文章來源:?http://www.rogerebert.com/reviews/great-movie-the-shawshank-redemption-1994

It is a strange comment to make about a film set inside a prison, but "The Shawshank Redemption" creates a warm hold on our feelings because it makes us a member of a family. Many movies offer us vicarious experiences and quick, superficial emotions. "Shawshank" slows down and looks. It uses the narrator's calm, observant voice to include us in the story of men who have formed a community behind bars. It is deeper than most films; about continuity in a lifetime, based on friendship and hope.

關(guān)于在監(jiān)獄里制作一部電影，這是一個(gè)奇怪的評(píng)論，但“肖申克的救贖”使我們的感情溫暖，因?yàn)樗刮覀兂蔀橐粋€(gè)家庭的一員。 許多電影為我們提供了替代經(jīng)驗(yàn)和快速，膚淺的情感。 “Shawshank”慢下來，看起來。 它使用敘述者冷靜，敏銳的聲音將我們包含在已經(jīng)形成社區(qū)背后的人的故事中。 它比大多數(shù)電影更深; 基于友誼和希望，一生中的連續(xù)性。

Interesting that although the hero of the film is the convicted former banker Andy Dufresne (Tim Robbins), the action is never seen from his point of view. The film's opening scene shows him being given two life sentences for the murder of his wife and her lover, and then we move, permanently, to a point of view representing the prison population and particularly the lifer Ellis 'Red' Redding (Morgan Freeman). It is his voice remembering the first time he saw Andy ("looked like a stiff breeze would blow him over"), and predicting, wrongly, that he wouldn't make it in prison.

有趣的是，雖然這部電影中的英雄是被定罪的前銀行家安迪·杜弗雷斯（蒂姆羅賓斯），但他的觀點(diǎn)從未見過這一行動(dòng)。 這部電影的開場(chǎng)現(xiàn)場(chǎng)顯示他因謀殺妻子和情人而被判處兩個(gè)終身監(jiān)禁，然后我們永久地移動(dòng)到一個(gè)代表監(jiān)獄人口的觀點(diǎn)，特別是lifer Ellis'Red'Redding（摩根弗里曼）。 他第一次看到安迪（“看起來像一陣僵硬的微風(fēng)將他吹過來”）并且錯(cuò)誤地預(yù)測(cè)他不會(huì)在監(jiān)獄中進(jìn)行預(yù)測(cè)，這是他的聲音。

From Andy's arrival on the prison bus to the film's end, we see only how others see him - Red, who becomes his best friend, Brooks the old librarian, the corrupt Warden Norton, guards and prisoners. Red is our surrogate. He's the one we identify with, and the redemption, when it comes, is Red's. We've been shown by Andy's example that you have to keep true to yourself, not lose hope, bide your time, set a quiet example and look for your chance. "I guess it comes down to a simple choice, really," he tells Red. "Get busy livin' or get busy dyin'."

從安迪抵達(dá)監(jiān)獄的公共汽車到電影結(jié)束，我們只看到其他人如何看待他 - 紅色，誰是他最好的朋友，布魯克斯老圖書管理員，腐敗的沃登諾頓，衛(wèi)兵和囚犯。 紅色是我們的代理人。 他是我們認(rèn)同的人，當(dāng)它來臨時(shí)，救贖就是紅色。 安迪的例子告訴我們，你必須忠于自己，不要失去希望，等待你的時(shí)間，樹立一個(gè)安靜的榜樣，尋找機(jī)會(huì)。 “我想這歸結(jié)為一個(gè)簡(jiǎn)單的選擇，真的，”他告訴Red。 “忙碌生活或忙碌'?！?/p>

The key to the film's structure, I think, is that it's not about its hero, but about our relationship with him - our curiosity, our pity, our admiration. If Andy had been the heroic center, bravely enduring, the film would have been conventional, and less mysterious. But we wonder about this guy. Did he really kill those two people? Why does he keep so much to himself? Why can he amble through the prison yard like a free man on a stroll, when everyone else plods or sidles?

我認(rèn)為，電影結(jié)構(gòu)的關(guān)鍵在于它不是關(guān)于它的英雄，而是關(guān)于我們與他的關(guān)系 - 我們的好奇心，我們的憐憫，我們的欽佩。 如果安迪成為英雄中心，勇敢地忍受，那么這部電影將是傳統(tǒng)的，不那么神秘。 但我們想知道這個(gè)人。 他真的殺了那兩個(gè)人嗎？ 為什么他對(duì)自己這么多？ 為什么他可以像散步的自由人一樣在監(jiān)獄院子里散步，當(dāng)其他人都在蹣跚而行？

People like excitement at the movies, and titles that provide it do well. Films about "redemption" are approached with great wariness; a lot of people are not thrilled by the prospect of a great film - it sounds like work. But there's a hunger for messages of hope, and when a film offers one, it's likely to have staying power even if it doesn't grab an immediate audience.

人們喜歡看電影時(shí)的興奮，以及提供電影的頭銜。 關(guān)于“救贖”的電影是非常謹(jǐn)慎的; 很多人對(duì)一部偉大電影的前景并不感到興奮 - 這聽起來像是工作。 但是對(duì)于希望的消息有一種渴望，當(dāng)一部電影提供一部電影時(shí)，即使它沒有吸引直接的觀眾，它也可能具有持久力。

"The Shawshank Redemption" premiered at the Toronto Film Festival in September 1994, and opened a few weeks later. It got good reviews but did poor business (its $18 million original gross didn't cover costs; it took in only another $10 million after winning seven Oscar nominations, including best picture).

“Shawshank Redemption”于1994年9月在多倫多電影節(jié)上首映，并在幾周后開幕。 它得到了很好的評(píng)價(jià)，但業(yè)務(wù)不佳（其1800萬美元的原始總額不包括成本;在贏得七項(xiàng)奧斯卡提名后，僅獲得了另外1000萬美元，包括最佳圖片）。

There wasn't much going for it: It had a terrible title, it was a "prison drama" and women don't like those, it contained almost no action, it starred actors who were respected but not big stars, and it was long at 142 minutes. Clearly this was a movie that needed word-of-mouth to find an audience, and indeed business was slowly but steadily growing when it was yanked from theaters. If it had been left to find its way, it might have continued to build and run for months, but that's not what happened.

沒有太大的意義：它有一個(gè)可怕的標(biāo)題，它是一個(gè)“監(jiān)獄戲劇”，女人不喜歡那些，它幾乎沒有任何行動(dòng)，它主演的是受人尊敬而不是大明星的演員，而且 長(zhǎng)達(dá)142分鐘。 很明顯，這是一部需要口口相傳才能找到觀眾的電影，事實(shí)上，當(dāng)它從影院中拉出來時(shí)，生意正在緩慢而穩(wěn)步地增長(zhǎng)。 如果它已經(jīng)找到它的方式，它可能會(huì)繼續(xù)建立并運(yùn)行數(shù)月，但事情并非如此。

Instead, in one of the most remarkable stories in home video history, it found its real mass audience on tapes and discs, and through TV screenings. Within five years, "Shawshank" was a phenomenon, a video best seller and renter that its admirers feel they've discovered for themselves. When the Wall Street Journal ran an article about the "Shawshank" groundswell in April 1999, it was occupying first place in the Internet Movie Database worldwide vote of the 250 best films; it's usually in the top five.

相反，在家庭視頻歷史上最引人注目的故事之一，它通過錄像帶和光盤以及通過電視放映找到了真正的大眾觀眾。 在五年內(nèi)，“肖申克”是一個(gè)現(xiàn)象，一個(gè)視頻暢銷書和租客，其崇拜者覺得他們已經(jīng)發(fā)現(xiàn)了自己。 當(dāng)“華爾街日?qǐng)?bào)”于1999年4月播出一篇關(guān)于“肖申克”劇情的文章時(shí)，它在互聯(lián)網(wǎng)電影數(shù)據(jù)庫全球投票中占據(jù)了250部最佳影片的第一名; 它通常在前五名。

Polls and rentals reflect popularity but don't explain why people value "Shawshank" so fervently. Maybe it plays more like a spiritual experience than a movie. It does have entertaining payoff moments (as when the guards from another prison, wearing their baseball uniforms, line up to have Andy do their taxes). But much of the movie involves quiet, solitude, and philosophical discussions about life. The moments of violence (as when Andy is sexually assaulted) are seen objectively, not exploited.

民意調(diào)查和租賃反映了人氣，但并沒有解釋為什么人們?nèi)绱藷崆械刂匾暋靶ど昕恕薄?也許它更像是一種精神體驗(yàn)，而不是一部電影。 它確實(shí)有娛樂性的回報(bào)時(shí)刻（就像來自另一個(gè)監(jiān)獄的守衛(wèi)穿著他們的棒球服，排隊(duì)讓安迪繳稅）。 但這部電影的大部分內(nèi)容涉及對(duì)生活的安靜，獨(dú)處和哲學(xué)討論。 暴力的時(shí)刻（就像安迪遭受性侵犯一樣）被客觀地看待，而不是被剝削。

The movie avoids lingering on Andy's suffering; after beatings, he's seen in medium and long shot, tactfully. The camera doesn't focus on Andy's wounds or bruises, but, like his fellow prisoners, gives him his space.

這部電影避免了對(duì)安迪的苦難揮之不去; 在毆打之后，他在中長(zhǎng)鏡頭中看到了狡猾。 相機(jī)并沒有專注于安迪的傷口或瘀傷，但是，就像他的囚犯一樣，他給了他自己的空間。

The Morgan Freeman character is carrier of the film's spiritual arc. We see him at three parole hearings, after 20, 30 and 40 years. The first hearing involves storytelling trickery; the film has opened with Andy's sentencing, and then we see a parole board, and expect it's about to listen to Andy's appeal. But, no, that's when we first see Red. In his first appeal he tries to convince the board he's been rehabilitated. In the second, he just goes through the motions. In the third, he rejects the whole notion of rehabilitation, and somehow in doing so he sets his spirit free, and the board releases him.

摩根弗里曼角色是電影精神弧線的載體。 在20年，30年和40年后，我們?cè)谌渭籴屄犠C會(huì)上看到他。 第一次聽證會(huì)涉及講故事的詭計(jì); 這部電影已經(jīng)開啟了Andy的判決，然后我們看到了一個(gè)假釋板，并期待它即將聽取Andy的吸引力。 但是，不，那是我們第一次看到紅色的時(shí)候。 在他的第一次上訴中，他試圖說服董事會(huì)他已經(jīng)康復(fù)。 在第二個(gè)，他只是通過動(dòng)議。 在第三種情況下，他拒絕接受整個(gè)康復(fù)的概念，并以某種方式這樣做，他將自己的精神釋放，董事會(huì)釋放他。

There's an underlying problem. Behind bars, Red is king. He's the prison fixer, able to get you a pack of cigarettes, a little rock pick or a?Rita Hayworth?poster. On the outside, he has no status or identity. We've already seen what happened to the old librarian (James Whitmore), lonely and adrift in freedom. The last act, in which Andy helps Red accept his freedom, is deeply moving - all the more so because Andy again operates at a distance, with letters and postcards, and is seen through Red's mind.

存在潛在的問題。 在酒吧后面，紅色是王道。 他是監(jiān)獄修理工，能夠給你一包香煙，一個(gè)小搖滾樂或一張Rita Hayworth海報(bào)。 在外面，他沒有身份或身份。 我們已經(jīng)看到了老圖書管理員（詹姆斯惠特莫爾）發(fā)生的事情，孤獨(dú)和漂泊在自由中。 Andy幫助Red接受他的自由的最后一幕是深深的感動(dòng) - 更是如此，因?yàn)锳ndy再次在遠(yuǎn)處操作，帶有信件和明信片，并且通過Red的頭腦看到了。

Frank Darabont?wrote and directed the film, basing it on a story by?Stephen King. His film grants itself a leisure that most films are afraid to risk. The movie is as deliberate, considered and thoughtful as Freeman's narration. There's a feeling in Hollywood that audiences have short attention spans and must be assaulted with fresh novelties. I think such movies are slower to sit through than a film like "Shawshank," which absorbs us and takes away the awareness that we are watching a film.

弗蘭克達(dá)拉邦特根據(jù)斯蒂芬金的故事編寫并執(zhí)導(dǎo)了這部電影。 他的電影給自己一種休閑，大多數(shù)電影都不敢冒險(xiǎn)。 這部電影與弗里曼的敘述一樣刻意，考慮和深思熟慮。 在好萊塢有一種感覺，觀眾的注意力短暫，并且必須受到新鮮感的攻擊。 我認(rèn)為這些電影比“Shawshank”這樣的電影要慢，因?yàn)樗樟宋覀儾⑶蚁宋覀冋谟^看電影的意識(shí)。

Deliberate, too, is the dialogue. Tim Robbins makes Andy a man of few words, quietly spoken. He doesn't get real worked up. He is his own man, capable of keeping his head down for years and then indulging in a grand gesture, as when he plays an aria from Mozart's "The Marriage of Figaro." (The overhead shot of the prisoners in the yard, spellbound by the music, is one of the film's epiphanies.) Because he does not volunteer himself, reach out to us or overplay his feelings, he becomes more fascinating: It is often better to wonder what a character is thinking than to know.

對(duì)話也是有意識(shí)的。 蒂姆羅賓斯悄悄地說，安迪是一個(gè)言語不多的男人。 他沒有真正的努力。 他是他自己的男人，能夠保持低調(diào)多年，然后沉迷于一個(gè)宏偉的姿態(tài)，就像他在莫扎特的“費(fèi)加羅的婚姻”中演奏詠嘆調(diào)一樣。 （院子里囚犯的頭頂射擊，被音樂迷住了，是影片中的一個(gè)頓悟。）因?yàn)樗蛔栽福焓秩ソ游覀兓蛘哌^度表達(dá)自己的感情，所以他變得更加迷人： 想知道一個(gè)角色在想什么而不是知道。

Roger Deakins' cinematography is tactful, not showy. Two opening shots, one from a helicopter, one of prison walls looming overhead, establish the prison. Shots follow the dialogue instead of anticipating it. Thomas Newman's music enhances rather than informs, and there is a subtle touch in the way deep bass rumblings during the early murder are reprised when a young prisoner recalls another man's description of the crime.

羅杰迪肯斯的電影攝影很機(jī)智，而不是華麗。 兩個(gè)開放的鏡頭，一個(gè)來自直升機(jī)，一個(gè)監(jiān)獄墻在頭頂隱約可見，建立了監(jiān)獄。 鏡頭跟隨對(duì)話而不是預(yù)期。 托馬斯紐曼的音樂增強(qiáng)而不是通知，當(dāng)一個(gè)年輕的囚犯回憶起另一個(gè)男人對(duì)犯罪的描述時(shí)，在早期謀殺期間深沉的低音隆隆聲被重新化的方式有一種微妙的觸感。

Darabont constructs the film to observe the story, not to punch it up or upstage it. Upstaging, in fact, is unknown in this film; the actors are content to stay within their roles, the story moves in an orderly way, and the film itself reflects the slow passage of the decades. "When they put you in that cell," Red says, "when those bars slam home, that's when you know it's for real. Old life blown away in the blink of an eye. Nothing left but all the time in the world to think about it." Watching the film again, I admired it even more than the first time I saw it. Affection for good films often grows with familiarity, as it does with music. Some have said life is a prison, we are Red, Andy is our redeemer. All good art is about something deeper than it admits.

達(dá)拉邦特制作電影來觀察故事，而不是打起來或在舞臺(tái)上。 事實(shí)上，在這部電影中，不知不覺中升級(jí); 演員們滿足于保持他們的角色，故事有條不紊地進(jìn)行，電影本身反映了幾十年的緩慢通過。 “當(dāng)他們把你放在那個(gè)牢房里時(shí)，”Red說，“當(dāng)那些酒吧砰地一聲回家的時(shí)候，那就是你知道這是真的。老生活在眨眼之間就被吹走了。沒有什么可以留下來但是世界上所有的時(shí)間都在思考 關(guān)于它。” 再次觀看這部電影，我比第一次看到這部電影時(shí)更加敬佩。 對(duì)好電影的喜愛往往隨著音樂的增長(zhǎng)而變得熟悉。 有人說生命是監(jiān)獄，我們是紅色，安迪是我們的救贖者。 所有好的藝術(shù)都是關(guān)于比它承認(rèn)更深刻的東西。