如果有个地方能改变命运，你是否愿意一键重启人生？动画电影《心灵奇旅》试图给出一个异想天开的答案。豆瓣评分 9.0 ，Metacritic 媒体评分 85，烂番茄新鲜度 93% ，《心灵奇旅》这部全球范围内“毫无争议的好电影”你看了吗？

The new film from the director of Up and Inside Out has the aesthetics of a whimsical adventure, but its themes are very raw.

这部新影片由《飞屋环游记》和《头脑特工队》导演执导，彰显着异想天开的冒险美学，但主题却十分质朴。

If Disney’s animated-movie formula relies on tales of heroes and princesses, of villains destroyed and personal freedom achieved, then Pixar’s formula is far more mundane. For decades, the computer-animation studio has made movies that portray transcendent feelings and experiences as the products of ordinary jobs, performed diligently by strange little beings behind the scenes. Monsters, Inc., in 2001, revealed that our fears were created by cuddly, blue-collar creatures. Inside Out, in 2015, personified our emotions as brightly colored sprites pressing buttons and pulling levers. Now, Soul imagines how our personalities are created at a cartoon summer camp, where smiley blobs and squiggles convene to generate human souls.

如果说迪士尼的动画电影模式依赖于英雄和公主、坏人受到惩罚、个人自由得以实现，那么皮克斯则更加接地气。几十年来，这个计算机动画工作室将超凡的情感和经历描绘成普通工作的产物，由银幕后奇怪的小人物勤勤恳恳地扮演。2001年上映的《怪物公司》告诉我们恐惧是由一些胖乎乎的蓝领怪物创造出来的。2015年上映的《头脑特工队》把我们的情绪拟人化为色彩鲜亮的精灵，他们会按按钮，拉操作杆。如今，《心灵奇旅》想象我们的性格是在一个卡通的夏令营产生的，那里有欢乐的小球和线条聚集在一起，产生人类的灵魂。

All three of these movies were directed by Pete Docter, the man who is also behind Up. One of Pixar’s foremost auteurs, the filmmaker is enamored of using animation to conjure worlds rooted in abstract metaphor. Soul, which debuts today on Disney+, is his most conceptual film yet, largely set in a realm known as “the Great Before,” a cloudy land where human personalities are created and zapped into our bodies upon birth. The ambition of Docter’s world building is laudable. And the smaller, human narrative he tries to tell within that universe—about a jazz pianist who finds himself stuck in the Great Before after a near-death experience—is sweet and charming.

这三部电影都是由皮特·道格特执导，《飞屋环游记》同样是他的作品。作为皮克斯最杰出的导演之一，道格特喜欢用动画来构建一个基于抽象隐喻的世界。《心灵奇旅》于12月25日在Disney+首映，是他目前最抽象的电影，主要是以一个“生之来处”的世界为背景，人类的性格在这片灰蒙蒙的土地被创造出来，出生时便伴随我们。道格特构造世界的野心是值得称道的。他试图在这个宇宙里讲述一位爵士钢琴演奏家在经历了一次濒死后发现自己被困在“生之来处”的故事，这种更细微的、人性化的叙述温情而有魅力。

Docter has wrestled with “grown-up” themes before and managed to cram them into an easy-to-understand story arc. Up began with the emotional hammer blow of an aging character losing his wife before he embarked on a new adventure. Soul sets an even tougher challenge for itself by apparently killing its lead character within minutes. But Docter finds clever ways to travel between the heavens and Earth, using the odd, nonphysical world Joe finds himself in to teach valuable lessons about finding joy in life even as it disappoints us.

道格特之前一直在探讨“成长”的主题，并且设法将其浓缩在容易理解的故事情节中。《飞屋环游记》一开头就是情感冲击，一位老人在开始新的冒险之前失去了自己的妻子。《心灵奇旅》设定了一个更难的挑战，开始没几分钟就杀死了主角。但是道格特想到了一个聪明办法，在人间和天堂之间穿梭，利用乔所处的奇怪的非物质世界告诉我们一些宝贵的道理，教我们在生活中寻找快乐，即便生活令人失望。

We are all born with dreams, Docter seems to be saying, bubbling with ideas and personalities that are created even before we come into the world, but Joe’s story proves that there is more to life than that. Essentially, Docter has made a Pixar film for kids that tries to run at the nature-versus-nurture question and ends up splitting the difference. Compared to Pixar’s recent spate of sequels to past hits, Soul is a loftier project—a messy but expansive story worthy of its director’s grand ambitions.

道格特似乎在说，我们生来就有梦想，在我们来到这个世界之前就充满了想法和性格，但是乔的故事告诉我们，生活不只是这些。从本质上说，道格特让皮克斯的儿童电影试图探索先天与后天这一问题，并最终达到折中。相对于皮克斯最近多部大热影片的续集来说，《心灵奇旅》的主题更加崇高，故事虽然杂乱但内容丰富，对得起制片人抱有的宏大野心。

本文摘自：中国日报网

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