如果有個地方能改變命運，你是否願意一鍵重啟人生？動畫電影《心靈奇旅》試圖給出一個異想天開的答案。豆瓣評分 9.0 ，Metacritic 媒體評分 85，爛番茄新鮮度 93% ，《心靈奇旅》這部全球範圍內「毫無爭議的好電影」你看了嗎？
The new film from the director ofUp and Inside Out has the aesthetics of a whimsical adventure, but its themes are very raw.
這部新影片由《飛屋環遊記》和《頭腦特工隊》導演執導，彰顯著異想天開的冒險美學，但主題卻十分質樸。
If Disney’s animated-movie formula relies on tales of heroes and princesses, of villains destroyed and personal freedom achieved, then Pixar’s formula is far more mundane. For decades, the computer-animation studio has made movies that portray transcendent feelings and experiences as the products of ordinary jobs, performed diligently by strange little beings behind the scenes. Monsters, Inc., in 2001, revealed that our fears were created by cuddly, blue-collar creatures. Inside Out, in 2015, personified our emotions as brightly colored sprites pressing buttons and pulling levers. Now,Soul imagines how our personalities are created at a cartoon summer camp, where smiley blobs and squiggles convene to generate human souls.
如果說迪士尼的動畫電影模式依賴於英雄和公主、壞人受到懲罰、個人自由得以實現，那麼皮克斯則更加接地氣。幾十年來，這個計算機動畫工作室將超凡的情感和經歷描繪成普通工作的產物，由銀幕後奇怪的小人物勤勤懇懇地扮演。2001年上映的《怪物公司》告訴我們恐懼是由一些胖乎乎的藍領怪物創造出來的。2015年上映的《頭腦特工隊》把我們的情緒擬人化為色彩鮮亮的精靈，他們會按按鈕，拉操作杆。如今，《心靈奇旅》想像我們的性格是在一個卡通的夏令營產生的，那裡有歡樂的小球和線條聚集在一起，產生人類的靈魂。
All three of these movies were directed by Pete Docter, the man who is also behind Up. One of Pixar’s foremost auteurs, the filmmaker is enamored of using animation to conjure worlds rooted in abstract metaphor.Soul, which debuts today on Disney+, is his most conceptual film yet, largely set in a realm known as 「the Great Before,」 a cloudy land where human personalities are created and zapped into our bodies upon birth. The ambition of Docter’s world building is laudable. And the smaller, human narrative he tries to tell within that universe—about a jazz pianist who finds himself stuck in the Great Before after a near-death experience—is sweet and charming.
這三部電影都是由皮特·道格特執導，《飛屋環遊記》同樣是他的作品。作為皮克斯最傑出的導演之一，道格特喜歡用動畫來構建一個基於抽象隱喻的世界。《心靈奇旅》於12月25日在Disney+首映，是他目前最抽象的電影，主要是以一個「生之來處」的世界為背景，人類的性格在這片灰濛濛的土地被創造出來，出生時便伴隨我們。道格特構造世界的野心是值得稱道的。他試圖在這個宇宙裡講述一位爵士鋼琴演奏家在經歷了一次瀕死後發現自己被困在「生之來處」的故事，這種更細微的、人性化的敘述溫情而有魅力。
Docter has wrestled with 「grown-up」 themes before and managed to cram them into an easy-to-understand story arc.Up began with the emotional hammer blow of an aging character losing his wife before he embarked on a new adventure. Soul sets an even tougher challenge for itself by apparently killing its lead character within minutes. But Docter finds clever ways to travel between the heavens and Earth, using the odd, nonphysical world Joe finds himself in to teach valuable lessons about finding joy in life even as it disappoints us.
道格特之前一直在探討「成長」的主題，並且設法將其濃縮在容易理解的故事情節中。《飛屋環遊記》一開頭就是情感衝擊，一位老人在開始新的冒險之前失去了自己的妻子。《心靈奇旅》設定了一個更難的挑戰，開始沒幾分鐘就殺死了主角。但是道格特想到了一個聰明辦法，在人間和天堂之間穿梭，利用喬所處的奇怪的非物質世界告訴我們一些寶貴的道理，教我們在生活中尋找快樂，即便生活令人失望。
We are all born with dreams, Docter seems to be saying, bubbling with ideas and personalities that are created even before we come into the world, but Joe’s story proves that there is more to life than that. Essentially, Docter has made a Pixar film for kids that tries to run at the nature-versus-nurture question and ends up splitting the difference. Compared to Pixar’s recent spate of sequels to past hits, Soulis a loftier project—a messy but expansive story worthy of its director’s grand ambitions.
道格特似乎在說，我們生來就有夢想，在我們來到這個世界之前就充滿了想法和性格，但是喬的故事告訴我們，生活不只是這些。從本質上說，道格特讓皮克斯的兒童電影試圖探索先天與後天這一問題，並最終達到折中。相對於皮克斯最近多部大熱影片的續集來說，《心靈奇旅》的主題更加崇高，故事雖然雜亂但內容豐富，對得起製片人抱有的宏大野心。
來源：滬江英語