Amour影评
The Guardian这篇review蛮深刻的，这思考方式...服！
Amour: how can we embrace a film that is so clearly an advert for euthanasia?
For a film in which a husband murders his wife, Amour has been shown a lot of love. It was nominated for five Oscars, including best actress for Emmanuelle Riva, and best foreign language film, which it won.
But the manner in which the movie ends, and the apparent inevitability of such an ending, have gone largely unexamined. The reasons why euthanasia plays well with arthouse audiences – gendered euthanasia at least – have also gone unnoticed. If Riva's character, Anne, had been the carer, and murdered her bedridden husband, Amour's critical embrace might have been considerably less warm.
【电影结束的方式以及貌似明显的必然性是未经考验的，基于性别而区分的安乐死被电影观众轻易接受也不容易被发现，假如G是那个被照顾的，A捂死了他，这部电影可能不会受到这么大的欢迎。】（这个观点还真是特别！）
One of the implicit convictions of the film is that a carer – even one as assiduous as Jean-Louis Trintignant's Georges – will crack under the strain of caring for a stroke victim. Georges is so devoted for so long that only two scenes prepare for his emotional breakdown. One is when he slaps her. The other is a dream, foretelling violence. Georges is walking down his hallway, which is filling up with water, when he is attacked from behind by a hand over his nose and mouth. Who would not retaliate to such a brutal home invasion (which is what Anne in her changed state now represents)? This scene even foreshadows the way he will kill her, smothering her rather than letting her die in her own chosen way, by refusing food and water.
【影片暗示了很多——细心如G的人也被照顾一个中风病人的压力压垮是其中之一，影片中有2幕为他最后的行为埋下了伏笔：一是他扇了A一巴掌的时候，二就是那个他梦见走在淹水的走廊上，被一只从背后伸出的手捂住嘴巴的噩梦，这个梦甚至暗示了他杀死A的方式。他的行为是在反抗A所处的境况所代表的一种家庭暴力。】我还真完全没注意到那两处伏笔，而这个解释对我来说是make sense的，家庭暴力那一点完全想不到啊。
How can the audience object when they have admired him for so long? They can see where he's coming from.
【观众仰慕、赞赏他太久了，还怎么能够找出反对他的理由？事实上他们可以看见他是如何一步一步走到最后的。】
Yet the circumstances shown in Amour are highly unusual. Money is no object for this couple. The carer has no pressing health issues of his own. He is also a man. And, though highly educated, he is a man who apparently has never received any advice about caregiving. Carers are now advised to arrange respite care: to get out, eat properly, enjoy a social life. It's understood that their own health and mental wellbeing is at stake. As well as this, Georges could easily have secured more help from other agencies.
【而且Amour里面的环境是很不寻常的，钱对这对夫妇来说不是问题，G自己没有受健康问题压迫。他只是一个普通人，尽管受过高等教育，但明显从未接受过任何关于看护的训练。实际上亲属护理者应该被建议接受喘息照护，让他们有时间出去吃好点，享受一些社交生活。很显然G和A自己的精神和身体健康都处于险境，G完全可以从别的机构获得更多帮助。】
Every stoic bid for "independence" makes Georges' burden, and Anne's, greater. We never see him confiding in a friend. Staying at home alone – on the grounds that Anne refuses to be "shown" – is behaviour many experts would deem ill-advised. The couple become isolated, even rejecting offers of help from their daughter. For her part, a daughter better educated about disability might have said words of love to her mother, and persuaded her – while it was still possible – to go out for tea, out in her wheelchair, to visit a friend. The family doctor, who makes house calls, could certainly have provided adequate pain medication for Anne; morphine could have eased her passing. Georges had more compassionate alternatives available to him than smothering his wife with a pillow.
【每个克制性的对“独立”的努力，都让G和A的负担更沉重。他从不向朋友倾诉，只是独自呆在家里，一个A拒绝让别人看见的地方。很多专家会认为这样的行为是病态的。他们把自己隔离了，甚至拒绝女儿提供帮助。女儿本可劝说妈妈在条件还允许时多出去走走，见见朋友。那个家庭医生，也可以为A提供更多的止痛药，让她不必那么痛苦。G有很多方法可以帮助他们自己，并非只有捂死她妻子这一个选择。】
Even a casual viewer should be shocked that Amour ends as it does, with a murder-suicide as Georges disintegrates. He seals her room, stalks a bird, puts on his overcoat – vanishes. The fact is that however stressful caregiving may be, this is the outcome in just 0.001% of cases, in the US anyway. While Georges' breakdown might scare watching caregivers about the possible consequences of their devotion, the film's largely adulatory reception has implications for people with no knowledge of living with disability.
【即使一个普通的观众也会被Amour的结局吓到，G在谋杀后自杀。而事实上无论看护工作是多么艰辛，这样的结局只有0.001%的几率会发生，至少在美国是这样。G的崩溃可能会使那些看护者对自己的奉献的结果感到害怕，这部片子收到的广泛赞誉对那些不了解看护行动不便者的人们有不良暗示。】
Amour raises cultural risks in a western world that is already ageist, and in which stretched medical resources are meted out to older patients much less generously than to the young. Conventional wisdom, that we should avoid prolonging the final phase of our lives, needs to be reassessed in the era of longevity. Says Felicia Nimue Ackerman, an ethical philosopher at Brown University: "Many seriously ill people find the 'morbid phase' of their lives well worth prolonging."
【Amour在西方世界煽起了文化风险，关于年龄歧视。医药资源对老年人不如对年轻人那么慷慨大方。传统观点认为我们应该拒绝延长我们生命的最后阶段，而这一点在如今长寿的时代需要重新检验。美国布朗大学伦理哲学家Nimnue Ackerman说，“许多病的人觉得他们生命的的重病阶段也值得延长。” 】
Yet, instead, we have a film detailing Georges' protracted caregiving so respectfully and Anne's decline so cruelly that it becomes hard to disagree with Georges' masochistic choices, or even notice that he has broken down. It presents a nonconsensual termination of life as a solution for the carer: it justifies euthanasia. That such a film has been so widely acclaimed while remaining so ill-examined is a dangerous thing.
【然而，这部电影把G的“拖延性看护”拍得如此令人尊敬，而A的每况愈下如此残酷，以致于很难去不认同G自讨苦吃的选择，甚至很难发现他的崩溃。它呈现了一个看护者所选的非两愿性的生命终结方式（崩溃，好拗口）：它正当化了安乐死（从文章内容看这个应该还是非自愿性的）。一部电影在不被检视的情况下受到广泛赞誉是一件很危险的事情。】
Margaret Morganroth Gullette is Resident Scholar, Women's Studies Research Center, Brandeis University and author of Agewise: Fighting the New Ageism in America
Amour: how can we embrace a film that is so clearly an advert for euthanasia?
For a film in which a husband murders his wife, Amour has been shown a lot of love. It was nominated for five Oscars, including best actress for Emmanuelle Riva, and best foreign language film, which it won.
But the manner in which the movie ends, and the apparent inevitability of such an ending, have gone largely unexamined. The reasons why euthanasia plays well with arthouse audiences – gendered euthanasia at least – have also gone unnoticed. If Riva's character, Anne, had been the carer, and murdered her bedridden husband, Amour's critical embrace might have been considerably less warm.
【电影结束的方式以及貌似明显的必然性是未经考验的，基于性别而区分的安乐死被电影观众轻易接受也不容易被发现，假如G是那个被照顾的，A捂死了他，这部电影可能不会受到这么大的欢迎。】（这个观点还真是特别！）
One of the implicit convictions of the film is that a carer – even one as assiduous as Jean-Louis Trintignant's Georges – will crack under the strain of caring for a stroke victim. Georges is so devoted for so long that only two scenes prepare for his emotional breakdown. One is when he slaps her. The other is a dream, foretelling violence. Georges is walking down his hallway, which is filling up with water, when he is attacked from behind by a hand over his nose and mouth. Who would not retaliate to such a brutal home invasion (which is what Anne in her changed state now represents)? This scene even foreshadows the way he will kill her, smothering her rather than letting her die in her own chosen way, by refusing food and water.
【影片暗示了很多——细心如G的人也被照顾一个中风病人的压力压垮是其中之一，影片中有2幕为他最后的行为埋下了伏笔：一是他扇了A一巴掌的时候，二就是那个他梦见走在淹水的走廊上，被一只从背后伸出的手捂住嘴巴的噩梦，这个梦甚至暗示了他杀死A的方式。他的行为是在反抗A所处的境况所代表的一种家庭暴力。】我还真完全没注意到那两处伏笔，而这个解释对我来说是make sense的，家庭暴力那一点完全想不到啊。
How can the audience object when they have admired him for so long? They can see where he's coming from.
【观众仰慕、赞赏他太久了，还怎么能够找出反对他的理由？事实上他们可以看见他是如何一步一步走到最后的。】
Yet the circumstances shown in Amour are highly unusual. Money is no object for this couple. The carer has no pressing health issues of his own. He is also a man. And, though highly educated, he is a man who apparently has never received any advice about caregiving. Carers are now advised to arrange respite care: to get out, eat properly, enjoy a social life. It's understood that their own health and mental wellbeing is at stake. As well as this, Georges could easily have secured more help from other agencies.
【而且Amour里面的环境是很不寻常的，钱对这对夫妇来说不是问题，G自己没有受健康问题压迫。他只是一个普通人，尽管受过高等教育，但明显从未接受过任何关于看护的训练。实际上亲属护理者应该被建议接受喘息照护，让他们有时间出去吃好点，享受一些社交生活。很显然G和A自己的精神和身体健康都处于险境，G完全可以从别的机构获得更多帮助。】
Every stoic bid for "independence" makes Georges' burden, and Anne's, greater. We never see him confiding in a friend. Staying at home alone – on the grounds that Anne refuses to be "shown" – is behaviour many experts would deem ill-advised. The couple become isolated, even rejecting offers of help from their daughter. For her part, a daughter better educated about disability might have said words of love to her mother, and persuaded her – while it was still possible – to go out for tea, out in her wheelchair, to visit a friend. The family doctor, who makes house calls, could certainly have provided adequate pain medication for Anne; morphine could have eased her passing. Georges had more compassionate alternatives available to him than smothering his wife with a pillow.
【每个克制性的对“独立”的努力，都让G和A的负担更沉重。他从不向朋友倾诉，只是独自呆在家里，一个A拒绝让别人看见的地方。很多专家会认为这样的行为是病态的。他们把自己隔离了，甚至拒绝女儿提供帮助。女儿本可劝说妈妈在条件还允许时多出去走走，见见朋友。那个家庭医生，也可以为A提供更多的止痛药，让她不必那么痛苦。G有很多方法可以帮助他们自己，并非只有捂死她妻子这一个选择。】
Even a casual viewer should be shocked that Amour ends as it does, with a murder-suicide as Georges disintegrates. He seals her room, stalks a bird, puts on his overcoat – vanishes. The fact is that however stressful caregiving may be, this is the outcome in just 0.001% of cases, in the US anyway. While Georges' breakdown might scare watching caregivers about the possible consequences of their devotion, the film's largely adulatory reception has implications for people with no knowledge of living with disability.
【即使一个普通的观众也会被Amour的结局吓到，G在谋杀后自杀。而事实上无论看护工作是多么艰辛，这样的结局只有0.001%的几率会发生，至少在美国是这样。G的崩溃可能会使那些看护者对自己的奉献的结果感到害怕，这部片子收到的广泛赞誉对那些不了解看护行动不便者的人们有不良暗示。】
Amour raises cultural risks in a western world that is already ageist, and in which stretched medical resources are meted out to older patients much less generously than to the young. Conventional wisdom, that we should avoid prolonging the final phase of our lives, needs to be reassessed in the era of longevity. Says Felicia Nimue Ackerman, an ethical philosopher at Brown University: "Many seriously ill people find the 'morbid phase' of their lives well worth prolonging."
【Amour在西方世界煽起了文化风险，关于年龄歧视。医药资源对老年人不如对年轻人那么慷慨大方。传统观点认为我们应该拒绝延长我们生命的最后阶段，而这一点在如今长寿的时代需要重新检验。美国布朗大学伦理哲学家Nimnue Ackerman说，“许多病的人觉得他们生命的的重病阶段也值得延长。” 】
Yet, instead, we have a film detailing Georges' protracted caregiving so respectfully and Anne's decline so cruelly that it becomes hard to disagree with Georges' masochistic choices, or even notice that he has broken down. It presents a nonconsensual termination of life as a solution for the carer: it justifies euthanasia. That such a film has been so widely acclaimed while remaining so ill-examined is a dangerous thing.
【然而，这部电影把G的“拖延性看护”拍得如此令人尊敬，而A的每况愈下如此残酷，以致于很难去不认同G自讨苦吃的选择，甚至很难发现他的崩溃。它呈现了一个看护者所选的非两愿性的生命终结方式（崩溃，好拗口）：它正当化了安乐死（从文章内容看这个应该还是非自愿性的）。一部电影在不被检视的情况下受到广泛赞誉是一件很危险的事情。】
Margaret Morganroth Gullette is Resident Scholar, Women's Studies Research Center, Brandeis University and author of Agewise: Fighting the New Ageism in America
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