跟我一起读教父评论轨（三）

作　者：foxhidden
GOMOVIE畅谈

以后看来每次要写多一点，封面快用完了……
正式开始前先修正两个：
the horses are slaughtered to feed animal lovers’ little puppies, Plutos
这里其实对理解影响不大，科波拉说到那些马被宰杀后做成狗食，动物爱好者买来给他们的小狗吃，给他们的Plutos吃。这个Plutos是个动画片里面的狗形象，我记得应该是迪斯尼里面的，跟Don Old Duck一起混的那只，后来查了半天只查到一只叫“古菲”的。我又以为是加菲猫里面的，但也不是。最后总算弄清楚是迪斯尼里面的狗。不过我还是没搞清楚GO坛的新年横幅里面的那只狗是Plutos还是古菲。
Salami, Gabagol and Prosciutto
讲到婚礼那段，科波拉说是“足球婚礼”，来由是把三明治用纸包好，写上名字，要吃就抛给人家。我刚开始以为这三个名字是胡乱写的，或者就是科波拉家里人的名字。看了花絮才知道，这三个都是食物的名字。

Salami是意大利腊肠，Prosciutto是新鲜熏火腿。这个Gabagol有点麻烦，我想在网上搜它的中文名，没想到返回的竟是我自己写的帖子（诺大的中文互联网，竟然查不到，汗一个），最后才查明原来它还有一个更普遍的拼法Capicola，有网站译作意大利肉肠，但这个范围太大，这三种都能叫意大利肉肠吧，反正是香肠，具体就不在研究了。所以FH的音译就不妥了。

开始正题，图片上如有字幕，上HL、下FH

36. Now this scene is interesting in intermediate to how collaborate with Mario Puzo. In the script, in this case, I wrote script, Mario, kind of, re-wrote with me, giving me notes in the script. I want really to get entire recipe here, so people can learn how to make tomato sauce. So in my script, the line was Clemenza said “well, first you should put olive oil, and some garlic and the you brown some sausage” when the script came back to me, Mario had crossed that line ”brown some sausage ” and said “then you fry the sausage” he said ”gangster don’t brown, gangster just fry”
I take this point, my career I thought all of my films should have good recipe, at least the film didn’t turn out, so it always be a useful recipe, in the film. The way Richie does, it’s not 100 percent authentic, but it is true, meat sauce, you make the sausage, you do pour red wine in after you fried the sausage and so hot, then you add the red wine and it hisses and it gets a nice aroma
科波拉讲到了他和普佐合作写剧本的情形：他先写好寄给普佐，普佐修改后再寄回给他（敢情他俩还不住在一起）。科波拉在这里拍了克里曼沙完整说出一道菜的做法。“虽然他说的并不是百分之百真实的（左图为HL、FH翻译），但有一点是真的，最后要倒入红酒（右图为HL、FH翻译），之后吱吱作响，香气弥漫至整个房间。”

37.I asked AL and Diane to, actually, have dinner in this hotel room, so they will get to know each other, so I set up very romantic way, I said, you know, “order anything you want, have room service, to be honest, I think because of the setting I like to think cute they made setting, so Diane actually fell in love and became a couple for very long time, I do believe this scene was genesis of that.
科波拉让帕西诺和黛安·基顿平时也在那个饭店吃饭，享受一系列客房服务，想吃什么点什么，以培养感情。那里的环境如此浪漫，使黛安·基顿真的爱上了帕西诺，两个人交往了很长一段时间，就是从这里开始的。
这种在现实生活中模拟戏中场景的做法好像叫“方法派”吧，例如达斯丁·霍夫曼为了表现一个人几天几夜不睡觉，就真的几天几夜不睡觉；阿尔·帕西诺在《疤面人》也用过这种方法，跟扮演戏中几个要好哥们儿的演员混在一起，而戏中的仇人，现实生活极少接触。我个人不太认同这种做法，因为对于一个演员来说戏里戏外应该是分清楚的，而这种方法会使人沉迷于戏中不能自拔，但要是跟黛安·基顿一起做“方法派”，我想包括我，谁都不会拒绝的。
I know she always like him so much, even early on when they have the casts, shooting screen tests, so many people test for Michael, I go to her and say” who you think is will his, you know, who do you think is play, she said: you know, it should be AL
黛安·基顿很早就认识阿尔，对他很有好感。这对他扮演麦克起了相当大的作用。本片的制片很不喜欢阿尔，说他是个侏儒，跟其他两个兄弟根本没法比，看上去就像个修水管的。最后由于科波拉一在坚持，黛安·基顿也认可，还有负责选演员的谁谁谁的妻子（花絮碟里有）也选他；所以阿尔才留了下来。当然阿尔的确有才华，但不一定非要选他，他的身体条件差了些。一个人要成功，实力和机遇缺一不可。

38.Now this is the scene shot on Friday in first week, that’s really almost, was my finish, I think it’s gone very well, the first week, I thought, Thursday before this night we shot killing Sollozzos and this would to be Al arriving the hospital, that’s real location. I will explain why was my dynamist when the scene comes up, he wander through the empty, this was not shot in first week, this interior we shot this later, but it’s real location. Interesting about this scene, that in building. I wish I had just shot like empty corridor, I can place the sound of foot coming and build the suspense, I was so rush and frighten not getting the scene in time. I focus just on real AL cross the scene, I didn’t shoot any shot just the empty corridor......
麦克去医院看望父亲的一场戏，科波拉想拍出悬疑的味道，用空旷的走廊来实现。看过花絮碟的话，会发现科波拉对希区科克也是极为推崇，拍戏的时候老是在想要是希区科克来拍，会怎么做。但这里他的时间太紧了，没有时间拍空旷的走廊。后来乔治·卢卡斯提醒了他，并帮找到了这些片断。从哪里找呢？原来导演在喊“停”，演员走出画面之后，有些摄影机还在拍，卢卡斯就是从这些废胶片里找到的空旷的走廊。科波拉这里给出了他的第一个建议：拍完重要场景后，也要拍些不重要的场景，可能这些不重要的场景会和重要的场景一样有价值。

In this scene, AL, I thought demonstrate, really now this boy being a born leader and kind of he arrive the situation, he remains cool, he immediately become the decides and takes over and Al showed this very well, I think the studio start to realize AL has the extraordinary to reach the ability to be a leader.
阿尔打电话叫人这段，表现了麦克实在是天生的领导者，仍然保持镇定、不慌不忙。阿尔的表演也获得摄制组的认可。

39.So the story why I got on trouble on fifth night outside the hospital was, we were pretty much schedule that week, those first four days had got everything we needed, but in the night’s scene, not all only take a long time to light, because it was night, in hospital exterior, but in the course of evening, Al twisted his ankle and he took off to have the X-ray and what have you. In somehow, I got blame for this, the mean I got blame I had to complete Friday’s work. In fact that’s hospital sequence, that’s supposed to shoot that Friday, we ultimately went to LA and later after this movie again in Second Unit, we shot that a lot, try to, when I see the sequence show you, which were original locations where we’re not able to finish, which were the one that done in Hollywood lot, with different photographer, by the way, try to match…. This is in Hollywood, this shot Enzo and Michael coming out, this is all in LA, the close shots.....
医院外腐败警察殴打麦克是在第五天拍的，那天麦克扭伤了脚，科波拉的噩梦就开始了。要命的是，麦克跳车扭伤脚的镜头由于摄影角度的关系，画面上看不见，最终也没有出现在电影中。时间又很紧迫，摄制组要赶到洛杉矶和第二摄制组会合。所以医院外的戏，有些是在纽约实景拍的，有些是在洛杉矶拍的，然后剪辑在一起。科波拉会一一说明。电影真的展现了它魔术的一面，科波拉不说的话很难看出来。
科波拉这一路下来多次强调电影是实景拍摄，我对电影史了解不多，不知道在那个年代这是不是很少见，是不是值得夸耀的事。

Obviously we were trying to show here AL was an war veteran, was able to stand up this kind of tension, not you know, not this nerves go. He even know himself when he light the cigarette how, that his hand not shaken, was this young baker is
点香烟的一幕，再次展现了麦克的冷静。并与旁边的面包师形成了对比，FH把“面包师”翻成了“支持者”

40.That actor along who has the line in the background there was Sonny Grosso, who was the one of the, a real fellow in “The French Connection”, that’s story is written about.
FH再一次把HL的好翻译改错，虽然HL的也并不是完全正确。我怀疑FH的翻译是不是故意的，只要是HL“往东的”，他偏要“往西”。这一路下来多少正确的被他改成错的了。
科波拉在这里可是暴了一个大料：站在腐败警察身后只有一句台词的龙套演员就是大名鼎鼎的桑尼·格拉索，《法国贩毒网》中金·哈克曼搭档的原型。FH的翻译歪打正着，桑尼·格拉索是出演过《法国贩毒网》，他后来还不当警察，专职做起了影视制片人，也相当成功，这个经历也蛮传奇的。但人家科波拉根本不是这个意思，所以这里还是要踩一下！
发几张桑尼·格拉索，截图来自于《法国贩毒网》DVD花絮碟。桑尼是意裔美国人，这可能也是他在《教父》中跑龙套的原因，但好像从没听人提起过，反正这层窗户纸已被我捅破；至于桑尼·格拉索的具体英雄事迹和经历，有资格介绍的大有人在，我就不献丑了。


问题：为什么腐败警察要殴打麦克
不知道大家有没有这个疑问，我第一次看的时候是有的，读过小说的话就会了解。原来麦克罗斯基警官还算是个有原则的人，他不会去敲诈那些小商小贩；虽然贪财，但该拿的就拿，不该拿的不会拿。索洛佐向他建议把医院的考利昂老头子设法置于无保护状态时，他并不问为什么，只问给多少钱。当索洛佐说一万美元时，麦克罗斯基就知道其中的奥妙了。他毫不犹豫地答应了下来。考利昂是最大的黑帮头目之一，他在政界的后门比任何神通广大的政客还要多。随便谁把他敲掉，也就等于给国家做了一件大好事。麦克罗斯基先把钱拿到手，然后就完成了任务。当他接到索洛佐的电话说医院门前仍然有考利昂家族的两个人时，他暴跳如雷。而眼下，作为有原则性的人，他一定得把那一万美元退回去，这一万美元他早盘算好，预定为供他孙子上学的基金的。于是他带着那种怒不可遏的心情来到医院，打了麦克·考利昂。

41.The morning the act was actually several houses in a residential areas, Tavoularis had built these artificial stone walls and gate, to kind of imply that, there was a, you know, compound,. There was really inspired I think in Mario’s book by notion of Kennedy’s compound, very powerful family with a real patriarchal and always fine son.
教父庄园一幕，墙壁和门都是家的，美工师Dean Tavoularis负责的，按现在的流行叫法应该是“艺术指导”。科波拉谈到，普佐对教父庄园的描写，取材于肯尼迪家族，
一个很有权势的家族，有一个家长，底下还有好几个优秀的儿子。这一段中compound应该是“有建筑物围绕的场地，院子”之意，FH翻成了“建筑群”，那句“儿子是国家元首”也是想当然，科波拉没提到啊。

42.We had very good make-up department on the film, Dick Smith, he, you know we really wired AL’s jaw. I try to make the notion of the suffering of real punch from a strong man and you know, normally people get punched in the movie, you know, the next day they just talking, we really ask medical help to what would be like. We temporally wired his the jaw, so he couldn’t talk, try to realistic as possible as could.
迪克·史密斯领导的化妆组做出了麦克被打的模样，他们在真的用线围起了阿尔的下颚（不知道怎么做的）。科波拉是想表现被打之后的痛苦，他说“通常在电影里，人被打之后，第二天还能说话（FH少了‘电影里’意思完全变样，丢！）；我们问了医护人员，真实情况会怎样（FH译作‘为什么会这样’又错，再丢），我们让阿尔含着金属丝，这样他就不能讲话了（这句照抄FH翻译，意思没错。但按照FH的译法，意思前后矛盾，被打了之后第二天倒底能不能说话呢？）
按照书中的描述，麦克被打掉了三颗牙齿，脸颊凹陷了进去，还留下了经常流鼻涕的毛病，脸实际上也算毁容了。但麦克认为这是男人的荣誉，所以一直没去整容。后来凯生了儿子，麦克怕吓到他，才去整容修补缺陷。影片中的麦克可要帅多了。

43.Jimmy Caan really spent time, went around, meeting sort of tough guy around the New York and you know, the issue we’re making this film had to do with Mafia. Mario told me, you know, “you gotta be offer to meet real guy, you know, don’t meet them, don’t even like to say you’re interested, don’t let them have your phone number and they never bother you.” And that’s what I did and I was never certainly bothered and I made the film I never had point of contact with any real figures in the underworld. Jimmy, on the other hand, really, you know, kind of hanging out with some real people and try to learn from them, pick up their accent, the way they express themselves and really, you know, brought that performs very authentic way
科波拉虽然拍的是黑帮片，当根据他自己的描述没有和黑帮发生任何关系，普佐还告诉他不要说你感兴趣，不要留电话号码，他们就不会来烦你了。詹姆斯·开恩正相反，跟纽约的一些人混在一起，学他们的口音及行为举止。
科波拉自己虽然声称没有跟黑帮发生过任何关系，但我读到的报道中还是有的。一件是纽约黑手党想阻碍此片的拍摄，最后达成协议。影片中黑帮自称家族，不得出现“黑手党”等字眼，片子才得以继续拍摄下去；另一件事是科波拉想了解帮派成员入家族的仪式，后来就有人带他进去看，但不得和任何人说起，当时也不准说话。这个和那个谁谁谁画《清明上河图》有点像，也是赵皇帝带那位画家进了皇宫，才有了这副画。以上都是我不知何时何地看来的，真实性无法确认。
（未完待续）
继续英文讲评稿，忘记哪里开始哪里结束了
Now this scene is interesting in intermediate to how collaborate with Mario Puzo. In the script, in this case, I wrote script, Mario, kind of, re-wrote with me, giving me notes in the script. I want really to get entire recipe here, so people can learn how to make tomato sauce. So in my script, the line was Clemenza said “well, first you should put olive oil, and some garlic and the you brown some sausage” when the script came back to me, Mario had crossed that line ”brown some sausage ” and said “then you fry the sausage” he said ”gangster don’t brown, gangster just fry”
I take this point, my career I thought all of my films should have good recipe, at least the film didn’t turn out, so it always be a useful recipe, in the film. The way Richie does, it’s not 100 percent authentic, but it is true, meat sauce, you make the sausage, you do pour red wine in after you fried the sausage and so hot, then you add the red wine and it hisses and it gets a nice aroma
I asked AL and Diane to, actually, have dinner in this hotel room, so they will get to know each other, so I set up very romantic way, I said, you know, “order anything you want, have room service, to be honest, I think because of the setting I like to think cute they made setting, so Diane actually fell in love and became a couple for very long time, I do believe this scene was genesis of that
I know she always like him so much, even early on when they have the casts, shooting screen tests, so many people test for Michael, I go to her and say” who you think is will his, you know, who do you think is play, she said: you know, it should be AL
Now this is the scene shot on Friday in first week, that’s really almost, was my finish, I think it’s gone very well, the first week, I thought, Thursday before this night we shot killing Sollozzos and this would to be Al arriving the hospital, that’s real location. I will explain why was my dynamist when the scene comes up, he wander through the empty, this was not shot in first week, this interior we shot this later, but it’s real location. Interesting about this scene, that in building. I wish I had just shot like empty corridor, I can place the sound of foot coming and build the suspense, I was so rush and frighten not getting the scene in time. I focus just on real AL cross the scene, I didn shoot any shot just the empty corridor, and so my friend George Lucas saw the footages, say” will you got to build some suspense, got to have the empty corridor and so we did look through all the shot after I said “cut” maybe few feet empty corridor, we took those and you see later on the sequence we you cut the empty corridor, those just little ends of shots that happen to be, after the actor walk out the film, this is a little piece, so advise to directors: very often the most important stuff that you get, you shoot then you wish you’d got, so-call easy, unimportant scene, so always get those unimportant scenes because there’re as value as important scene.
In this scene, AL, I thought demonstrate, really now this boy being a born leader and kind of he arrive the situation, he remains cool, he immediately become the decides and takes over and Al showed this very well, I think the studio start to realize AL has the extraordinary to reach the ability to be a leader.
Here is the shot I just left over, this one is well, just little piece left from the ends of the shot, we were able to use to set the suspense and George Lucas help me, find them and do this.
So the story why I got on trouble on fifth night outside the hospital was, we were pretty much schedule that week, those first four days had got everything we needed, but in the night’s scene, not all only take a long time to light, because it was night, in hospital exterior, but in the course of evening, Al twisted his ankle and he took off to have the X-ray and what have you. In somehow, I got blame for this, the mean I got blame I had to complete Friday’s work. In fact that’s hospital sequence, that’s supposed to shoot that Friday, we ultimately went to LA and later after this movie again in Second Unit, we shot that a lot, try to, when I see the sequence show you, which were original locations where we’re not able to finish, which were the one that done in Hollywood lot, with different photographer, by the way, try to match…. This is in Hollywood, this shot Enzo and Michael coming out, this is all in LA, the close shots, waiting the assassins and trying to look, they were bodyguards, looks likes they have guns. I believe this is original, that long shot were original New York location. This is in LA, the fake one. This was in New York, I believe, I’m maybe wrong, even I don’t know anymore.
Obviously we were trying to show here AL was an war veteran, was able to stand up this kind of tension, not you know, not this nerves go. He even know himself when he light the cigarette how, that his hand not shaken, was this young baker is
In the film you always try to figure out ways to show what characters feeling or what characters thinking, you always look for the extra bits of business.
That actor along who has the line in the background there was Sonny Grosso, who was the one of the, a real fellow in “The French Connection”, that’s story is written about
There you notice the wooden bumpers on the car, because they delivered those cars without those original bumpers.
This is back in LA
The morning the act was actually several houses in a residential areas, Tavoularis had built these artificial stone walls and gate, to kind of imply that, there was a, you know, compound,. There was really inspired I think in Mario’s book by notion of Kennedy’s compound, very powerful family with a real patriarchal and always fine son.
We had very good make-up department on the film, Dick Smith, he, you know we really wired AL’s jaw. I try to make the notion of the suffering of real punch from a strong man and you know, normally people get punched in the movie, you know, the next day they just talking, we really ask medical help to what would be like. We temporally wired his the jaw, so he couldn’t talk, try to realistic as possible as could.
Jimmy Caan really spent time, went around, meeting sort of tough guy around the New York and you know, the issue we’re making this film had to do with Mafia. Mario told me, you know, “you gotta be offer to meet real guy, you know, don’t meet them, don’t even like to say you’re interested, don’t let them have your phone number and they never bother you.” And that’s what I did and I was never certainly bothered and I made the film I never had point of contact with any real figures in the underworld. Jimmy, on the other hand, really, you know, kind of hanging out with some real people and try to learn from them, pick up their accent, the way they express themselves and really, you know, brought that performs very authentic way
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