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凯拉·奈特利的成功不具有复制性。她的起点很高，就是跑龙套的角色也是大师级人物操刀的巨制。在人生二十岁，她就完成了别人梦寐以求的“鲤鱼跃龙门”。从赚得盆满钵满的商业大片到赢尽口碑的文艺小清新，她选片眼光独到，堪称“零失误”。
但是，接下来的十年，她开始面对陌生的东西——批评。在《赎罪》里，演技高手暗暗较劲，除了她，所有人都给予了自己人生中惊艳的表演，就连仅仅出场十几分钟的瓦妮莎·雷德格瑞夫都轻易盖过了奈特利的风头；《危险方法》，两大男主角强悍，“不疯魔不为人”的演绎让奈特利的嘶吼显得那么苍白与虚假，影评人甚至刻毒地说：“奈特利的做作让观众希望她赶紧离开画面。”《安娜·卡列尼娜》里，奈特利意欲通过熟悉的古装题材提醒人们她当年名扬奥斯卡的风采，但是让大家陶醉的不过是华丽的服饰和恢弘的历史背景，仅此而已。
奈特利怎么了？她的演技一再受到质疑，人们好像从“奈特利效应”中恍然醒悟：原来奈特利根本不会演戏，她只是比较走运而已。用中国人最朴素的哲学来解释就是：运气皆有定，是会用完的。曾经的啧啧称奇，不过是一片浮云罢了。成名太早，或者说在肩膀没有成熟到足以撑起巨大的名利时，这些所谓的赞美只不过是色彩斑斓的致幻剂。
What a 1）hectic and 2）heady career Knightley has had. She has been praised and razed， built up and torn down； variously hailed as the most vibrant British actor of her generation and dismissed as an 3）am-dram fake who got lucky. Hers is an apprenticeship that was played out on camera. It has bounced her from homegrown heartwarmers to Hollywood blockbusters to 4）costume dramas and back again， to the point where she can’t quite recall the work she has done or the people she knows.
In the past few years we have seen her as a hysterical psychiatric patient in A Dangerous Method and a doomed， tragic aristocrat in Anna Karenina. Today， however， Knightley has brought her long limbs and regal jawline into town to discuss a sunnier guise in a musical of sorts. The film is called Begin Again and that title is so 5）freighted with 6）corny significance that she keeps nodding at the poster， as though it is there as her 7）prompt. She explains that she had arrived at a crossroads， or maybe the end of act one. She was feeling 8）stuck in a rut， mired in neurotic roles， and longed to break herself free. Knightley rolls her eyes and dissolves with 9）mirth. “It’s like beginning，” she 10）hoots. “But it’s beginning again.”
Actually， I’m all for Knightley expanding her 11）repertoire； I just wish she had found herself a sharper playlist. In Begin Again， she stars as Greta， a heartbroken folk singer adrift in New York who helps a rumpled， down-on-hisluck record producer （Mark Ruffalo） up the road to redemption. The film is written and directed by John Carney and it plays like a moneyed， remastered version of his 2007 breakthrough Once. Begin Again lacks jeopardy； it lacks grit. For all their flirty 12）banter and 13）boisterous recording sessions， the characters in Once were barely 14）clinging on by their fingernails. Here， by contrast， they are largely 15）mooching and 16）wallowing， spinning mountains from molehills as the plot 17）shunts them between a series of 18）picturesque Manhattan backdrops. Perhaps we should recap the recent decades—for her own benefit as much as anyone’s. She was raised in suburban west London， the daughter of dramatists， and famously requested an agent before she turned four. In her teens she took a small role in The Phantom Menace， starred in Bend It Like Beckham and picked up an Oscar nomination for her performance as Elizabeth Bennet in Pride and Prejudice. She has acted alongside Johnny Depp in Pirates of the Caribbean，suffered soulfully through Atonement and 19）flogged haircare products and Chanel perfume. But her runaway acclaim made her tabloid 20）catnip as well. She was forced to deny rumours that she suffered from an eating disorder and found herself stalked like a frightened 21）gazelle whenever she set out on foot. “I like walking，” she says 22）ruefully. “I know that sounds like a stupid thing. But I do like walking， and for a long time I couldn’t.”
She probably remembers more than she cares to admit. Success， she allows， arrived a little too soon. “I’ve definitely done all my learning publicly. And I’ve had to develop a thick skin because of that. So yeah， there would have been a comfortable way of doing it where I went to drama school and made tons of mistakes. If you could choose how success happens， that’s what I would have chosen. But of course you can’t. And if a moment comes， you have to jump，because it probably won’t come around again. So I chose to jump， knowing it was going to be brutal because I knew that I hadn’t learned enough. I didn’t know what I was meant to be doing.”
The way Knightley tells it， her equivalent of drama school was the set of Hollywood blockbusters and high-end costume sagas. She was 23）feted and 24）fawned over； she treated an Olympic ski jump as her 25）nursery slope. Maybe this accounts for the 26）flickering hostility that she seems to inspire. Few rising actors divide an audience to the extent that Knightley does. Where fans applaud the open， unguarded quality of her screen performances， others see an unformed ingenue playing dress-up in the mirror.
“The criticism was tough，” she says. “At school I’d always been good at things. And drama was always something I’d been good at. I was picked for good parts in the school plays and you form a sense of yourself from that. And then all of a sudden people are saying： ‘No， you’re shit. You don’t know what you’re doing.’ It’s a strange27）jolt in how you see yourself and how you connect to the thing that you love.” In her mid-20s， around the time most actors are just getting started， she made a conscious decision to 28）edge back from the limelight； to take on smaller productions and find a place she felt comfortable. But she still seems unsure just how far she should go. Her heart tells her one thing and her head says another. “The majority of my work is still in the commercial field. It hasn’t gone hugely experimental， which I would really like to do.”
If there are other films she would like to be in， I don’t know what’s stopping her. Her presence alone may be enough to finance an ambitious， 29）leftfield little movie. Knightley pulls a face； the prospect seems to alarm her.“Yeah， it can do， but then your box office comes back into it，” she explains. “You’re only useful in financing those films if you’ve got a big success behind you， and they have a certain 30）shelf life. So your stake in financing those films goes down very quickly. That’s why you have to tread a careful line. That’s the game we’re all playing.”
I have the sense this is an issue that is probably best left to another day， another year. Who cares if Knightley does not quite know where she wants to go next？ She has， after all， some time on her side. She is just catching up with herself.
凯拉·奈特利的演艺生涯可谓忙碌不已，而又争议不断。她受到过赞美与奚落，经历过人生巅峰与低谷。在许多人眼中，她是英国同时代女星中的佼佼者，同时又被视为没有真材实料的“花架子”，走红全因运气眷顾。她的演艺轨迹就是被镜头完全展映出来的一段学徒生涯。她的戏路来回反复，从国产小清新电影到好莱坞巨作，再到古装大片，接着又重新回归，时至今日她已无从记起她参与过的作品和那些认识的人。
在过去的几年里，我们看到她在《危险方法》中饰演歇斯底里的精神病人，而在《安娜·卡列尼娜》里则是劫数难逃、悲情绝望的贵族。但是，在今天，她将自己的标志面目——修长的四肢和优美的下颌——带进城里，在一部音乐剧中表现更为阳光的一面。这部电影叫《重新开始》，这名字充满陈词老调的寓意，以致她对着海报点头不止，好像这对她人生有某种提示。她解释说自己到了一个人生交叉点，又或者这是人生一个篇章的结点。她感觉到自己重复旧路，千篇一律，陷在那些神经兮兮的角色里，因此渴望有所突破。奈特利转动着眼珠，最后绽放笑容：“就像一个开始，”她高声大笑道，“重新出发了。”
事实上，我对她不再规限于某类角色的举动大加赞同。我真心祝愿她出演的角色更加犀利。在《重新开始》一片里，她饰演一名叫格里塔的乡村歌手，怀着伤痛的过去，在纽约漂泊，帮助一位颓废落魄的音乐制作人（由马克·鲁法洛饰演）从谷底反弹，走向辉煌。这部电影从编剧到导演都是约翰·卡尼操刀完成，就像是他2007年的一鸣惊人之作《曾经》的翻版，只不过投资更大。《重新开始》没有危难关头，没有煎熬隐忍。在《曾经》里，尽管有轻浮的挑逗情节和吵闹的录音片段，但是主角们为生计糊口疲于奔命。相比之下，在《重新开始》里，故事情节发生在一系列独特的曼哈顿城市景致间，他们大多在群山与小丘之间闲散地漫步、徘徊、打转。
或许我们应该来重温一下过去这二三十年的一些事情吧——为了她也为了大家。她在西伦敦的郊区长大，双亲是剧作家，她四岁前就成名，有经纪人管理。青少年时期，她就在《星球大战前传1：魅影危机》里小露脸，然后在《我爱贝克汉姆》里担任主演，接着凭借《傲慢与偏见》的伊丽莎白·贝纳特一角而获得奥斯卡提名。她与约翰尼·德普搭档出演《加勒比海盗》，在《赎罪》里经受心灵煎熬，还成为了洗发产品以及香奈儿香水的代言人。但她在红毯上的成就也让她成为八卦杂志追逐的对象。她不得不否认关于她得了厌食症的流言，每当她步行外出，就发现自己像受惊的羚羊一样被跟踪追逐。“我爱步行，”她哀叹道，“我知道这听起来不理智，但是我真的很爱步行，但有很长一段时间，我不能这样做。” 她记得的事情可能比她愿意承认的要多。她承认，自己的成功来得有点太早。“我无疑是在公众眼皮底下修完自己所有的表演课的。而我也要为此脸皮变厚起来。没错，我本可以通过舒服的方式来学习——我可以到戏剧学院求学，然后犯无数错误。如果你能够选择成功到来的方式，那样应该会是我的选择。但是当然，你无法选择。如果机会来了，你就必须把握住，因为它很有可能不会再度降临。所以我抓住了机会，也深知这会很残酷，因为我知道自己学到的还不够多。我当时根本不知道自己是要做什么的。”
而奈特利眼中的“戏剧学校”，也就是一系列好莱坞大片以及高端大气的古装剧片场。她享受礼遇，接受奉承，她成名的起点非常高——好像奥运会高台滑雪的最高点一样。或许这样可以解释她似乎总惹来的丝丝敌意。很少新星能像奈特利那样让观众的反响如此泾渭分明：“粉丝”对她的银幕表现毫无保留地大加赞赏，而其他人把她视为青涩少女，不过在镜中搔首弄姿罢了。
“批评很伤人，”她说道，“在学校的时候我是优等生，而戏剧一直是我的强项。我在学校的戏剧表演中担任重要角色，从中找到自我存在感。然后，忽然之间，大家说：‘不，你很烂。你根本不知道自己在做什么。’这对你如何看待自己以及如何看待自己喜爱的东西是一种奇怪的颠覆。”
在她人生二十五岁左右的那段日子里，大多数演员才刚刚开始自己的演艺生涯，她就有意识地慢慢远离镁光灯，选择小成本制作，找能自适之处安身。但是她似乎仍然不肯定自己该走多远。理智与情感之间发生博弈。“我大部分的工作还是在商业电影领域，还没有往试验性很强的领域尝试，尽管我真的很想这样做。”
如果有其他电影能让她感兴趣，她要参与其中完全不是问题。她一人参演就足以让那些意欲成名的小众电影得到投资。奈特利做了个鬼脸，这样的前景似乎让她有所警惕。“是的，这样能成，但是到时你又会考虑到票房的问题，”她解释道，“你要有票房大热的往绩才能为那些小制作电影赢来投资，但长盛不衰是不可能的。所以你作为那些电影吸金保证的地位会急速下滑。这就是为什么你不得不小心谨慎地选片。这是我们行业的规则。”
我感觉这个话题可能最好还是留到某年某日再讨论比较好。谁在乎奈特利是否不肯定自己的下一步怎么走？毕竟，她还年轻。她只是和自己赛跑而已。
但是，接下来的十年，她开始面对陌生的东西——批评。在《赎罪》里，演技高手暗暗较劲，除了她，所有人都给予了自己人生中惊艳的表演，就连仅仅出场十几分钟的瓦妮莎·雷德格瑞夫都轻易盖过了奈特利的风头；《危险方法》，两大男主角强悍，“不疯魔不为人”的演绎让奈特利的嘶吼显得那么苍白与虚假，影评人甚至刻毒地说：“奈特利的做作让观众希望她赶紧离开画面。”《安娜·卡列尼娜》里，奈特利意欲通过熟悉的古装题材提醒人们她当年名扬奥斯卡的风采，但是让大家陶醉的不过是华丽的服饰和恢弘的历史背景，仅此而已。
奈特利怎么了？她的演技一再受到质疑，人们好像从“奈特利效应”中恍然醒悟：原来奈特利根本不会演戏，她只是比较走运而已。用中国人最朴素的哲学来解释就是：运气皆有定，是会用完的。曾经的啧啧称奇，不过是一片浮云罢了。成名太早，或者说在肩膀没有成熟到足以撑起巨大的名利时，这些所谓的赞美只不过是色彩斑斓的致幻剂。
What a 1）hectic and 2）heady career Knightley has had. She has been praised and razed， built up and torn down； variously hailed as the most vibrant British actor of her generation and dismissed as an 3）am-dram fake who got lucky. Hers is an apprenticeship that was played out on camera. It has bounced her from homegrown heartwarmers to Hollywood blockbusters to 4）costume dramas and back again， to the point where she can’t quite recall the work she has done or the people she knows.
In the past few years we have seen her as a hysterical psychiatric patient in A Dangerous Method and a doomed， tragic aristocrat in Anna Karenina. Today， however， Knightley has brought her long limbs and regal jawline into town to discuss a sunnier guise in a musical of sorts. The film is called Begin Again and that title is so 5）freighted with 6）corny significance that she keeps nodding at the poster， as though it is there as her 7）prompt. She explains that she had arrived at a crossroads， or maybe the end of act one. She was feeling 8）stuck in a rut， mired in neurotic roles， and longed to break herself free. Knightley rolls her eyes and dissolves with 9）mirth. “It’s like beginning，” she 10）hoots. “But it’s beginning again.”
Actually， I’m all for Knightley expanding her 11）repertoire； I just wish she had found herself a sharper playlist. In Begin Again， she stars as Greta， a heartbroken folk singer adrift in New York who helps a rumpled， down-on-hisluck record producer （Mark Ruffalo） up the road to redemption. The film is written and directed by John Carney and it plays like a moneyed， remastered version of his 2007 breakthrough Once. Begin Again lacks jeopardy； it lacks grit. For all their flirty 12）banter and 13）boisterous recording sessions， the characters in Once were barely 14）clinging on by their fingernails. Here， by contrast， they are largely 15）mooching and 16）wallowing， spinning mountains from molehills as the plot 17）shunts them between a series of 18）picturesque Manhattan backdrops. Perhaps we should recap the recent decades—for her own benefit as much as anyone’s. She was raised in suburban west London， the daughter of dramatists， and famously requested an agent before she turned four. In her teens she took a small role in The Phantom Menace， starred in Bend It Like Beckham and picked up an Oscar nomination for her performance as Elizabeth Bennet in Pride and Prejudice. She has acted alongside Johnny Depp in Pirates of the Caribbean，suffered soulfully through Atonement and 19）flogged haircare products and Chanel perfume. But her runaway acclaim made her tabloid 20）catnip as well. She was forced to deny rumours that she suffered from an eating disorder and found herself stalked like a frightened 21）gazelle whenever she set out on foot. “I like walking，” she says 22）ruefully. “I know that sounds like a stupid thing. But I do like walking， and for a long time I couldn’t.”
She probably remembers more than she cares to admit. Success， she allows， arrived a little too soon. “I’ve definitely done all my learning publicly. And I’ve had to develop a thick skin because of that. So yeah， there would have been a comfortable way of doing it where I went to drama school and made tons of mistakes. If you could choose how success happens， that’s what I would have chosen. But of course you can’t. And if a moment comes， you have to jump，because it probably won’t come around again. So I chose to jump， knowing it was going to be brutal because I knew that I hadn’t learned enough. I didn’t know what I was meant to be doing.”
The way Knightley tells it， her equivalent of drama school was the set of Hollywood blockbusters and high-end costume sagas. She was 23）feted and 24）fawned over； she treated an Olympic ski jump as her 25）nursery slope. Maybe this accounts for the 26）flickering hostility that she seems to inspire. Few rising actors divide an audience to the extent that Knightley does. Where fans applaud the open， unguarded quality of her screen performances， others see an unformed ingenue playing dress-up in the mirror.
“The criticism was tough，” she says. “At school I’d always been good at things. And drama was always something I’d been good at. I was picked for good parts in the school plays and you form a sense of yourself from that. And then all of a sudden people are saying： ‘No， you’re shit. You don’t know what you’re doing.’ It’s a strange27）jolt in how you see yourself and how you connect to the thing that you love.” In her mid-20s， around the time most actors are just getting started， she made a conscious decision to 28）edge back from the limelight； to take on smaller productions and find a place she felt comfortable. But she still seems unsure just how far she should go. Her heart tells her one thing and her head says another. “The majority of my work is still in the commercial field. It hasn’t gone hugely experimental， which I would really like to do.”
If there are other films she would like to be in， I don’t know what’s stopping her. Her presence alone may be enough to finance an ambitious， 29）leftfield little movie. Knightley pulls a face； the prospect seems to alarm her.“Yeah， it can do， but then your box office comes back into it，” she explains. “You’re only useful in financing those films if you’ve got a big success behind you， and they have a certain 30）shelf life. So your stake in financing those films goes down very quickly. That’s why you have to tread a careful line. That’s the game we’re all playing.”
I have the sense this is an issue that is probably best left to another day， another year. Who cares if Knightley does not quite know where she wants to go next？ She has， after all， some time on her side. She is just catching up with herself.
凯拉·奈特利的演艺生涯可谓忙碌不已，而又争议不断。她受到过赞美与奚落，经历过人生巅峰与低谷。在许多人眼中，她是英国同时代女星中的佼佼者，同时又被视为没有真材实料的“花架子”，走红全因运气眷顾。她的演艺轨迹就是被镜头完全展映出来的一段学徒生涯。她的戏路来回反复，从国产小清新电影到好莱坞巨作，再到古装大片，接着又重新回归，时至今日她已无从记起她参与过的作品和那些认识的人。
在过去的几年里，我们看到她在《危险方法》中饰演歇斯底里的精神病人，而在《安娜·卡列尼娜》里则是劫数难逃、悲情绝望的贵族。但是，在今天，她将自己的标志面目——修长的四肢和优美的下颌——带进城里，在一部音乐剧中表现更为阳光的一面。这部电影叫《重新开始》，这名字充满陈词老调的寓意，以致她对着海报点头不止，好像这对她人生有某种提示。她解释说自己到了一个人生交叉点，又或者这是人生一个篇章的结点。她感觉到自己重复旧路，千篇一律，陷在那些神经兮兮的角色里，因此渴望有所突破。奈特利转动着眼珠，最后绽放笑容：“就像一个开始，”她高声大笑道，“重新出发了。”
事实上，我对她不再规限于某类角色的举动大加赞同。我真心祝愿她出演的角色更加犀利。在《重新开始》一片里，她饰演一名叫格里塔的乡村歌手，怀着伤痛的过去，在纽约漂泊，帮助一位颓废落魄的音乐制作人（由马克·鲁法洛饰演）从谷底反弹，走向辉煌。这部电影从编剧到导演都是约翰·卡尼操刀完成，就像是他2007年的一鸣惊人之作《曾经》的翻版，只不过投资更大。《重新开始》没有危难关头，没有煎熬隐忍。在《曾经》里，尽管有轻浮的挑逗情节和吵闹的录音片段，但是主角们为生计糊口疲于奔命。相比之下，在《重新开始》里，故事情节发生在一系列独特的曼哈顿城市景致间，他们大多在群山与小丘之间闲散地漫步、徘徊、打转。
或许我们应该来重温一下过去这二三十年的一些事情吧——为了她也为了大家。她在西伦敦的郊区长大，双亲是剧作家，她四岁前就成名，有经纪人管理。青少年时期，她就在《星球大战前传1：魅影危机》里小露脸，然后在《我爱贝克汉姆》里担任主演，接着凭借《傲慢与偏见》的伊丽莎白·贝纳特一角而获得奥斯卡提名。她与约翰尼·德普搭档出演《加勒比海盗》，在《赎罪》里经受心灵煎熬，还成为了洗发产品以及香奈儿香水的代言人。但她在红毯上的成就也让她成为八卦杂志追逐的对象。她不得不否认关于她得了厌食症的流言，每当她步行外出，就发现自己像受惊的羚羊一样被跟踪追逐。“我爱步行，”她哀叹道，“我知道这听起来不理智，但是我真的很爱步行，但有很长一段时间，我不能这样做。” 她记得的事情可能比她愿意承认的要多。她承认，自己的成功来得有点太早。“我无疑是在公众眼皮底下修完自己所有的表演课的。而我也要为此脸皮变厚起来。没错，我本可以通过舒服的方式来学习——我可以到戏剧学院求学，然后犯无数错误。如果你能够选择成功到来的方式，那样应该会是我的选择。但是当然，你无法选择。如果机会来了，你就必须把握住，因为它很有可能不会再度降临。所以我抓住了机会，也深知这会很残酷，因为我知道自己学到的还不够多。我当时根本不知道自己是要做什么的。”
而奈特利眼中的“戏剧学校”，也就是一系列好莱坞大片以及高端大气的古装剧片场。她享受礼遇，接受奉承，她成名的起点非常高——好像奥运会高台滑雪的最高点一样。或许这样可以解释她似乎总惹来的丝丝敌意。很少新星能像奈特利那样让观众的反响如此泾渭分明：“粉丝”对她的银幕表现毫无保留地大加赞赏，而其他人把她视为青涩少女，不过在镜中搔首弄姿罢了。
“批评很伤人，”她说道，“在学校的时候我是优等生，而戏剧一直是我的强项。我在学校的戏剧表演中担任重要角色，从中找到自我存在感。然后，忽然之间，大家说：‘不，你很烂。你根本不知道自己在做什么。’这对你如何看待自己以及如何看待自己喜爱的东西是一种奇怪的颠覆。”
在她人生二十五岁左右的那段日子里，大多数演员才刚刚开始自己的演艺生涯，她就有意识地慢慢远离镁光灯，选择小成本制作，找能自适之处安身。但是她似乎仍然不肯定自己该走多远。理智与情感之间发生博弈。“我大部分的工作还是在商业电影领域，还没有往试验性很强的领域尝试，尽管我真的很想这样做。”
如果有其他电影能让她感兴趣，她要参与其中完全不是问题。她一人参演就足以让那些意欲成名的小众电影得到投资。奈特利做了个鬼脸，这样的前景似乎让她有所警惕。“是的，这样能成，但是到时你又会考虑到票房的问题，”她解释道，“你要有票房大热的往绩才能为那些小制作电影赢来投资，但长盛不衰是不可能的。所以你作为那些电影吸金保证的地位会急速下滑。这就是为什么你不得不小心谨慎地选片。这是我们行业的规则。”
我感觉这个话题可能最好还是留到某年某日再讨论比较好。谁在乎奈特利是否不肯定自己的下一步怎么走？毕竟，她还年轻。她只是和自己赛跑而已。