私人訂制經(jīng)典臺詞

　　馮小剛再次回歸賀歲喜劇市場，推出新片《私人訂制》。該片上映后，雖打破了多項記錄，卻也因“炒冷飯”之嫌而飽受詬病。不過無論如何，馮氏喜劇還是在賀歲檔帶給人們諸多歡喜。

　　“What you don’t dare imagine, we dare to do.” The slogan of Personal Tailor, Feng Xiaogang’s latest comedy project, not only introduces the film’s basic idea of “l(fā)iving a dream”, it also expresses the director’s ambition.“你不敢想的,我們敢做�！弊鳛轳T小剛最新喜劇力作《私人訂制》中的一句口號，這句話不僅道出了該片的“造夢”主題，同時也彰顯了馮導(dǎo)的野心。

　　Compared with his historical epics, such as Back to 1942 and Aftershock, which, to me, looked impressive but lacked a certain edge, I prefer Feng’s more satirical and humorous works that made him famous to begin with.相對于他執(zhí)導(dǎo)的《一九四二》以及《唐山大地震》等歷史題材電影而言，我更喜歡馮導(dǎo)最擅長的“老本行”——諷刺和幽默，盡管前者尚屬佳作，但卻并非獨樹一幟。

　　In that context, Personal Tailor took me back to an earlier Feng. The ingenious premise involves a small group of four people — Yang Zhong (Ge You), the “directorof dreams” and his resourceful employees Miss Bai (Bai Baihe), the “fantastician” who designs dream scenarios, Lu Xiaolu (Li Xiaolu), the “caterer of whims”; and Ma Qing (Zeng Kai), the “spiritual anesthetist”.在這一點上，《私人訂制》將我?guī)Щ氐今T小剛的早期時代。影片立意巧妙，圍繞愿望規(guī)劃師楊重（葛優(yōu)飾）及其“員工智囊團(tuán)”——“情境設(shè)計師”小白（白百何飾）、“夢境重建師”小璐（李小璐飾）與“心靈麻醉師”馬青（鄭愷飾）組成的公司展開。

　　For all their elaborate titles, however, they’re essentially members of a high-concept company, which provides regular — and wealthy — clients with a taste of the lives they have always wanted.盡管他們的名號有些復(fù)雜，但本質(zhì)上都是一家?guī)推矫窈透蝗藞A夢的概念公司的成員，該公司的目標(biāo)是讓客戶體驗到夢寐以求的生活。

　　In a series of separate segments, the team comes to the aid of a chauffeur (Fan Wei) who yearns for a taste of power, a “vulgar” film director (Li Chengru) who wants to become a high-culture artist, and a middle-class woman (Song Dandan) who dreams of becoming a billionaire.片中分為幾個獨立章節(jié)，這支“圓夢四人組”分別對渴望權(quán)力的司機(jī)（范偉飾）、立志追求高雅藝術(shù)卻俗不可耐的電影導(dǎo)演（李成儒飾）以及夢想成為富人的“中產(chǎn)姐”（宋丹丹飾）施以援手。

　　Either as a therapeutic experience or something of a moral test, there are elements of satire and farce in each segment. Much of that is thanks to novelist Wang Shuo, who wrote the screenplay.無論是心理治療還是道德測試的橋段，各章節(jié)都具備了辛辣嘲諷、爆笑十足的元素。而這大部分都要歸功于該片編劇——作家王朔。

　　And as Feng’s films always do, it has a few impressive punch lines, such as “Fulfilling others by debasing ourselves”, or Feng’s playful self-parody “Chinese films, however bad, are never art.”該片延續(xù)了馮導(dǎo)一貫的風(fēng)格，加入一些令人印象深刻的戲謔臺詞，例如：“成全別人、惡心自己。”及馮小剛戲謔自嘲的那句：“中國電影，無論多爛，都與藝術(shù)無緣�！�

　　Jokes aside, Wang’s script grows increasingly serious, making modest yet satirical criticisms of China’s political, artistic and economic values in the process.在種種笑料之外，王朔的劇本也變得越發(fā)嚴(yán)肅，在片中對于中國的'政治、藝術(shù)以及經(jīng)濟(jì)價值進(jìn)行了一番適度而辛辣的調(diào)侃。

　　After all, the film is about “sending a message”. Coming from director Feng — a man with a big ego — that’s almost predictable. But maybe because Feng is too busy dealing with his ambition, the film never allows any of its four principal characters to really come into focus.該片終究難逃“傳達(dá)信息”的主題。而出自自我意識很強(qiáng)的馮導(dǎo)之手，這也完全在意料之中�；蛟S是因為馮導(dǎo)疲于去實現(xiàn)自己的遠(yuǎn)大抱負(fù)，片中的四位主角形象顯得不夠突出。

　　The last 15 minutes of the film take a 180-degree turn and become almost a public service announcement — an odd and unexpected ending to a consistently surprising comedy.影片在最后15分鐘時180度大轉(zhuǎn)彎，幾乎快成了一部公益宣傳片，為這部驚喜不斷的喜劇電影畫上了一個令人摸不著頭腦的結(jié)局。

　　That’s something I never dared imagine, but Feng certainly did it.這是我從來不敢想象的事，但是馮小剛的確這么做了。

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