【导航信标#137】帕尔帕廷的观点

August

Evil presents itself in many forms, and sometimes well-intended actions can twist even the greatest of heroes into the very monsters they've sworn to destroy, as seen with Anakin Skywalker's emotional fall in Revenge of the Sith, now in theaters.
邪恶的表现方式有许多种，有时出自良好意愿的行为甚至可以将最伟大的英雄扭曲成为他们誓要消灭的怪物本身，就好象阿纳金·天行者在《西斯的复仇》中令人感慨万千的堕落。本片现在正在各影院上映。

Actor Ian McDiarmid recently commented on his complex character as Chancellor Palpatine/Darth Sidious, who has an impressive talent for turning hopeful, young Jedi like Anakin into tormented souls dominated by their own fears.
近日，演员伊恩·迈克迪米德对自己所扮演的最高议长帕尔帕廷/达斯·西帝亚斯发表了评论，这个复杂的角色拥有令人惊叹的能力，能让阿纳金这样前途无量的年轻绝地痛苦煎熬，被自己的恐惧所降伏。

"He has a black irredeemable heart," McDiarmid says of Palpatine. "There's nothing that can be said about him that's good. When we first saw Vader in the original trilogy we thought he was the heart of darkness, and nobody could be darker. But now we understand what happened to him. And one of the exciting things about seeing this movie is that you can follow Vader through Anakin's journey every step of the way even if you don't agree with the choices he's making. In partm his decisions stem from his traumatic childhood, and his impatient lust for power. And it's that which my character takes and then uses again him."
“他的心黑得无可救药，”迈克迪米德谈论帕尔帕廷说，“他身上没有丝毫善良。当我们第一次在旧三部曲里看见维达时，我们以为他是黑暗之心，没人能比他更黑暗。但现在我们了解到，在他身上发生了什么。观看这部电影时一个让人激动的地方在于，即使你不认同阿纳金的选择，你也可以伴随着阿纳金的旅程，一步步深入了解维达的内心。从部分来说，阿纳金的决定源自他不幸的童年，他对力量急切的渴望。而这正是我的角色所把握并用来对付他的东西。”

"When you're playing a character of solid blackness, that in itself is very interesting, in the sense that you have no other motivation other than the accumulation of power," McDiarmid continues. "It's not so much about not having a moral center, it's just that the only thing that mattered is increasing power."
“当你扮演一个完全黑暗的角色时，从本质上来说这是非常有趣的，你所有的动机除了获取权力没有其他，”迈克迪米德继续说，“这与没有一种道德准则没什么关系，有关系的只是越来越大的权力。”

Yet even though Palpatine represents a truly evil character, McDiarmid still attempted to seek out his human side, however faint it may have been.
但即使帕尔帕廷扮演了一个真正邪恶的角色，迈克迪米德仍然试图寻找他人性的一面，虽然这一面可能相当模糊。

"I've been trying to find a redeeming feature to Palpatine, and the only one I've got so far is that he's clearly a patron of the arts because he goes to the opera," McDiarmid laughs. "Originally, that was a scene in the office and George [Lucas] thought a change of location would be better, so he decided on the theater, and Hayden and I agreed immediately. Watching a play while talking to each other quietly in a box is a terrific additional bonus. Because you can always take your face away quite naturally and appear to be watching the play while other things are going on in your head. Hayden had hoped the play would be Hamlet, and we'd be watching a play within a play within a play."
“我曾经试图在帕尔帕廷身上找到一点可取之处，目前为止我找到的唯一一点就是：他显然是个艺术赞助者，因为他去歌剧院。”迈克迪米德大笑道，“最初这个场景发生在办公室里，而乔治[卢卡斯]认为如果对拍摄场景作一点改变可能会更好，因此他决定改在剧院里，海登和我立即就同意了。在包厢里一边看戏一边安静地交谈有一种惊人的附加效果。因为你总是可以相当自然地把脸转开，好象正在看演出，而你的脑子里却转着另外的念头。海登曾希望我们看的戏是《哈姆雷特》，这样我们就可以在一场戏里观看一场戏中戏。”

As he prepared for a larger role in Revenge of the Sith, McDiarmid noticed comparable references in not only other films and literature, but also historical moments where the lure of extreme political domination wreaked havoc across nations.
当他为《西斯的复仇》中这个戏份更重的角色作准备时，迈克迪米德不仅注意到其他电影和文艺作品中的可比较的参考，还注意到一些历史时刻的参考——那时对极端政治统治的追求导致国家体系被全面的破坏。

"The interesting thing about these movies is that they refer back to lots of cinematic influences," McDiarmid explains. "When my face changes in the film, my mind went back to the early silent movie of The Phantom of the Opera with Lon Chaney. In Revenge of the Sith, Anakin makes a Faustian pact with the devil, and I do everything I can to use him as raw material in every sense to become the best apprentice yet. So even when he's horribly savaged from the fight and it's not clear if he'll live, he's reborn as this Frankenstein monster. Sidious then realizes Vader will be an even greater asset because his humanity has been mechanized, which is exactly what happens to people when they are seduced by Fascism."
“这些影片里一个有趣的部分就在于，它们受到很多早期电影的影响。”迈克迪米德解释说，“电影里当我的脸发生改变时，我的思绪回到了Lon Chaney的早期无声电影《歌剧魅影》时代。在《西斯的复仇》中，阿纳金和魔鬼签下了一份浮士德式的协议，而我用尽我能使用的一切手段将他塑造为迄今为止最优秀的学徒。因此即使是他在决斗中受到致命重伤，甚至不清楚他是否能活下来的时候，他还是重生为这个福兰肯斯坦式的怪物。然后西帝亚斯意识到，维达只会更有利用价值，因为他的人性已经被机械化了，这正是人们被法西斯主义诱惑时发生的情况。”