文章来源: http://www.rogerebert.com/reviews/great-movie-the-shawshank-redemption-1994
It is a strange comment to make about a film set inside a prison, but "The Shawshank Redemption" creates a warm hold on our feelings because it makes us a member of a family. Many movies offer us vicarious experiences and quick, superficial emotions. "Shawshank" slows down and looks. It uses the narrator's calm, observant voice to include us in the story of men who have formed a community behind bars. It is deeper than most films; about continuity in a lifetime, based on friendship and hope.
关于在监狱里制作一部电影，这是一个奇怪的评论，但“肖申克的救赎”使我们的感情温暖，因为它使我们成为一个家庭的一员。 许多电影为我们提供了替代经验和快速，肤浅的情感。 “Shawshank”慢下来，看起来。 它使用叙述者冷静，敏锐的声音将我们包含在已经形成社区背后的人的故事中。 它比大多数电影更深; 基于友谊和希望，一生中的连续性。
Interesting that although the hero of the film is the convicted former banker Andy Dufresne (Tim Robbins), the action is never seen from his point of view. The film's opening scene shows him being given two life sentences for the murder of his wife and her lover, and then we move, permanently, to a point of view representing the prison population and particularly the lifer Ellis 'Red' Redding (Morgan Freeman). It is his voice remembering the first time he saw Andy ("looked like a stiff breeze would blow him over"), and predicting, wrongly, that he wouldn't make it in prison.
有趣的是，虽然这部电影中的英雄是被定罪的前银行家安迪·杜弗雷斯（蒂姆罗宾斯），但他的观点从未见过这一行动。 这部电影的开场现场显示他因谋杀妻子和情人而被判处两个终身监禁，然后我们永久地移动到一个代表监狱人口的观点，特别是lifer Ellis'Red'Redding（摩根弗里曼）。 他第一次看到安迪（“看起来像一阵僵硬的微风将他吹过来”）并且错误地预测他不会在监狱中进行预测，这是他的声音。
From Andy's arrival on the prison bus to the film's end, we see only how others see him - Red, who becomes his best friend, Brooks the old librarian, the corrupt Warden Norton, guards and prisoners. Red is our surrogate. He's the one we identify with, and the redemption, when it comes, is Red's. We've been shown by Andy's example that you have to keep true to yourself, not lose hope, bide your time, set a quiet example and look for your chance. "I guess it comes down to a simple choice, really," he tells Red. "Get busy livin' or get busy dyin'."
从安迪抵达监狱的公共汽车到电影结束，我们只看到其他人如何看待他 - 红色，谁是他最好的朋友，布鲁克斯老图书管理员，腐败的沃登诺顿，卫兵和囚犯。 红色是我们的代理人。 他是我们认同的人，当它来临时，救赎就是红色。 安迪的例子告诉我们，你必须忠于自己，不要失去希望，等待你的时间，树立一个安静的榜样，寻找机会。 “我想这归结为一个简单的选择，真的，”他告诉Red。 “忙碌生活或忙碌'。”
The key to the film's structure, I think, is that it's not about its hero, but about our relationship with him - our curiosity, our pity, our admiration. If Andy had been the heroic center, bravely enduring, the film would have been conventional, and less mysterious. But we wonder about this guy. Did he really kill those two people? Why does he keep so much to himself? Why can he amble through the prison yard like a free man on a stroll, when everyone else plods or sidles?
我认为，电影结构的关键在于它不是关于它的英雄，而是关于我们与他的关系 - 我们的好奇心，我们的怜悯，我们的钦佩。 如果安迪成为英雄中心，勇敢地忍受，那么这部电影将是传统的，不那么神秘。 但我们想知道这个人。 他真的杀了那两个人吗？ 为什么他对自己这么多？ 为什么他可以像散步的自由人一样在监狱院子里散步，当其他人都在蹒跚而行？
People like excitement at the movies, and titles that provide it do well. Films about "redemption" are approached with great wariness; a lot of people are not thrilled by the prospect of a great film - it sounds like work. But there's a hunger for messages of hope, and when a film offers one, it's likely to have staying power even if it doesn't grab an immediate audience.
人们喜欢看电影时的兴奋，以及提供电影的头衔。 关于“救赎”的电影是非常谨慎的; 很多人对一部伟大电影的前景并不感到兴奋 - 这听起来像是工作。 但是对于希望的消息有一种渴望，当一部电影提供一部电影时，即使它没有吸引直接的观众，它也可能具有持久力。
"The Shawshank Redemption" premiered at the Toronto Film Festival in September 1994, and opened a few weeks later. It got good reviews but did poor business (its $18 million original gross didn't cover costs; it took in only another $10 million after winning seven Oscar nominations, including best picture).
“Shawshank Redemption”于1994年9月在多伦多电影节上首映，并在几周后开幕。 它得到了很好的评价，但业务不佳（其1800万美元的原始总额不包括成本;在赢得七项奥斯卡提名后，仅获得了另外1000万美元，包括最佳图片）。
There wasn't much going for it: It had a terrible title, it was a "prison drama" and women don't like those, it contained almost no action, it starred actors who were respected but not big stars, and it was long at 142 minutes. Clearly this was a movie that needed word-of-mouth to find an audience, and indeed business was slowly but steadily growing when it was yanked from theaters. If it had been left to find its way, it might have continued to build and run for months, but that's not what happened.
没有太大的意义：它有一个可怕的标题，它是一个“监狱戏剧”，女人不喜欢那些，它几乎没有任何行动，它主演的是受人尊敬而不是大明星的演员，而且 长达142分钟。 很明显，这是一部需要口口相传才能找到观众的电影，事实上，当它从影院中拉出来时，生意正在缓慢而稳步地增长。 如果它已经找到它的方式，它可能会继续建立并运行数月，但事情并非如此。
Instead, in one of the most remarkable stories in home video history, it found its real mass audience on tapes and discs, and through TV screenings. Within five years, "Shawshank" was a phenomenon, a video best seller and renter that its admirers feel they've discovered for themselves. When the Wall Street Journal ran an article about the "Shawshank" groundswell in April 1999, it was occupying first place in the Internet Movie Database worldwide vote of the 250 best films; it's usually in the top five.
相反，在家庭视频历史上最引人注目的故事之一，它通过录像带和光盘以及通过电视放映找到了真正的大众观众。 在五年内，“肖申克”是一个现象，一个视频畅销书和租客，其崇拜者觉得他们已经发现了自己。 当“华尔街日报”于1999年4月播出一篇关于“肖申克”剧情的文章时，它在互联网电影数据库全球投票中占据了250部最佳影片的第一名; 它通常在前五名。
Polls and rentals reflect popularity but don't explain why people value "Shawshank" so fervently. Maybe it plays more like a spiritual experience than a movie. It does have entertaining payoff moments (as when the guards from another prison, wearing their baseball uniforms, line up to have Andy do their taxes). But much of the movie involves quiet, solitude, and philosophical discussions about life. The moments of violence (as when Andy is sexually assaulted) are seen objectively, not exploited.
民意调查和租赁反映了人气，但并没有解释为什么人们如此热切地重视“肖申克”。 也许它更像是一种精神体验，而不是一部电影。 它确实有娱乐性的回报时刻（就像来自另一个监狱的守卫穿着他们的棒球服，排队让安迪缴税）。 但这部电影的大部分内容涉及对生活的安静，独处和哲学讨论。 暴力的时刻（就像安迪遭受性侵犯一样）被客观地看待，而不是被剥削。
The movie avoids lingering on Andy's suffering; after beatings, he's seen in medium and long shot, tactfully. The camera doesn't focus on Andy's wounds or bruises, but, like his fellow prisoners, gives him his space.
这部电影避免了对安迪的苦难挥之不去; 在殴打之后，他在中长镜头中看到了狡猾。 相机并没有专注于安迪的伤口或瘀伤，但是，就像他的囚犯一样，他给了他自己的空间。
The Morgan Freeman character is carrier of the film's spiritual arc. We see him at three parole hearings, after 20, 30 and 40 years. The first hearing involves storytelling trickery; the film has opened with Andy's sentencing, and then we see a parole board, and expect it's about to listen to Andy's appeal. But, no, that's when we first see Red. In his first appeal he tries to convince the board he's been rehabilitated. In the second, he just goes through the motions. In the third, he rejects the whole notion of rehabilitation, and somehow in doing so he sets his spirit free, and the board releases him.
摩根弗里曼角色是电影精神弧线的载体。 在20年，30年和40年后，我们在三次假释听证会上看到他。 第一次听证会涉及讲故事的诡计; 这部电影已经开启了Andy的判决，然后我们看到了一个假释板，并期待它即将听取Andy的吸引力。 但是，不，那是我们第一次看到红色的时候。 在他的第一次上诉中，他试图说服董事会他已经康复。 在第二个，他只是通过动议。 在第三种情况下，他拒绝接受整个康复的概念，并以某种方式这样做，他将自己的精神释放，董事会释放他。
There's an underlying problem. Behind bars, Red is king. He's the prison fixer, able to get you a pack of cigarettes, a little rock pick or a Rita Hayworth poster. On the outside, he has no status or identity. We've already seen what happened to the old librarian (James Whitmore), lonely and adrift in freedom. The last act, in which Andy helps Red accept his freedom, is deeply moving - all the more so because Andy again operates at a distance, with letters and postcards, and is seen through Red's mind.
存在潜在的问题。 在酒吧后面，红色是王道。 他是监狱修理工，能够给你一包香烟，一个小摇滚乐或一张Rita Hayworth海报。 在外面，他没有身份或身份。 我们已经看到了老图书管理员（詹姆斯惠特莫尔）发生的事情，孤独和漂泊在自由中。 Andy帮助Red接受他的自由的最后一幕是深深的感动 - 更是如此，因为Andy再次在远处操作，带有信件和明信片，并且通过Red的头脑看到了。
Frank Darabont wrote and directed the film, basing it on a story by Stephen King. His film grants itself a leisure that most films are afraid to risk. The movie is as deliberate, considered and thoughtful as Freeman's narration. There's a feeling in Hollywood that audiences have short attention spans and must be assaulted with fresh novelties. I think such movies are slower to sit through than a film like "Shawshank," which absorbs us and takes away the awareness that we are watching a film.
弗兰克达拉邦特根据斯蒂芬金的故事编写并执导了这部电影。 他的电影给自己一种休闲，大多数电影都不敢冒险。 这部电影与弗里曼的叙述一样刻意，考虑和深思熟虑。 在好莱坞有一种感觉，观众的注意力短暂，并且必须受到新鲜感的攻击。 我认为这些电影比“Shawshank”这样的电影要慢，因为它吸收了我们并且消除了我们正在观看电影的意识。
Deliberate, too, is the dialogue. Tim Robbins makes Andy a man of few words, quietly spoken. He doesn't get real worked up. He is his own man, capable of keeping his head down for years and then indulging in a grand gesture, as when he plays an aria from Mozart's "The Marriage of Figaro." (The overhead shot of the prisoners in the yard, spellbound by the music, is one of the film's epiphanies.) Because he does not volunteer himself, reach out to us or overplay his feelings, he becomes more fascinating: It is often better to wonder what a character is thinking than to know.
对话也是有意识的。 蒂姆罗宾斯悄悄地说，安迪是一个言语不多的男人。 他没有真正的努力。 他是他自己的男人，能够保持低调多年，然后沉迷于一个宏伟的姿态，就像他在莫扎特的“费加罗的婚姻”中演奏咏叹调一样。 （院子里囚犯的头顶射击，被音乐迷住了，是影片中的一个顿悟。）因为他不自愿，伸手去接我们或者过度表达自己的感情，所以他变得更加迷人： 想知道一个角色在想什么而不是知道。
Roger Deakins' cinematography is tactful, not showy. Two opening shots, one from a helicopter, one of prison walls looming overhead, establish the prison. Shots follow the dialogue instead of anticipating it. Thomas Newman's music enhances rather than informs, and there is a subtle touch in the way deep bass rumblings during the early murder are reprised when a young prisoner recalls another man's description of the crime.
罗杰迪肯斯的电影摄影很机智，而不是华丽。 两个开放的镜头，一个来自直升机，一个监狱墙在头顶隐约可见，建立了监狱。 镜头跟随对话而不是预期。 托马斯纽曼的音乐增强而不是通知，当一个年轻的囚犯回忆起另一个男人对犯罪的描述时，在早期谋杀期间深沉的低音隆隆声被重新化的方式有一种微妙的触感。
Darabont constructs the film to observe the story, not to punch it up or upstage it. Upstaging, in fact, is unknown in this film; the actors are content to stay within their roles, the story moves in an orderly way, and the film itself reflects the slow passage of the decades. "When they put you in that cell," Red says, "when those bars slam home, that's when you know it's for real. Old life blown away in the blink of an eye. Nothing left but all the time in the world to think about it." Watching the film again, I admired it even more than the first time I saw it. Affection for good films often grows with familiarity, as it does with music. Some have said life is a prison, we are Red, Andy is our redeemer. All good art is about something deeper than it admits.
达拉邦特制作电影来观察故事，而不是打起来或在舞台上。 事实上，在这部电影中，不知不觉中升级; 演员们满足于保持他们的角色，故事有条不紊地进行，电影本身反映了几十年的缓慢通过。 “当他们把你放在那个牢房里时，”Red说，“当那些酒吧砰地一声回家的时候，那就是你知道这是真的。老生活在眨眼之间就被吹走了。没有什么可以留下来但是世界上所有的时间都在思考 关于它。” 再次观看这部电影，我比第一次看到这部电影时更加敬佩。 对好电影的喜爱往往随着音乐的增长而变得熟悉。 有人说生命是监狱，我们是红色，安迪是我们的救赎者。 所有好的艺术都是关于比它承认更深刻的东西。