A Rookie Film Director’s Vision: Salinger, Before Literary Fame
菜鳥導演的野望：拍攝《麥田捕手》作者成名前的故事
By Cara Buckley

At the corner of Jersey and Crosby Streets in SoHo, during one of those New York City days when it suddenly feels way too hot, the sun was blazing down and a tang of urine wafted up.
在蘇活區澤西街和克羅斯比街交口的角落，在紐約市突然覺得熱不可當的日子之一，日頭赤炎炎照著，還有一股撲鼻的尿騷味。

Traffic had been halted, passers-by were hoisting selfie sticks, and, huddled in a building’s shadow, a film crew was taking in a scene from a different time.
交通停擺，行人舉著自拍桿，擠在一棟建築物的陰影中，一個電影攝製小組正在拍攝一個另一年代的場景。

Women in pencil skirts and pin curls and men with high-waisted pants and fedoras walked the street, passing an old-fashioned phone booth where a young man – dashing, tall and Brylcreemed – was hollering down the line.
婦女穿著緊身窄裙、頂著捲髮，男士們穿著高腰褲、戴著軟呢帽走在街上，經過一座老式電話亭，有個抹了髮油，帥氣高挑的年輕男子正對著話筒咆哮。

“I thought about it, and I ain’t going to change a word,” the young man thundered into the receiver. “Holden would never approve.”
年輕人怒氣沖沖朝話筒說：「我想過了，我一個字也不會改。荷頓絕不會同意。」

Behind the camera, Danny Strong, the semi-successful television actor (“Buffy the Vampire Slayer,” “Gilmore Girls,”), celebrated writer (“Empire”) and now first-time movie director, nodded.
攝影機的後方，丹尼史莊點了點頭。他是個半成功的電視演員（《吸血鬼剋星》和《奇異果女孩》），也是著名作家（《帝國》），如今首次執導演筒。

“That was awesome,” Strong told the actor, the film’s star, Nicholas Hoult, who was playing the writer J.D. Salinger – the man who gave the world Holden Caulfield and almost certainly would have never approved of this project himself.
史莊告訴演員，也是電影主角，飾演作家J.D. 沙林傑的尼可拉斯霍特說：「演得太棒了。」沙林傑是將荷頓．柯菲爾帶給全世界的作者，且幾可肯定他本人絕對不會同意這項計畫。

Based on “J.D. Salinger: A Life” (2010), by Kenneth Slawenski, the film, “Rebel in the Rye,” which was recently shot in and around New York, focuses largely on Salinger’s early years leading up to the publication of “The Catcher in the Rye.” The film follows Salinger as he struggles at school; woos Eugene O’Neill’s daughter, Oona; is cuckolded by Charlie Chaplin; and is nearly psychically shattered after he fights in some of the bloodiest battles of World War II – all the while carrying early chapters of “Catcher” with him.
以肯尼斯．史拉文斯基所著傳記《J.D. 沙林傑：他的一生》（2010年）為腳本，電影《麥田裡的叛逆者》（暫譯），最近在紐約市內與市外開拍，大抵聚焦沙林傑出版《麥田捕手》前的早年生活。電影記錄沙林傑不順遂的求學生涯；追求美國劇作家尤金．歐尼爾女兒烏娜的經過；被查理．卓別林戴綠帽子；他參與二戰最血腥的數場戰役後，幾乎心理崩潰等，而他一直把《麥田捕手》的前幾章帶在身旁。

Strong had been yearning to direct a movie for years, ever since he spent a week with Jay Roach on the set of “Recount,” the 2008 HBO film Strong wrote about the 2000 presidential election.
2008年和導演傑．洛奇在2008年的HBO電影《鹿死誰手》片場度過一周後，多年來，史莊始終渴望能導戲，此片劇本出自史莊之手，描述2000年美國總統大選。

Now 42, Strong began his Hollywood career acting and turned to writing in his mid-20s to take his mind off the grind of auditions.
史莊現年42，他的好萊塢事業從演戲開始，25歲左右改當作家，不讓心理再受試鏡折磨。

“It became this kind of therapy,” he recalled, chatting between takes on a dusty storefront stoop on Crosby Street.
他回憶說 ：「它成了某種治療。」 史莊在克羅斯比街一個塵土飛揚的店門口邊拍戲邊聊著。

Casting about for the ideal story to direct, Strong happened upon Slawenski’s book, which drew heavily from Salinger’s personal letters. Strong optioned the book and wrote the script.
在尋找理想的故事執導時，史莊巧遇史拉文斯基的著作，該書內容大量取材自沙林傑的個人書信。史莊挑中此書，並完成編劇。

Taking on such a hallowed figure as Salinger, who died in 2010, did not feel particularly daunting, Strong said, even though Salinger’s estate is known for being litigious.
沙林傑於2010年去世，史莊說，拍攝像沙林傑這般受到推崇的人物，並不特別令人感到畏懼，儘管沙林傑的遺產管理委員會可是出了名的愛打官司。

原文參照：
http://www.nytimes.com/2016/07/09/movies/a-rookie-film-director-takes-on-salinger.html

2016-07-31．聯合報．D2．紐約時報賞析．王麗娟譯

說文解字看新聞 王麗娟

神秘又個性孤僻的美國文壇巨擘沙林傑，是經典小說《麥田捕手》（The Catcher in the Rye）的作者。書中主人翁荷頓．柯菲爾是個17歲、滿嘴髒話、菸酒、蹺家樣樣來的青少年，對成人的虛偽世界滿腔不滿。

全書以青少年的語彙敘述，故事一開始，荷頓因數門功課不及格面臨退學命運，擔心父親光火，決定流浪幾天暫避風頭，這也是沙林傑自身的求學經過。

書中，荷頓最常被周遭的人問到的是：「你到底什麼時候長大 ？」這句話引起相當大的共鳴。《麥田捕手》雖是20世紀百大小說之一，卻也是許多學校的禁書。

文章特別提及若沙林傑仍在世，說不定會反對史莊拍攝與他早年相關的電影。

沙林傑本人非常反對將作品拍成電影，對維持原著的原汁原味與尊重作者的原有文字異常堅持，任何的增刪，哪怕只是一個標點符號也令他難以接受。

文章特別摘錄了電影台詞「Holden would never approve.」（荷登永遠不會同意）這句話，因為這是沙林傑每回拒絕更改原著內容時會搬出的「台詞」。

沙林傑晚年還特別設立一個基金會，防止《麥田捕手》被翻拍成電影。

文章的標題以rookie film director（新人導演）形容史莊，rookie意為新人，新秀，有時也作菜鳥解釋，冀望新人不會導出爛戲，以免沙林傑地下有知死不瞑目。

Titanic Still Afloat: Print-Only Humor Magazine Publishes Second Issue
鐵達尼號還沒沉…紙本幽默雜誌出第2期
By Jason Zinoman

The first issue of The American Bystander, a new print-only humor magazine, began with a letter from the publisher predicting failure. “This is willfully relaunching the Titanic,” Michael Gerber wrote last fall, “knowing full well it will sink.”
僅發行紙本的新幽默雜誌《美國旁觀者》的第一期，是以發行人預告雜誌註定失敗收場的一封信作開場白。麥可．葛柏去年秋天寫道：「這是蓄意讓鐵達尼號再次出航，明知它非沉不可。」

Founding a magazine that you can’t read online does seem like the kind of thing Max Bialystock would do if he went into publishing instead of musical theater. But the old-fashioned form happens to be a perfect match for the refined pleasures of this delightful publication, an essential read for comedy nerds.
辦一份無法在網路上閱讀的雜誌，的確像是音樂劇《金牌製作》的主人翁麥克斯．比亞里斯托克會做的事，如果他投身的行業是出版而不是音樂劇的話。不過，老派的形式湊巧與這本經鬆刊物的精致樂趣形成絕配，成為喜劇迷不可或缺的讀物。

The American Bystander, whose second issue came out last week and which can be ordered online, does not just belong to the tradition of defunct magazines like The National Lampoon and Spy. Its nostalgic, lightly witty style evokes influences that have been dead even longer, like the raconteur Jean Shepherd and the sophisticated stylist Robert Benchley.
上周出版第二期，且可網路訂購的《美國旁觀者》，不僅僅屬於已倒閉雜誌如《國家諷刺文社》和《間諜》的那種傳統。它的懷舊、輕鬆詼諧的風格，還勾起人們對去世得更早的一些具影響力人物的回憶，如故事大王傑．薛柏和文風洗鍊的羅伯特．本奇利。

In an era when so much comedy is boisterous and engaged with the world, The American Bystander’s humor is understated and escapist, steering clear of topicality and political jokes. The only time the new issue mentions Donald Trump is to illustrate how 30 years of satire have failed to diminish him. Internet headlines may boast about political satirists destroying and eviscerating their subjects, but this magazine has different ambitions, and while they may seem more modest, don’t be fooled. Call it comedy for comedy’s sake.
當今之世嬉鬧聒噪、與世間俗務接合的喜劇比比皆是，《美國旁觀者》的幽默顯得輕描淡寫且遁世，儘可能避開時事性話題和政治笑話。新一期雜誌僅提及美國共和黨總統候選人唐納．川普一次，意在說明30年的冷嘲熱諷仍是奈何不了川普。網路的新聞標題可能誇耀政治諷刺作家如何把諷刺對象摧毀並大卸八塊。但這本雜誌另有野心，雖然它看來較溫和，但別上它的當。你可說它是為喜劇而喜劇。

What begins as a clever spoof of righteous logic spins into a parody of a paranoid activist, as his cause leads him to challenge the government, face down insurrection and become embroiled in a lonely battle for a lost cause. It’s a twisty story that earns its laughs by continually finding creative ways to extend the joke.
一開始是名正言順的聰明惡搞，最後可能演變成一名偏執活動家從事的蠢事，他的崇高目標引領他挑戰政府，力抗反對，最後成了孤軍奮鬥，行動也註定失敗。它是一則曲折的故事，靠著持續找創意去延伸它的笑話而博君一粲。

原文參照：
http://www.nytimes.com/2016/07/12/arts/the-american-bystander-humor-magazine-publishes-second-issue.html

2016-07-31．聯合報．D2．紐約時報賞析．王麗娟譯