周杰倫制造 瑕不掩瑜的《天臺愛情》.

　　在華人世界里，要說誰能夠重振華語歌舞片雄風(fēng)，周杰倫可謂不二人選。但是從他這部最新力作來看，他多面手的實(shí)力以及過人天賦似乎并無用武之地。

　　could well be the ideal candidate to revive the graying genre of the musical film in the Chinese-language world. But judging from his latest fort, his talents, which are multiple and abundant, seem insufficient.

　　在華人世界里，要說誰能夠重振華語歌舞片雄風(fēng)，周杰倫可謂不二人選。但是從他這部最新力作來看，他多面手的實(shí)力以及過人天賦似乎并無用武之地。

　　The Rooftop is set in 1970s Taiwan but recalls 1950s America where young rebels ride motorcycles and pick street fights. Chou plays Wax, a reckless young man with a romantic streak. He sets his eyes on a self-regulation budding star, who is coerced into the film business to pay off her father’s debt. Coincidentally, she is also the love interest of the male lead in the film-within-a-film, who has fame and good looks but lacks the decency of a true gentleman. An even bigger rival is a red-haired gangster who is losing his territory to Wax.

　　盡管電影《天臺愛情》的故事發(fā)生在上世紀(jì)七十年代的臺灣，卻再現(xiàn)了上世紀(jì)五十年代，美國叛逆少年們騎摩托、街頭火拼的場景。周杰倫在影片中扮演魯莽卻浪漫的浪子膏。他喜歡上了一個(gè)嶄露頭角、十分自律的女明星，她被迫拍片為父還債。碰巧，在“戲中戲”里，缺乏紳士風(fēng)度的“高富帥”男主角也對她一見傾心。而片中的大反派則是剛剛把地盤輸給浪子膏的流氓——紅毛。

　　There are lots of song-and-dance numbers, many of which are conceived and staged with ingenuity. But they are often used to create atmospheres rather than heighten emotional expressions. As Chou explains, he uses the numbers in the same way as musical interludes that go with the screen images. So, they usually only last one to two minutes each.

　　片中出現(xiàn)了大量的歌舞戲份，大部分的歌舞片段從構(gòu)思到呈現(xiàn)方式，可謂是費(fèi)盡心思。但是這些歌舞元素常常被用來營造氣氛，而非加強(qiáng)情感表達(dá)。用周杰倫的說法就是，這些歌舞片段的運(yùn)用方式就如同電影畫面轉(zhuǎn)換間的中場間奏一樣。因此，這些片段大都只有一到兩分鐘的時(shí)長。

　　This strategy could be a nod to those indifferent to musicals, but fails to make the best of the genre’s potential to elevate mundane moments of mutual affection into magic ones that set the heart flying. The absence of a true love duet between the romantic leads is agonizingly obvious.

　　雖然這一策略會得到那些非歌舞片影迷的認(rèn)可，但是這卻沒能充分發(fā)揮出歌舞片的潛能——將情感相互傳遞的平淡時(shí)刻提升為讓人心神蕩漾的魔力瞬間。主角間的浪漫愛情卻少了深情對唱的點(diǎn)綴，這個(gè)硬傷令人煎熬。

　　Because Chou believes that villains should not sing or dance, the gangster part of the movie is quite detached from the buddy part. You’ll end up liking either half of the movie, but rarely will you take to both as they are incohesive.

　　由于周杰倫認(rèn)為反派角色不應(yīng)載歌載舞，于是，電影中刻畫黑幫的戲份完全同描寫兄弟情誼的戲份脫離開來。最終，你會喜歡上電影前半段或后半段，但由于影片前后銜接松散，你很難同時(shí)喜歡上這兩部分。

　　That said, The Rooftop shows numerous touches of genius. The set and costume design adds to the urban fairytale atmosphere. The songs, while fragmented, are not recreations of the period style, but rather, are rracted through Chou’s musical prism as he employs a rich variety of styles to fit each occasion. The scenes are masterfully set up and the shots very fluent, a testament to Chou’s maturity as a film director.

　　即便如此，《天臺愛情》還是展現(xiàn)出無數(shù)令人叫絕的特質(zhì)。片中的場景與服裝設(shè)計(jì)為這部都市童話增色不少。盡管片段式的歌曲不符合那個(gè)時(shí)期的娛樂風(fēng)格，但周杰倫將豐富多樣的音樂風(fēng)格與每個(gè)場景配合得天衣無縫，使得這些歌曲透過他的音樂棱鏡折射而大放異彩。片中場景設(shè)置巧妙、鏡頭運(yùn)用流暢，體現(xiàn)出周杰倫在執(zhí)導(dǎo)電影方面已駕輕就熟。

　　Compared with Secret, his tour-de-force directorial debut, The Rooftop is more uneven, but shows his willingness to take on greater challenges. If he had used Broadway-style trial runs, he could have worked out most of the wrinkles and turned in a true masterpiece. But don’t worry. With his brilliance, Chou may well bounce back and deliver a slam-dunk next time.

　　盡管與他精心打造的導(dǎo)演處女作——《不能說的秘密》相比，《天臺愛情》的水平有些平淡無奇，但卻表明了他想接受更大挑戰(zhàn)的意愿。如果當(dāng)初他運(yùn)用百老匯的手法來拍攝該片，他便可以解決片中大部分的硬傷，從而交出一部真正的杰作。但別擔(dān)心。以他的才華，周杰倫定會卷土重來，再創(chuàng)奇跡!