導(dǎo)語:《星際穿越》(Interstellar)是克里斯托弗·諾蘭執(zhí)導(dǎo)的一部原創(chuàng)科幻冒險(xiǎn)電影，由馬修·麥康納、安妮·海瑟薇、杰西卡·查斯坦及邁克爾·凱恩主演，基于知名理論物理學(xué)家基普·索恩的黑洞理論經(jīng)過合理演化之后，加入人物和相關(guān)情節(jié)改編而成。影片由派拉蒙、華納和傳奇影業(yè)聯(lián)合制作，派拉蒙負(fù)責(zé)北美發(fā)行，華納負(fù)責(zé)海外發(fā)行，定于2014年11月7日在北美公映?！缎请H穿越》主要講述了一隊(duì)探險(xiǎn)家利用他們針對(duì)蟲洞的新發(fā)現(xiàn)，超越人類對(duì)于太空旅行的極限，從而開始在廣袤的宇宙中進(jìn)行星際航行的故事。

　　電影星際穿越英文介紹

　　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.

　　在幾支神秘莫測(cè)的預(yù)告片與鋪天蓋地的宣傳之后，由英裔美國導(dǎo)演兼制作人克里斯托弗•諾蘭執(zhí)導(dǎo)的科幻新作《星際穿越》終于伴著今年頒獎(jiǎng)季的宣傳“點(diǎn)火升空”，登上大熒幕，“超越無極限”。

　　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.

　　諾蘭是目前我最喜愛的電影導(dǎo)演之一。他不僅曾執(zhí)導(dǎo)過《蝙蝠俠》三部曲(2005-2012)和《盜夢(mèng)空間》(2010)，更難得的是他在這個(gè)重拍與改編盛行的時(shí)代中一直堅(jiān)持“原創(chuàng)好萊塢視覺大片”理念。

　　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《星際穿越》中，諾蘭也將這一理念發(fā)揮到極致：宏大的場(chǎng)面、大膽的想象加上優(yōu)美的背景讓《星際穿越》成為一場(chǎng)視覺與聽覺的盛宴。德國作曲家漢斯•季默更為這部充斥著浩瀚宇宙、龐大行星以及穿梭其中的渺小宇宙飛船的大片錦上添花。

　　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.

　　故事發(fā)生在近未來，地球飽受干旱與饑荒，人類瀕臨滅絕。一組探險(xiǎn)人員開始星際航行，希望能在未知的宇宙中找到一顆能讓人類繼續(xù)生存的星球。飛行員庫珀(馬修•麥康納 飾)同樣面臨艱難的抉擇：是拯救人類，還是與孩子們重聚。

　　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.

　　你也許已經(jīng)猜到了，故事分成兩部分：一部分發(fā)生在地球上，另一部分發(fā)生在外太空。影片中很多外太空影像都讓我們想起阿方索•卡隆的《萬有引力》——詭異而壯觀——你甚至還會(huì)看到斯坦利•庫布里克《2001太空漫游》的一些影子。當(dāng)然，所有這些似曾相識(shí)都會(huì)給人些許效仿之感，讓人覺得有些缺乏新意。

　　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.

　　影片最動(dòng)人之處是主角們還在地球上時(shí)(雖然作為一部關(guān)于星際穿越的影片，這種評(píng)價(jià)聽來有些諷刺)所面臨的悲劇：一位慈愛的父親可能再也見不到自己的孩子，而這樣的犧牲可能也只是徒勞。影片的情感份量不言而喻。雖然影片不乏典型的科幻概念(時(shí)空的性質(zhì)、人類在宇宙中的位置)供觀眾思考，但諾蘭的解讀卻更側(cè)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，馬修•麥康納飾演的庫珀曾說，“我們已經(jīng)忘記了自己是誰。我們不是守護(hù)者，而是探索者，是先驅(qū)。”這也是諾蘭在這個(gè)舊題材不斷復(fù)制的年代里，對(duì)電影制作的觀點(diǎn)。他是不多幾個(gè)能有抱負(fù)說出如此大膽之語的導(dǎo)演，更是少之又少的有遠(yuǎn)見、有能力、也有勇氣實(shí)現(xiàn)這句話的人。