我就认真听
导演Mike Nichols还曾执导过影片《Closer》
他似乎很能把握非正常男女关系中当事人的心里细节。
The movie is full of womb imagery. From Benjamin's constant desire to stay immersed in his parent's swimming pool, to the slow close-up shot of the hips of Katherine's roommate as she brings the "Dear John" letter to Benjamin, to returning to the actual womb of the elder and maternal Mrs. Robinson.
影片有很多子宫的意向：本杰明多次沉浸在家中的游泳池里，伊莲的舍友拿着给本杰明的信慢慢走向镜头，以及本杰明和罗宾逊太太的性关系。
When Benjamin is shown banging on the church window with his arms raised and extended, many reviewers felt he was portrayed as a Christ-like image. In actuality, this was a compromise with the minister of the church. The minister had threatened to throw everyone out when the scene was rehearsed with Benjamin pounding his fists on the fragile window, which had been a gift to the church.
当本杰明在拼命敲打教堂的玻璃的时候，很多人认为他是在模仿耶稣的形象。而实际上，在教堂彩排这场戏的时候，教堂的牧师看到霍夫曼敲打玻璃的时候非常气氛，威胁说要把所有人赶出去，因为当时这块玻璃过去是作为赠礼送给教堂的。
Two interesting camera techniques are used in the film. In the scene where Benjamin is running, he is shown at some distance running straight at the camera, an effect which makes him look as if he getting nowhere as he's running. (This technique is accomplished with a very long telephoto lens, which foreshortens distances in relation to the camera.) In another scene, Benjamin is walking from the right side of the screen to the left, while everyone else in the scene is moving from left to right. In western culture, things that move left to right seem natural (think of the direction you read words on a page), those that move right to left seem to be going the wrong way. These two visual techniques echo the themes of the film, Benjamin is going the wrong way, and getting nowhere in life.
影片中两个镜头特技很耐人寻味。一个是本杰明朝镜头跑步，由于长焦的关系，本杰明似乎在原地不懂。另一个镜头是本杰明在从右往左走，而人流在从左往右走。在西方文化中，从左往右被认为是正常的顺序（和读书的习惯有关）。这两个镜头对于影片的主题也有提点的意义：本杰明的方向是错误的，在生命中一无所得。
None of the older characters has their first name identified in the film; only the younger characters of Benjamin, Elaine and Carl do, increasing the sense of a generation gap.
影片中所有老一辈的角色都没有名，只有姓。而本杰明，伊莲和未婚夫卡罗三人才有全名。这增加了代沟的意味。
我几乎成了翻译IMDB专业户了。不过I'm enjoying it。
霍夫曼拍这个片的时候真的什么都不是。一个传奇的诞生。
他似乎很能把握非正常男女关系中当事人的心里细节。
The movie is full of womb imagery. From Benjamin's constant desire to stay immersed in his parent's swimming pool, to the slow close-up shot of the hips of Katherine's roommate as she brings the "Dear John" letter to Benjamin, to returning to the actual womb of the elder and maternal Mrs. Robinson.
影片有很多子宫的意向：本杰明多次沉浸在家中的游泳池里，伊莲的舍友拿着给本杰明的信慢慢走向镜头，以及本杰明和罗宾逊太太的性关系。
When Benjamin is shown banging on the church window with his arms raised and extended, many reviewers felt he was portrayed as a Christ-like image. In actuality, this was a compromise with the minister of the church. The minister had threatened to throw everyone out when the scene was rehearsed with Benjamin pounding his fists on the fragile window, which had been a gift to the church.
当本杰明在拼命敲打教堂的玻璃的时候，很多人认为他是在模仿耶稣的形象。而实际上，在教堂彩排这场戏的时候，教堂的牧师看到霍夫曼敲打玻璃的时候非常气氛，威胁说要把所有人赶出去，因为当时这块玻璃过去是作为赠礼送给教堂的。
Two interesting camera techniques are used in the film. In the scene where Benjamin is running, he is shown at some distance running straight at the camera, an effect which makes him look as if he getting nowhere as he's running. (This technique is accomplished with a very long telephoto lens, which foreshortens distances in relation to the camera.) In another scene, Benjamin is walking from the right side of the screen to the left, while everyone else in the scene is moving from left to right. In western culture, things that move left to right seem natural (think of the direction you read words on a page), those that move right to left seem to be going the wrong way. These two visual techniques echo the themes of the film, Benjamin is going the wrong way, and getting nowhere in life.
影片中两个镜头特技很耐人寻味。一个是本杰明朝镜头跑步，由于长焦的关系，本杰明似乎在原地不懂。另一个镜头是本杰明在从右往左走，而人流在从左往右走。在西方文化中，从左往右被认为是正常的顺序（和读书的习惯有关）。这两个镜头对于影片的主题也有提点的意义：本杰明的方向是错误的，在生命中一无所得。
None of the older characters has their first name identified in the film; only the younger characters of Benjamin, Elaine and Carl do, increasing the sense of a generation gap.
影片中所有老一辈的角色都没有名，只有姓。而本杰明，伊莲和未婚夫卡罗三人才有全名。这增加了代沟的意味。
我几乎成了翻译IMDB专业户了。不过I'm enjoying it。
霍夫曼拍这个片的时候真的什么都不是。一个传奇的诞生。
这篇影评有剧透
