紐時摘譯：寶萊塢飛向好萊塢 - 印度

新聞來源：udn網路城邦
http://city.udn.com/50132/3915202?tpno=0&cate_no=0


報導日期：2010/3/23


Bollywood Soars toward Hollywood

寶萊塢飛向好萊塢

By Anupama Chopra

MUMBAI – Little about “Kites” suggests “Rush Hour.” An extravagant
Bollywood romantic thriller, “Kites” features the Indian star Hrithik
Roshan and the Mexican actress Barbara Mori as mismatched lovers who can’t
speak each other’s language and end up on the run in New Mexico.
電影「風箏」與「尖峰時刻」幾乎扯不上關係。「風箏」是一部華麗的寶萊塢浪漫驚悚片
，由印度男星赫里辛克羅桑和墨西哥女星芭芭拉莫瑞飾演一對不搭調的情侶，彼此不會說
對方的語言，最後在新墨西哥州一起逃亡。

But last October, when the director Brett Ratner saw an unfinished version at
a screening in Los Angeles, he found echoes of “Rush Hour,” his own Jackie
Chan-Chris Tucker smash hit. “It was two characters that were fish out of
water,” Mr. Ratner said in a telephone interview, “only here it was an
Indian and a Mexican. I’m not saying that ‘Kites’ will be the box office
hit that ‘Rush Hour’ was, but I felt it had the potential to cross over to
American audiences.”
但去年10月，導演布萊特拉特納在洛杉磯試映會上看了尚未完成的版本，他發現有些地方
很像他自己導的成龍和克里斯塔克的超賣座電影「尖峰時刻」。拉特納說：「兩個格格不
入的角色，只是這裡換成一個印度人和一個墨西哥人。我沒說『風箏』會和『尖峰時刻』
一樣賣座，但我感覺它有潛力打動美國觀眾。」

So Mr. Ratner, who until then had seen only a few Hindi films, offered to
re-edit “Kites” and make it more accessible for mainstream America. Working
with Mark Helfrich, his editor on the “Rush Hour” series and “X-Men: The
Last Stand,” Mr. Ratner pared the 118-minute film to 90 minutes. He lost
some of the elements that “just wouldn’t translate.”
因此，之前只看過幾部印度電影的拉特納自告奮勇，表示願意重新剪接「風箏」，使這部
電影更能讓美國主流觀眾接受。他與他的「尖峰時刻」系列電影和「X戰警：最後戰役」
的剪接師馬克．海佛里奇合作，把118分鐘的電影剪成90分鐘。他剪掉一些「無法翻譯」
的元素。

On May 21 the original Hindi version and Mr. Ratner’s reworked English
version of “Kites” will be released around the globe.
原創的印度版和拉特納加工過的英文版「風箏」將於5月21日在全球上映。

“For me it’s about breaking barriers,” Mr. Roshan said. “The larger goal,
the big dream, is to have an Indian film being watched by a world market.”
羅桑說：「對我來說，這是打破障礙，更大的目標和夢想是讓一部印度電影在全球市場放
映。」

Bollywood already has a world market. Indian cinema has an annual estimated
audience of over three billion worldwide. South Asians are avid consumers, as
are viewers in countries as varied as Germany, Malaysia and South Korea. But
the world’s largest film market, the United States, has remained impervious
to the seductions of song and dance.
寶萊塢已經擁有世界市場。印度電影每年的全球觀眾估計超過30億。南亞人是熱誠的消費
者，在德國、馬來西亞和南韓等頗不相同的國家也各有觀眾。但全球最大電影市場美國仍
對印度片歌舞的魅力無動於衷。

“There are essentially two kinds of audiences in the West: mass and niche,”
said Nasreen Munni Kabir, a documentary filmmaker. “The mass audience wants
English-language films with known stars and familiar story lines. The niche
audience accustomed to world cinema accepts subtitles, slightly longer films
and unfamiliar actors. But these films must reflect a cultural, political and
social reality of their country. Bollywood films by their very nature do not
fit into either category.”
紀錄片製作人納斯林穆尼卡比爾說：「西方基本上有兩種觀眾：大眾和小眾（或稱分眾）
。大眾觀眾要看有知名明星和熟悉情節的英語片。習慣看世界電影的小眾觀眾能接受字幕
、稍微長一點的電影和不熟悉的演員。但這些電影必須反映他們國家的文化、政治和社會
現實。寶萊塢電影本質上與這兩種類型觀眾都不合。」

The situation is beginning to change, thanks in large part to the staggering
success of “Slumdog Millionaire.” It also helps that the definition of
Bollywood has become more elastic. No longer a monolithic style that denotes
stars, songs and melodrama, Bollywood has also come to encompass something
else; over the last decade new filmmakers have tweaked the traditional form
so that Hindi cinema also includes films without songs that are stark and
rooted in contemporary Indian realities.
多虧「貧民百萬富翁」一片獲得石破天驚的成功，這種情況已開始改變。而寶萊塢的定義
變得更具彈性，對情況也有幫助。寶萊塢不再是單一風格，千篇一律由明星、歌唱和通俗
劇情掛帥，片子也納入了其他內容；這十年來，新導演調整傳統形式，讓印度電影也包含
沒有歌舞、嚴肅和植根於當代印度現實的電影。

Even established filmmakers are willing to break boundaries. So in the
recently released “My Name Is Khan” the director Karan Johar forgoes his
trademark opulent songs and feel-good emotions for a more grim subject: the
plight of American Muslims after the September 11 attacks.
即便是已成名的製片人和導演也願意突破樊籬。因此在最近上映的「我的名字叫可汗」一
片中，導演卡蘭約哈爾擺脫他的招牌豪華歌舞和溫馨情感戲，改拍較陰冷嚴肅的主題：
911攻擊後美國穆斯林的困境。

Smaller, grittier Hindi films are making inroads via the festival route. In
January “Peepli Live,” a low-budget black comedy about farmer suicides in
central India, became the first Hindi film selected for competition at
Sundance. In February “Peepli Live” screened at the Berlin Film Festival,
alongside another crossover candidate: “Road, Movie.”
成本較低、更貼近生活現實的印度片正透過影展打開出路。今年一月，「畢普利村現場直
播」成為日舞影展第一部來自印度的競賽片，這部黑色喜劇敘述印度中部農夫的自殺過程
。二月，「畢普利村現場直播」與另一部跨界電影「公路，電影」一同在柏林影展上放映
。

It’s doubtful that any of these films will pull off a “Slumdog”-style
success, but there’s hope for making bigger inroads in the United States.
Rakesh Roshan, who produced “Kites,” was cautiously optimistic.
儘管這些片子很難有一部像「貧民百萬富翁」那樣成功，印度片卻可望進一步打進美國市
場。「風箏」的製片人拉克希羅桑對這一點表示審慎樂觀。

“I think we haven’t been able to make a ‘Crouching Tiger’ so far because
you need guts, and you need a vision,” he said. “Maybe ‘Kites’ won’t
work, but at least we took a step forward.”
他說：「我認為我們迄今還無法拍一部『臥虎藏龍』，因為你需要有膽識，你需要有遠見
。也許『風箏』不會成功，但至少我們向前邁進了一步。」

原文參照：
http://www.nytimes.com/2010/03/07/movies/07bollywood.html

2010-03-23/聯合報/G5版/UNITEDDAILYNEWS 田思怡 原文請見紐時周報十一版下




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剪個屁阿....(怒)

大帥爹是頭殼壞去嗎？

好萊塢是有什麼好進軍的 =_=

讓大帥跟成龍甄子丹一樣去那邊被糟蹋嗎？

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我希望我未來老公...
有Hrithik的臉，Hrithik的公狗腰，Hrithik的媽so，最好再跟Hrithik一樣很會跳舞 >///<
（謎之音：妳..是認真的嗎..(￣ー￣；) )
人活著就要有夢想嘛 (╯≧▽≦)╯
（謎之音：這位同學，夢想跟妄想是不一樣的好嗎..)
http://amandalin.pixnet.net/blog

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