掌心中的世界（左眼中的世界）

掌心中的世界（左眼中的世界）His musing initiates his escape from the deep-sea diving suit that his body has become. Flitting through Bauby's sensuous visions like a signature is the tiny image of a butterfly the ancient symbol of the soul escaping its earthly cocoon through the power of consciousness. When those images finally give birth to his memoir Bauby's imagination has transcended the grotesque tragedy of his

New cinema
新映影视

The story of an eye
左眼中的世界

“The Diving Bell and the Butterfly” makes a terrific film
《潜水钟与蝴蝶》成就一部优秀影片

IT IS no wonder that Julian Schnabel wanted to direct “The Diving Bell and the Butterfly” due to open in America on November 30th and adapted from a French book that became an international bestseller in 1997. By blinking his left eye the author Jean-Dominique Bauby dictated a poetic account of his life after a paralysing stroke left him a prisoner of his own body. Mr Schnabel is one of America's leading painters and Ronald Harwood's canny adaptation about a man who discovers his inner artist when he is reduced to a single eye offers the director limitless opportunities for visual experiments.
朱利安·施纳贝尔（Julian Schnabel）想要导演《潜水钟与蝴蝶》令人不足为奇。影片改编自一本于1997年登上畅销书排行榜的法国书籍，预定于11月30日在美国上映。瘫痪性中风的作者让•多米尼克•鲍比（Jean-Dominique Bauby）在成为自己身体的囚徒后，通过眨着左眼皮描述了其本人诗意般的人生。朱利安·施纳贝尔是美国著名的画家之一，而罗纳德•哈伍德（Ronald Harwood）对一个探索艺术家内心世界的独眼人士的绝妙编剧为导演在视觉实验上提供了无限机遇。

Crucially though he never loses the human qualities of the story. Mathieu Amalric achieves a feat comparable to Bauby's by acting with one staring eye as his only means of expression. In a wrenching scene where Bauby cannot comfort his father (Max von Sydow) who is howling with grief into a speaker-phone his eye gyrates like a trapped animal trying to escape—a visceral image of the character's unimaginable imprisonment.
至关重要的是，萧贝尔也未丧失故事的人物特性。影片中，马修•阿马立克（Mathieu Amalric）用其仅有的表达方式——单只专注的眼睛进行表演——足以同鲍比媲美。在父亲（马克斯•冯•西多饰）通过扬声电话悲愤地吼叫而鲍比又不能安慰的一幕痛苦场景中，他眼睛的转动如同一只受困猛兽企图逃脱的情形——遭受难以想象的囚禁使该角色表现出了发自内心的形象。

Bauby who died two days after his book was published was French and his ironic humour never deserted him. This is especially visible in the film's opening scenes where Mr Schnabel forces the viewer into siding with the main character as he responds with incredulous growls to the people who are trying to cheer him up. Bauby is shocked into visualising himself from the outside for the first time when an unthinking friend tells him that the gang at the Café Flore in Paris thinks he is a vegetable. (“What kind of vegetable?” he wonders. “Carrots? Onions?”).
本书法文版本出版两天后，鲍比去世，而他的讽刺幽默将流传后世。在电影的开场片段表现得尤其明显，在主人公充满怀疑地怒吼那些给他打气的人们时，朱利安·施纳贝尔强迫观众站在主人公的角度。当从一位不加思考的朋友获知，一群人在巴黎花神咖啡馆（Café Flore）议论鲍比是植物时，他首次对外部人士关于他的看法感到震惊不已。（“那类植物？”他琢磨着，“胡萝卜？还是洋葱？”）。

His musing initiates his escape from the deep-sea diving suit that his body has become. Flitting through Bauby's sensuous visions like a signature is the tiny image of a butterfly the ancient symbol of the soul escaping its earthly cocoon through the power of consciousness. When those images finally give birth to his memoir Bauby's imagination has transcended the grotesque tragedy of his situation—another old idea conveyed with rare directness in this strange and wonderful film.
鲍比在沉思从已变成深海潜水服的身体中解脱出来。掠过鲍比脑海的感性幻想是有点类似于弱小蝴蝶的形象。灵魂通过觉知的力量来摆脱人间束缚，这正是蝴蝶的古老象征。在这些印象构筑成回忆录时，鲍比的想象已在个人处境的荒诞悲剧中得到了超越——在这部奇妙而又精彩的电影中，另一古老观点罕见地直接传达出来。