梅丽尔斯特里普完美无瑕的演艺人生.docx

梅丽尔斯特里普完美无瑕的演艺人生.docx

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梅丽尔斯特里普完美无瑕的演艺人生

梅丽尔斯特里普完美无瑕的演艺人生

　　Ihavetotryreallyreallyreallyreallyhard.Imeanthatcouldbemyepitaph:

Shetriedreallyhard.

　　我一定要非常非常非常地用功。

我是说，这句话可以作为我的墓志铭：

她一生都在拼搏。

　　―MerylStreep（梅丽尔?

斯特里普）

　　Intheflesh1）,shedoesnothaveanaura.She’snotlitfromwithin.Headsdonotsnap2）inherdirectionwhenshewalksthroughahotellobbyinabaggymaxi-dressandbrowncalf-highboots,flankedbyherdutifulmakeupartistof36yearsandherimperious3）publicist―thefewcelebritytrappings4）ofawomanwhostubbornlyconsidersherselfaworkingactor,andnothingmore.

　　Andyetforhalfofher63yearsshehasbeendubbedeithertheGreatestFilmActressofHerGenerationor,now,theGreatestLivingFilmActress.

　　SohowdoesMerylStreep,workingactor,advanceherartistrywhenshehasnothinglefttoprove,wheneverythingshedoesseemsbeyondreproach?

　　InaroomoffthelobbyoftheWhotel,sheremovesherglassesandhairclipandtossesbothonatable.Sheisbeautiful―asshehasalwaysbeen―intheremote,maskywayasculpturebyMichelangeloisbeautiful.Herpresenceinpersonfeelsliketheabsenceofacharacter.Andforthisquestion,shemustplaytheGreatestLivingFilmActress.

　　“Ifeelmoreworriedbecause,youknow,theexpectationsaresohigh,”shesays,brushingoutherblond-whitehairintoamane5）.“Idoworkveryhard.IthinkI’vealwaysbeenthattypeofgirl,fromtheverybeginning.I’mtheoldest,andIfeellikeIhavetodoagoodjob.Ihavetotryreallyreallyreallyreallyhard.Imeanthatcouldbemyepitaph6）:

Shetriedreallyhard.”

　　Shelooksdown,eyesglazingover,asifseeinghergravestone.

　　“Shetried,”sherepeatssoftly,shrugging,thenreleasingahuskygiggle.“Youknow?

”

　　Deepintoit

　　Weknow,Meryl.

　　Themasteryofforeignaccents,theexhaustive7）preparationandpinpoint8）technique,the17Oscarnominationsfrom47featurefilmsover36years.Youtried.Andsucceeded.

　　Thereneverwasn’tpraise.PraisesinceaprofessoratVassarcalledheracting“mind-boggling9）,”praisesinceherdramaschooldaysatYale,whereshegaveherselfanulcer10）playing40stagerolesinthreeyears.Praisein1975whenshefirstgottoNewYork,whereJosephPapp11）calledherthemostremarkableactresswho’devercomethroughhisPublicTheater.

　　Forgetcryingoncue12）.Shewasabletoblushoncue,Pappsaid.

　　“She’sgoingtobetheEleanorRoosevelt13）ofacting,”saidDustinHoffman,herKramervs.Kramerco-star,ina1980Newsweekcoverstorythatproclaimedher“AStarforthe’80s.”Criticsinthateraplacedheratthevanguard14）of“thenewAmericanactor”―trainedwithinaninchofherlife15）inmultiplegenresandthereforeconfidentandnimble16）enoughtoexplorewildly.Totry.　　ShetriedinSophie’sChoiceandenteredthepantheonat33.Thetrying―theprecisionborderingonmimicry17）―wasaturnoff18）forsome.

　　“Shehas,asusual,putthoughtandeffortintoherwork,”wroteNewYorkercriticPaulineKaelinherreviewofSophie’sChoice.“Itcouldbesaidthatinherzealtobeanhonestactresssheallowsnothingtoescapeherconceptionofaperformance.Insteadoftryingtoachievefreedominfrontofthecamera,she’spredeterminingwhatitrecords.”

　　Nitpick19）.

　　Shetriedworking-class（Silkwood）.Shetriedepic（OutofAfrica）,comedy（DeathBecomesHer）andaction（TheRiverWild）.Shetriedandsometimesfellshortofperfection,butevenherflubs20）aregold,accordingtoClintEastwood21）,whodirectedherinTheBridgesofMadisonCountyin1995.

　　“WhenIshowedheraroughcutofthefilm,shesaid,‘You’veprintedallmymistakes!

’?

”Eastwoodsays.“AndIsaid,‘Yeah,andthey’resogood.’?

”

　　Thesourceofthisunassailableabilityremainsamystery,eventoher,sayscinematographerStephenGoldblatt,whoshotJulie&Julia,inwhichStreepchanneledJuliaChild,andthetelepicAngelsinAmerica,inwhichStreepplayedfourroles,includingtheghostofEthelRosenberg.

　　“IrememberMikeNichols22）askingher,‘Whydidyoudothisorthat?

’inthescenewhereEthel’swithRoyCohnashe’sdying,”Goldblattsays.“Andshesaid,‘.?

.?

.Idon’tknow.’AndIreallythinkthat’stheessence.She’ssodeepintoitthatshe’snothavingaconsciousconversationasanartist,asanactor,withherself.It’sthatgood.It’snotevenskillorartifice.It’scompletesubjectiontothecharacter.SheisnolongerMerylStreep.”

　　Desiretodowell

　　Andyetshe’sMerylStreephere,inthisroomofftheW’slobby,hoursbeforeappearingatagala23）fortheNationalWomen’sHistoryMuseum.

　　Thereisnothingtosayaboutherhandshake,hermood,hercarriage.Shehasnosmell.Hereyes,obscuredbymodishrectangularglasses,seemdarkandcolorless―untilshebeginstoreciteaverseby8th-centurypoetWangWeitoproveapointaboutanartist’sindividualvoice.

　　“Iseemtobealoneontheemptymountain24）,”Streepsaysinhersilverycontralto25）,shiftingherpostureasifbracingforablastofhigh-altitudeair.

　　Shepauses.

　　Foranalmostuncomfortableperiodoftime.

　　“YetsuddenlyIhearavoice...”

　　Anotherlongpause.

　　Hereyessearchtheair.Theyareslateblue,sparkling.　　“Isitsunshineenteringaforestgrove,shiningbackatmefromthegreenmoss?

”

　　Andscene.

　　Wegetitnow.Themoss.Or,rather,thesunshineoffit.That’sthemysticalplacewheretheStreepnessoriginates.Now,itshinesonwhatshecalls“big,terrifying”rolesthatmakehernervousandthereforechallengeherimpeccableinstrument.HermostrecentmarkisMargaretThatcher,whomsheplaysintheTheIronLady.

　　“ForagirlfromJerseytowalkintoanEnglishsoundstagewith40ofthebestEnglishactorsandpresumetobetheirfirstwomanprimeminister,it’sjustlike,‘OhmyGod,whodoyouthinkyouare?

’?

”Streepsays.“Itreallydoesraisethestakes26）andmakestheadrenalineflow.”

　　Hercharacters,shesays,helpherunderstandlittlethingsaboutherself,andshewillcontinuetopickprojectsthatfillinherownpaint-by-numbers27）portrait.HowdoesshedovetailwithThatcher?

　　“Terrifyinglyclose,”shesays,cackling.“Thatdutifulness,thatrelentlessness28）,thatdesiretodowell,doright.Toactaccordingtoyourconvictions.Totry,try,try.Keeptrying,keeptrying.Don’tletthebastardsgetyou.Don’tletthemsayyou’retooold.”

　　OldseemstoworkforMeryl.Inthepastfewyears,shehaseasedintoheremerita29）-ness,turnedeachacceptancespeechintoamasterclassofdiva30）comportment31）,relished32）rolesinexuberant33）-if-commercialprojects―andherboxofficereceiptshavestartedmatchingthevolumeofhercriticalpraise.Astringofmoviesmademorethan$100million:

TheDevilWearsPrada,inwhichshenibbledsceneryasanice-queenfashioneditor,MammaMia!

inwhichshebelted34）Abba35）songsintheGreekIsles,andIt’sComplicated,inwhichshebeddedAlecBaldwin36）between1,500-thread-count37）sheets.

　　Thosedollars,shesays,aretheonlyreasonshe’sstillemployed.Simpleasthat.

　　“Mygenerationofactresses―myfriends,mycohort―shouldbeworkingatthesamelevelofendeavorasIam,andthey’renot,”Streepsays.“Why?

Becausetobusinessmen,they’reold.Andthatbugsme.That’swrong.Becausetheaudienceisthere.”

　　Earlierintheweek,shewasinLondonforatributetoVanessaRedgrave38）,whomStreepcalls“thepinnacle.”ThefilmreelincludedalengthydinnerscenefromJulia,Streep’sfirstmovierole.

　　“Firstofall,you’dneverseeascenelikethatinamovienow,”Streepsays.“Theideathatacameraandtheaudiencewouldbeinterestedtojustsitatatablefornineminutesandexperiencethetensionthatwasgoingoninthescene...Jesus.Whatishappeningtothisthingwelove?

Film!

It’ssopowerful.”　　Andsheleansbackinherchair,exhales39）andextendsherarmsinsomestrangesupplicationtoherchosenmedium,asifshehasopenedherselfupasasoundingboard40）,aninstrumenttobeplayedbytheuniverse,alutesuspended―absorbingandprojecting,atthismoment,arichvibe41）ofwearygratitude.

　　“Askawoman”

　　BetweenthehotelandtheRonaldReaganBuilding,shedoesnotmakeacostumechange.Sheappearsonstageinthesamebaggydress,withthesamecasualhair.ShetrumpetstheideaofaNationalWomen’sHistoryMuseum,ablyperformingherpreparedremarksandthen,inclosing,decidestotrysomething.

　　“AsMargaretThatcherwouldsay―?

”andwithoutwarningshedropshervoiceahalf-tone,upholsters42）herthroatwithabristlyBritishaccent,cocksherheadtosuggestahairdoandblazerandstrandofpearlsthataren’tactuallythere,andtheairinthetheatersuddenlyturnschillyandelectric,likeaseance43）isafoot,andbehindtherostrumnowisafully-formedlifeforceradiatingenergy:

　　“?

‘Ifyouwantsomethingspokenabout,askaman.Ifyouwantsomethingdone,askawoman.’?

”

　　Theaudiencegaspsatthequick-changeandroarswithapproval,andthenStreepsnapsoutofit,andThatcherisgone,andsoisshe,replacedbyapplause.

　　单从自身条件来讲，她并?

]有耀眼的光环。

她的光芒也并非来自内在的涵养。

当她穿着宽大的长裙和棕色的及膝皮靴从酒店大厅走过时，众人并?

]有齐刷刷地转头向她行注目礼。

陪在她身边的，一个是她恪尽职守的化妆师（已为她工作36年），一个是她一脸傲气的发言人――这是她作为名人仅有的一点点缀，她总是很固执地认为自己只是一个职业演员，别的什么都不是。

　　然而，在她63岁的人生历程中，有一半的时间人们称她为“同代人中的最佳女电影演员”，或者，正如现在人们对她的称呼那样，“当代最佳女电影演员”。

　　那么，梅丽尔?

斯特里普，一个仅仅把演艺看做是一种职业的人，在事业达到巅峰之后，在一切都完美得似乎无可挑剔之后，又将如何提升自己的艺术造诣呢？

　　在W酒店大厅临近的一个房间里，她摘下了墨镜和发夹，随手把它们扔到一张桌子上。

和往常一样，她还是那么美――那是一种像米开朗基罗雕像一样遥远而模糊的美。

但单从她自身的姿态来看，总让人觉得好像少了点“大牌”的气派。

要想看到这种气派，必须得是她扮演“当代最佳女电影演员”的时候。

　　“我感到压力越来越大，要知道，人们的期望太高了，”她一边说，一边梳理着浅淡的金发，使其自然下垂，“我的确很勤奋。

我觉得我一直都是非常勤奋的人，从一开始就是。

我是年纪最大的，我觉得自己一定要把事情做好。

我一定要非常非常非常地用功。

我是说，这句话可以作为我的墓志铭：

她一生都在拼搏。

”

　　她视线下移，目光凝滞，仿若在看着自己的墓碑一样。

　　“拼搏，”她轻声地重复着，耸了耸肩，然后沙哑着声音咯咯笑了起来，“你们知道吗？

”

　　爱拼才会赢

　　我们知道的，梅丽尔。

　　惟妙惟肖的外国口音，巨细无遗的场外准备