By turns breathtaking, hilarious and disturbing, Jonathan Glazer’s extraordinary, erotic film achieves a rare blend of fantasy and realism
惊险、欢快与不安交替进行，乔纳森·格雷泽导演的非凡之处在于让色情电影难得的实现了幻想与现实的融合。
Jonathan Glazer’s Under the Skin is a film about a beautiful, scary alien that is itself beautiful and scary and alien: it’s an entirely extraordinary, outrageously sensual film that Glazer’s previous excellent work had really only hinted at, partially and indistinctly. His Sexy Beast (2000) was a visually accomplished, exciting and intelligent crime thriller that was way ahead of the woeful mockney-geezer mode of the time. Birth (2004) had Kubrickian ingenuity and chill, with some remarkable moments; it was a movie that deserves cult-classic status but has yet to achieve it. Then a decade went by, and it seemed that Glazer might be a stylist for whom a sustained cinema career would perhaps not be achievable (and heaven knows, it can happen to the most talented).

乔纳森·格雷泽导演的《皮囊之下》讲述的是一位美丽又可怕的外星人的故事，她本身美丽，恐怖而且是个外星人：这是一部完全与众不同的，残暴的色情电影。乔纳森·格雷泽以前导演的优秀作品仅仅只是为这部电影做的局部模糊的铺垫。他的《性感野兽》（2000）是一部令人视觉上满足的，兴奋的，充满智慧的犯罪惊悚片，它超越了那个年代操着方言的悲剧老头的模式。《重生》（2004）有着库布里克式的精致与阴冷，电影中的一些画面，十分出色；它是一部值得奉为经典的电影，但尚未实现。接着十年过去了，对那些电影事业一直无法实现的人，格雷泽似乎成为他们的设计师。（天知道，这种事情总发生在那些有天赋的人身上）。
But when he gave us his long-gestating free adaptation of Michel Faber’s novel Under the Skin, the result really was gasp-inducing: hilarious, disturbing, audacious. No less an A-lister than Scarlett Johansson plays an alien in human form who roams the streets and shopping malls of Glasgow. Perfectly genuine footage of real-life passersby is shown as the incognito Johansson impassively sizes up these earthlings for their calorific value. Then actors will step out of the crowd for their scenes with the great seducer. She takes them back to her place: a mysterious dark cavern in which, in an erotic trance, they submit to being imprisoned and farmed for their meat – and perhaps, who knows, for their very soul.
但当格雷泽给我们带来《皮囊之下》，这部经过他长期酝酿的，由荷兰作家米歇尔·法柏的科幻小说改编的电影时，真是让人惊叹：欢快，不安，大胆。斯嘉丽扮演的外星人藏于人类的皮囊里，穿梭在格拉斯哥街道和商场，不亚于一位一线明星。现实生活中的路人在镜头中完美的展现，而隐身的约翰森面无表情的估算着三个地球人可被利用的热量值。接着演员带着被色诱的人类离开人群，来到她自己的地方：一个神秘的黑暗的洞穴中。在这里，情色恍惚间，人类贡献自己的肉体，被囚禁，被养殖成为食物，谁知道呢，又或许是人类的灵魂。
Glazer surely took something, again, from Kubrick, especially in the scene in which his alien is born in some dimensionless otherworld. He took something from Nic Roeg and The Man Who Fell to Earth and a little, perhaps, from David Lynch – of which, more in a moment. But alongside the sci-fi exoticism he brought the grit and sinew of contemporary realism, calling to mind the work of film-makers like Ken Loach, or even Abbas Kiarostami and the opening of his The Taste of Cherry, in which a desperately unhappy man drives around the itinerant labour markets of Teheran looking for someone to help him. These fantastic alien forms are scuffed with ordinariness and even bathos. The scene in which the alien uncomprehendingly watches Tommy Cooper on television is a masterpiece of tonal suspense.
当然，格雷泽又从库布里克那借鉴了一些拍摄手法，尤其是外星人在无边际的外太空出生的一幕。他借鉴了尼古拉斯·罗格的《天降财神》，或许在画面的安排上也借鉴了大卫·林奇。但是在科幻情调中，他带给我们当代现实主义的勇气和动力，使我们回想起像肯·罗奇这样的影片制作人的作品，甚至是阿巴斯·基亚罗斯塔米和他的《樱桃的滋味》的开头，一个绝望的男人开着车，绕着德黑兰的流动劳动力市场，拼命的找人来帮他。这些奇妙的外星人题材被打磨的通俗化甚至矫情做作。外星人不解的在电视上看着汤米库珀的一幕已经成为色调悬念的代表作。
Watching Under the Skin again brought to mind another comparison: Orson Welles – the Welles who succeeded in creating a hoax martian invasion on the radio and who, in F for Fake (1975), got his partner Oja Kodar to walk around the streets in a miniskirt, secretly filming the lascivious expressions of the non-actor guys looking at her.
观看《皮囊之下》再次让我想起另外一个比较：奥逊·威尔斯，成功的用收音机创造了火星入侵的骗局；还有《赝品》（1975）中，那个让他的伙伴奥佳·柯达穿着迷你短裙走在街上，然后偷偷拍摄那些男人们看她的淫荡表情。
The most staggering scene is, of course, that in which the alien picks up a young man with the facial condition neurofibromatosis, played by Adam Pearson. Glazer brings to this scene an utter fearlessness and unsentimentality, perhaps a variation on a theme from David Lynch’s The Elephant Man. The alien does not essentially distinguish between his looks and those of her other victims, but her encounter with him – an encounter of two aliens? – triggers a crisis in which she becomes the prey rather than the hunter.
当然，影片中最惊人的一幕是外星人遇到一个涉世不深，外表因为多发性神经纤维瘤而丑陋的年轻男子，由亚当·皮尔森扮演。格雷泽带来的这一幕是全然无畏而且毫无感情波动的，或许这是从大卫·林奇的《象人》这部影片的主题变化而来。外星人并不会在本质上区分这位年轻男子的长相，但是她与这位男子相遇——两个外星人的遭遇？——触发了危机，使得她成为了猎物，而不是猎人。
Under the Skin is just so visually free and uninhibited that there is an intense dark, destructive sexiness in everything about it – quite apart from the hilarious, bizarre, mesmeric eroticism of the film itself. It is a work of subcutaneous potency. It gets under your skin.
《皮囊之下》就是如此的直观如此的自由不羁，抛开欢快，离奇的剧情和电影本身的情色——一切都处于黑暗中，摧毁性的性爱中。它是一种力量，在你的皮囊之下。