2.Boyhood

2.《少年時(shí)代》

In what might have been a gimmick but was really a stroke of genius, Richard Linklater began shootingBoyhoodwhen its leading actor, Ellar Coltrane, was a first-grader and each succeeding summer shot a new segment involving Coltrane’s Mason and his Texas family: mother Olivia (Patricia Arquette), father Mason Sr. (Ethan Hawke) and elder sister Samantha (the director’s daughter Lorelei). Mason’s evolving life has its difficulties but few extremities; it unfolds rather than exploding in reality-TV’s manufactured traumas. A home movie of a fictional home life, an epic assembled from vignettes,Boyhoodshimmers with unforced reality. To watch it is to page through a family album of folks you just met, yet feel you’ve known forever. This is life as most of us experience it, and which few movies document with such understated acuity. Embrace each moment, Linklater tells us, because it won’t come again — unless he is there to record it, shape it and turn it into an indelible movie.

這聽(tīng)起來(lái)像是耍花招，但是的確是神來(lái)之筆。編劇兼導(dǎo)演理查德·林克萊特歷時(shí)12年拍攝此片，講述了主人公梅森（艾拉·科爾特蘭飾）從6歲到18歲的成長(zhǎng)歷程。艾拉從一年級(jí)起，每個(gè)暑假都會(huì)拍攝一段影片，包括他、姐姐和父母。主人公梅森的成長(zhǎng)歷程雖未大起大落，但困難時(shí)有發(fā)生。觀看這部影片就像是你在翻閱一個(gè)你一見(jiàn)如故的家庭的影集。故事情節(jié)每個(gè)人都親身經(jīng)歷過(guò)，但沒(méi)有幾部影片能如此敏銳地捕捉到這些。林克萊特用這部影片告訴我們：童年和青春一去不復(fù)返，除非像他那樣精心記錄下每個(gè)成長(zhǎng)的時(shí)刻，拍攝成一部難忘的電影。