2013年6月26日 星期三

Christopher Logue / James Gandolfini 1961-2013

 

 

James Gandolfini Is Dead at 51; a Complex Mob Boss in ‘Sopranos’

甘多爾菲尼 | 1961-2013

經典美劇《黑道家族》主演甘多爾菲尼去世

James Gandolfini, the Emmy Award-winning actor who shot to fame on the HBO drama “The Sopranos” as Tony Soprano, a tough-talking, hard-living crime boss with a stolid exterior but a rich interior life, died on Wednesday. He was 51.
艾美獎(Emmy Award)得主詹姆斯·甘多爾菲尼(James Gandolfini)於周三去世,享年51歲。他因在HBO電視劇《黑道家族》(The Sopranos)中扮演托尼·索普拉諾(Tony Soprano)而一炮走紅,托尼·索普拉諾是一個語氣強硬、身處困境的犯罪集團頭目,擁有冷漠的外表和豐富的內心。
Mr. Gandolfini’s death was confirmed by HBO. He was traveling in Rome, where he was on vacation and was scheduled to attend the Taormina Film Fest. The cause was not immediately announced; an HBO press representative said that Mr. Gandolfini may have had a heart attack.
HBO證實了甘多爾菲尼逝世的消息。當時他正在羅馬度假,按計劃還將出席陶爾米納電影節(Taormina Film Fest)。他的死因沒有被立即公布;HBO的一名媒體代表稱,甘多爾菲尼可能死於心臟病突發。
Mr. Gandolfini, who grew up in Park Ridge, in Bergen County, N.J., came to embody the resilience of the Garden State on “The Sopranos,” which made its debut in 1999 and ran for six seasons on HBO.
甘多爾菲尼在新澤西州博根縣的帕克里奇長大。在《黑道家族》一劇中,他展現了「花園之州」的韌勁。該劇於1999年首映,並在HBO電視台播放了六季。
Fred R. Conrad/The New York Times
In its pilot episode viewers were introduced to the complicated life of Tony Soprano, a New Jersey mob kingpin who suffers panic attacks and begins seeing a psychiatrist. Over 86 episodes, audiences followed Mr. Gandolfini in the role as he was tormented by his mother (played by Nancy Marchand), his wife (Edie Falco), rival mobsters, the occasional surreal dream sequence and, in 2007, an ambiguous series finale that left millions of viewers wondering whether Tony Soprano had met his fate at a restaurant table.
該劇的第一集向觀眾們介紹了托尼·索普拉 諾的複雜生活,此人是新澤西的黑幫頭目,因恐慌症發作而開始看精神病醫生。在長達86集的故事裡,觀眾們跟隨甘多爾菲尼扮演的角色,看他被母親(由南希· 馬錢德[Nancy Marchand]扮演)、妻子(由艾迪·法柯[Edie Falco]扮演)、敵對黑幫成員以及不時出現的超現實夢境所折磨。2007年的大結局模稜兩可,讓數百萬觀眾自己去猜想,托尼·索普拉諾是否在餐館的飯 桌上喪了命。
The success of “The Sopranos” helped make HBO a dominant player in the competitive field of scripted television programming and transformed Mr. Gandolfini from a character actor into a star. The series, created by David Chase, won two Emmys for outstanding drama series, and Mr. Gandolfini won three Emmys for outstanding lead actor in a drama. He was nominated six times for the award.
《黑道家族》的成功讓HBO在競爭強烈的 電視劇領域佔據了主導地位,並把甘多爾菲尼從一個性格演員轉變為了一個明星。該劇由戴維·蔡斯(David Chase)創作,贏得了兩屆艾美獎的最佳電視劇獎,甘多爾菲尼則三次獲得艾美獎電視劇情類最佳男主角。他總共六次獲得該獎提名。
HBO said of Mr. Gandolfini in a statement on Wednesday, “He was special man, a great talent, but more importantly, a gentle and loving person who treated everyone no matter their title or position with equal respect.”
HBO在周三發佈的聲明中稱,甘多爾菲尼「是一個特別的人,一個有偉大才華的人,但更重要的是,他是一個溫柔仁愛的人,對每個人都是同樣地尊重,不管他們的頭銜或地位如何。」
Mr. Chase, in a statement, called Mr. Gandolfini “one of the greatest actors of this or any time,” and said, “A great deal of that genius resided in those sad eyes.” He added: “I remember telling him many times: ‘You don’t get it. You’re like Mozart.’ There would be silence at the other end of the phone.”
蔡斯在一則聲明中稱,甘多爾菲尼是「今天及所有時代最偉大的演員之一」。他還說,「他憂鬱的眼神中飽含了太多的才情。」蔡斯補充說:「我記得自己曾多次對他說:『你真的不知道,你就像莫扎特一樣。』聽我這麼說,電話另一頭的他總是會陷入沉默。」
James Joseph Gandolfini Jr. was born in Westwood, N.J., on Sept. 18, 1961. His father was an Italian immigrant who held a number of jobs, including janitor, bricklayer and mason. His mother, Santa, was a high school cafeteria chef.
小詹姆斯·約瑟夫·甘多爾菲尼(James Joseph Gandolfini Jr.)於1961年9月18日出生於新澤西州的韋斯特伍德。他的父親是意大利移民,從事過多份工作,包括看門人、磚匠和泥瓦匠。他的母親桑塔(Santa)是某高中餐廳的廚師。
He attended Rutgers University, graduating in 1983 with a degree in communications. He drove a delivery truck, managed nightclubs and tended bar in Manhattan before becoming interested in acting at age 25, when a friend brought him to an acting class.
他曾在羅格斯大學(Rutgers University)攻讀傳播學學位,並於1983年畢業。他開過送貨車、管理過夜店,還照管過曼哈頓的一家酒吧。25的時候,他被朋友帶去上了一堂表演課,從此對表演產生了興趣。
By the mid-1990s Mr. Gandolfini had made gangster roles a specialty, playing burly but strangely charming tough guys in films like “True Romance” (1993) and “The Juror” (1996). He had an impressive list of character-acting credits, but was largely unknown when Mr. Chase cast him in “The Sopranos” in 1999.
到上世紀90年代中期,甘多爾菲尼把飾演 黑幫角色變成了自己的專長,在《真實羅曼史》(True Romance, 1993)和《危險機密》(The Juror, 1996)等影片中扮演了高大粗魯但擁有奇特魅力的硬漢角色。他演過的性格角色之多讓人驚嘆,但在蔡斯於1999年讓他出演《黑道家族》之前,他在很大程 度上處於默默無聞的狀態。
“I thought it was a wonderful script,” Mr. Gandolfini told Newsweek in 2001, recalling his audition. “I thought, ‘I can do this.’ But I thought they would hire someone a little more debonair, shall we say. A little more appealing to the eye.”
「我認為這是個美妙的劇本,」2001年,甘多爾菲尼在接受《新聞周刊》(Newsweek)採訪時如是回憶試鏡經歷,「當時我想,『我演得了這部戲。』但我想,他們可能會請一個稍微溫文爾雅一點的人,或者說是更中看一點的人。」
“The Sopranos” drew widespread acclaim for its detailed studies of the lives of its characters, and, at its center, Mr. Gandolfini’s portrayal of Tony Soprano, who was tightly wound and prone to acts of furious violence. (He beat and choked another mobster to death for insulting the memory of his beloved deceased racehorse, to name but one example.)
《黑道家族》因細緻探究劇中角色的生活而得到了廣泛的讚譽,其核心是甘多爾菲尼飾演的托尼·索普拉諾(Tony Soprano)。此人是一個情緒緊繃且具有憤怒暴力傾向的人。(僅舉一例,他毆打併掐死了另一名黑幫成員,只因為後者損害了他死去的心愛賽馬的名聲。)
Mr. Gandolfini, who had studied the Meisner technique of acting for two years, said that he used it to focus his anger and incorporate it into his performances. In an interview for the television series “Inside the Actors Studio,” Mr. Gandolfini said he would deliberately hit himself on the head or stay up all night to evoke the desired reaction.
甘多爾菲尼曾花費兩年時間來學習表演上的 邁斯納技巧(Meisner technique)。他說,他用這種技巧來聚集自己的憤怒,並把它投放到表演當中。在接受電視節目《在演員工作室里》(Inside the Actors Studio James Gandolfini - Inside The Actors Studio | James Gandolfini Dead R.I.P.)的採訪時,甘多爾菲尼說,他會故意打自己的頭,或是熬一整夜來喚醒所需要的反應。
If you’re tired, every single thing that somebody does makes you mad, Mr. Gandolfini said in the interview. “Drink six cups of coffee. Or just walk around with a rock in your shoe. It’s silly, but it works.”
「如果你累了,別人做的每一件事情都會讓你發瘋,」甘多爾菲尼在採訪中說,「喝六杯咖啡。或者在鞋裡放塊石頭然後走走。這很愚蠢,但卻有效。」
Tony Soprano — and the 2007 finale of “The Sopranos,” which cut to black before viewers could learn what plans a mysterious restaurant patron had for Tony as he enjoyed a relaxing meal with his wife and children — would continue to follow Mr. Gandolfini throughout his career.
此後,托尼·索普拉諾將會和甘多爾菲尼的演藝生涯相伴始終。在《黑道家族》2007年的大結局中,托尼和他的妻子孩子們在餐廳里輕鬆地進餐,觀眾們還沒來得及看出一名神秘的顧客想對托尼做些什麼,片子就結束了。
He went on to play a series of tough guys and heavies, including an angry Brooklyn parent in the Broadway drama “God of Carnage,” for which he was nominated for a Tony Award in 2009; the director of the C.I.A. in “Zero Dark Thirty,” Kathryn Bigelow’s dramatization of the hunt for Osama bin Laden; and a hit man in the 2012 crime thriller “Killing Them Softly.”
他繼續出演了一系列硬漢和暴徒,包括百老 匯(Broadway)話劇《殺戮之神》(God of Carnage)當中那個來自布魯克林的憤怒父親,他因此得到了2009年的托尼獎(Tony Award)提名。他還在凱瑟琳·畢格羅(Kathryn Bigelow)根據追捕奧薩馬·本·拉登(Osama bin Laden)行動改編的電影《獵殺本·拉登》(Zero Dark Thirty)中扮演了中情局(CIA)局長,又在犯罪驚悚片《溫柔殺戮》(Killing Them Softly)中扮演了一名殺手。
Mr. Gandolfini also produced the documentaries “Alive Day Memories: Home From Iraq” and “Wartorn: 1861-2010,” about the history of post-traumatic stress in the military.
甘多爾菲尼還製作了紀錄片《生存日記憶:伊拉克歸來》(Alive Day Memories: Home From Iraq)和《戰爭之苦:1861-2010》(Wartorn: 1861-2010),探討了軍人創傷後壓力的歷史。
Survivors include his wife, Deborah Lin Gandolfini; a daughter, Liliana, born last year; a teenage son, Michael, from his marriage to Marcella Wudarski, which ended in divorce; and his sisters Leta Gandolfini and Johanna Antonacci.
他在世的家人包括他的妻子,德博拉·林· 甘多爾菲尼(Deborah Lin Gandolfini)、去年出生的女兒利利安娜(Liliana)、離異前妻瑪塞拉·烏達斯基(Marcella Wudarski)生下的十幾歲的兒子邁克爾(Michael),以及他的姐妹萊塔·甘多爾菲尼(Leta Gandolfini)和約翰娜·安東納奇(Johanna Antonacci)。
In a 2010 interview with The New York Times, Mr. Gandolfini said that he was not worried about being typecast as Tony Soprano and that he was being offered different kinds of roles as he aged.
2010年接受《紐約時報》採訪時,甘多爾菲尼說,他不擔心自己被固定在托尼·索普拉諾之類的角色上,並說,隨着年齡的增長,他已經得到了不同類型的角色。
“Mostly it’s not a lot of that stuff anymore with shooting and killing and dying and blood,” he said. “I’m getting a little older, you know. The running and the jumping and killing, it’s a little past me.”
「大多數都不是那種開槍、殺人、垂死和流血的角色,」他說,「你知道,我有點老了。奔跑、跳躍和殺戮,已經不太適合我的年紀了。」
Asked why he didn’t appear in more comedies, he answered, “Nobody’s asked.”
當被問到他為何沒有出演更多喜劇時,他說:「沒人請我。」
Peter Keepnews contributed reporting.
 
Peter Keepnews對本文有報道貢獻。
翻譯:陶夢縈、林蒙克

 

 

Christopher Logue

Christopher Logue, poet, died on December 2nd, aged 85

PACIFISM was Christopher Logue’s creed. He marched to Aldermaston against Britain’s bomb in 1958, armed only with sandwiches. Three years later he served time in prison for inciting anti-nuclear demonstrations. By then, Homer’s “Iliad” had started to lodge in his head.
    ...a gleam
    (As when Bikini flashlit the Pacific)
    Staggered the Ilian sky, and by its white
    Each army saw the other’s china face, and cried:
    O please!”
As a prisoner he was sent to demolish a munitions factory. The irony of that pleased him. All war was criminal behaviour in his eyes. Fighting was something he couldn’t do. He had joined the army briefly at 17, diminutive and shying from physical contact, mostly to avoid work. But when they did a bayonet charge in training, aiming their steel points at bags of straw, hideously roaring, his trousers fell down.
    Screaming, kicking, slicing, hacking, ripping
    Thumping their chests:
    ‘I am full of the god!’
    Blubbering with terror as they beg for their lives:
    ‘Laid his trunk open from shoulder to hip—
    Like a beauty-queen’s sash.’

Violence, no. Impatience, yes. Jamming the scissors into a vacuum pack of salmon. Crashing his palms on the typewriter keys when he couldn’t change the ribbon. Panting to bring in the Marxist paradise at once in drab postwar Britain, though he hadn’t even got through the “Communist Manifesto”. Reading his poems aloud in the 1960s (a chorus of “Antigone” for the bicycle-makers of Nottingham) in the hope he could immediately culturise the workers. Fuming at his own timidity, political, intellectual, social, sexual. Especially sexual. That lonely twice-daily wank over Men Only.
    …in oyster silk,
    Running her tongue around her strawberry lips
    While repositioning a spaghetti shoulder-strap,
    The Queen of Love, Our Lady Aphrodite…
Trojans with Uzis
Loafing around, he lived for poetry. He longed to write like T.S.Eliot, the best, but couldn’t. Nor like Keats (he wept over that). A sojourn in Paris in the 1950s produced a slim volume to hawk around the cafés, and a trio of dirty books. He wrote satirical left-wing ballads for the Establishment Club, mixed with Ken Tynan and Lindsay Anderson on the edge of London’s shocking 1960s theatre scene, set his poems to jazz, uncovered pseuds and bizarre news stories for Private Eye. All this put him among the Oxford boys at last. But, not having been to any university, he was never “in”.
Doris Lessing suggested he should look at the “Iliad”, Homer’s 15,000-line, 2,800-year-old epic of the Trojan war. Donald Carne-Ross then asked him to adapt a sliver for BBC radio. With no Greek, he worked from multiple translations and Carne-Ross’s word-for-word cribs. Soon, though, he knew it for himself. He could run each sequence backwards and forwards, take it from the top, add, subtract. Put in stuff from hoardings and headlines. Assured that there was no original text, he took his own careering way. “All Day Permanent Red”, an ad for Revlon lipstick, became his title for the first battle scene. And
    Blood? Blood like a car-wash…
He knew the music—“War Music”, as he called the work when it grew. More rhythmical and more alive than any version of the “Iliad” up till then. He sang it out himself: roughly the iambic pentameter, stopped dead for shouts of “Kah!” and “Yes!” and “Apollo!”. Redcurrant-haired Achilles, creamy-armed Hera, “Dribbler” Priam and Hector, eight feet tall, peopled his brain for 50 years. He lived on bits and bobs; sponsors, including Paul Getty, kept him going. And as Homer’s rewrite man, for the first time his poetry soared away:
    As sudden gusts
    Darken the surface of a lake; or passing clouds,
    A hill; or both, a field of standing corn,
    We flowed
    Back through the ships, and lifted them;
    Our dust, our tide; and lifted them; our tide;
    Hulls dipping left; now right; our backs, our sea;
    Our masts like flickering indicators now…
His opposing Greek and Trojan armies had Uzis and whumphing helicopters, rose as one to their feet like the retracting slats of a Venetian blind, inflicted “high-reliability fast-forward pain”. Yet above them were the immortal gods, ambrosia-slurping, irresponsible, their faces set “like NO ENTRY signs” against any truce. Beside them the fighters faded, “a match flame struck in full sunlight”. As a “Catholic atheist”, beaten into line by the Christian Brothers, naturally an unbeliever but unimpressed with his own atheism, he heard the relentless music of that Heaven:
    “In the beginning there was no Beginning,
    And in the end, no End…”
No end to war, that also meant. All day permanent violence, because human males craved it and the powers-that-be decreed it. Now as then. But through the cinematic, strobe-lit lines of his “Iliad” came the great galvanising shout he had tried to raise all his life. Against war. For peace.
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