[转帖] [2012.11.03] Sylvia Kristel 施维亚 姬丝桃

showcraft

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Sylvia Kristel
施维亚·姬丝桃

Sylvia Kristel, star of “Emmanuelle”, died on October 18th, aged 60
《艾曼妞》女主角施维亚·姬丝桃（Sylvia Kristel）逝于10月18日，享年60岁

Nov 3rd 2012 | from the print edition



SLOWLY, she slid out of her silk dressing gown. She approached the dressing table, slipped into the rattan chair. Naked, she looked herself over in the glass. Her hair was short, androgynous. Her nose was slightly turned up at the end, like a doll’s. Her lips were open, the bottom lip fleshy, as if about to be kissed. It seemed to tremble.

她慢慢地褪去身上的丝质睡袍。一步步走近梳妆台，轻柔地滑入藤椅内，端详着镜中一丝不挂的自己。镜中的她一头短发带着中性的感觉，鼻尖像洋娃娃般微微上翘，嘴唇微张，圆润饱满的下唇像在等待着热吻，似乎在微微颤动着。

Her eyes were the part of herself she knew best. Their colour was indefinite, grey-green, changeable. Sometimes they took on a misty pastel tone. Today she wanted them to burn, beckon. Taking up a stick of kohl, she outlined them thickly with black. With a wide, loaded brush, she heaped dark shadow over the lids.

她对自己身上最了解的部分是眼睛。她的双眼闪烁着飘忽不定、变化无常的灰绿色。有时她会让双眼带上朦胧的淡影，但今天她需要它们去灼烧、去魅惑。于是她拿起一支眼线笔，在眼眶周围瞄上粗重的眼线，再用一把沾满眼影粉的宽头刷在眼脸上打上了一层厚实的暗影。

So Sylvia Kristel became Emmanuelle: the young woman who in 1974, wearing only long pearls and a feather boa, invited cinema audiences the world over to watch her explore les dernières limites de l’erotisme. She found them on a squash court, in a jet plane, under a waterfall. She made love with men and women too, on beaches and under palms, all over Thailand.

就这样，施维亚·姬丝桃摇身一变成了艾曼妞（Emmanuelle）。1974年，这个身上除了一串珍珠项链和一条羽毛围巾外别无他物的年轻女子吸引全世界的电影观众来一睹她如何探索情欲的底线。她在壁球场上，在飞机里，在瀑布下挑战着这些底线。她在泰国各地的沙滩上，棕榈树下和男男女女做爱。

Such a film had never been on general release before. It was a sensation. Of course, some countries banned it: Brazil, Spain, Japan, the Arab world. Others, like Britain, cut it heavily. This surprised its star. To her it was “charming”, and “innocent”. It was mostly fun to make, and gave her a chance to see Thailand. The love scenes were tastefully veiled under breaking foam, silk sheets, mosquito nets. She kept her mother from seeing it for years: and when at last she did, she said, “Is that all?”

之前这样的影片从未大范围公映过。该片立刻引起了一片轰动。当然，这部电影在很多国家被禁，如巴西、西班牙、日本和阿拉伯诸国。另一些国家，如英国，则对该片进行了大肆删剪。姬丝桃对此表示惊讶。对她来说，这部片子既“迷人”又“纯洁”。拍片的过程大都令人开心，更让她有机会观光泰国。片中做爱的场景被水流冲击而成的泡沫、或是绸布、或是蚊帐遮掩起来，拍得很有味道。她有好几年一直没让自己的母亲观看这部片子，而当她妈妈最终看完这部片子时，她的反应是：“就这样而已？”

She thought of innocence, too, as she prepared for the role. Innocence somehow married to vampishness, sending out messages that were at once contradictory and unsettling. Promiscuity married to aloofness, as the unattainable object of desire. She seemed in this film to give herself to everyone. But her heart she didn’t give. Her long, willowy body was rented out, to become the fantasy possession of thousands of devoted men. But her price was too high, and they would never have her.

她在备戏时感觉到这一角色也带着纯真。纯真和放荡以某种形式结合起来，传递出既自相矛盾又令人不安的讯息。集淫乱和冷漠于一体的她变成了无法企及的欲望目标。在片中，她似乎可以把自己交给任何人。但她从未交出过自己的真心。她将自己修长婀娜的身体出租，被千万醉心于她的男子在幻想中占有。但没人可以买得起她，没人能得到她。

When reporters asked whether she was like Emmanuelle, she laughed. How could she be like her? She had been to a convent school, had an IQ of 167, and spoke five languages. She came from dull Utrecht, where she worked to support her divorced, tippling mother. She was moderate, moral, responsible, “Calvinist”. Obedient, Calvinist Sylvia, instructed to simulate oral sex, took trouble to learn her lines and repeated the scene until it was perfect. That way, she could forget the “immodesty” of what she was doing. She was told that no one cared what she said; she would be dubbed anyway. Later, making films of a slightly tamer sort for Claude Chabrol and Roger Vadim and in Hollywood, she was told no one cared what she wore, as long as she removed it. She accepted these boundaries, including the fact that her agile, fragile beauty had typecast her for life.

当记者问她自己是否像艾曼妞时，她笑了起来。她怎么可能像艾曼妞呢？她童年就读的是修女学校，智商高达167，会说五种语言。她来自枯燥无味的乌得勒支市，在那儿她必须工作抚养自己酗酒的离婚母亲。她个性温和、品行端正、有责任心、“克制禁欲”。当顺从的清教徒施维亚在拍片过程中需要模仿口交姿态时，她花了大力气记住自己的台词，反复重拍直到该场景毫无瑕疵为止。这么做可以让她忘记自己做的事有多么“不检点”。大家告诉她没人关心她说了什么，反正最后她的角色会被配音。后来，她曾和克劳德·夏布洛尔（Claude Chabrol）以及罗杰·瓦迪姆（Roger Vadim）合作，并在好莱坞演出。在那几部尺度略低的电影中，大家告诉她没人关心她穿了什么，反正最后会脱掉。她接受了这些局限，也接受了她那灵巧脆弱的美让她终身定型、无法突破这一事实。

But Emmanuelle seethed with contradictions, and so did she. Responsible, restrained Sylvia was also a rebel who embraced freedom and fed freely on excess. Nudity never troubled her: at the age of ten she had danced naked by moonlight on the roof of the hotel her parents ran. She smoked at 11, and sneaked cognac from the bar. At the “Emmanuelle” audition she lost her lingerie-dress with easy confidence, continuing to smoke as she let the delicate straps fall gently from her shoulders.

但艾曼妞充满了自相矛盾之处，姬丝桃也一样。富责任心、冷静节制的施维亚同时也是一个追求自由、无度享乐的叛逆者。裸露从未困扰过她，10岁时她曾跑到父母经营的旅馆屋顶上在月光下裸舞。她11岁就开始抽烟，还从吧台偷白兰地喝。在《艾曼妞》试镜时，她毫不犹豫、充满自信地脱下了内衣，一边吸烟，一边任纤细的肩带轻轻滑下。

Attention, she had discovered, was something she needed: the stares of men, even lewd stares, like those of Uncle Hans, the hotel manager, as he had watched her ride her bike round the dim red-lit bar before licking her face all over with his hard, slobbering tongue. She needed the reaching hands, the paparazzi and the crowds. Her own face in the mirror enraptured her; at one point, her grandmother disapprovingly stuck newspaper over the glass. On the road to fame in 1973, about to win, at 21, the Miss TV Europe crown, she emerged from her bath, wrapped like a gift in her white robe, to plant a huge kiss on the steamed-up bathroom mirror. Here was the deal: her beauty freely given in exchange for immense, doting love.

她发现自己真正需要的是人们的关注。她需要男人们的注视，即使是猥亵的视线也好。她父母经营的旅馆经理汉斯“叔叔”当年就是这样注视着骑自行车绕过亮着昏暗红色灯光酒吧的她（之后他还会用硬邦邦、沾满唾液的舌头舔遍她的脸）。她需要的是伸出的双手、狗仔队和人群。她为自己镜中的脸而陶醉。她的祖母曾对此不满而一度在她的镜子上贴上报纸。1973年，在她即将摘下欧洲电视小姐的桂冠前夕，刚洗完澡，被白浴袍包裹地如同礼物一般的她在蒙上水汽的浴室镜子上印上一个深吻，那年踏上成名之道的她才21岁。对她来说生活就是：她慷慨地献出自己的美，来交换众人宠溺的爱。

The affection she actually received was fragmentary. There were several long-term lovers, with one of whom, Hugo Claus, a Belgian writer, she had a son, and two short-term husbands. The second lost her savings on a film project, leaving her with $400 in the world. Blazing stardom lasted a decade, in which she became addicted to Dom Perignon and cocaine. Having struggled to abandon them, she retreated gradually to Amsterdam: still elegant, still pale, standing tall as the nuns had taught her.

她真正获得的爱慕却零星分散。她有几位情人和她在一起得的时间很长，其中一位比利时作家雨果·克劳斯（Hugo Claus）和她生有一子。她还有两段维系时间很短的婚姻。其中第二任丈夫将她的积蓄全部挥霍在了一个电影企划上，最后只给她留下了400美元。她红了整整十年，期间沉醉于唐培里侬香槟王和可卡因。在费尽心力戒毒戒酒后，她慢慢退居至阿姆斯特丹。在那里，她依然优雅，依然苍白，依然如修女们所教的那样挺直腰杆生活。

Naked in the sea
在海中裸泳

“Emmanuelle” followed her, the theme tune lilting in her head. It had spawned a score of soft-core sequels and imitators, most forgettable. In 1993, to get a little money, she made “Emmanuelle 7”, playing a Madame instructing her young charges in seduction. By now, though, she preferred to paint. She liked the solitariness of it, the way no one told her what to do. Her canvases became a new sort of mirror in which she appeared in vivid primary colours: swimming naked in a blue-green sea, wearing her long “Emmanuelle” pearls, or about to be kissed by the shadow of a man. Her wide eyes were rimmed in black, her surprised lips bright red. And, once again, she did not need to have anything to say.

《艾曼妞》始终没有离开过她，片子的主旋律一直在她脑海里跳动。该片衍生出了一系列软性色情续集作品和模仿品，大多乏善可陈。1993年，为了生计，她参与了《艾曼妞7》一片，在片中扮演一位指导年轻女子魅惑之术的夫人。不过在那时，绘画已成为她更大的兴趣。她喜欢绘画赋予的孤独感，那种没人能对她指手画脚的感觉。她的画布成为了一面新的镜子，在画中她以生动的原色登场：戴着《艾曼妞》中的那串长珍珠项链在蓝绿色的海洋中裸泳，或是即将要被一个男子的阴影亲吻。睁圆的双眼涂着黑边，微张的双唇闪着亮红。再一次，她不需要说任何话。