※ [本文轉錄自 C_Chat 看板 #1OEzG_o1 ]
作者: ntupeter (ntu dove) 看板: C_Chat
標題: [閒聊] 《經濟學人》對 <你的名字> 的報導
時間: Mon Nov 28 14:52:42 2016
英國的《經濟學人》（The Economist）與美國的《時代》（Time）是公認世界上最為權威的幾家新聞雜誌社，我在逛FB專頁時恰巧看到這篇文章，特來翻譯一下，與諸版友分享，也算是幫我每周都被教授電到生活不能自理的翻譯課練習一下，另外經濟學人之用字句法以艱澀出名，必定有誤譯，還請大家不吝指教。
原文網址：https://goo.gl/pWCrSz (寫於2016年11月18日)
With “Your Name”, Makoto Shinkai proves himself a director to watch
新海誠因<你的名字>向世人展現了他的導演才華
FANS of Japanese anime had much to rejoice this week. First, there was the
announcement that Hayao Miyazaki had come out of retirement. The 75-year-old
co-founder of Studio Ghibli, and the director of such beloved masterpieces as
“Spirited Away”, said that he couldn’t resist making one more feature
film, even if he will be 80 before he completes “Boro the Caterpillar”. But
that wasn’t the only good news for anime aficionados. Coincidentally, Mr
Miyazaki’s statement came just before the British release of “Your Name”,
a film so exquisite and unpredictable that its director, Makoto Shinkai, has
been called, yes, “the new Hayao Miyazaki”.
這周，日本的動漫迷可有太多事情值得雀躍了，首先是宮崎駿的復出宣言。七十五歲的宮
崎駿是吉卜力工作室的共同創辦人，也是許多受歡迎的大作的導演，像是《神隱少女》等。
他表示實在不能抗拒製作更多動畫電影的誘惑，即使他要完成他的《小毛蟲波蘿》時已高
齡八十。然而這可不是對動漫迷而言唯一的大好消息，宮崎先生（按：經濟學人對人的稱
呼，除第一次介紹為全名外，其餘皆以先生稱之，不論何人何種頭銜，本文照譯。）在發
表這樣的聲明時，剛好《你的名字》也即將在英國上映，這部作品因為精緻綺麗的畫面以
及出乎意料的劇情，使得導演新海誠贏得了「宮崎駿第二」的美譽。
Mr Shinkai is no imitator, though. His originality is obvious within the
opening minutes of “Your Name”, with their zooming “camera” movement,
their snappy editing, their unusual angles, their richly-detailed cityscapes
and rural vistas, and, most of all, their variety of gorgeous lighting
effects. A distinctive blend of conventional hand-drawn animation techniques
and digital flair, “Your Name” is worth seeing for the shafts of sunshine
in a dusty room, and the coruscating purple trail of a comet across the night
sky.
話雖如此，新海先生並不是一位模仿者。從《你的名字》一開始，他們獨特的運鏡手法，
絕妙的編制，不依循常軌的角度製作，對都市高樓及鄉村景致細膩的描繪，尤其是各種璀
璨的光影效果都展現了他明顯的獨創性。結合了傳統的手繪以及數位科技的幫助，像是照
耀進滿屋子灰的房間的光束，以及閃閃發光、劃過黑暗天際的紫色彗尾，都是《你的名字》
中值得一看的亮點。
It’s so disorientating in its rhythms—and so lovely to behold—that it’s a
while before the film reveals itself to be a fast, well-observed, “Freaky
Friday”-style body-swap comedy. Its teenage heroine, Mitsuha (voiced by Mone
Kamishiraishi), is a schoolgirl who is bored of life in her lakeside mountain
town. Never mind its idyllic views and its ancient rituals, there are no
cafes for her to go to, so she dreams of living as a boy in the hustle and
bustle of Tokyo. And, somehow, her dream comes true. One morning, she can’t
understand why everyone keeps telling her that she behaved weirdly the
previous day, but she eventually figures it out: two or three times a week,
she wakes up to find that her mind has switched places with that of Taki
(Ryunosuke Kamiki), a Tokyo resident of her own age.
電影一開始就很容易看出，這是一部如同《怪誕星期五》一般的身體交換類喜劇，不過馬
上就會沉醉在劇情節奏中，以及討人喜愛的畫面。故事中的女主角三葉（配音：上白石萌
音），是一名厭倦了湖邊山腳下的村落生活的高中生，對於田園生活及傳統儀式不感興趣
，反而很在乎村中連一間咖啡店都沒有，因此她很嚮往能夠像個男孩般在熙來攘往的東京
生活（按：此處疑似對劇情有一點誤解）。然後呢，在某種程度上，她的願望實現了。一
天早上，她不能夠理解為何周遭所有人都跟她說她前一天十分不一樣。後來她發現到，每
周兩到三次，她醒來時都會在不熟悉的地方，身分也變成了瀧（配音：神木隆之介），一
位與她年齡相仿的東京人。
At first, this bizarre phenomenon works out well for both of them. When Taki
is in Mitsuha’s body, his basketball skills turn her into a school champion,
and when Mitsuha is in Taki’s body, her feminine sensitivity impresses the
girl he has a crush on. Not that the youngsters are always so intent on
helping each other. Obsessed as she is by metropolitan cafes, Mitsuha can’t
stop ordering expensive desserts whenever she takes over Taki’s identity.
Taki, meanwhile, can’t stop fondling Mitsuha’s breasts whenever he takes
over hers—much to the bemusement of her younger sister.
於是呢，就會開始發生一些奇怪的事情，像是當瀧在三葉的身體裡時，他的籃球球技足以
讓她成為全校第一；當三葉在瀧的身體裡時，她女性般纖細的氣質吸引了他暗戀的對象。
這對年輕男女可不是都互相幫助的，比如說當三葉接管了瀧的身分時，因為對於大都會咖
啡店的沉迷，她不斷地享受昂貴的甜點；同時間當瀧接管了三葉時，他無法控制撫弄三葉
胸部的興趣，這讓她的妹妹感到十分困惑不解。
A further twist is that, once they return to their own selves, Mitsuha and
Taki soon forget what they did during the switch. This fairy-tale logic is
something of a narrative cheat, but the amnesia is ultimately what gives the
film its considerable poignancy. Like “Eternal Sunshine of the Spotless Mind
”, “Your Name” forces us to ask how much of ourselves we lose whenever a
memory slips away, and why crises which once felt monumental can come to seem
trivial just a few years later.
更曲折的是當瀧與三葉換回各自的身體時，他們會很快忘記交換時發生的事。這樣童話般
的邏輯實際上卻是一種利用敘述欺騙觀眾的手法，特別是當「健忘」為本片帶來大量的沉
重時。像是「無瑕之心的永恆之光（按：此句實為電影《王牌冤家》的片名直譯）」般，
《你的名字》讓我們去思索當記憶消逝時，我們失去的什麼，以及為何我們對於重大的危
機事件，總是遺忘的這麼快。
And that is just half of the film. “Your Name” would have been a quirky
delight if it had stuck to the romantic high-school mix-ups, but it races
past them on its way to a bigger, stranger and more momentous story. It would
be wrong to reveal how exactly it leaps to a thrilling new genre while
retaining its initial nuanced charm and humanity. But it is fair to say that,
as innovative as Mr Shinkai undoubtedly is, he sticks to the anime tradition
of making everything go spectacularly psychedelic and apocalyptic towards the
end of the film. Anyone who came out of “Arrival” with a hunger for more
expansive, heart-rending science-fiction will tuck into “Your Name” as
greedily as Mitsuha/Taki tucks into her/his delicious desserts.
到此，影片只進行到一半。《你的名字》本來可以只是個充滿著高校混亂生活以及多變歡
愉的浪漫劇，但是它被推進到了更為宏大、奇妙、磅礡的故事。如果說本片在保留了最初
的魅力以及人情互動之於，躍入了令人振奮的全新作品類型是不盡精確的，但絕對可以說
，新海先生毫無疑問地、創造性地在維持日本動畫的傳統中，把每一樣元素像是迷幻感與
啟發性等特質，擴展到了更為壯麗的境界。任何剛看完《異星入境（按：本片在英美於撰
文時的該周上映，2017年2月17日才會在台灣上映）》觀眾，如果汲汲於尋覓更為廣闊、揪
心的奇幻類片子時，想必會好好享受《你的名字》這部作品，就像三葉享受美味甜點一樣。