"You're going to need a bigger boat."

”你會需要一條更大的船,。“

So the police chief famously informs the shark hunter, right after the first brief appearance of the man-eater in "Jaws." It's not simply a splendid line of dialogue, it's an example of Steven Spielberg's strategy all through the film, where the shark is more talked about than seen, and seen more in terms of its actions than in the flesh. There is a story that when producers Richard Zanuck and David Brown first approached Spielberg with an offer to direct the film of Peter Benchley's best seller, he said he would do it on one condition: that the shark not be seen for the first hour. Viewing the movie's 25th anniversary DVD, I was surprised to realize how little the shark is seen at all.

就在《大白鯊》里的食人者首次簡短地露了一次面后,，警察長這樣語出驚人地通知捕鯊人,。這不僅是一句經(jīng)典臺詞，也是斯皮爾伯格整部電影貫穿使用策略的例證,，即鯊魚更多是被談起,，而不是被看到；而且僅在游動時被看到,，而不是整條魚出現(xiàn),。有傳聞?wù)f，制作人理查德·扎努克(Richard Zanuck)和大衛(wèi)·布朗(David Brown)第一次找斯皮爾伯格,，讓他導(dǎo)演由彼得·本奇利(Peter Benchley)的暢銷小說改編的電影,，斯皮爾伯格說,，只要答應(yīng)一個條件，他就愿意導(dǎo)演：即在電影開始的一個小時里看不到鯊魚,。我在看電影25周年DVD版本時,，詫異電影里鯊魚是多么的少見。

In keeping the Great White offscreen, Spielberg was employing a strategy used by Alfred Hitchcock throughout his career. "A bomb is under the table, and it explodes: That is surprise," said Hitchcock. "The bomb is under the table but it does not explode: That is suspense." Spielberg leaves the shark under the table for most of the movie. And many of its manifestations in the later part of the film are at second hand: We don't see the shark but the results of his actions. The payoff is one of the most effective thrillers ever made.

為了使白色大家伙隱身屏幕,，斯皮爾伯格運(yùn)用了艾爾弗雷德·希區(qū)柯克縱貫他所有電影使用的策略,。“一個燈泡在桌子下面,，爆炸了：這是驚訝,，”希區(qū)柯克說：“而這個燈泡在桌子下面，沒有爆炸：這就是懸疑,?！彼蛊柌翊蠖鄶?shù)時候讓鯊魚待在桌子下面。而在電影后半部分里,，它大多數(shù)時候的顯身都是間接的：我們沒有看到鯊魚,，只是看到它攻擊的結(jié)果。其效果成就了一部最有力的驚悚片,。

The movie takes place over the Fourth of July weekend on Amity Island, a tourist resort that feeds off the dollars of its visitors. A famous opening sequence establishes the presence of a man-eating shark in the coastal waters; a girl goes swimming by moonlight and is dragged under, screaming. All evidence points to a shark, but Mayor Vaughn (Murray Hamilton) doesn't want to scare away tourists, and orders Brody (Roy Scheider), the police chief, to keep the beaches open. "If people can't swim here, they'll be glad to swim in the beaches of Cape Cod, the Hamptons, Long Island," the mayor tells Brody, who spits back: "That doesn't mean we have to serve them up a smorgasbord." But the mayor strides on the beach wearing a sport coat and tie, encouraging people to go into the water. They do, with predictable results.

故事發(fā)生在7月4日周末的阿密提島(Amity Island),，這是個依靠游客而繁榮的旅游勝地。一個著名的開篇鏡頭確定在海灣附近一條食人鯊魚的出現(xiàn),；一個女孩在月光下游泳,，然后被拖到水下，驚聲尖叫,。所有的證據(jù)都指向一條鯊魚,，可是沃恩市長（墨瑞·漢密爾頓飾[Murray Hamilton]）不想把游客嚇走，于是命令警察長布羅迪（羅伊·施耐德飾[Roy Scheider]）繼續(xù)將海灣向游人敞開,?！叭绻藗儾辉谶@里游泳，他們會開心地到鱈魚岬,、漢普頓,、長島去游泳?！笔虚L如是對布羅迪說,，卻遭到后者憤怒地反駁：“這不等于說我們得伺候他們一頓自助餐?！笨墒鞘虚L穿著運(yùn)動服,、圍著領(lǐng)巾，在海灘上踱步,，鼓勵人們下水,。他們這么做了，結(jié)果可以想象,。

A town meeting is interrupted by the second of the film's central characters, the rough-edged, narrow-eyed Quint (Robert Shaw). He gets attention by scraping his fingernails down a blackboard that displays a drawing of a shark and offers his services as a bounty hunter: "You all know me. Know how I make a living." Soon after, Brody sits at home paging through books on sharks, a device that allows Spielberg to establish the killer in our minds as we look at page after page of fearsome teeth, cold little eyes and victims with chunks taken out of their bodies. (One of the photos shows a shark with a diver's air tank in its mouth, possibly suggesting where Brody gets his bright idea for killing the creature.)

 小鎮(zhèn)會議被電影第二主角——長著一對小眼睛,、粗獷的奎恩特（羅伯特·肖飾[Robert Shaw]）。他用手指劃過展示一條鯊魚畫像的黑板以引起別人注意,，然后他提出為了賞金而去捕捉鯊魚：“你們都知道我,。知道我靠什么為生?！边^后不久,，布羅迪坐在家里，一頁一頁地翻著有關(guān)鯊魚的書籍,。通過這個手段,，斯皮爾伯格能夠在我們的腦海里建立起鯊魚的形象，當(dāng)我們一頁一頁地看到駭人的牙齒,、冷酷的小眼睛以及從受害者身體撕扯下的軀干,。（一張照片顯示一條鯊魚嘴里含著一個潛水員的氧氣瓶，可能就是這張照片啟發(fā)了布羅迪想到殺死這個動物的好辦法,。）

The third key character is Hooper (Richard Dreyfuss), an oceanographer, brought in as an adviser, and useful to the movie because he can voice dramatic information. ("What we're dealing with here is a perfect engine. An eating machine.") Brody is convinced the beaches must be closed and the shark killed; the mayor stalls, and then after the shark makes the TV news, a $3,000 bounty is offered, and Amity is crawling with reckless fortune hunters.

第三個關(guān)鍵角色是胡珀（理查德·德萊弗斯飾[Richard Dreyfuss]）一名海洋專家,，他之所以對電影有用是因?yàn)樗麜l(fā)表戲劇性的言論。（“我們在這里對付的是一個完美的引擎,。一架吃人的機(jī)器,。”布羅迪確信海灣一定要關(guān)閉,，鯊魚一定要?dú)⑺?；而市長遲遲不采取行動，直到鯊魚上了電視新聞,，才發(fā)出3000美金的懸賞,。于是阿密提攢動著魯莽的淘金捕鯊者。

It's here that Spielberg uses one of his most inventive visuals for suggesting the shark. Three or four men gather on a wooden pier, hoping to catch the shark. One has stolen his wife's beef roast to use as bait. They put a fearsome hook through the roast, fasten the chain to the pier, and toss in the bait. The shark simply pulls the end of the pier loose from its moorings and drags it out to sea. Effective, but even more chilling is the next shot, in which we see the floating pier turn around and move back toward shore.

這里斯皮爾伯格運(yùn)用了一個最有創(chuàng)意的視覺手段來表現(xiàn)鯊魚,。三四個人聚集在一個木頭橋墩邊,。一個人偷了妻子的烤牛肉做誘餌。他們把烤牛穿在一個可怕的鉤子上,，將鏈子固定在橋墩上,，然后拋下誘餌。鯊魚只是拽橋墩的底端,，將橋墩從碼頭拉掉下來,，然后拖著橋墩游到海里去。而更加讓人膽寒的是下一個鏡頭,，我們看到浮動的橋墩轉(zhuǎn)了個圈兒又回到岸邊,。

Floating objects are used all through the movie to suggest the invisible shark. After Brody, Quint and Hooper put out to sea in Quint's leaky boat, they fire harpoons into the shark. The harpoons are roped to floating yellow kegs, designed to tire the shark with their lift and drag. In the crucial action sequences at the end, we are often looking at kegs and not at a shark, but the premise is so well established that the shark is there.

這部電影都用漂浮的物體來表現(xiàn)看不見的鯊魚,。布羅迪、奎恩特和胡珀登上奎恩特漏水的小船出海,。他們朝鯊魚射魚叉,。魚叉連著一串黃色的浮桶。目的是等鯊魚浮上來后,，把它們拖累,。在影片最后的一個關(guān)鍵動作場面中，我們經(jīng)常盯著桶,，而不是鯊魚,；但是我們已經(jīng)完全確信假設(shè)，即鯊魚就在那里,。

The screenplay, by Spielberg, Benchley and Carl Gottlieb, with contributions by Howard Sackler and a crucial speech by Shaw, does not twist itself into parables. The characters all have straightforward motivations. A little dialogue goes a long way. Individual lines stand out for hard-edged terseness:

這部劇本由斯皮爾伯格,、本奇利和卡爾·歌特里爾布(Carl Gottlieb)創(chuàng)作，霍華德·賽克勒(Howard Sackler)亦有貢獻(xiàn),，肖想出了一段重要臺詞,。劇本沒有將自身復(fù)雜提升成寓言。角色們都有直接的動機(jī),。對話雖短,，但推動著劇情的發(fā)展。每個角色的臺詞都體現(xiàn)出真實(shí)的生硬冷漠的風(fēng)格,。

"I'm not gonna stand here and see that thing cut open and see that little Kintner boy spill out all over the dock."

“我不打算站在這里,，看著那東西給切開，然后一個碼頭上到處都是那個金特納家男孩,?！?/P>

"I pulled a tooth the size of a shot glass out of the wrecked hull of a boat out there, and it was the tooth of a Great White."

“我從那邊一條報廢的船身上拔下一顆有烈酒杯大小的牙齒，那是一條大白鯊的牙齒,?！?/P>

"The thing about a shark, he's got lifeless eyes, black eyes, like a doll's eyes. When he comes after you, he doesn't seem to be living until he bites you, and those black eyes roll over white. . . ."

“關(guān)于鯊魚，它長著一對死氣沉沉的眼睛,，黑洞洞的,，像玩具娃娃的眼睛。當(dāng)它來到你身后的時候,，它看起來像個死物,，直到它咬你的時候，那對黑眼睛才在眼白里轉(zhuǎn)動…”

After all of the shark-establishing and curtain-raising scenes, the heart of the movie is in the long passage at sea, where Hooper and Brody (who is afraid of the water) join Quint on his boat. Brody is right, they need a bigger boat. Quint's boat is terrifyingly inadequate, leaky, with an engine that produces clouds of black smoke, a bridge that seems designed to topple a crew member overboard, and a harpooning platform jutting out from the bow so that a man standing on it looks like an appetizer on a kebab stick.

電影確定了鯊魚的存在,、正式開幕之后,，核心場面主要發(fā)生在胡珀和布羅迪登上奎恩特的船，行進(jìn)在海上漫長的航行中。布羅迪是對的,，他們需要一條更大的船,。奎恩特的船簡陋得可怕,，漏水,、馬達(dá)開動起來噴出大團(tuán)大團(tuán)黑霧，駕駛艙設(shè)計得好像要讓船上的一名成員栽跟頭,，魚叉發(fā)射臺上架著弓，人站在上面就像個饕餮者啃烤肉串,。

The best scene in the movie is the nighttime scene in the galley, where the men drink apricot brandy and Quint and Hooper compare scars. Finally Quint launches into a moody monologue, telling the World War II story of the sinking of the USS Indianapolis. He was one of its crew members. Of the 1,100 men who went overboard, he says, sharks ate all but 316 before rescue arrived: "They averaged six an hour."

電影中最好的一個場景發(fā)生在晚間船上的廚房,，三個人喝了杏白蘭地，奎恩特和胡珀比著傷疤,。最后奎恩特發(fā)了一通情緒化的自述,，講了二戰(zhàn)時候印第安納波利斯戰(zhàn)艦(USS Indianapolis)沉沒的事。他是其中一名船員,。在登船的1100名船員中,，他說道，在救援趕到之前,，鯊魚吃了316人：“平均一小時六個人,。”

When the shark does appear for its closeups, it is quite satisfactorily terrifying, and most audiences are too startled to ask why the shark seems prepared to inconvenience itself so greatly, at one point even attempting to eat the boat. The shark has been so thoroughly established, through dialogue and quasi-documentary material, that its actual presence is enhanced in our imaginations by all we've seen and heard.

當(dāng)鯊魚終于出現(xiàn)在特寫鏡頭里的時候,，它的確相當(dāng)令人滿意地嚇人,，大多數(shù)觀眾因太過驚嚇，甚至都沒有想過,，為什么鯊魚似乎準(zhǔn)備好給自己找大麻煩,，甚至要到吃掉一條船的地步。鯊魚的形象已經(jīng)通過對話和偽文件資料完全建立起來,，通過我們看過的畫面,、聽過的傳聞，經(jīng)過我們想象的加工,，更加肯定了它的實(shí)際存在,。

Spielberg's first big hit contained elements he repeated in many of his movies. A night sea hunt for the shark provides an early example of his favorite visual hallmark, a beam of light made visible by fog. He would continue to devote close attention to characters, instead of hurrying past them to the special effects, as so many 1990s f/x directors did. In "Jaws" and subsequently, he prefers mood to emotional bludgeoning, and one of the remarkable things about the picture is its relatively muted tone. The familiar musical theme by John Williams is not a shrieker, but low and insinuating. It's often heard during point-of-view shots, at water level and below, that are another way Spielberg suggests the shark without showing it. The cinematography, by Bill Butler, is at pains to tell the story in the midst of middle-class America; if Spielberg's favorite location would become the suburbs, "Jaws" shows suburbanites on vacation.

斯皮爾伯格的首部大片包含了他電影中多數(shù)重復(fù)的元素。晚上出海捕鯊為他喜愛的視覺效果標(biāo)簽提供一個早期例證,，一束燈光由于大霧隱約可見,。他會持續(xù)密切關(guān)注角色們，而不是快速繞過他們進(jìn)入特效,，就像許多1990年代的f/x系列導(dǎo)演的做法,。在《大白鯊》及續(xù)集中，相比較情感爆發(fā)，斯皮爾伯格更青睞情緒渲染,，電影另一個顯著之處是其相對安靜的風(fēng)格,。約翰·威廉姆斯(John Williams)創(chuàng)造的熟悉的主題曲無關(guān)尖叫，而是聲音低沉,，充滿暗示,，通常在水面及水面下的觀點(diǎn)鏡頭(POV)時響起。這也是斯皮爾伯格提示鯊魚而沒有展示它的另一種手法,。比爾·布特勒(Bill Butley)的攝像總是致力講述美國中產(chǎn)階級的故事,；如果斯皮爾伯格喜歡的地點(diǎn)變成市郊，那么《大白鯊》展示的就是度假中的市郊居民,。

"Jaws" was released in 1975, quickly becoming the highest-grossing picture made up to that time, and forever wresting the summer releasing season away from B movies and exploitation pictures. The major Hollywood studios, which had avoided summer, now identified it as the prime releasing season, and "Jaws" inspired hundreds of summer thrillers and f/x pictures. For Spielberg, the movie was the launching pad for the most extraordinary directorial career in modern movie history. Before "Jaws," he was known as the gifted young director of films such as "Duel" (1971) and "Sugarland Express" (1974), After "Jaws," "Close Encounters of the Third Kind" (1977) and "Raiders of the Lost Ark" (1981), he was the king.

《大白鯊》于1975年上映,，快速成為票房收入最高的電影，并且將暑期檔從扎堆的B級片和低俗爛片中永遠(yuǎn)地?fù)屨歼^來,。一直回避暑期檔的幾大好萊塢電影公司,，現(xiàn)在都視暑期檔為電影的黃金上映期；《大白鯊》也引發(fā)了大量暑期驚悚片和f/x電影,。而對斯皮爾伯格來說,，《大白鯊》成了美國現(xiàn)代電影史上一位最杰出電影導(dǎo)演的輝煌事業(yè)的跳板?！洞蟀柞彙分?，他因《飛輪喋血》(Duel)（1971）、《橫沖直撞大逃亡》(Sugarland Express)（1974）而被看作最具潛力的青年導(dǎo)演,；《大白鯊》之后,，《第三類接觸》(Close Encounters of the Third Kind)（1977）、《奪寶奇兵》(Raiders of the Lost Ark)（1981）使他成為電影界呼風(fēng)喚雨式人物,。