英国新闻听力 《爱在瘟疫蔓延时》（在线收听）

《爱在瘟疫蔓延时》（Love in the Time of Cholera）

隔绝和错觉也是《爱在瘟疫蔓延时》所陈现的主题，这部新电影是根据一本小说改编，它是由哥伦比亚的诺贝尔获奖者、被称为魔幻现实主义教父的加夫列尔·加西亚·马尔克斯所写。《爱在瘟疫蔓延时》讲述了一个没有希望而又浪漫的爱情故事，主演贾维尔·巴登刚刚由于在《老无所依》中扮演冷血的发型杀手而获丰厚奖项。在《爱在瘟疫蔓延时》影片中，他扮演的费洛伦蒂纳·阿里萨跨越了五十年的爱情长跑，一直无望地爱着由意大利女演员乔凡娜·梅索兹殴诺扮演的费尔米纳。

[注释]

1.cholera n. [医]霍乱 2.isolation n. 隔绝，孤立 3.delusion n. 错觉 4.prizewinning adj.（已）获奖的 5.galore adv. 丰厚地，丰富地 6.adoration n. 爱人，受崇拜（或爱慕）的对象 7.fidelity n. 忠诚 8.screenplay n. 电影剧本 9.slam v. 抨击，冲击 10.unenviable adj. 不值得羡慕的 11.condense v. （使）浓缩，精简 12.meet up with v. 偶遇 13.stylistic adj. 格式上的，体裁上的 14.cantankerous adj. 脾气坏的，任性的 15.strudel n. 以果实或干酪为馅而烤成的点心 16.embroider vt. 润色，修饰 17.sludge n. 乱泥，软泥 18.supremely adv. 崇高地 19.coffin n. 棺材 20.inevitably adv. 不可避免的，必然的 21.triumphant adj. 战无不胜的，胜利的，成功的 22.virginity n. 贞洁 23.assortment n. 分类 24.altruistic adj. 利他主义的，无私心的 25.smudge v. 染污

[积少成多]

【get out of 离开，避免，放弃，戒除】

例句1：Get out of my life.

我不愿再见到你。

例句2：Some men would do anything to get out of the war.

一些人在为避免战争而奔波。

例句3：I wish I could get out of the habit of smoking. 

我希望我能改掉吸烟的习惯。

Love in the Time of Cholera

REPORTER: Now the themes of isolation and delusion are also present in Love in the Time of Cholera, a new film based on the deeply personal novel by Colombian Nobel prizewinning author and the man often credited as the godfather of Magical Realism Gabriel Garcia Marquez. Love in the Time of Cholera tells the story of a hopeless romantic played by Javier Bardem, yep, the very same actor who just won awards galore as the psycho killer having a bad hair day in No Country for Old Men. His character Florentino devotes more than fifty years of his life, hopelessly in love with the fragrant Fermina, played by Italian actress Giovanna Mezzogiorno. Mostly from afar until the death of her husband Dr. Urbino, allows him to once again profess his adoration and stake his claim for her affections.

JAVIER BARDEM: I have waited for this opportunity for fifty one years, nine months four days. That is how long I have loved you, from the first moment I cast eyes on you until now. I will meet you once again my love, eternal fidelity, ever last love.

GIOVANNA MEZZOGIORNO: Florentino, please, get out of here! Get out, and don't show your face again for the years of life that are left to you. And I hope that I buried you in that.

REPORTER: Let it be said in the mean time, Florentino's spent most of his adult life sleeping with more that 600 women and unusual way perhaps to display his eternal fidelity. The screenplay's been adapted by Ronald Harwood, who's had enormous success of late with The Diving Bell and the Butterfly. And is directed by the British filmmaker Mike Newell, perhaps best known for Four weddings and a Funeral, Donnie Brasco and Harry Potter and the Goblet of Fire. However things have not gone so well for this latest project, which is being critically slammed upon its release. It's certainly an unenviable task to try and condense Marquez's dazzling prose into the language of film. So when I meet up with director Mike Newell, I asked him first, wasn't he daunted by the project?

MIKE NEWELL: I did it because I, I loved what the book said, of the way that it said it and even though I felt that it wasn't going to be possible to do the book without having 16 hours. I loved the book so much that I wanted to do what I could.

REPORTER: What were the biggest problems there for you when you looked at the adaptation from the book?

MIKE NEWELL: Well the biggest problems were stylistic in a way, because of what Marquez does. He gave me a set of notes when the script first came in and he said very good, eh, all the things that you would expect him to say. He's quite cantankerous, um, but he said, where is my stitch work? And I thought, what on earth is stitch work mean? And I realized that what he meant was that you never discover it in a straight line, the characters are always you set of a lot of line and he's take you back and fold it. It's like making strudel dough, you fold it, you punch it out, you fold it again, you punch it out, that's how he writes. And I think that's what he meant by stitch work, the way everything if folded and then embroidered and then folded and embroidered again. And I can't give him his stitch work because if you try to do that, the thing will turn to sludge in film terms, that was the greatest worry. I think it was always there, I think it is there and at the same time there were compensating things for me, which mean that, while knowing that I should still go on.

REPORTER: Lets talk about the casting, the younger version of Florentino is played by one actor. Obviously, Javier Bardem plays him as an older man. How confident were you that that could be bridged?

MIKE NEWELL: I think really the greater difficulty is why didn't I do it for both roles. I did it with Javier because, Javier could supremely do the old age but he couldn't do the young, you couldn't get him below 24, it was just not possible. And so, I was very unwilling to change the story to the degree that I felt it would be changed if I simply said, look this is about a guy who falls in love at 24. So we doubled him and as far as Giovanna, the girl who plays the love of his life is concerned, she could make the age. And I knew that that was a very, it was a dangerous thing to do and so I looked and I looked and I looked for the same trick and didn't find it, simply didn't find it and so what am I gonna do, there we are.

REPORTER: It's almost like, make a bigger point of it and you possibly could have done in both had changed. Is that, is that fair?

MIKE NEWELL: Yes, totally fair, sure, coffin and nail.

REPORTER: Okay, lets talk about some bigger theme in the novel and how you try and translate them in the film. And inevitably the sociopolitical background of this, in this novel, about the change in, in the advances in medicine and what, who being represents which is the confuter and tackling things like cholera against, if you like, the old fashioned romanticism that Florentino represents?

MIKE NEWELL: To start with that's a very elegant formulation of how modernity vs. tradition works in the uh, works in the book. And I'm not sure that I had space for that. I think when you ask this sort of question, and I asked it of myself all the time and did while I was shooting. You think to yourself, well why are you doing it, what is going to be there? If you're not doing this stuff and what I said was, that there is a direct quote right in the end of the movie which is almost the last paragraph of the book, that is in the caption of the river boat of which they hold up. He says, uh, I discover to my joy that it was life not death that was, uh, triumphant. So that he, as you watch these people growing older, with all of the characteristics which I tried to give them, the writing the novel says, that growing older, is, is a triumph if you have not been defeated, growing older is a triumph. And I worried away at the title, what does Love in the Time of Cholera means? Do I believe in love? Is love anything? I was absolutely not convinced that love was anything, certainly not as practiced by Florentino, you know, a life long devotion towards one woman and 623 lovers, um…

REPORTER: Virginity of the soul, I think it's called.

MIKE NEWELL: All right, okay, I wished I'd though of that,

REPORTER: You have done such a wide assortment of films in your life, your career.

MIKE NEWELL: Actually, I would screw career, screw success. If just once in a while maybe one or two people are actually going to go and see it in which case they might then, we can look. And if they've read the book, then that's good news.

REPORTER: It's very altruistic, does that?

MIKE NEWELL: Well yeah, but I mean there's no, during the older world service, it takes. I'm not selling the movie through you, I'm simply telling you the truth. And, and I got my bum bitten pretty badly, I didn't care. When an audience goes to see this movie, it is going to feel, eh, to some people as if they own it, it is the bible, it's one piece, its one of, you know, the half dozen greatest novels ever written, um, how could it possibly be smudged and fingered in this way. Um, but there are a lot of people who are going to see it, who won't have read the book, who might read the book again, who will take with them a kind of miasma of how wonderful South America is and then they'll discover the book which will show them really how wonderful South America is, and that writer is, and that will be good.

《爱在瘟疫蔓延时》

记者：隔绝和错觉也是《爱在瘟疫蔓延时》所陈现的主题，这部新电影是根据一本小说改编，它是由哥伦比亚的诺贝尔获奖者、被称为魔幻现实主义教父的加夫列尔·加西亚·马尔克斯所写。《爱在瘟疫蔓延时》讲述了一个没有希望而又浪漫的爱情故事，主演贾维尔·巴登刚刚由于在《老无所依》中扮演冷血的发型杀手而获丰厚奖项。在《爱在瘟疫蔓延时》影片中，他扮演的费洛伦蒂纳·阿里萨跨越了五十年的爱情长跑，一直无望地爱着由意大利女演员乔凡娜·梅索兹殴诺扮演的费尔米纳。直到她的丈夫乌尔比诺医生死后，费洛伦蒂纳·阿里萨才再一次拥有他的爱人，才又能重新得到她的爱。

贾维尔·巴登：我等待这个机会有51年九个月零四天。在这么长的时间里，从我看到你的第一眼直到现在，我一直爱着你。我再次遇见你，我的爱人，我会永久地忠诚于你，直到永远。

乔凡娜·梅索兹殴诺：费洛伦蒂纳，请你离开这里吧！走吧，以后不要让我再看到你了，我不希望再见到你了。

记者：在这部影片中，在费洛伦蒂纳的成年生活中，他用了大部分的时间和600多个妇女睡过觉，用这种不同寻常的方式可能想显示他的永恒忠诚度。这个剧本由最近因《潜水钟与蝴蝶》获得巨大成功的罗纳德·哈伍德改编，由英国制片人迈克·内威尔执导，他因导演过《四个婚礼和一个葬礼》、《忠奸人》、《哈利波特与火焰杯》而著名。然而这个最新影片进展不是很顺利，该影片现在受到了批评性地抨击。当然把马尔克斯的令人眼花缭乱的散文浓缩成电影不是让人羡慕的任务。因此当我偶然遇到导演迈克·内威尔时，我首先问他，执导该影片是不是让他感到很沮丧？

迈克·内威尔：我执导这部影片是因为我喜欢这本书的内容以及故事的表现方法，没有研究十六个小时，我觉得我是不可能执导这部影片。我非常喜欢这本书，所以我会竭尽所能做一切。

记者：那么当你看完这本书的改编剧本，对于你来说最大的问题是什么？

迈克·内威尔：由于是马尔克斯写的这本书，某种程度上最大的问题是格式。他给了我很多指点，当剧本出来时，他说非常好，你会期望他说所有的事情。他脾气不好，但是他问我，我的缝合工作在哪里？我想了想，到底缝合的工作是什么意思？后来我意识到，他的意思是你不能以一条直线而发现它，人物都是你用很多路线所设定出来的，他把你收回去折叠起来。我们用一个形象生动的例子说明它，这就像制作点心面团一样，你揉起来，擀开，你又揉起来，再擀开，这就是他写作的方式。我认为这是他的缝合工作的意思，就是这种糅合回去，然后润色，再糅合，再润色的写作方式。我不能给他这种缝合工作，因为如果这样做，这个电影就会成一滩乱泥，这是我最担心的问题。我认为这是问题所在，同时我应该修正一些东西，这意味着，你知道我应该仍然继续下去。

记者：现在我们谈一下演员阵容，年轻的费洛伦蒂纳是由另一个演员扮演的。很明显，贾维尔·巴登扮演了老年的费洛伦蒂纳。你是怎样有信心可以把两个人物结合到一起的？

迈克·内威尔：我认为更大的困难是为什么我没有让一个人扮演两个角色。我让贾维尔扮演老年的费洛伦蒂纳是因为他可以扮演老年角色，而他不能扮演年轻角色，你不可能让他回到24岁以前，这是不可能的。我不愿把故事改变到这种程度，让我觉得它完全改变了，如果我只是说，看看这是关于一个人在24岁时恋爱的故事。所以我们找了替代演员，至于乔凡娜，那个扮演他生命中的爱人的女孩，她可以扮演那个年龄。我知道这是一件非常危险的事，所以我仔细观察寻找相同的诀窍，但是并没有找到，根本什么也没发现，所以我就想用两个人物扮演男主人公。

记者：就好像，作为更大的出发点，有可能你做的对他们两个人都已经发生了变化。这，这公平吗？

迈克·内威尔：是的，很公平，当然，至关重要。

记者：好吧，让我们谈谈这本小说中一些更大的主题以及你是如何把他们转拍到电影的。在影片中无可避免地会触到社会政治背景，在小说中关于医学方面的变化和进步，是什么或者是谁扮演着驳倒或者应付就像霍乱反对费洛伦蒂纳代表的旧式的浪漫主义这样的角色？

迈克·内威尔：首先，这是在书中现代与传统如何结合到一起的非常高雅的表达。我不确定我有那样的机会。当你问这样的问题时，其实在拍摄时，我也在一直问自己。你会在心中想，为什么你要那么做，打算做成什么样子？如果你没有这样做，我所说的是，在这部电影的末尾有一个直接引用，几乎是书中的最后一段，就是在他们撑起河里那条船的那一章。他说，让我感到高兴的是，我发现是生活而不是死亡胜利了。你看到这些人在逐渐变老，带着我试图给他们的所有的老年特征，就像小说里写的那样，如果你还没有被击败，逐渐变老是一大胜利，是战无不胜的。我担心会远离标题，《爱在瘟疫蔓延时》是什么意思？我相信爱情吗？爱情是一切吗？我绝对不相信爱情是一切，当然不是费洛伦蒂纳笃信的那样，你知道，终身奉献给一个女人，623个情人……。

记者：我认为它可以称之为灵魂的贞洁。

迈克·内威尔：好的，我希望我那样认为。

记者：在你的职业生涯中，你执导了多种类别的电影。

迈克·内威尔：其实，我会加强我的职业，加强我的成功。如果偶尔可能有一两个人要去看这部电影，在这种情况下，我们可以看看。如果他们已经读过这本书，那么这是好消息。

记者: 这是利他主义，是吗？

迈克·内威尔：嗯，但我的意思没有，在老年人的全球服务里，它需要。我不是想通过你来推销这部电影，我只是告诉你真相。我不在乎我会受到多严重的批判。当观众去看这部电影时，就会感觉到，对于一些人，好像他们拥有它，它是圣经，它是一部，你知道，曾经写的半打最伟大的小说之一，怎么可能会这样被染污和指责呢？但是有很多人将会去看它，有很多人还没有读过这本书，有很多人可能还会再读一遍这本书，也有很多人会看到南美洲是多么美好，然后他们就会发现可以让他们看到美好的南美洲的这本书，他们也可以发现作者是多么出色，所有这一切都会不错。