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New film: “Zero Dark Thirty”
影讯：猎杀本·拉登
American night
美国之夜
The OBL thriller has landed
“本·拉登”来袭
KATHRYN BIGELOW'S superb new thriller about the hunt for Osama bin Laden, “Zero Dark Thirty”, hits the ground running like its heroine—and never draws breath. After a montage of emergency calls made on September 11th 2001 by doomed people in the twin towers, the film jumps ahead two years to Maya, a red-headed avenging angel and ferocious CIA analyst, who is watching the interrogation of an al-Qaeda paymaster in a so-called “black prison” run by the American agency.
凯瑟琳·毕格罗的一部十分精彩的惊悚电影—猎杀本·拉登，就像剧中女主角一样大获成功。电影首先出现的2001年9月11日双子塔上一些将要死去的人的拨打紧急电话一些列画面，接着镜头转入两年后，一位有着强烈复仇愿望的红发女郎玛雅查看“黑暗监狱”里的基地组织幕后老板的审讯。
Maya accepts the methods used by Dan, her CIA mentor, on the unfortunate Ammar to get information that could prevent an attack on a hotel in Saudi Arabia. She even fetches the water for the water-boarding. In the mercifully brief scene where Dan uses humiliation and confinement to break his battered captive, Maya's presence is part of the routine. The attack happens anyway because the Saudis fail to act on the CIA's tip.
玛雅采用了CIA顾问丹的方法，在可怜的的阿尔玛身上获取情报去阻止一场沙特阿拉伯的宾馆袭击，她甚至取来水对犯人施以水刑。丹处罚犯人比较宽容，在一简短的画面里，他通过羞辱和禁闭让他饱受虐待的犯人得以屈服说出情报，玛雅像往常一样出现。尽管如此，后来袭击还是发生了，因为那个沙特阿拉伯人没有按照CIA的掌握的线索行事。
Maya suggests that they hide this detail from Abbar, one of Osama bin Laden's many relatives, to extract more information from him. He duly names a certain Abu Ahmed as the al-Qaeda leader's personal courier and Maya spends the rest of the film following that name through a labyrinth where a “detainee video” is just another lead, like the background noise on a mobile phone, into the dusty arena where the first stealth helicopter touches down inside the Abbottabad compound at half-past midnight.
玛雅认为基地组织对Abbar隐瞒了很多细节，以防CIA人员从他身上获取情报。Abbar此时恰好说出一个叫Abu Ahmed的人事基地组织头目的私人送信人，这部电影接下来都在讲玛雅顺着Abu Ahmed这个名字发现这好像一个“迷宫”，被关押犯人的审讯录像又是一个误导，就好像手机的背景噪声一样，接下来她来到了一个布满灰尘的体育场，在这个地方，第一架偷袭直升机在降落在Abbottabad的一个院子里，当时刚好午夜过了半小时。
Maya is finishing the job that was started by her predecessor in Ms Bigelow's 2008 film, “The Hurt Locker”, which was also written by Mark Boal, a journalist. Her work poses the same risks; after a tour of duty in Baghdad defusing bombs that all appear to have been built by the same shadowy bomb-maker, Ms Bigelow's hero could not return home and re-enlisted to continue the hunt.
玛雅正在做的这项工作是由她的前任在凯瑟琳·毕格罗的电影—《拆弹部队》里着手开始的。她的工作同样充满危险，在拆除了似乎由同一个神秘的炸弹制造者制造的炸弹的任务后，玛雅没有回家而是在队伍里继续寻找本拉登。
In “Zero Dark Thirty” Maya is hunting the serial-killer-in-chief whom she believes to be the author not just of September 11th, but of all the subsequent attacks—in Saudi Arabia, London, Indonesia and Afghanistan—that are shown in the film. Like many such cinematic heroines, the CIA's Joan of Arc is sometimes in danger of becoming what she is hunting. The question of where she goes next, asked by the pilot who is taking her home, is left unanswered in the final, rare close-up of Maya. It is a shot—and a question—that lingers.
这《猎杀本·拉登》这部电影里，玛雅一直在杀人狂魔头目追寻本拉登，她认为本拉登不仅是9·11事件的策划者，而且还是所有随后在沙特阿拉伯、伦敦、印度尼西亚、阿富汗的袭击制造者，这些袭击都在电影里出现了。就像许多银幕女主角一样，玛雅就像CIA里的圣女贞德，有时她因追查而陷入危险。带她回家的飞行员问她接下来她将要去哪里，关于这个问题，影片结尾没有给出答案，只给了玛雅很少有的的特写镜头。留给大家一个一闪而过的镜头，一丝疑问。
