國(guó)外影評(píng)人是如何評(píng)價(jià)《小時(shí)代》的？

　　Writer-turned-director Guo Jingming brings his series of adaptations of his own Shanghai-set romance novels to a close.

　　Catfights, cancer, corporate conspiracies, cosmetic surgery, Chippendale-aping striptease: true to style, Chinese novelist-turned-filmmaker Guo Jingming has thrown in everything but the kitchen sink in Tiny Times 4.0, the latest and final installment in his tetralogy of adaptations of his novels about the fluctuating friendships among four young women in modern-day Shanghai.

　　Just like his characters, however, Guo seems to have not matured into his new artistic calling: despite being flanked by two "executive directors," he remains completely at a loss in adapting his material to the constraints of the film medium. He simply doesn't do structure and subtlety, as is evident in the awkwardly reshot and re-edited scenes aimed at reducing the presence of the drug-busted and black-listed actor Kai Ko.

　　The myriad cracks in the previous installments have largely been papered over by Guo's near-maximalist representation of material excess. Indifference is not actually an option when confronted with something so over-the-top and in-your-face. Having pared back on the bling-fueled bluster - perhaps due to slashed budgets, or the need to avoid censure from a current Chinese leadership bent on advocating austere lifestyles - Tiny Times 4.0 reveals itself as a novice visual storyteller's failed attempt to inject gravitas into a tired premise.

　　Read More'I Am Somebody': Shanghai Review

　　While steadfast Chinese fans will most probably support Guo and his stellar cast to the very end - a loyalty epitomized by the $32.2 million gross it has attained in the country during the first two days after its July 9 opening - the film's takings have been eaten into somewhat by the release of the similarly teen-oriented bosom-buddies drama Forever Young. The film's fortunes beyond China are minimal; 3.0 has, for the moment, yet to be picked up for release.

　　As for many a film series, the uninitiated need not apply. Guo doesn't suffer newcomers gladly in his universe. And after the plethora of characters being thrown into the mix in the third film - most of them young hunks bearing the same muscular physique and furrowed-brow expression - the labyrinthine web of relationships poses a near-impenetrable challenge for anyone beyond the diehard.

　　Picking up where the third film left off, 4.0 mostly revolves around the trials of Lily (the bankable Amber Kuo), the once-rich queen bee who finds herself near financial ruin because of the debts left behind by her father. Perhaps fearing that the number-crunching might be too daunting for his target demographic, Guo has given Lily the more relatable trial of having to combat a newly diagnosed cancer. Too proud to seek solace from anyone around her, Lily sets off a chain of self-destructive events which lead to her estrangement from erstwhile best friends Lin Xiao (Mini Yang), Nan Xiang (Bea Hayden Kuo) and Ruby (Sie Yi-lin).

　　Read More China Box Office: Foreign Movies Have Upper Hand

　　As Tiny Times soars into its climactic grand finale, tragedies abound as relationships are cast asunder. Lin Xiao's personal and private lives spiral into oblivion in quick succession; the femme fatale of the four, Nan Xiang reveals her true social-climbing colors as she eases her way into the heart of her boss (Vivian Dawson) and up the greasy corporate pole; and Ruby, the jester of the group, recoils from contact with anyone else as she struggles to recover from the disfiguring aftermath of her falling out with her friends.

　　Probably more at ease unveiling his intertwining storylines across wide swathes of space in print, Guo struggles to pace his plotlines. Rather than offering a script in which characters are sketched out of small but revealing and symbolic gestures, he has instead hedged his bets on pretty faces striking poses which try and fail to signify sadness. Tiny Times 4.0 is an anti-climax that brings an erstwhile controversial and cacophonous cinematic juggernaut to a whimpering close.

　　《小時(shí)代4》是由作家轉(zhuǎn)型的導(dǎo)演郭敬明根據(jù)他自己的小說改編的電影四部曲的最新一集、也是最后一集，小說講述的是四個(gè)生活在當(dāng)代上海的女孩之間起伏不定的友情。在電影里，郭敬明堆砌了所有的東西：撕逼，癌癥，公司里的勾心斗角，整容手術(shù)，Chippendale式的裸男，唯獨(dú)沒有現(xiàn)實(shí)。

　　不過，就像他的角色一樣，郭敬明在新的藝術(shù)領(lǐng)域里的嘗試看起來(lái)并不成熟。盡管有兩名“執(zhí)行導(dǎo)演”的輔佐，但郭敬明在把自己的小說改編成電影時(shí)卻完全迷失了。他完全不管電影的結(jié)構(gòu)和質(zhì)感;這一點(diǎn)在那些為了減少因?yàn)槲颈蛔ザ狭撕诿麊蔚目抡饢|的出場(chǎng)而重新拍攝和剪輯的拙劣場(chǎng)景中體現(xiàn)得尤為明顯。

　　前幾集里，巨大的情節(jié)漏洞基本上被郭敬明用對(duì)物質(zhì)最大化的鋪陳給糊弄掩蓋了過去，面對(duì)那樣毫無(wú)節(jié)制的、挑釁似地扔了你一臉的物質(zhì)展示，要無(wú)動(dòng)于衷是不可能的?！缎r(shí)代4》減少了這樣珠光寶氣的炫耀，這可能是因?yàn)轭A(yù)算的削減，也可能是為了避免被倡導(dǎo)艱苦樸素生活方式的人批評(píng)。于是，這部影片就暴露出了一個(gè)視覺敘事新手在試圖給一個(gè)陳舊的主題賦予嚴(yán)肅性時(shí)所遭遇的失敗。

　　7月9日上線的《小時(shí)代4》兩天內(nèi)在中國(guó)攬下3220萬(wàn)美元，顯示了狂熱的粉絲們將會(huì)對(duì)郭敬明和他星光熠熠的卡司團(tuán)隊(duì)支持到底，不過它們的票房部分地受到了另一部瞄準(zhǔn)青少年的花樣少年題材電影《梔子花開》的影響。而在中國(guó)以外，這部電影的市場(chǎng)前景幾近于無(wú);《小時(shí)代3》到目前為止還沒有在海外上映。

　　許多系列電影都不適合對(duì)其不太了解的人觀看，郭敬明構(gòu)建的宇宙對(duì)新觀眾來(lái)說也并不輕松。第三部里混雜了大量的人物角色，其中大多數(shù)是年輕健壯的美男子，他們有著一樣的肌肉和一樣的眉頭深鎖的表情。如果不是資深粉絲，要弄清這樣繁雜如迷宮一樣的人物關(guān)系對(duì)于任何人來(lái)說都是幾乎不可能的挑戰(zhàn)。

　　第四部延續(xù)第三部的情節(jié)發(fā)展，主要圍繞對(duì)顧里的審判展開，這是一個(gè)曾經(jīng)富有、但因?yàn)楦赣H留下的債而陷入財(cái)政危機(jī)的女王蜂。也許是擔(dān)心具體的審判過程對(duì)于他的目標(biāo)觀影群體來(lái)說有點(diǎn)太難了，郭敬明給了顧里一個(gè)更容易讓觀眾理解的審判方式——與剛剛診斷出來(lái)的癌癥作斗爭(zhēng)。由于太過驕傲而不愿意向身邊任何人尋求安慰，顧里開始了一系列自我毀壞的舉動(dòng)，導(dǎo)致了她與曾經(jīng)的好友林蕭、南湘和唐宛如漸漸疏遠(yuǎn)。

　　也許郭敬明能夠更加得心應(yīng)手地用文字來(lái)展開互相交織的故事線，而在電影里，情節(jié)的把握對(duì)他來(lái)說變得相當(dāng)艱難。他的劇本沒有能夠讓角色去做出那些細(xì)微但是一目了然的肢體語(yǔ)言，而是把寶押在了讓漂亮臉蛋擺pose上，結(jié)果完全沒有傳遞出悲傷的情感。《小時(shí)代4》是一部反高潮的電影，此前極富爭(zhēng)議、充斥刺耳雜音的來(lái)勢(shì)，最終以一個(gè)低迷的結(jié)尾收?qǐng)觥?/p>

　　譯者：假裝在紐約

　　除了《好萊塢報(bào)道者》，目前還沒有看到別的主要外媒關(guān)注《小時(shí)代4》。不過，兩年前的《小時(shí)代2》曾經(jīng)被很多媒體集中報(bào)道。美國(guó)另一份娛樂行業(yè)的專業(yè)媒體《綜藝》(Variety)當(dāng)時(shí)是這樣評(píng)論的。

　　因?yàn)榉簽E的物質(zhì)主義和荒謬編造的情節(jié)設(shè)置，《小時(shí)代》曾在中國(guó)的微博上遭到嘲笑。比如說，一個(gè)剛剛畢業(yè)的大學(xué)生怎么可能立即當(dāng)上CFO?不過，來(lái)自四川小城的男孩郭敬明，為主要來(lái)自乏味的二線城市的大眾編織了一個(gè)大都會(huì)之夢(mèng)。從這一點(diǎn)來(lái)看，所有矯揉造作的賣弄就和一個(gè)小女孩偷偷試媽媽的口紅那樣，既可愛又無(wú)害。郭敬明也許是把物質(zhì)的豐裕變成了讓人著迷的奇觀，可巴茲·魯赫曼(《了不起的蓋茨比》導(dǎo)演)也是這么做的;看到片中角色如同機(jī)場(chǎng)跑道一樣的更衣室，你甚至可能會(huì)想到蓋茨比那些剪裁考究的襯衫。

　　炫目光鮮的制作會(huì)讓觀眾覺得自己在精品服裝店或者家具展廳里被困了兩個(gè)小時(shí)，但是電影在審美上的許多處理方式卻充斥著壞品味。攝影車亮逸用了很多夸張的鏡頭運(yùn)動(dòng)和糟糕構(gòu)圖讓劇情發(fā)展顯得不自然;顧曉蕓的剪輯一塌糊涂;而候志堅(jiān)的煽情配樂一直就沒停過，有時(shí)把人物的談話都給淹沒了。

　　《紐約時(shí)報(bào)》也曾經(jīng)接連發(fā)了兩篇關(guān)于《小時(shí)代》的文章，這里節(jié)選一下。

　　布魯克林或許屬于莉娜·杜漢姆(Lena Dunham)和《緋聞女孩》(Girls)。而在《小時(shí)代2》中，編劇兼導(dǎo)演郭敬明繼續(xù)改編自己的成長(zhǎng)三部曲小說，講述四個(gè)從中學(xué)起就是好朋友的年輕女人在當(dāng)今這個(gè)野心勃勃、物欲橫流的上海尋找自己道路的故事。“姐妹情有力量”，這句話似乎很容易被翻譯成普通話。

　　《小時(shí)代》第一部推出了四個(gè)女主角：時(shí)髦、富有、全能媽媽一樣的顧里;多才多藝的藝術(shù)家南湘;胖乎乎又花癡的唐宛如，以及敘事者、“普通”女孩林蕭。有點(diǎn)像年輕版、無(wú)性版的《欲望都市》(不過《小時(shí)代》里的都市可能就等于性，它如同一個(gè)令人眼花繚亂的奧茲國(guó)，充滿光彩熠熠的建筑和奢侈品牌)。

　　《小時(shí)代》對(duì)《穿普拉達(dá)的女魔頭》(The Devil Wears Prada)借鑒頗多，比如林蕭就是在一個(gè)要求很高的時(shí)尚雜志編輯手下當(dāng)實(shí)習(xí)生，并證明了自己;不同之處是，她的上司是個(gè)男人，名叫宮洺，有點(diǎn)像凱莉 (Carrie Bradshaw)的Mr. Big，只不過這個(gè)人物長(zhǎng)得更像湯姆·克魯斯。

　　該片第一部今年夏天在中國(guó)票房極佳，因此郭敬明提前發(fā)行了這部續(xù)作。這一集里，四位主角已從大學(xué)畢業(yè)，上演了一部關(guān)于背叛與分手、誤會(huì)與原諒、疾病與死亡、董事會(huì)會(huì)議室政治與公司收購(gòu)的肥皂劇。20多歲的人就是這樣，你懂的。

　　作為娛樂片，這是一部典型的粗制濫造之作。但是這部影片同時(shí)也是一種幻想，一種結(jié)合了崛起的財(cái)富與西方生活方式的21世紀(jì)青年文化的產(chǎn)物。

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