“GONE GIRL”, David Fincher's brilliantly glacial adaptation of the bestselling novel about a toxic marriage by Gillian Flynn, opens as the book did: thick with dread. The back of a woman's head and a man's voice, his tone somewhere between caring and creepy. "When I think of my wife, I picture cracking her lovely skull, unspooling her brains. Trying to get answers: What are you thinking? What are you feeling? What have we done to each other?” Then, abruptly the head moves round and the screen is filled with the chilly smile of Rosamund Pike as Amy Dunne, the 'wronged' wife, her face every bit as inscrutable as that voice. Something is off—but it's not yet clear what.
大卫·芬奇执导的新片《消失的爱人》，是对吉莉安·弗琳的同名畅销小说的出色改编，必定经过一番深思熟虑。原著讲述的是一场相互折磨的婚姻，正如小说开篇写道：被恐惧包围。影片中，妻子的头背对着，丈夫在说话，关切的语调中有隐约透着不安。“每当想起我妻子时，我会想象着撬开她那真实存在的脑壳，理清她脑袋里的思绪。努力地想要问清楚：你到底在想什么？你到底是什么感觉？我们到底对彼此作了什么？”接着，影片中由罗莎曼德·派克饰演的艾米·邓恩突然转过头来，荧幕中充斥着她那令人心底发寒的笑容。这个’无辜‘的妻子，脸庞上充满着谜一般的感觉，不亚于她的话语。一定是哪里出问题了，只是还没弄明白罢了。

Rumours that the film adaptation of "Gone Girl" could have a new ending billowed following an interview with Ms Flynn, who wrote the screenplay herself and who claimed that the film would have “a whole new third act”. Nervous enthusiasm ensued, suggesting that much of the "pre-sold audience”—those six million readers—wanted not just to “see” the book but to re-experience the thrill of not knowing, that carefully balanced sense of unease.
通过对编剧弗琳女士的全面采访可知，改编的影片将会有一个完全不一样的结局。亲自执笔的编剧还声称这部影片一定会展现一种“全新的演绎”。紧张的氛围中满怀期待，说明众多“预售观众”，即这600万读者，不单单满足于原著，更想在影片中再次体验意想不到的惊悚，以此来小心抚平心里的不安。
You won’t find any spoilers here. But whether or not this version has a new ending, there is no question about one thing: the book's foreboding is recaptured here in full. Everything teeters precariously on the dubiousness of different perspectives. We have two unreliable narrators: Nick Dunne (Ben Affleck), a former New York writer turned Midwest bar-owner, who moved back to his family base in Missouri a few years back with his reluctant, snooty wife, Amy. They have lost more than just their jobs in the recession; they have lost their respect for each other too. Whose fault is that? It depends on whether you’re hearing the tale from Amy or from Nick.
在这片报道里你不会遭到剧透。但是不管影片是否有一个全新的结局，可以肯定的是：原著中的不祥预兆将会再次袭来，直至影片结束。任何一点分吹草动都会让你百般猜测。影片中的两个主角都值得怀疑：尼克·邓恩（本·阿弗莱克），之前是纽约作家，而后成为中西部酒吧吧主，几年前和傲慢固执的妻子搬回密苏里州的家中。他们不仅在经济萧条期都失业了，也失去了对彼此的尊重。到底是谁的错？这取决于你是相信艾米的自白还是尼克的讲述。
On the morning of their fifth wedding anniversary Nick comes home after an elevenses bourbon at the bar he owns with his twin sister Margo (Carrie Dickens) to find Amy missing and a glass table knocked violently to the ground. He calls the police and the search begins. But Nick isn't as upset as he could be (the “killer” smile Mr Affleck produces for Nick’s first encounter with the media is a particular delight) and suddenly the public's belief in his guilt settles on him like a rash. Mr Fincher skips artfully between Nick’s story and Amy’s, using passages narrated from her diary. The two perspectives just don’t match up. Is Nick a brute? A thoughtless philanderer with violent tendencies? Or is Amy an unforgiving arch-manipulator?
结婚五周年纪念日那天早上，尼克和妹妹在自己的酒吧里喝完午前威士忌酒，回到家中发现艾米失踪了。玻璃质的客桌被暴力地打破，碎了一地。尼克报了警，于是搜救行动开始了。但是尼克没有表现出一个丈夫该有的紧张（本·阿弗莱克饰演的尼克在首次媒体见面会上露出被认为“杀手般”的笑容，公众以此断定他一定很高兴）导致公众突然一边倒，轻率地相信罪魁祸首是他。大卫·芬奇借助艾米日记里的片段来艺术化地使尼克和艾米的故事若隐若现。从两方出发所展现的事实并不吻合。尼克真的很残忍吗？他是一个没有头脑而又带有暴力倾向的花花公子吗？抑或艾米是一个心胸狭隘的幕后操控者？
What the film naturally loses in ambiguity as a result of having to show its protagonists rather than just describe them, it gains from the two remarkable central performances. Ms Pike, as the insecure Manhattan trust fund princess constantly outdone by the children’s book character—Amazing Amy—she inspired her parents to write, is a frosty, neurotic nightmare. As Nick, with his square-jawed, alpha-male insouciance, Ben Affleck is just the antithesis she’s been looking for. For both actors, a blank look that has in the past made critics question their acting ability now serves them well. We too want to see inside their pretty heads, but we can’t.
当影片有意地陷入一种模棱两可的局面来展现故事主人公而不是简单描述，它获得了两种出发点完全不同的效果。作为曼哈顿风险信托基金会的女掌门人，派克女士一直是饰演原著角色的不二人选。惊艳的艾米，一步步诱导着父母记录下这一场冷冽而带有神经质的梦魇。影片中的尼克，方下巴，漫不经心地展示他的大男子主义，本·阿弗莱克绝对适合与派克饰演对手戏。两个演员，过去因为生硬的表情而招来种种对演技的质疑批评，而今却令人刮目相看。我们也想搞清楚他们的心思，但是做不到。
The audience see the marital cracks before the couple do; both are trying too hard to be what they think the other wants. The flashbacks are altogether too sugar-coated, so perfect that they don’t quite seem real. “We’re so cute I want to punch us in the face,” says Amy, coolly fusing sentimentality and aggression. Viewers will too.
观众最先看到的是影片中夫妻破裂的婚姻关系，两个人难以理解对方到底想干什么。倒叙手法一滴不漏地粉饰着故事，以致不真实。“我们可笑到想要在对方脸上打上一拳。”艾米百感交集，冷漠地控诉道。旁观者也站在艾米的立场上。
Where many readers preferred the first half of the book to the trashier, brassier second half, the film actually improves as it goes along. It thrives on the melodrama so perfectly encapsulated by the distasteful TV shows that condemn Nick as a wife-killer before he has even been arrested. It is dark but very funny too. We laugh partly because we are complicit. The film plays up an expectation of sexism. Nick plays the humbled adulterer; Neil Patrick Harris puts in an excellent performance as a hapless stalker, eliciting both ridicule and sympathy. Tyler Perry, better known as a successful director, is a breath of fresh air as the sharkish attorney who rushes to Nick’s rescue, even though he too believes Nick to be guilty.
很多读者对原著前半部分的冗长无趣表示抱怨，影片弥补了这个不足。这个惊悚的故事出彩在对角色有力塑造，尼克还未被定罪，但是麻烦的电视媒体却把他当做一个杀妻凶手来谴责。影片足够黑暗，但是也饶有趣味。我们大笑一部分是因为我们很复杂。影片中涉及性别歧视的话题。尼克在影片中是一个懦弱的出轨丈夫。尼尔·帕特里克·哈里斯饰演的不幸的跟踪者活灵活现，可笑又让人同情。为人们所熟知的知名导演，泰勒·派瑞饰演的尖牙利嘴的律师是尼克的一根救命稻草，他极力帮助尼克摆脱困境，即使他认为尼克最有嫌疑。
Some people said that this was a film that only Mr Fincher, the director of “Seven” and “The Girl with The Dragon Tattoo”, could have done well. They were right. Mr Fincher has managed to pace this perfectly, showcasing snippets of scenes before ruthlessly cutting away and moving on to the next.
一些人认为这部电影也只有芬奇可以使它臻于完美，他曾执导《七宗罪》和《龙纹身的女孩》。他们是正确的。在干脆利落的剪辑面前，芬奇都会极力让每一个场景的片段展示做到无可挑剔，最后才转到下一幕。
“Gone Girl” isn’t Mr Fincher's best film. It suffers from too many of the same flaws as the novel: a tendency towards absurdity that undermines its granular observations about the reality of domestic life. And yet this could be Mr Fincher's most exemplary film. He is known for his cold, clever precision, and “Gone Girl” is ever so cold, ever so precise. It is drowning in muted colours and a sense of inevitability. Like Ms Flynn's novel, its cleverness lies in the fact that it is so raw and yet so empty at the same time. This may not be the perfect film—but it is a perfect adaptation.
《消失的爱人》不算是芬奇的巅峰之作。影片像小说一样有着诸多缺陷：荒谬化的倾向削弱了影片对家庭生活真实性的细致剖析力度。然而它却是芬奇最具代表性的影片。芬奇以他的冷峻和深入精准的风格被人熟知，而《消失的爱人》恰恰透露着这种风格。你会被电影中呈现的压抑色调和宿命感所吞没。弗琳的小说也一样，精彩在于书中阴冷而空旷的格调。小说也许不是最好的，但电影绝对称得上是一部完美的改编之作。
"Gone Girl" is out now
《消失的爱人》现在重磅来袭