为什么这部暗黑版“人鱼爱上我”，最后拿下了奥斯卡最佳影片？

昨天奥斯卡颁奖典礼这一年度大瓜相信大伙儿都吃了吧（回顾）~

奥斯卡影帝影后等一众大奖可谓是众望所归，但这最佳影片（Best Picture）揭晓的时候，不少人心里还是小小紧张了一把。今年的奥斯卡，也就是这一刻算是真正有悬念了。

毕竟，《三块广告牌》(Three Billboards) 和《水形物语》(The Shape of Water) 这两大夺奖热门影片，还真的有些让人难以抉择啊……

最终结果大家也知道了，《水形物语》力压《三块广告牌》，夺得最佳影片在内的4项大奖，成为当晚最大赢家~

（导演“陀螺”Guillermo del Toro还捧走了最佳导演奖的小金人↑↑↑）

不过，获奖结果一出，还是有不少人颇感意外。毕竟，此前《三块广告牌》的呼声和口碑也不是盖的，而“下水道怪物爱上我”的重口味“怪兽片”《水形物语》，似乎对有的吃瓜群众来说有点接受不能。

Del Toro's The Shape of Water, which erased all sorts of lines, was the most nominated film and it took home four Oscars Sunday night, the most for a single motion picture in a year with a surprisingly diverse palate of nominated films. While Three Billboards, a candid, brutal look at a woman's rage that her daughter's murder was not investigated, won trophies for McDormand's steely performance and Sam Rockwell's portrayal of the cop that attempts to hold her back.

电影《三块广告牌》(Three Billboards) 讲述了一位母亲因女儿惨遭杀害，正义不得伸张，决定树起广告牌，以此和当地警察对峙的故事。

该片已于3月2日在国内上映，在豆瓣上的口碑也相当不错↓↓↓

那么，《水形物语》又讲述了一个什么样的故事呢？它又凭借着什么获得了奥斯卡评委们的青睐，成功抱回“最佳影片”这座重量级的小金人呢？

简单来说，《水形物语》这部电影讲述的是一场“人鱼恋”。

当然，画风不是你萌小时候看过的童话故事《小美人鱼》那样……

毕竟，男主·鱼怪长这样（这画风确定不是什么恐怖片么）↓↓↓

颁奖现场他也来抢了下风头~

不过这也不是什么《美女与野兽》的故事，因为并没有什么开了挂的玛丽苏少女，遇上其实是王子的野兽，最后还和他幸福地生活在梦幻的城堡里……

恰恰相反的是，《水形物语》的女主是一个活在社会最底层的哑女，每天只能面对着阴暗潮湿的环境……

故事发生在上世纪60年代的美国巴尔的摩，以一位同性恋画家吉尔斯的口吻，讲述了他最好的朋友 —— “无声的公主”哑女伊莉莎的故事。

伊莉莎在一个政府研究机构做清洁工，她日复一日的生活单调乏味，不会说话也让她远离了主流世界。她的身边只有邻居兼好友、落魄的同性恋画家吉尔斯以及黑人清洁工同事泽尔达。

哑女、同性恋、黑人，这无疑是那个时代美国社会的边缘群体，而这三个被主流社会边缘化的孤独之人，只能相互抱团取暖……

Giles, is modulating the story of his neighbor and best friend, Eliza (Sally Hawkins), a mute orphan in early-1960s Baltimore who clocks into a monotonous job mopping a government research facility’s floors. Her speechlessness is enough to distance her from the world, though she does have Zelda (Octavia Spencer, forever a scene-stealer), a loyal pal from work who’s facing her own domestic tedium. All three characters long for love — Giles is gay but can hardly advertise it for fear of societal retribution — yet they find comfort in one another’s dignified company.

然而，他们孤独而平静的生活意外被打破了。某天，研究机构人员从外面运回来一个神秘生物，并称其为“放置在机构中最敏感的资产”。而伊莉莎在打扫时却发现，所谓的“资产”，其实是个水陆两栖的鱼怪……

And then, on what should have been another ordinary day, everything changes. A stony overlord (Michael Shannon) brings a mysterious aquatic creature to the laboratory, christening him “the most sensitive asset ever to be housed in this facility.” As Eliza and Zelda are cleaning one evening, they catch sight of this bipedal beast with roving, human-like eyes and scales like a fish.

伊莉莎渐渐发现，这只被锁在实验室中的“怪物”，能够与人沟通，并且有感情。两颗孤寂的心在朝夕相处中越走越近，产生了爱情的火花，伊莉莎也决定要帮助鱼怪逃脱实验室研究人员的魔爪……

As “The Shape of Water” unfurls across a well-paced 123 minutes, a splendid phenomenon occurs: Eliza falls in love with the creature. It’s mutual. She won’t let these bureaucratic blowhards exploit him. From there, del Toro’s film becomes a tender romance, punctuated by the queer undertones of two disenfranchised souls connecting in the shadows of their own isolation. Of course, these cruel federal agents won’t stand for a custodian lurking around their new prize.

这部电影国内也已定档，将于本月16日上映，大家可以戳下面的预告片提前围观一下↓↓↓

异形的怪兽男主+被主流排斥的女主+阴暗沉郁的画风背景，似乎怎么看都不太像是大众能接受的电影设定。

然而在国外各大影评网站上，其评分依然相当不错↓↓↓

全球权威电影数据库IMDb：7.7分

美国著名影评网站Rotten Tomatoes上，烂番茄新鲜度为92%！

而在以专业影评人打分为主的影评网站Metacrtic上，也打出了87分的高分↓↓↓

众多外媒为这部电影贡献出了自己的好评：

BBC在《水形物语》中看到了许多经典的影子，但却是独一无二的“陀螺”（←导演外号）式电影~

“《水形物语》是新型的“美女与野兽”的童话故事。”

If you want to know what to expect from The Shape of Water, just think of it as Amélie meets The Creature from the Black Lagoon – except that they also meet The Little Mermaid, some Hidden Figures and the inhabitants of La La Land. That probably sounds like three or four meetings too many, but don’t worry – The Shape of Water is unmistakably a Guillermo del Toro film: the fantasy masterpiece that blends all of his fondest obsessions into one sumptuous whole.

如果你想知道《水形物语》有什么样的亮点的话，想想《天使爱美丽》与《黑湖妖谭》合体，就知道了 —— 当然影片中还有《小美人鱼》、《隐藏人物》以及《爱乐之城》的人物的影子。或许3-4部经典作品的结合已经太多了，但别担心 —— 《水形物语》 毫无疑问是部“陀螺”式电影：将导演本人心中所有的痴迷都糅合到一部鸿篇巨制中，便成就了这部奇幻杰作。

《大西洋月刊》(The Atlantic) 称这部电影拥有魔幻现实主义的电影魅力。

“《水形物语》的电影魅力”

“以莎莉·霍金斯的绝佳表演为一大亮点，‘陀螺’最新奇幻片是部浪漫的成人童话。”

It is at once a monster picture, a romantic fable, an ode to classic cinema, a parable of tolerance, and an espionage thriller. Most of all, the film, like del Toro’s 2006 masterpiece, Pan’s Labyrinth, plays simultaneously as a fantastical dream and as a story set in a very recognizable time and place. If the phrase magical realism hadn’t already been coined, someone would have to coin it quickly.

这不仅是部怪兽电影、浪漫传说，它向经典电影致敬、蕴含着关于包容的譬喻，它还是部谍报惊悚片。正如“陀螺”2006年的巨作《潘神的迷宫》一样，首先，这部电影呈现了一段幻想梦境，同时，故事情节的时间地点清晰可辨。要是“魔幻现实主义”一词还不存在，很快就会（因为这部电影）而被创造出来。

当然，也有媒体对“陀螺”的成人童话毫不买账……

《每日电讯报》(Daily Express) 就认为这是部失败之作↓↓↓

“《水形物语》影评：‘陀螺’的海怪爱情电影是部失败之作。”

Del Toro’s concept of “a fairytale for adults” requires him to paint in black and whites when his audience requires a degree of shading.

“陀螺”的“成人童话”概念要他将世界塑造得非黑即白，但他的观众们却想要一切不那么泾渭分明。

Hawkins’s heroine walks a very dangerous line between plucky and twee while Shannon’s villain does everything bar twirl a moustache.

霍金斯所饰演的女主角行走在勇敢和矫情的危险边缘，而珊农出演的反派干了除了转转小胡子以外的一切坏事。

If we can’t believe in the characters, how are we supposed to care? His previous film, Crimson Peak, was a great-looking horror film that failed in its basic requirement of providing scares.

如果我们无法相信这些角色，又如何能够爱上他们？而“陀螺”的前作《猩红山峰》是部抢眼的恐怖片，却连最基本的惊恐也没能展现出来。

尽管各路外媒评论褒贬不一，但毫无争议的一点是，《水形物语》是部怪兽片。而在此前，奥斯卡的评委们似乎对这种题材的电影并不感冒。

那么为什么这部“地下道的怪兽爱上我”的故事会在今年一众精彩的影片中脱颖而出，最终拔得头筹呢？《卫报》(The Guardian) 撰文进行了分析。

“为什么《水形物语》应该拿下2018年奥斯卡最佳影片？”

非传统的“大女主”套路

Even if you don’t find the idea of fish sexy, or, like me, have been on the fence about Del Toro in the past, this is a movie that might well find its way into your heart. It’s beautifully acted. Hawkins is dazzlingly good as Elisa. As critics have pointed out, she plays the role like one of the all-time silent-film heroines. And at a time when everyone is banging on about strong female characters, her performance says something nuanced about strength: Elisa’s vulnerability isn’t a sign of weakness. There is inner steel in openness, allowing the world to see who she really is at her core, without putting up a tough wall of cynicism or world-weariness.

就算你对鱼怪并不感冒，或者像我一样过去对“陀螺”的作品持观望态度，但这部电影或许能触动你的心弦。片中的表演相当优美。霍金斯饰演的伊莉莎耀眼迷人。正如影评人指出的那样，她所饰演的角色就像历来的默片女主角一般。而当所有人都在关注大女主的角色时，她的表演所呈现的力量则有些微妙：伊莉莎的脆弱并非是因为弱小。在她的包容之中有着内在的坚强，让全世界都能看清她的内心本质，而不是树立起怀疑或厌世的心墙。

回归艺术性的怪兽片

For better or worse, this is a film that only Del Toro could make. He’s always had a thing for monsters. (In Mexico as a child, his Catholic grandmother tried to exorcise him, twice.) And after bigger budget pictures like Pacific Rim and Crimson Peak, The Shape of Water is a return to more artisanal, meaningful film-making – cue a swooning woman-and-fish song and dance routine straight out of the golden age of Hollywood.

不论好坏，这是部只有“陀螺”才能拍出来的电影。他向来对怪兽情有独钟。（小时候在墨西哥时，他信奉天主教的祖母曾两次试着为他驱邪。）在他拍摄了两部高成本电影《环太平洋》与《猩红山峰》之后，《水形物语》是部回归艺术的饱含深意之作 —— 一曲好莱坞黄金时代的人鱼恋歌。

关注边缘人群的现实意义

Del Toro’s film, though set in 1962, is as timely and relevant in its portrayal of an invisible woman taking matters into her own hands. (Elisa is repeatedly ignored and dismissed as a lowly “piss-wiper”.) And unlike the heroines in the monster movies Del Toro grew up watching, she doesn’t need to be rescued from the clutches of a monster; she is doing the rescuing.

“陀螺”的电影背景尽管设定在1962年，但却与现实息息相关，呈现了一位“隐形女性”掌握自己人生的故事（作为一名卑贱的“清洁工”，伊莉莎不断地被无视）。而和“陀螺”成长过程中观看的其他怪兽电影的女主角不同，伊莉莎不需要别人将她从怪兽的魔爪中解救出来；反而是她在救怪兽。

或许，以影片中的一首小诗来概括这部电影中的爱与包容最为合适。

Unable to perceive the shape of You, 

我无法感知你的形状，

I find You all around me. 

我发现你一直围绕在我的身边。

Your presence fills my eyes with Your love, 

你的存在使我眼眸里充满了爱，

it humbles my heart.

使我的心变得柔和谦卑。

For You are everywhere.

因为你无处不在。

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