Cult Film Part II-邪典电影（二）
美国许多电影院的放映时间表中都有午夜场，专门播放类似这种邪典电影的影片。《洛基恐怖秀》显然是其中一部受益的电影，并且后来成为一部“口碑电影”。人们开始注意它，纷纷来到电影院观看。我认为《洛基恐怖秀》是那些投机电影中的一部，如果你看电影时注重其中的性别政治，种族政治，及其包含的不同政见，那么你可能被它吸引。这种电影根本不需要达到什么目标。只要它想的话，它甚至可以带有破坏性。我想这种电影的态度是这样的：如果有观众，很好；如果没有观众也没关系，它的成本并不高，也没有请明星表演。反而捧红苏珊·萨兰登这样的明星。它承担了所有的风险，最后也的确得到了回报。
THE HOSTESS: It strikes me that the route of a cult film is often its complete unpredictability. How could you ever have known that the story of two innocent lovers stranded in a transvestite’s castle could have prompted you know midnight screenings and this massive following?
主持人：邪典电影给我留下的深刻印象是其故事情节总是非常出人意料。一对年轻单纯的恋人无意中陷入一群“易装癖”怪人所住的城堡，你能由此联想到午夜场电影和接下来将要发生一系列惊险情节吗？
JASON WOOD: Absolutely. I mean, and it’s important that you mentioned midnight screenings because there was a series of cinemas across America that had a screening schedule called midnight movies, where a lot of these films, cult films came from. “Rocky Horror Picture Show” was certainly one of the films that benefited from that, and it became one of these “word of mouth films”. People discovered it, they came to it. The “Rocky Horror Picture Show” I think is one of those films that does take chance if you look at the sexual politics of the film, the racial politics, the dissident look at society that the film takes. It’s one of those films that really didn’t have tell any kind of line. You know It really could be as subversive as it wanted. I think the whole attitude of the film was you know if we find an audience, great, if we don’t, it didn’t cost a lot of money to make at the time, it had no stars. It made a star out of Susan Sarandon. It could really just take all the risks it wanted and they really paid off.
詹森•伍德：当然可以。我的意思是，你提到了午夜场电影，这很重要，因为美国许多电影院的放映时间表中都有午夜场，专门播放类似这种邪典电影的影片。《洛基恐怖秀》显然是其中一部受益的电影，并且后来成为一部“口碑电影”。人们开始注意它，纷纷来到电影院观看。我认为《洛基恐怖秀》是那些投机电影中的一部，如果你看电影时注重其中的性别政治，种族政治，及其包含的不同政见，那么你可能被它吸引。这种电影根本不需要达到什么目标。只要它想的话，它甚至可以带有破坏性。我想这种电影的态度是这样的：如果有观众，很好；如果没有观众也没关系，它的成本并不高，也没有请明星表演。反而捧红苏珊•萨兰登这样的明星。它承担了所有的风险，最后也的确得到了回报。
THE HOSTESS: There are all sorts of different genres, aren’t there, that dip in and become cult. I mean, sci-fi lends itself to the horror. The “Wicker Man” is one I think we should hear from.
主持人：它们也分很多种流派，不是吗？它们以各自的流派为基础，发展为邪典电影。我指的是，科幻情节就可以发展为恐怖片。我想《异教徒》应该就是我们听说过的其中一部。
FILM CLIP: Sometimes the victim will be drowned in the sea or burned to death in a huge sacrificial bonfire. Sometimes the six swordsman ritually beheaded the virgin. Dear god in heaven, even these people can’t be that mad.
《异教徒》片段：有时，被当作祭品的人会被扔进海里淹死，或者投入祭司篝火中活活烧死。有时根据宗教仪式，六个武士将处女的头砍掉。上帝啊，这些人怎么可以这么疯狂？
THE HOSTESS: Edward Woodward there as Sergeant Howie in “The Wicker Man”. I mean you know a couple of years ago there was a remake wasn’t there Jason, but in the original wicker man, people bow down to this film don’t they?
主持人：爱德华•伍德沃德在《异教徒》中扮演警官豪伊，我是指原版中的。詹森，你知道几年前这部影片被翻拍了，是吗？但是原版的《异教徒》本来就很成功，观众反应很不错，不是吗？
JASON WOOD: Yea, absolutely. And it’s a film that continues to attract new audiences. But I think “The Wicker Man” stands out as one of the defining horror films. “The Wicker Man” is one of those films you know without which to spoil it for those who haven’t seen it, the ending is just one of the most powerful endings in cinema history. I think its right up there with “Planet of the Apes”. You know, you are never going to better that. Horror films are very very closely associated with cult pictures, quite often because they are quite cheap to make.
詹森•伍德：是的，的确如此。而且现在翻拍后的影片仍然吸引了很多新观众。但是我认为《异教徒》是一部出色的能够定义恐怖电影的影片。对于没看过的人来说，它没有任何可以破坏的地方，它的结局是电影史上最有力的结局之一。我觉得唯一能与之媲美的是《人猿星球》。不会有比这更好的了。恐怖电影常常与邪典画面联系非常密切，因为这些画面的制作成本非常低。
THE HOSTESS: Let’s talk about the directors and which ones have successfully moved from cult to mainstream. I mean, if we can even define that as success, because people are making great films within the cult genre. But people like Ridley Scott, Sam Raimi, Robert Rodriquez, and David Lynch, they now moved to mainstream haven’t they really?
主持人：现在让我们谈谈电影导演，看看哪些成功的由邪典派转为主流派。我的意思是如果我们把主流看成成功的话，因为很多导演在邪典派中就已经拍出了非常成功的电影。但像雷德利•斯科特，山姆•雷米，罗伯特•罗德里格斯，大卫•林奇这样的导演现在都已经转入主流派了，不是吗？
JASON WOOD: I think they have but I think rather that they moved to mainstream that perhaps mainstream has moved with them. I mean I don’t think that David Lynch has ever made a compromised film. I mean even “Dune”, which is regarded as his kind of tilt into mainstream, probably is his least subversive picture, is a film that he is very very fond of and is certainly a very personal movie.
詹森•伍德：我想是的，但我认为并不是它们转入了主流派，而是主流派在朝他们的方向发展。我的意思是，我认为大卫•林奇从来没有向主流派妥协，制作过一部有违自己风格的影片。即使是《沙丘魔堡》，这部通常被人们看作是林奇的主流尝试作品，可能是破坏性最小的一部，对这部影片林奇也非常引以为傲，是一部非常个人化的电影。
THE HOSTESS: Where does Quentin Tarantino as a director stand? I mean his work is heavily influenced by the cult films in the 1970s and references cult films, but does this actually make him a cult director?
主持人：作为导演，昆汀•塔伦蒂诺处在什么位置呢？我的意思是他的作品在很大程度上受二十世纪七十年代邪典电影的影响，或参考邪典电影。这是不是意味着他就是一个邪典导演呢？
JASON WOOD: I think Quentin Tarantino is one of those directors you know who
is obviously a complete city feel, and “Reservoir Dogs” is a cult film. It was a film made with very little money, it’s a film that took risks with its structure, completely borrowed from endless other films such as “The Killing” the Stanley Kubrick film, various other foreign language films. I think “Reservoir Dogs” is a film which interesting because it wears its references very lightly. I think with that film Tarantino didn’t necessarily try to pass off some of touches as his own. I think because his career progressed, I think he has maybe become a little bit more disingenuous about where his reference comes from.
詹森•伍德：昆汀•塔伦蒂诺显然是那些城市感很强的导演之一，其作品《落水狗》是一部邪典电影。这是一部制作成本非常低廉的影片，在结构上也很大胆，完全借用很多其他电影，例如斯坦利•库布里克导演的《杀戮》，以及其他外语片。我认为《落水狗》是一部非常有趣的电影，因为它对其他影片的参考痕迹并不深。我认为在这部影片上，塔伦蒂诺没有必要把借用其他影片的东西一定当作自己的。我想原因是他的职业生涯进步了，随着他在电影界取得越来越高的成就，昆汀可能会更加隐瞒其作品的参考出处。
THE HOSTESS: We’ve talked a lot about western cult films, but let’s look now at the rest of the world, with Indian cult films, Asian cult films, are they sort of definable in the same way as we define the ones we talk about here?
主持人：以上我们谈了很多关于西方邪典电影的情况，现在让我们看看世界其他地方，比如印度邪典影片，亚洲邪典影片等等，他们是不是也和以上我们讨论过的西方邪典作品一样具有一定的可定义性呢？
JASON WOOD: Absolutely, I mean, you have with cult film lovers, that people like to discover something. This maybe because film making from America, from other European countries, has become more and more homogenized. People began to look else where for things they can discover. John Woo is a very good case and point. He is a film maker that cult film lovers particularly latched on to. One of the film makers that I very much like is Beat Takeshi Kitano, the Japanese director of films such as “Sonatine” and “Violent Cop” and more recently, “Zatoichi” and film makers in Europe and America that people very quickly latch onto because they were doing things that were different. There has always been this history of cult films and cult film makers coming from further a field. A great cult director is the Chilean born film maker, Alejandro Jodorowsky, whose recent film “El Topo”, a legendary film, a western, which completely rewrites the rule book. And it’s really beloved and beholden by cult film makers, because it’s difficult to find anything that is comparable to it. So yes, I think it is very very important to not just think of cult films and cult film makers being American films and American film makers, but to really look at the wider picture of films from all across the world.
詹森•伍德：当然。我指的是对于邪典电影的爱好者而言，他们喜欢发掘事物。可能是因为电影制作是从欧美国家开始的，在这些地区电影变得越来越一致化了。于是人们开始到世界其他地方发掘。吴宇森导演就是一个典型的例子。他是邪典电影爱好者们非常喜欢的一位导演。我很喜欢的一位导演是北野武，他导演的日本影片包括《奏鸣曲》，《凶暴的男人》以及最近的《座头市》。还有许多欧美导演，他们可以很快吸引观众，因为他们的作品非常与众不同。邪典电影及其导演常常会转向其他电影方向，这种情况在历史上屡见不鲜。智利出生的一位著名导演亚历桑德罗•佐杜洛夫斯基的最近一部作品《鼹鼠》，就是一部西方传奇电影，与他之前的风格迥然不同。而它确实备受邪典电影爱好者的喜爱和关注，因为很难找到别的作品可以与之比较。是的，我认为，邪典电影及其导演在考虑维持其美国电影风格和美国导演风格的同时，应该多看看全世界其他地方的影片，这才是最重要的。
THE HOSTESS: Film writer, Jason Wood. And if you fancy watching any of those films we chatted about, and join the cult, you can get hold of most of them now on DVD. That’s all for this week. This time tomorrow on ‘The Beat’, Mark Coles will be looking at the winners and the losers of the Mercury Music Prize, one of the most prestigious music awards in the UK calendar.
主持人：以上说话人是詹森•伍德。如果你想欣赏以上那些我们谈论过的电影，成为邪典迷，以上大部分影片你都可以在现在的DVD市场找到。本周节目到此结束。明天的同一时间，请继续收看“独家报导”，马克•科尔斯将带您一起关注“水星音乐奖”的获奖者和失利者，这是英国最著名的音乐奖项之一。
单词注释：
word of mouth 口碑好的
dissident n.持不同政见者
subversive adj.破坏的，颠覆性的
disingenuous adj.无诚意的
homogenize v.一致化，使均匀
