诺斯费拉图：夜晚的幽灵

To Be Read Aloud in His Voice, Obviously

转载自：Lithub

ByWernerHerzog December 16, 2019

A gloomy moon shines on the silhouette of a gloomy castle. The coach drives through an arched doorway into a sort of forecourt. Harker climbs out, and the coachman indicates with an imperious gesture that he should mount the steps before him. Harker remains standing indecisively before a large, closed portal. As he is mustering the courage to knock, the leaves of the door creak, and slowly, very slowly they swing open of their own accord. Inside all is dark.

Out of the darkness emerges an almost rigid figure in a tight-fitting black jacket. Its shoulders hunch forward slightly, and its hands are cramped together. The legs appear to be long and thin, and the fingers seem to be long as well, pale, with elongated claw-like nails. The face is as pale as a corpse, the head completely bald. The ears are crumpled, and pointed like a bat’s.

The eyes that stare at Jonathan cause us, like him, to shudder. Count Dracula? Jonathan asks. Yes, he is Count Dracula, and he welcomes him to his castle. He has been expecting him and invites him to enter. The night is cold, and he must be tired and hungry, the Count says.

Dracula takes a lit candle from a ledge along the wall and lights the way. When he holds the candle in front of himself for a moment, Harker thinks he can see the light shining through his body. But that effect disappears almost at once, for the Count takes pains to keep the candle to one side of his body. The door creaks shut behind them.

*

The dining hall, lit by candles. A fire flickers in the fireplace, casting crazy shadows on the walls and ceiling. The table, chairs, and other furniture very large. A long oak table and chairs with high, uncomfortable backs. We can tell how thick the walls are by the embrasures of the windows, which are barred. Despite its generous proportions, the room feels gloomy and inhospitable.

Two trunks with iron fittings, apparently locked for centuries. On the table stands an iron candelabrum from the late Middle Ages, and indeed everything here seems to originate in that period. The table is set with a sumptuous meal, but for only one person.

Dracula takes the seat at the head of the table and places Harker beside him where the meal prepared for the guest has been laid out. Harker hesitates, not sure at first how to break the silence; out of embarrassment he begins to talk business, producing the papers on the house and a letter from Renfield. He explains that the folded sheet of paper contains the layout of the house, which will certainly be of interest to the Count. Dracula pays it no mind, however; he has his eye fixed on Jonathan. He should help himself, he says softly; unfortunately he will have to dine alone.

The knife slips and slices into his thumb. In a flash Dracula is standing beside him, grasping his wrist.

It is almost midnight, and at this hour he, the Count, does not eat. Unfortunately, too, the servants are not available now, so Jonathan should allow him, the Count, to see to his comfort. Dracula speaks with exceptional courtesy, all in a very soft voice. Something about it conveys menace; his very presence fills us with trepidation.

Jonathan overcomes his nervousness and begins to eat heartily. The long journey has indeed made him hungry, and he applies himself enthusiastically to the wine. After a while he senses he is being watched intently and looks up. We see Dracula from close up. He is hiding his face behind Renfield’s letter, which is encoded in almost illegible hieroglyphs. Slowly he raises his eyes from the page. His gaze meets Harker’s. Both hold their breath for a moment, and then Harker resumes eating. Suddenly a small grandfather clock buzzes and begins to strike.

The clock close up. With every strike a little skeleton hits a small anvil with an ax. At the stroke of 12 a door opens, and the figure of death appears, holding a scythe. It swishes the scythe mechanically through the air, then disappears jerkily behind its door.

Dracula is highly aroused. He pricks up his ears. Suddenly the grisly howling of wolves can be heard from outside. Listen, Dracula says, those are the children of night. What music they make! He notices Harker’s terror, but then Harker catches himself and assumes a sheep-like expression. Ah, young man, Dracula sighs, as a city dweller he, Jonathan, cannot place himself in the soul of a huntsman.

Harker has become shaky and does not pay proper attention as he cuts himself a piece of bread. The knife slips and slices into his thumb. In a flash Dracula is standing beside him, grasping his wrist. He is about to apply his mouth to the blood, but Harker’s alarmed reaction causes him to pause. A terrible conflict takes place inside the Count. Then he releases Harker’s hand, excusing himself with the argument that the knife might be contaminated and Harker could end up with blood poisoning.

He should let him suck the wound—the oldest cure in the world. But Jonathan declines politely, saying it is nothing, a tiny cut like that is not worth mentioning. But to Dracula the wound proves irresistible; he can no longer control himself—or can he? No, he refuses to allow himself to show his true face so soon. He turns away, starting to return to his seat. But as he turns, his hand, as if no longer in his power, darts toward Harker’s, and faster than the speed of light seizes it like a steel claw.

The rest of Dracula’s body spins as if electrified, and at that same moment his mouth attaches itselfto Harker’s thumb like a leech. For several seconds the two of them remain motionless, until the vampire lets go, as if struck by a blow. He recoils at his own loss of self-control. Jonathan should understand, he says, he wants only the best for him.

Harker, by now on his feet, backs away and falls into a large leather chair near the fire. The flitting shadows of the flames are joined by two large fluttering, flitting bats. Slowly, very slowly the vampire approaches. They should stay up together, he says softly; sunrise is still a long way off, and during the day he is always out and about. Overcome with nightmarish fear, Harker shrinks deep into the armchair.

*

Lucy’s room. She is tossing and turning, tormented by dark dreams, when a slight sound makes her sit up suddenly, her hair wild. She looks like someone who is not yet awake. The window is open, and the curtains stir slightly in the nocturnal breeze. A large black bat has become tangled in a curtain, where it is jerking its wings and clinging to the fabric with its hook-like claws. Its mouth gapes wide as it squeaks venomously. At the sound an abrupt, inexplicable shock courses through Lucy’s body.

*

Harker, still in the heavy leather armchair, opens his eyes and looks around, drunk with sleep. Only with difficulty can he shake off the oppressive dreams he had during the night. What happened? Where is he? He looks around and recognizes the room, which only now, in the daylight, reveals its shabbiness. The heavy draperies are moth-eaten; there are spider webs in the corners, and dust is everywhere, as if the place has been unoccupied for decades. A ray of light enters through one of the windows, shining directly on Jonathan. Strange, hollow notes of a fiddle can be heard from outside, like someone practicing runs.

Harker yawns. His eye is drawn to his thumb, and he remembers cutting himself. He touches his neck. What is this? A mosquito bite? He gets up and goes over to a mirror on the wall. Hesees two puncture wounds side by side, not large, not conspicuous, but certainly odd. For a moment Harker is taken aback, but then we can see that he rejects the thought that has occurred to him. He inspects his surroundings more thoroughly. He sees that the table has been set, quite obviously for him. It veritably groans with dishes.

Before he sits down to eat, however, Harker takes a closer look around. The main entrance is securely locked, but a door to one side of the dining hall is open. He wonders where his luggage might be; it is missing. The side door takes Jonathan into a strange, gloomy corridor, almost like a dark tunnel. From there a small door opens into a room with a bay window. Ah, there are Harker’s travel bag and the saddlebags, neatly placed on a chair, along with his coat and hat. A bed, a candelabrum, a few pieces of furniture, all in manorial style.

The castle here is so unreal that sometimes I am tempted to believe it is just a figment of my dreams.

The bay window juts out like the prow of a ship, offering a view of a bright day and wooded mountains. Not a house, not a village in sight. A strange, unreal wind seems to blow through the castle, which seems like something in a dream. Harker pokes his head out the window, high above the ground. Far below yawns part of the inner courtyard. Down there in a niche he spies a ragged gypsy boy, practicing his fiddle with utmost concentration. Harker calls to him, but the boy is so engrossed that he does not hear him. An air of mystery surrounds the lad.

Next we see Harker stepping through a door into the courtyard, but now no one is there, although the fiddling can still be heard, clearly and unmistakably.

Harker continues exploring the castle. The gloomy corridor up above extends all around the castle, with other smallish rooms with bay windows opening off it. He comes upon an old kitchen, equipped with a stove but no other appurtenances. All the exits are locked up tight. Before Harker wends his way back to the dining hall, he opens a door into what turns out to be the library.

A strange, gloomy, dusty space with barred windows. Bookshelves up to the ceiling, with thousands of volumes, left unread for decades. In a gallery reached by a short staircase a collection of stuffed birds and other animals. All these rigid objects placed without rhyme or reason. The passage of time has faded the collection to the point that none of the natural colors remain.

Harker returns to the dining hall and sits down calmly to eat. The fact that he cannot get out of the castle seems not to preoccupy him. For now his bodily needs are well met. From outside the fiddling can be heard, disconcertingly hollow.

*

Jonathan is sitting at the window and staring out, deep in reverie. In his hand he holds the medallion with Lucy’s portrait. He pauses and looks at it attentively. Then he extracts a notebook and writing instrument from of his saddlebag, reflects for a bit, and begins to write. His handwriting is fluid but full of character, and we can read along.

Lucy, my dearest, he writes. There is no postal service here through which I might send word to you, so I shall keep a journal, in which I can record all my thoughts and feelings for you at home. So last night, after a toilsome journey, I reached my destination in Transylvania, the castle of Count Dracula.

He breaks off and looks out through the shattered panes of his window. Outside wind tosses the crowns of the large trees. Ravens screech. Jonathan resumes writing: I had oppressive dreams last night and hope that will pass. They have left me feeling torpid, but perhaps that also comes from the insect bites on my neck. Ah, well, I hope to bring my business with the Count to a happy conclusion this evening. The castle here is so unreal that sometimes I am tempted to believe it is just a figment of my dreams.

陆续看了三部吸血鬼相关的电影《诺斯费拉图》《诺斯费拉图：夜晚的幽灵》《惊情四百年》都是讲房地产职员受到吸血鬼伯爵的委托去办理一桩生意来到伯爵的古堡所产生的故事。里面的情节非常相似，里面男主角的同事总是被伯爵逼疯进了精神病院，男主角的爱人总是能和伯爵产生情感上的问题。而剧情相似的原因是它们都是以《德古拉》的原著小说为基础，不过最早的版本也就是茂瑙1922年拍的的版本没有买原著的版权，为了没有版权的问题，里面的德古拉不叫德古拉，范海辛也不叫范海辛，他们换了名字。不过这三个版本值得比较一下，当然不是比那一版的德古拉演的最好，因为德古拉这个角色化妆的加成太大了，把化妆带来的效果看成是演员的演技本身就是外行的行为，况且三部电影风格有很大的不同，对于演员的要求也不同，所以不讨论表演上的优劣。

茂瑙在1922年就拍出了《诺斯费拉图》这样的作品，确实是让人赞叹。里面影响比较深的是在剪辑上通过展示一些类似于捕蝇草这样奇特的生物来和超自然产生联系。在这么早的恐怖片里，已经可以看到恐怖片的一些基本特点了，这种特点就是不自然，不自然的东西往往是恐怖的，《闪灵》为什么伟大，因为《闪灵》在用了斯坦尼康的跟随长镜头这样的不自然的镜头运动这样的手法来产生恐怖的感觉。在这部里拍摄吸血鬼趴在窗户上时，窗户是井字形九宫格，这种几何形状就是一种不自然感觉。在赫尔佐格翻拍的版本里，古堡里男主角住的房间的窗户都是碎的，不自然的感觉相当强。而比较有名的《惊情四百年》就和恐怖关系不大了，更多是爱情故事，里面用了很多叠化来产生梦幻的感觉，不过我个人不喜欢《惊情四百年》，尽管里面有加里·奥德曼、薇诺娜·瑞德、安东尼·霍普金斯、基努.里维斯这样的大牌，科波拉的视听语言也不可谓不漂亮，但是里面的爱情有些牵强，吸血鬼和女主角的爱情是女主角是吸血鬼前世爱人的转世这样的硬设定赋予的，而不是产生于两个人自动爱上的人物弧光。

而我最喜欢的居然是《诺斯费拉图：夜晚的幽灵》，也就是赫尔佐格对于茂瑙的《诺斯费拉图》的翻拍，里面还有阿佳妮和年轻的时候的“元首”布鲁诺.甘茨，这个翻拍才符合我的期待，就是给这个故事赋予实感，我印象比较深的是当男主角切到手流出血，德古拉要舔男主角的血，而男主角躲开，这里镜头随着男主角的运动从固定镜头变到手持镜头，从固定到手持，不仅可以表现角色的心理变得慌乱，手持镜头还增强了真实感，有利于对于恐怖的表现。而《诺斯费拉图：夜晚的幽灵》的一个很大的特点就是长镜头的使用，长镜头产生的真实感和不可逃脱感极大增加了恐怖的氛围，角色和德古拉处在同一个镜头，而镜头始终不切换，这种长镜头带来的未知对于恐怖感的帮助非常大。电影里不同于另外两版的男主角离开古堡后依然是正常人，这部里男主角最后真的变成吸血鬼。而电影里另一个特点是电影里大多数人实际上并不承认吸血鬼的存在，而把德古拉带来的灾难视作瘟疫，而当这场“瘟疫”不可挽回以后，人们索性放弃了希望在街道上狂欢，这种末世感的营造还是很有意思的。

文_发不沾霓

1922年，德国表现主义时期的电影大师茂瑙第一次将德古拉伯爵的故事搬上银幕，给当时的观众造成了极大的恐慌。吸血鬼德古拉的形象更是在随后的电影里被无数次地重现和颠覆。纵向来看，赫尔佐格的这部［诺斯费拉图：夜晚的幽灵］，有茂瑙的［诺斯费拉图］在前、科波拉的［惊情四百年］在后，它能在众多的电影里脱颖而出而与两者齐名，所仰仗的，正是精心的场面排布和演员戏剧化的表演。 三幕悲剧 从故事上来看，赫尔佐格的这部作品更接近茂瑙的［诺斯费拉图］，而茂瑙的那部作品则脱胎自布拉姆·斯托克的小说《德拉库拉》，当年因为无法搞定版权的问题，茂瑙不得不对原作进行一些修改，例如将德古拉伯爵的名字改为“诺斯费拉图”，以及对男女主人公和德古拉以外所有角色的轻描淡写。到了赫尔佐格拍摄这部电影的时候，已经不存在版权的问题了，但他依旧沿用了“诺斯费拉图”这个更为深邃的名字以及茂瑙的剧本框架，然后进行了一些细节上的润色和修改，比如他改回了原著小说里人物的名字（不过赫尔佐格将原著中露西和米娜所对应人物的名字对调了一下）。除此之外，原版电影的历史地位虽不可撼动，但过于老套的故事本身还是不太适合1970年代的语境，于是赫尔佐格稍作调整，将一个正邪对立的老套故事，变成了一出由男女主角哈克和露西，以及德古拉伯爵三人所构成的互相交织的悲剧。 哈克每天尽心尽力地工作，为的是让妻子过上更好的日子，于是面对上司所托付的艰难任务——前往“吸血鬼之乡”特兰西瓦尼亚与神秘的德古拉伯爵会面，他毫不犹豫地接受了。哈克与妻子道别，踏上了艰险而漫长的旅途。路人口中所提到的有关德古拉所居古堡的骇人传闻，以及他所翻看的有关吸血鬼的书，都没有使他退缩。见到了德古拉后，他却被软禁在了古堡里，白天受着思念爱妻的煎熬，夜晚又遭到了德古拉的袭击。当德古拉动身前往哈克所居住的小镇寻找露西时，哈克才得以逃脱，历尽艰险赶回家乡，但病魔的侵袭令他记忆全失，他对爱人的记忆与他源于责任的爱一起消失了。 德古拉是个忍受孤独数百年的可怜老者，在他与哈克见面的第一次晚餐上，他进行了一番诚挚的内心独白。他虽有不死之身，却无刻骨之爱，他乞求露西给他一点爱，但同时又必须接受本能的驱使。毫无疑问，这是注入了人性的德古拉，他所需要的是他永远得不到的爱，他所厌倦的是世人所追求的永恒，就像《无间道》里所唱的“生存往往比命运还残酷”，德古拉所直面的残酷恰是夜复一夜的血液和孤独。 露西的角色可以视作忠贞的典范，也正是她对丈夫的忠贞不渝满足了“圣洁少女能使吸血鬼忘记公鸡的初啼”这一条件，才成功解决掉了德古拉“造福人类”。露西与德古拉的第一次会面，就被要求将自己对丈夫爱的一部分献给德古拉，而露西却坚定地说：“休想！我甚至不会把这份爱给上帝！”露西对哈克的爱也没能迎来完满，当爱人归来却陷入失忆；当德古拉的噩梦不断浮现；当小镇上的人们相继死去，丧失所爱的露西以死亡作为归宿，充当除魔的祭品。 神经质女神遭遇情绪化魔鬼 吸血鬼之所以迷人，是因为他们神秘的习性和悲剧性的命运，他们高贵、冷酷，同时又带着捉摸不透引人发狂的危险。但是这种迷人的特质经过岁月沉淀之后已经有些变味，如今吸血鬼身上的危险因子似已不见踪迹，原本令人敬畏三分的吸血鬼们变得温柔可亲，从［夜访吸血鬼］到［暮光之城］，吸血鬼的外形愈发俊秀，举止愈发儒雅。而恐怖，这一吸血鬼最初得以深入人心的特征已经被时代所淘汰。回到赫尔佐格的［诺斯费拉图］，在吸血鬼的外形上，赫尔佐格几乎是照搬了茂瑙旧版中德古拉的形象：枯槁的面容、光秃的头颅、长得离谱的指甲以及尖锐又惹眼的两颗门牙，这样的处理更贴近原著的描述，毕竟德古拉伯爵是个活了几百年的孤独老者，而非身强体健的英俊小生。从这样一只吸血鬼的脸上，人们是不可能生出“亲近”的念头的。 除了造型之外，阿佳妮和金斯基风格鲜明的人物塑造也为影片增色不少。在出演［诺斯费拉图］之前，阿佳妮已经在［阿黛尔·雨果的故事］和［维奥莱特和弗朗索瓦］里了尽情诠释了什么是疯癫和痴心，阿佳妮身上习惯性神经质、疯癫入髓的气质已经呼之欲出。电影开头是一个阴暗洞穴内的长镜头段落，镜头扫过周围腐坏不堪的尸体，配上阴森的音乐营造出一幅可怖的景象，晃动的画面极有代入感，紧接着是一只硕大的蝙蝠缓慢地挥舞着双翅，然后画面切到了阿佳妮饰演的露西那张惊醒的脸，原来这一切都是露西的梦境，也可视作后来所遭厄运的先兆。阿佳妮在电影大部分的时间里都在思念夫君、花容失色和惊声尖叫这三种状态里切换，所以要说阿佳妮的表演如何惊艳倒也谈不上，不过她的扮相却令人联想起志怪小说中的女妖：黑发、白衫加朱唇，只是阿佳妮那湛蓝的双眸里写满的是全是惊恐而非魅惑。而且阿佳妮那双瞪得又大又圆的双眼，可能也只有［闪灵］里的谢莉·杜瓦尔可以与之相比。而出了名难伺候的“狂人”金斯基，更是长着一张在恐怖指数上能够完爆威廉·达福的脸，他本人在戏外的种种出格举动更是人们永远都说不完的话题。扮演“诺斯费拉图”前，金斯基和赫尔佐格在拍摄［阿基尔，上帝的愤怒］时因为环境的恶劣发生过激烈争执，于是人们担心拍［夜晚的幽灵］的时候金斯基又会爆发，毕竟他每天要花去四个多小时的时间进行化妆，这显然会成为他“撒野”的借口，可这回，他偏偏像个乖巧的孩子，配合得很。金斯基版的“诺斯费拉图”虽然从外形上看是茂瑙旧版的翻新，但金斯基煞白面容下的忧郁眼神，为之赋予了一份脆弱，再加上彬彬有礼的举止，于是乎，吸血鬼的戾气全然不见，取而代之的是德古拉邪恶外表与脆弱内心的对立，充满了戏剧性。 赫尔佐格的佐料 赫尔佐格版的［诺斯费拉图］大致可分为两部分，前半部分为哈克前往古堡寻找德古拉，后半部分是德古拉入侵小镇，散布瘟疫和恐慌直到被消灭。在前半部分中，荒凉的大自然成了导演渲染恐怖氛围的利器，旅途伊始的青葱田园风光逐渐被冷色调镜头捕捉下的洞窟荒野所替代，哈克孤独地前行着。而暗无天日的古堡就像一座囚笼，微弱闪烁的烛火始终让哈克如临幻境，他甚至分不清德古拉在他颈间留下齿痕的那次突袭究竟是梦境还是现实。 到了影片后半段，赫尔佐格场面调度的功力开始显现，例如德古拉和露西的第一次会面。露西位于画面正中央背对观众，镜头则对准了镜中露西的脸，此时，右后方的门忽然打开，却只听见德古拉的脚步声和门上德古拉逐渐扩大的影子（吸血鬼是不会出现在镜子里的），直到德古拉近身，才从画面的右边进入。再看广场上的狂欢，对“瘟疫”放弃抵抗的人们把餐桌搬到广场上，围着篝火跳舞、演奏，周围则是遍地的老鼠，将这仿佛末日来临前的景象拍得既绝望又动人。 赫尔佐格在影片里一面借露西之口说出了“上帝总在我们最需要他的时候远离我们”这样的话，同时又通过对范海辛这个“吸血鬼猎人”的重塑来嘲笑新兴科学的无能，他在片中唯一的成就竟然是对德古拉的“鞭尸”，还将消灭吸血鬼的功劳揽到自己身上。这里的隐喻很有趣，德古拉死于科学所不可解释的神秘（圣洁少女的牵制和阳光），而“科学的代言人”（在片中是范海辛）却将杀死德古拉的胜利果实占为己有。拯救人类的不是上帝，也不是科学，赫尔佐格所嘲弄的不是信仰对象，而是信仰本身，所以范海辛的被捕更像是赫尔佐格的一个玩笑。就像故事最后，被德古拉咬伤而没死的哈克成了新的吸血鬼，策马驶入荒漠的深处，至此，科学信条和神秘主义谁也没有将谁消灭干净。 刊载于《看电影·午夜场》2014年六月号

几次要暂停下来大喊“Bravo!”阿佳妮苍白病态又极具古典感的面庞，眼睛瞪大望向人的一瞬，七魄便没了三魂。讲了一个好故事，又不仅如此，从吸血鬼口中说出“时间是个深渊……”，形而上的深度直逼大部分文艺片。配乐异常精彩，那些幽暗、深沉、偏执的力量左右着人间。“上帝常常在我们需要他的时候缺席。”一个吸血鬼倒下了，千千万万个吸血鬼站起来。上帝无用，绝望与虚无常在。