BBC News在线听附文本(2008-11-13)

发表时间:2009-01-31内容来源:VOA英语学习网

《灵异孤儿院》(The Orphanage)

今天我们以一部让人毛骨悚然的哥特式恐怖片开始,这是一部西班牙影片,叫做《灵异孤儿院》。这个故事是关于劳拉的,她是一位三十多岁的、幸福的已婚妇女,她和她的丈夫还有收养的九岁的儿子回到了她童年时代的大孤儿院。不用说,事情往往不会按计划发展。开始是她儿子假想的朋友逐渐变得很真实,然后是孤儿院以前的一名评分教师出现了。说太多就会影响这部影片,但是只要说该部电影具备有现代扭曲的典型鬼故事的所有特点就足够了。

[注释]
1.gothic adj. 哥特式的 2.suffice v. 足够 3.hallmark n.特点 4.input n. 投入 5.sCRIpt n. 剧本 6.haunted adj. 困惑的,令人烦恼的 7.orchestrate v. 编管弦乐曲 8.ambiguity n. 含糊,不明确 9.resemble vt. 象, 类似 10.CRItic n. 评论者 11.resonate v.(使)共鸣 12.Francoism n. 佛朗哥政权 13.institutional adj. 制度上的 14.facilitate vt. 推动,促进 15.suspense n. 悬念 16.creepy adj. 爬行的 17.cliche n. 陈词滥调 18.excessively adv. 过分地,非常地 19.red herring n. 转移注意力的话 20.discreet adj. 小心的,慎重的 21.distraught adj. 悲痛的 22.understated adj. 不夸张的 23.benign adj. 仁慈的,和蔼的 24.Catalan n.(西班牙)加泰罗尼亚语 25.painterly adj. 美术的 26.compelling adj. 引人注目的 27.psychology n. 心理学,心理状态 28.paranormal adj. 超过正常的,超过正常范围的 29.auction vt. 拍卖 30.Yankee n. <美> 美国人,美国佬

[积少成多]
rely on 依赖,依靠
例句1:Charities rely on voluntary donations/contributions.
慈善事业依靠自愿捐赠。
例句2:Now that you are grown up, you should not rely on your parents.
既然你长大了,就不应该依靠你的父母。

The Orphanage

REPORTER: We start today with a chilling gothic horror on The Orphanage set in Spain. It's a story about Laura; a happily married woman in her thirties who with a nine year old adopted son and husband, returns to the huge orphanage that was once her childhood home. Needless to say, things don't go according to plan. Firstly when her son's imaginary friend starts to feel very real and then when a former teacher from the old orphanage with a score to settle turns up. It will spoil the film to say much more but suffice it to say that the film bears all the hallmarks of a classic ghost story told intelligently and with a modern twist. Perhaps not surprising then that the producer is Oscar winning Guillermo del Toro who made Pan's Labyrinth. In fact in some of the film's publicity The Orphanage is built as being presented by del Toro which he says reflects even more of a commitment to the project. So what does that actually mean in terms of input? Here's the view of director and hotly tipped new talent Juan Antonio Bayona.

JUAN ANTONIO BAYONA: He told me once that Pedro Almodovar who produced The Devil's Backbone told him once that a good producer is the one who is always there when you need him and who is never there when you don't need him. So that's what he did. Of course he read the sCRIpt, he gave us a few suggestions, we took some and then he saw the first editing of the movie and he loved it at the first editing. And for me Guillermo was the person who led me to do the movie the way it was meant to be. Without Guillermo it would not be an orphanage.

REPORTER: The film is marked by a brilliantly performance from Belen Rueda as the haunted mother and the superbly orchestrated tension that relies on the power of suggestion as Bayona acknowledges.

JUAN ANTONIO BAYONA: I think that simplicity and ambiguity are more scary than all these glory effects and all these digital effects you know. So I try to go back to that kind of horror movie, it's more a horror movie like in the reign of the seventies you know. One thing what that happened in Spain. It's funny that a lot of people wanted to see the movie more than once and every time they saw the movie again, they found a completely different story.

REPORTER: And that compulsion to literally review the film places The Orphanage in the same category as Momento and the other's which it resembles in some ways. It was a huge box office hit in Spain particularly, out grossing the latest Hollywood offerings from Pirates of the Caribbean and Shrek franchises. So I asked film critic and lecturer Maria del Garda was that because it was a particularly Spanish horror film?

MARIA DEL GARDA: I think there's a way in which it resonates as a great horror come ghost story. I think we mustn't forget that because I think the ghost story is actually terribly important in a country that's trying to lay to rest its ghosts.

Now here is a film that is talking about coming to terms with the past without mentioning Francoism, without hammering home those historical details. So I think the mood of the film, the idea that you have to deal with your past to come to terms with your present and prepare for your future has a huge resonance for a country that only now has, if you like, had the institutional or the official courage to put through legislation that will facilitate that process. So I think the resonance of that film is very, very important in Spain.

REPORTER: Let's talk about it in pure terms of craft from the director's point of view. I mean it has all the classic hallmarks of a great horror or ghost movie as you say, and suspense, a big haunted house, a scare crow, lots of creeks and bangs, creepy characters, dolls which are always good.

MARIA DEL GARDA: Lights that appear from nowhere.

REPORTER: Yeah, all that stuff but it works. Why does it work here when it could so easily be in a cliche?

来自:VOA英语网 文章地址: http://www.tingvoa.com/html/20090131/670.html