2012年11月30日

ハラハラドキドキをごめん ヒッチコック映画の印象的な場面ベスト10


Nail-Biting Allowed: Alfred Hitchcock’s 10 Most Memorable Scenes
( TIME )

Pretty much any movie buff worth his or her popcorn can point to a
slew of directors rightly celebrated not only for their enduring
films, but for the artistry and attention they lavish on specific,
utterly indelible scenes. Kubrick comes to mind, as does Malick.
Spielberg, of course. Kurosawa, Fellini, Scorsese. But no director in
the history of the medium can lay claim to helming as many signature
movie moments as Sir Alfred Joseph Hitchcock. In fact, devoted
moviegoers can reel off a litany of immortal scenes from any one of
Hitch’s greatest films -- Vertigo, North by Northwest, Psycho and so
many others -- that live on, vividly, in the memory years after we
first encountered them.

Here, as a new biopic based on Hitchcock comes to the screen -- with
Anthony Hopkins filling the rotund role -- we’ve resisted the urge
to salute, say, the 25 or 50 greatest scenes in his career and
instead have selected the 10 most memorable moments from 10 of the
Master of Suspense’s most admired films. Let the nail-biting begin.

Judy Becomes Madeleine in Vertigo

None of Hitchcock’s movies are as viscerally unsettling as Vertigo,
and no scene in that greatest of all his films is more deeply, eerily
moving than the “green neon” one that unfolds in a cheap San
Francisco hotel. When the obsessed and heartsick Scottie (James
Stewart) sees Judy (Kim Novak) emerge, ghostlike, from another room
-- lit by an awful, green neon light outside the window and dressed
and coiffed exactly like another woman, Madeleine, with whom Scottie
fell in love -- the palpable jolt of passion that passes between the
two is unlike anything else that Hitchcock ever filmed. The raw
sexual hunger in Scottie’s eyes when he sees Judy/Madeleine standing
before him, in the flesh, is … well, it’s vertiginous.

The Shower Scene in Psycho

Watch it as many times as you like. Study it. Analyze it. Dissect it.
However many ways one approaches this scene -- arguably the single
most famous in cinema history -- something about it defies
explanation. Something about it, more than 50 years after it was
shot, invests this awful scenario with a power out of all proportion
to its constituent parts. Any discussion, meanwhile, has to start
with the myriad elements that Hitchcock employed in order to depict
what is, in the end, a drawn-out act of savagery -- the murder of
Marion Crane (Janet Leigh). Consider the suddenness of the attack;
composer Bernard Herrmann’s violins and cellos screeching along with
Marion’s shrieks of shock and fear; the seemingly manic -- but, in
fact, meticulously plotted -- editing; Marion’s literally naked, and
thus profoundly unnerving, vulnerability. Everything in this scene,
which took seven days and more than 70 individual shots to complete,
has been added to the mix with a single purpose in mind: to terrify.
And it does. If one scene can be said to have changed the movies
forever, the shower scene in Psycho is it.


■ Uh-huh... なるへそ特記事項 ■


■ 1段落目

nail-biting:(爪を噛むほど)はらはら(いらいら)させる

buff:黄褐色、素肌、マニア

worth one's salt:給料に値する働きをする、有能である

原文は「塩」ではなく「popcorn」が使われています。「彼、または彼女のポ
ップコーンほどの価値のある」。映画(館)では、塩そのものより塩味のポッ
プコーンのほうが似合います。ちなみに「salary」(サラリー)も塩に由来し
ます。

lavish:気前よく・惜しみなく与える、浪費する

indelible:消えない、忘れられない

元の語は「delete」。パソコンのキーボードのキーにありますね。

helm:舵(を取る)、指揮する

signature movie:(その人の特徴がよく出た)代表的な映画

「signature」は「署名」。

reel off:引き出す、すらすらと話す・書く

「reel」は釣りなどでお馴染みの「リール、巻き枠、糸車」。

litany:(キリスト教)連祷、長々とした話


■ 2段落目

rotund:丸い、丸々と太った

salute:敬礼する、称賛する


■ 3段落目

visceral:内臓(viscera)の、本能的な

palpable:触知できる、明白な

jolt:揺すぶる、急激な動揺.

flesh:(人間・動物の)肉、肉体.


■ 4段落目

defy:反抗する、無視する、拒否する

savagery:凶暴性、残忍

screech:(車輪・ブレーキなどの)キーという音(を立てる)

shriek:(恐怖・苦痛などの)金切り声、悲鳴(を上げる)

manic: 躁病(mania)の、熱狂的な

「maniac」が「マニア、熱狂者」。「鬱病、憂鬱、不景気」が「depression」。


■ さらば日本語ふむふむ読み ■


Nail-Biting Allowed: Alfred Hitchcock’s 10 Most Memorable Scenes
( TIME )


Pretty much any movie buff worth his or her popcorn

can point to a slew of directors

rightly celebrated not only for their enduring films,

but for the artistry and attention

they lavish on specific, utterly indelible scenes.

Kubrick comes to mind,

as does Malick. Spielberg, of course. Kurosawa, Fellini, Scorsese.

But no director in the history of the medium

can lay claim

to helming as many signature movie moments

as Sir Alfred Joseph Hitchcock.

In fact,

devoted moviegoers can reel off a litany of immortal scenes

from any one of Hitch’s greatest films --

Vertigo, North by Northwest, Psycho and so many others --

that live on, vividly, in the memory

years after we first encountered them.


Here,

as a new biopic based on Hitchcock comes to the screen --

with Anthony Hopkins filling the rotund role --

we’ve resisted the urge

to salute, say, the 25 or 50 greatest scenes in his career

and instead have selected the 10 most memorable moments

from 10 of the Master of Suspense’s most admired films.

Let the nail-biting begin.


Judy Becomes Madeleine in Vertigo


None of Hitchcock’s movies are as viscerally unsettling as Vertigo,

and no scene in that greatest of all his films

is more deeply, eerily moving than the “green neon” one

that unfolds in a cheap San Francisco hotel.

When the obsessed and heartsick Scottie (James Stewart)

sees Judy (Kim Novak) emerge, ghostlike, from another room --

lit by an awful, green neon light outside the window

and dressed and coiffed exactly like another woman, Madeleine,

with whom Scottie fell in love --

the palpable jolt of passion

that passes between the two

is unlike anything else

that Hitchcock ever filmed.

The raw sexual hunger in Scottie’s eyes

when he sees Judy/Madeleine standing before him, in the flesh,

is … well, it’s vertiginous.


The Shower Scene in Psycho


Watch it as many times as you like.

Study it.

Analyze it.

Dissect it.

However many ways one approaches this scene --

arguably the single most famous in cinema history --

something about it defies explanation.

Something about it,

more than 50 years after it was shot,

invests this awful scenario with a power

out of all proportion to its constituent parts.

Any discussion,

meanwhile,

has to start with the myriad elements

that Hitchcock employed

in order to depict

what is, in the end, a drawn-out act of savagery --

the murder of Marion Crane (Janet Leigh).

Consider the suddenness of the attack;

composer Bernard Herrmann’s violins and cellos screeching

along with Marion’s shrieks of shock and fear;

the seemingly manic --

but, in fact, meticulously plotted --

editing;

Marion’s literally naked,

and thus profoundly unnerving,

vulnerability.

Everything in this scene,

which took seven days and more than 70 individual shots to complete,

has been added to the mix with a single purpose in mind:

to terrify.

And it does.

If one scene can be said to have changed the movies forever,

the shower scene in Psycho is it.


■ お帰り日本語ふむなる試訳 ■


ハラハラドキドキをごめん ヒッチコック映画の印象的な場面ベスト10
( TIME )

映画狂の名にし負う、ほとんど誰もが名前を挙げうる高名な監督は大勢いる。
作品の永遠性にとどまらず、まったく忘れえない個々の場面に存分に注がれた
芸術的才能と配慮によって、キューブリックが心に浮かぶ。マリック、スピル
バーグ、もちろんクロサワ、フェリーニ、スコセッシもまたそうだ。だが、こ
の表現媒体の監督の中で、かくも数多く自らの刻印を帯びた映画的瞬間を采配
したと主張できるのはアルフレッド・ジョセフ・ヒッチコック卿ただ1人だ。
実際に、熱狂的な映画ファンが滔々と述べうる偉大なヒッチ映画の不朽の場面
の数々−−「めまい」「北北西に進路を取れ」「サイコ」などその他多数−−
は、鮮明に記憶に生き続けている。初めて出会ったのは何十年も前のことだ。

さて、ヒッチコックを拠り所にした新しい伝記映画が上映される−−アンソ
ニー・ホプキンスが丸々と太った役柄を演じる−−のだが、我々はその経歴か
ら25や50はありそうな偉大な場面にオマージュを捧げたい衝動をぐっと抑えて、
代わりに「サスペンスの巨匠」の最も評価の高い10作品から最も印象的な10の
場面を選んだ。さあ、ハラハラドキドキを始めよう。

「めまい」でジュディがマデリンになる

ヒッチコックの映画の中で「めまい」ほど内奥的な不安を誘うものはなく、そ
してこの最高傑作において、「緑色のネオン」の場面ほど深く怪しく心を動か
すものはない。それはサンフランシスコの安ホテルで繰り広げられる。執着と
悲嘆にさいなまれるスコッティ(ジェームズ・スチュアート)の目の前に、別
の部屋からジュディ(キム・ノヴァック)が幽霊のように現れた−−窓の外の
ネオンライトの恐ろしいほどの緑色に照らされて、衣装も髪型ももう1人の女
性マデリンと寸分違わない、そして彼女こそスコッティが恋に落ちた相手だっ
た−−ときに、2人の間で交わされる熱情の揺れの生々しさは、ヒッチコック
がフィルムに焼きつけてきた他のどんなものとも違う。スコッティの瞳に浮か
んだむき出しの性的渇望、彼の目の前にジュディ/マデリンが生身で立ったと
きのそれが・・・つまり、めまいなのだ。

「サイコ」のシャワー場面

好きなだけ何度でも見よ。研究せよ。分析せよ。解剖せよ。どれほど多くの方
法でこの場面−−ほぼ間違いなく映画史で最も有名な1つだ−−に迫っても、
何かが説明を寄せつけない。その何かが、撮影から50年以上が過ぎても、この
恐ろしい脚本にその構成要素から大きく逸脱する力を与えている。一方で、ど
んな議論もそこから始めなければならない無数の要素がある。ヒッチコックが
結局、いつ終わるとも知れない残虐行為に至るもの−−マリオン・クレイン
(ジャネット・リー)殺しを描くために採用したものだからだ。考えるべきは
暴行の突発性、作曲家バーナード・ハーマンのバイオリンとチェロの金属音と
それに重なるマリオンの衝撃と恐怖の叫び声、病的なほど興奮しているような
−−だが、実際には入念に組み立てられた−−編集、そしてマリオンの文字通
りの全裸とそれゆえに気力を打ち砕かれる脆弱性だ。この場面のすべては完成
までに7日間と70以上のカット数を要したのだが、それらが渾然一体となって
心中の1つの目的に向かう。すなわち、恐怖の底に突き落とすこと。そして、
誰もが突き落とされる。もしも1つの場面が映画を永久に変えたと言えるとす
れば、「サイコ」のシャワー場面がそれだ。


■ もう一度ふむなるTIMEしよう! ■


Nail-Biting Allowed: Alfred Hitchcock’s 10 Most Memorable Scenes
( TIME )

Pretty much any movie buff worth his or her popcorn can point to a
slew of directors rightly celebrated not only for their enduring
films, but for the artistry and attention they lavish on specific,
utterly indelible scenes. Kubrick comes to mind, as does Malick.
Spielberg, of course. Kurosawa, Fellini, Scorsese. But no director in
the history of the medium can lay claim to helming as many signature
movie moments as Sir Alfred Joseph Hitchcock. In fact, devoted
moviegoers can reel off a litany of immortal scenes from any one of
Hitch’s greatest films -- Vertigo, North by Northwest, Psycho and so
many others -- that live on, vividly, in the memory years after we
first encountered them.

Here, as a new biopic based on Hitchcock comes to the screen -- with
Anthony Hopkins filling the rotund role -- we’ve resisted the urge
to salute, say, the 25 or 50 greatest scenes in his career and
instead have selected the 10 most memorable moments from 10 of the
Master of Suspense’s most admired films. Let the nail-biting begin.

Judy Becomes Madeleine in Vertigo

None of Hitchcock’s movies are as viscerally unsettling as Vertigo,
and no scene in that greatest of all his films is more deeply, eerily
moving than the “green neon” one that unfolds in a cheap San
Francisco hotel. When the obsessed and heartsick Scottie (James
Stewart) sees Judy (Kim Novak) emerge, ghostlike, from another room
-- lit by an awful, green neon light outside the window and dressed
and coiffed exactly like another woman, Madeleine, with whom Scottie
fell in love -- the palpable jolt of passion that passes between the
two is unlike anything else that Hitchcock ever filmed. The raw
sexual hunger in Scottie’s eyes when he sees Judy/Madeleine standing
before him, in the flesh, is … well, it’s vertiginous.

The Shower Scene in Psycho

Watch it as many times as you like. Study it. Analyze it. Dissect it.
However many ways one approaches this scene -- arguably the single
most famous in cinema history -- something about it defies
explanation. Something about it, more than 50 years after it was
shot, invests this awful scenario with a power out of all proportion
to its constituent parts. Any discussion, meanwhile, has to start
with the myriad elements that Hitchcock employed in order to depict
what is, in the end, a drawn-out act of savagery -- the murder of
Marion Crane (Janet Leigh). Consider the suddenness of the attack;
composer Bernard Herrmann’s violins and cellos screeching along with
Marion’s shrieks of shock and fear; the seemingly manic -- but, in
fact, meticulously plotted -- editing; Marion’s literally naked, and
thus profoundly unnerving, vulnerability. Everything in this scene,
which took seven days and more than 70 individual shots to complete,
has been added to the mix with a single purpose in mind: to terrify.
And it does. If one scene can be said to have changed the movies
forever, the shower scene in Psycho is it.


■ もっとふむなるしたい人は、記事の続きも読んでみよう!
 ↓ ↓ ↓
http://ti.me/UVQzvx


■ 編集後記 ■


今回の記事はいかがでしたか。ヒッチコックは無声映画の頃からメガホンを取
っている古い監督です。馴染みのない人が多いかもしれません。原文では、各
映画の名場面を動画付きで紹介しています。確かにハラハラドキドキのサスペ
ンス映画なのですが、鮮血がほとばしり、生首が飛ぶような今どきの露骨な代
物とは違います。英語の文章をより深く味わうためにも、ぜひご覧あれ。


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