一些影子。当然，所有的这些似曾相识，都会给人些许效仿之感，让人觉得有些缺乏新意。
The film is at its strongest when it remains Earthbound (however ironic that may sound for a film about interstellar travel). When the focus is on tragedy — a loving father potentially leaving his children forever with no guarantee that his sacrifice won’t be in vain — Interstellar shows an emotional heft. Even when the film throws out typical sci-fi tropes (the nature of time and space, the place of humanity in the universe) for viewers to think about, Nolan explores these ideas in human terms.
影片最动人之处是主角们还在地球上时（虽然作为一部关于星际穿越的影片，这种评价听来有些讽刺）所面临的悲剧：一位慈爱的父亲将可能再也见不到自己的孩子，而这样的牺牲可能也只是徒劳。影片的情感份量不言而喻。虽然片中不乏典型的科幻概念（时空的性质、人类在宇宙中的位置）供观众思考，但是诺兰的解读却更侧重人文角度。
“We’ve forgotten who we are. Explorers, pioneers — not caretakers,” says McConaughey’s Cooper in Interstellar. That could be Nolan’s perspective about movies in this timid age of old genres endlessly repeating themselves. He’s the rare filmmaker with the ambition to make such bold statements, and even rarer one with the vision, skill and guts to realize them.
影片中，马修•麦康纳饰演的库珀曾说，“我们已经忘记了自己是谁。我们不是守护者，而是探索者，是先驱。”这也是诺兰在这个旧题材不断复制的年代里，对电影制作的观点。他是不多几个能有抱负说出如此大胆之语的导演，更是少之又少的有远见、有能力、也有勇气实现这句话的人。
