雙語閱讀：電影《星際穿越》開啟極限之旅

今天的雅思雙語閱讀材料，為大家推薦近期新上映的電影《星際穿越》，該影片得到了眾多影迷的熱捧和好評，下面一起和小編去看看《星際穿越》這部電影的介紹吧！關(guān)注新通外語雅思頻道，或撥打免費(fèi)電話400-618-0272，獲取第一手雅思考試資訊。

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》終于伴著今年頒獎季的宣傳“點(diǎn)火升空”，登上大熒幕，“超越無極限”。

更多雙語閱讀短文及實(shí)時新聞，關(guān)注新通外語，或拔打免費(fèi)電話 400-618-0272 咨詢。

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《盜夢空間》（2010），更難得的是他還是這個重拍與改編盛行的時代中一直堅(jiān)持“原創(chuàng)好萊塢視覺大片”理念的人。

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：宏大的場面、大膽的想象、優(yōu)美的背景，這都讓《星際穿越》成為一場視覺與聽覺的盛宴。而德國作曲家漢斯??季默更是為這部充斥著浩瀚宇宙、龐大行星以及飛行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.

（影片中）近未來的地球飽受干旱與饑荒，人類瀕臨滅絕。一組探險人員因此開始星際航行，希望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）必須做出艱難抉擇：是拯救人類的未來，還是與孩子們再相見。

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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，另一部分則發(fā)生在宇宙間。影片中很多外太空的影像都讓我們想起阿方索??卡隆的《萬有引力》——詭異而壯觀——你甚至還會看到斯坦利??庫布里克《2001太空漫游》的一些影子。當(dāng)然，所有的這些似曾相識，都會給人些許效仿之感，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.

影片最動人之處是主角們還在地球上時（雖然作為一部關(guān)于星際穿越的影片，這種評價聽來有些諷刺）所面臨的悲�。阂晃淮葠鄣母赣H將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。雖然片中不乏典型的科幻概念（時空的性質(zhì)、人類在宇宙中的位置）供觀眾思考，但是諾蘭的解讀卻更側(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)。”這也是諾蘭在這個舊題材不斷復(fù)制的年代里，對電影制作的觀點(diǎn)。他是不多幾個能有抱負(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。

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