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The past cannot be changed. The future is yet in your power. 过去无法改变，未来却由你掌控。
I never change, I simply become more myself. 我并没有变，只是越来越接近真实的自己。
电影海报
让人联想到荷兰后印象派画家梵高的《星夜》(Starry Night)
如果没有被一系列的宫廷穿越剧所累，“穿越”本是个很美妙的词汇。幸好，伍迪?艾伦带着电影《午夜巴黎》(Midnight in Paris) 出现了。
钟情这部影片，并不是否认“活在当下”最重要。身兼编剧和导演，伍迪?艾伦把自己的文化世界掰开了，揉碎了，在文艺之都巴黎拍成电影，用影像艺术呈现给我们来看。
如果要归类，就是文艺片吧。
故事主线并不复杂：好莱坞剧作家Gil Pender与未婚妻Inez来到巴黎度假。Gil一直苦于找不到可以信任的人修改自己的第一本小说，而且还很无奈地得不到Inez及未来岳父母的支持，更让Gil无法忍受的是Inez夸夸其谈的伪知识分子朋友。某晚从聚会逃出的Gil只身游荡在午夜的巴黎，莫名其妙就加入了一群20年代穿着打扮年轻人的聚会，发现自己竟置身于音乐家科尔?波特（Cole Porter）、作家斯科特?菲茨杰拉德夫妇（Zelda and Scott Fitzgerald）、海明威（Hemingway）、格特鲁德?斯泰因（Gertrude Stein）及毕加索（Picasso）等艺术家的文化圈子。这意外的穿越彻底改变了Gil对巴黎的认识，也让他结识了毕加索美丽的巴黎情人Adriana（影片中为数不多的虚构人物）。
整部电影的色调几乎都是蜂蜜色的，甜蜜透明。尤其是前三分多钟，没有人物，没有对白，巴黎的白天，夜晚，晴天，雨天，一帧帧画面，伴随着曲调悠扬的香颂，缓缓铺展。每一帧，都像是伍迪?艾伦寄来的一封明信片。心旷神怡啊，你仿佛能闻到塞纳河左岸“花神”咖啡馆里咖啡的醇香，听到古董店里老物件伴随着雨滴声的绵绵絮语……
伍迪?艾伦仿佛也不愿意打破这意境，先是传飘出Gil和Inez的对白声音帮助荧幕前的观众过渡。Gil无限憧憬二十年代的巴黎，想象中更是把这座城市设定在微风细雨中，而Inez则甚至不能想象在美国之外的地方生活，一开始影片好像就暗示了这段插科打诨的爱情故事的结局。
这段对白，发生在莫奈创作《睡莲》的池塘边。如果说景色、建筑物可以复制照搬，那从此刻开始，伍迪?艾伦就是要着力展示文艺之都的非浪得虚名了。
那如何展示？他70年代时写的一篇小短文Twenties Memory（二十年代回忆录），应该可以算得上是电影剧本的前身吧。如果你对这样的情节感兴趣，又对巴黎有向往，或是想知道美国文艺大家们都有着怎样的性格，又或是想列个暑期阅读书单什么的，我想，这部电影就是个很好的起点。
伍迪?艾伦凭此片获得第84届奥斯卡金像奖最佳原创剧本奖和第69届金球奖最佳编剧奖。
Twenties Memory
二十年代回忆录
伍迪?艾伦 著〓孙仲旭 译
I FIRST came to Chicago in the twenties, and that was to see a fight. Ernest Hemingway was with me and we both stayed at Jack Dempseys training camp. Hemingway had just finished two short stories about prize fighting, and while Gertrude Stein and I both thought they were decent, we agreed they still needed much work. I kidded Hemingway about his forthcoming novel and we laughed a lot and had fun and then we put on some boxing gloves and he broke my nose.
我第一次到芝加哥是在20年代，为了看一场比赛，我跟欧内斯特?海明威在一起，我们都在杰克?邓普西的训练营住。海明威刚写完有关职业拳击赛的两个短篇，我和格特鲁德?斯泰因都觉得不错，不过认为还需要再打磨一下。关于他即将完成的长篇小说，我经常跟海明威开玩笑，然后我们戴上拳击手套，他打破了我的鼻子。
That winter, Alice Toklas, Picasso, and myself took a villa in the south of France. I was then working on what I felt was a major American novel but the print was too small and I couldnt get through it.
那年冬天，艾丽丝?托卡拉斯、毕加索还有我在法国南部租了幢别墅，我当时在写一本小说，我感觉是美国小说中的巨著，然而字体太小，我没能完成。
In the afternoons, Gertrude Stein and I used to go antique hunting in the local shops, and I remember once asking her if she thought I should become a writer. In the typically cryptic way we were all so enchanted with, she said, “No.” I took that to mean yes and sailed for Italy the next day. Italy reminded me a great deal of Chicago, particularly Venice, because both cities have canals and the streets abound with statues and cathedrals by the greatest sculptors of the Renaissance. 下午时，我和格特鲁德?斯泰因经常去本地铺子里淘古董。记得有次我问她，我是不是该去当个作家。她以令我们都着迷的不置可否的特有方式说：“不。”我把那当作意思是“对”，第二天就坐船去了意大利。意大利让我时时想起芝加哥，特别是威尼斯那儿，因为两个城市都有运河，街上都到处是文艺复兴时期最伟大的雕塑家创作或者设计的雕像和大教堂。
That month we went to Picassos studio in Arles, which was then called Rouen or Zurich, until the French renamed it in 1589 under Louis the Vague. (Louis was a sixteenthcentury bastard king who was just mean to everybody.) Picasso was then beginning on what was later to be known as his “blue period,” but Gertrude Stein and I had coffee with him, and so he began it ten minutes later. It lasted four years, so the ten minutes did not really mean much.
那个月，我们去了毕加索在阿尔的画室，那里以前叫鲁昂或苏黎世，直到法国人在1589年将它重新命名，当时由“含糊人”路易统治（路易是个16世纪的混蛋国王，对谁都刻薄）。毕加索当时正开始后来人们所称的“蓝色时期”，不过我和格特鲁德?斯泰因跟他喝过咖啡，10分钟后他就开始了这一时期，持续了4年，所以那10分钟咖啡时间并非真的意义重大。
The first step towards getting somewhere is to decide that you are not going to stay where you are. 要想到达某个目标，第一步就是离开你原来所在的地方。
Your new life starts today. Dont waste it by trying to get back what was taken away. 你的生活从今天开始，不要浪费时间，试图回到回不去的曾经。
Picasso was a short man who had a funny way of walking by putting one foot in front of the other until he would take what he called “steps.” We laughed at his delightful notions, but toward the late 1930s, with fascism on the rise, there was very little to laugh about. Both Gertrude Stein and I examined Picassos newest works very carefully, and Gertrude Stein was of the opinion that “art, all art, is merely an expression of something.” Picasso disagreed and said, “Leave me alone. I was eating.” My own feelings were that Picasso was right. He had been eating.
毕加索是个矮个子，他走路的样子滑稽：他把一只脚挪到另一只脚前面，直到他可以走他所谓的“步子”。他那些叫人开心的想法把我们逗得哈哈大笑，可是到了30年代后期，正当法西斯主义尘嚣日上时，很少有什么事可以让人大笑。我和格特鲁德?斯泰因很细致地研究毕加索的最新作品，格特鲁德?斯泰因的看法是：“艺术，所有艺术都是对某种事物的表达。”毕加索不同意，并说：“别烦我，我在吃东西。”我个人感觉毕加索说得没错，他的确吃了有一阵子了。
Picassos studio was so unlike Matisses, in that, while Picassos was sloppy, Matisse kept everything in perfect order. Oddly enough, just the reverse was true. In September of that year, Matisse was commissioned to paint an allegory, but with his wifes illness, it remained unpainted and was finally wallpapered instead. I recall these events so perfectly because it was just before the winter that we all lived in that cheap flat in the north of Switzerland where it will occasionally rain and then just as suddenly stop. Juan Gris, the Spanish cubist, had convinced Alice Toklas to pose for a still life and, with his typical abstract conception of objects, began to break her face and body down to its basic geometrical forms until the police came and pulled him off. Gris was provincially Spanish, and Gertrude Stein used to say that only a true Spaniard could behave as he did; that is, he would speak Spanish and sometimes return to his family in Spain. It was really quite marvelous to see. 毕加索的画室跟马蒂斯的很不一样，体现在毕加索的画室邋遢，马蒂斯则把一切都放得绝对井井有条。很奇怪的是，得反过来说才是实情。那年9月，有人出钱请马蒂斯画寓意画，但因为他妻子生病，一直没有画，最后用墙纸贴上充数。这些事我记得清清楚楚，因为都发生在我们全住在瑞士北部那套廉价公寓的那年冬天之前。那里偶尔下雨，来得急，去得快。西班牙立体派胡安?格里斯说服艾丽丝?托卡拉斯为他画静物当模特儿。他以自己对物体典型的抽象概念，开始把她的脸和身体破坏成基本的几何形状，直到警察来把他带走。格里斯不是西班牙首都的人，格特鲁德?斯泰因常说只有一个真正的西班牙人，才会像他那样行事：即说西班牙语，并不时回到西班牙的家里。真的很让人开眼。
I remember one afternoon we were sitting at a gay bar in the south of France with our feet comfortably up on stools in the north of France, when Gertrude Stein said, “Im nauseous.” Picasso thought this to be very funny and Matisse and I took it as a cue to leave for Africa. Seven weeks later, in Kenya, we came upon Hemingway. Bronzed and bearded now, he was already beginning to develop that familiar flat prose style about the eyes and mouth. Here, in the unexplored dark continent, Hemingway had braved chapped lips a thousand times.
我记得一天下午，我们正坐在法国南部一间同性恋酒吧里，把脚舒舒服服地放在法国北部风格的凳子上。当时格特鲁德说：“我想吐。”毕加索觉得那样说很有趣，我和马蒂斯把这句话看作该出发去非洲的暗示。7个星期后，在肯尼亚，我们遇到了海明威，他给晒成了古铜色，还蓄了胡须，他已经开始形成描写眼睛和嘴唇的那种平实文风。在那里，在未经探索的黑大陆，海明威勇敢地面对无数次嘴唇开裂。
“Whats doing, Ernest?” I asked him. He waxed eloquent on death and adventure as only he could, and when I awoke he had pitched camp and sat around a great fire fixing us all fine derma appetizers. I kidded him about his new beard and we laughed and sipped cognac and then we put on some boxing gloves and he broke my nose.
“怎么样，欧内斯特？”我问他。他滔滔不绝地大谈死亡及冒险，也只有他才有资格谈。我醒来时，他已搭起帐篷，正坐在一个大火堆旁给我们准备很好吃的烤香肠开胃小食。对他刚蓄起来的胡须，我开他的玩笑，我们大笑，还喝白兰地，然后我们戴上拳击手套，他又打伤了我的鼻子。
That year I went to Paris a second time to talk with a thin, nervous European composer with aquiline profile and remarkably quick eyes who would someday be Igor Stravinsky and then, later, his best friend. I stayed at the home of Man and Sting Ray and Salvador Dali joined us for dinner several times and Dali decided to have a oneman show which he did and it was a huge success, as one man showed up and it was a gay and fine French winter.
那一年，我第二次去了巴黎，去跟一个瘦削而且神经质的欧洲作曲家谈事情，他的脸侧面像鹰，眼神锐利无比，他后来成了伊戈尔?斯特拉文斯基，我后来成了此人最好的朋友。我待在曼和斯汀?雷的家里，萨尔瓦多?达利来吃过几次饭。达利当时决定举办一次个人画展，他真的举办了，并取得了极大成功，因为只有一个人来看。那是在法国度过的一个愉快而美好的冬天。
I remember one night Scott Fitzgerald and his wife returned home from their New Years Eve party. It was April. They had consumed nothing but champagne for the past three months, and one previous week, in full evening dress, had driven their limousine off a ninetyfoot cliff into the ocean on a dare. There was something real about the Fitzgeralds; their values were basic. They were such modest people, and when Grant Wood later convinced them to pose for his “American Gothic” I remember how flattered they were. All through their sittings, Zelda told me, Scott kept dropping the pitchfork. 我记得有天晚上，斯科特?菲茨杰拉德和他妻子参加完新年晚会回到家里，那是在4月。过去3个月里，除了香槟酒，他们不吃不喝。之前那个星期，他们身穿整整齐齐的晚礼服，在一次挑战中，把他们的高级轿车开下90英尺高的悬崖，掉进了大海。关于菲茨杰拉德夫妇，有一件事是真的：他们的价值观属于人所共有的那种。他们都是很谦虚的人，格兰特?伍德后来说服他们为他的《美国式哥特风格》当模特时，我记得他们有多么受宠若惊。赛尔妲告诉我他们坐着不动被画时，斯科特老是把干草叉弄掉。
I became increasingly friendly with Scott in the next few years, and most of our friends believed that he based the protagonist of his latest novel on me and that I had based my life on his previous novel and I finally wound up getting sued by a fictional character.
后来几年内，我跟斯科特越来越熟，我们的多数朋友都相信他的最新小说中的人物是以我为原型，我则按照他的上一部小说生活，到头来，我被一个虚构人物起诉。
Scott was having a big discipline problem and, while we all adored Zelda, we agreed that she had an adverse affect on his work, reducing his output from one novel a year to an occasional seafood recipe and a series of commas.
斯科特当时在自律方面严重不足，尽管我们都喜欢赛尔妲，但我们一致的看法，是她对斯科特的工作有负面影响，把他的产量从每年一部长篇小说降低到偶尔写写海鲜菜谱和一系列逗号。
Finally, in 1929, we all went to Spain together, where Hemingway introduced us to Manolete who was sensitive almost to the point of being effeminate. He wore tight toreador pants or sometimes pedal pushers. Manolete was a great, great artist. Had he not become a bullfighter, his grace was such that he could have been a worldfamous accountant.
最后，在1929年，我们一起去了西班牙。在那里，海明威把我们介绍给马诺莱特，此人敏感到身上几乎有脂粉气。他穿紧身斗牛裤，有时候是自行车紧身裤。马诺莱特是个伟大而又伟大的艺术家，要不是当了斗牛士，他风度优雅得本来可以当一位举世闻名的会计师。
We had great fun in Spain that year and we travelled and wrote and Hemingway took me tuna fishing and I caught four cans and we laughed and Alice Toklas asked me if I was in love with Gertrude Stein because I had dedicated a book of poems to her even though they were T. S. Eliots and I said, yes, I loved her, but it could never work because she was far too intelligent for me and Alice Toklas agreed and then we put on some boxing gloves and Gertrude Stein broke my nose.
Dont let your dreams just be dreams. 别让你的梦想仅仅只是梦想。
In the end, you''''ll realize that everything you worry is just a waste of time and energy. 到最后你会发现，所有担心的事情根本就是浪费时间和精力。
我们那年在西班牙玩得开心无比。我们旅行、写作；海明威带我去钓金枪鱼，我钓到了4罐；我们欢笑；艾丽丝?托卡拉斯问我是不是爱上了格特鲁德?斯泰因，因为我把一本诗集献给了她，尽管那是T.S.艾略特写的诗。我说没错，我爱她，不过永远不可能有结果，因为她对我来说太聪明了，艾丽丝?托卡拉斯表示同意，我们就戴上拳击手套，格特鲁德?斯泰因打破了我的鼻子。
↑静静的塞纳河，及最著名的地标艾菲尔铁塔
↑地道的法国式歌舞厅“红磨坊”(Moulin Rouge)，电影《红磨坊》就在这里实地取景
↑卢浮宫及美籍华人建筑师贝聿铭设计的卢浮宫入口“玻璃金字塔”
↑莫奈画作《睡莲》的取景池塘
伍迪?艾伦在短文中“拽”的文艺大家的形象在影片中都被高度还原，整部剧中处处是亮点，处处有惊喜。（以上、以下图片分别来自影片截图及互联网）
科尔?波特（Cole Porter），美国人，天才的百老汇音乐家，一战期间移居巴黎。电影中科尔?波特弹唱的曲子《Lets Do It》出自他为1928年的音乐剧《巴黎》所作配乐。 Birds do it, bees do it
Even educated fleas do it
Lets do it, lets fall in love
成名于20年代，大红于30年代的科尔?波特，与其他百老汇创作家的最大不同在于：他的作品都是自己包揽词与曲。有一部根据波特的人生历程改编的影片——《小可爱》（DeLovely），有兴趣的可以找来看看。
科尔?波特
6岁的科尔就在母亲的辅助下开始了音乐学习。10岁时完成了处女作“Song of the Birds”，后又发表了多部音乐作品。童少年时代科尔所展示出的音乐天赋已让人不容小视。
Life is like a mirror, we get the best results when we smile at it. 生活像一面镜子，当我们朝它微笑的时候，得到的回应是最美好的。
Dont blame your past for what you dont have. Blame your present. Ask yourself this: “What can you do now to get what you want now?” 别为了你无法拥有的东西而责怪你的过去，要怪就怪你的现在。问问自己：“为了你现在想得到的，你做了些什么？”
斯科特?菲茨杰拉德（Scott Fitzgerald），美国20年代著名作家，最著名的小说为《了不起的盖茨比》（The Great Gatsby，或译作《大亨小传》）。此书堪称美国社会缩影的经典代表，描述上世纪二十年代美国人在歌舞升平中空虚、享乐、矛盾的精神与思想。
赛尔妲?菲茨杰拉德（Zelda Fitzgerald）是斯科特?菲茨杰拉德的妻子，富家女，有天赋的芭蕾舞者和作家，因生活浮华和情绪多变而著称，当时评论多指责其消费铺张而导致丈夫不得不靠撰写蹩脚的三流小说以谋生。但有女权主义者认为菲茨杰拉德毁掉了一位才华远胜过他本人的女子，因为他的作品中曾多次借用妻子的书信和日记段落。赛尔妲40年代起被诊断为精神失常，后在精神病院的火灾中丧生，与丈夫合葬。
约瑟芬?贝克（Josephine Baker），生于美国、移居法国的黑人歌手、演员和舞蹈家，被称为“黑人维纳斯”或“黑珍珠”。 影片中，约瑟芬是以舞者身份出场，一支舞让男主人公Gil的眼睛都直了（笔者也是一样）。
欧内斯特?海明威（Ernest Hemingway），14岁开始学习拳击，参与过两次世界大战，20年代曾在巴黎短暂居住，与菲茨杰拉德是很好的朋友。后来两人大概因文人相轻而开始互相看不顺眼。赛尔妲则从一开始就不喜欢海明威，说他表里不一，缺乏男子气概，甚至无端断定他是同性恋。海明威则评论说：菲茨杰拉德被女人毁掉了。
I never change, I simply become more myself. 我并没有变，只是越来越接近真实的自己。
电影海报
让人联想到荷兰后印象派画家梵高的《星夜》(Starry Night)
如果没有被一系列的宫廷穿越剧所累，“穿越”本是个很美妙的词汇。幸好，伍迪?艾伦带着电影《午夜巴黎》(Midnight in Paris) 出现了。
钟情这部影片，并不是否认“活在当下”最重要。身兼编剧和导演，伍迪?艾伦把自己的文化世界掰开了，揉碎了，在文艺之都巴黎拍成电影，用影像艺术呈现给我们来看。
如果要归类，就是文艺片吧。
故事主线并不复杂：好莱坞剧作家Gil Pender与未婚妻Inez来到巴黎度假。Gil一直苦于找不到可以信任的人修改自己的第一本小说，而且还很无奈地得不到Inez及未来岳父母的支持，更让Gil无法忍受的是Inez夸夸其谈的伪知识分子朋友。某晚从聚会逃出的Gil只身游荡在午夜的巴黎，莫名其妙就加入了一群20年代穿着打扮年轻人的聚会，发现自己竟置身于音乐家科尔?波特（Cole Porter）、作家斯科特?菲茨杰拉德夫妇（Zelda and Scott Fitzgerald）、海明威（Hemingway）、格特鲁德?斯泰因（Gertrude Stein）及毕加索（Picasso）等艺术家的文化圈子。这意外的穿越彻底改变了Gil对巴黎的认识，也让他结识了毕加索美丽的巴黎情人Adriana（影片中为数不多的虚构人物）。
整部电影的色调几乎都是蜂蜜色的，甜蜜透明。尤其是前三分多钟，没有人物，没有对白，巴黎的白天，夜晚，晴天，雨天，一帧帧画面，伴随着曲调悠扬的香颂，缓缓铺展。每一帧，都像是伍迪?艾伦寄来的一封明信片。心旷神怡啊，你仿佛能闻到塞纳河左岸“花神”咖啡馆里咖啡的醇香，听到古董店里老物件伴随着雨滴声的绵绵絮语……
伍迪?艾伦仿佛也不愿意打破这意境，先是传飘出Gil和Inez的对白声音帮助荧幕前的观众过渡。Gil无限憧憬二十年代的巴黎，想象中更是把这座城市设定在微风细雨中，而Inez则甚至不能想象在美国之外的地方生活，一开始影片好像就暗示了这段插科打诨的爱情故事的结局。
这段对白，发生在莫奈创作《睡莲》的池塘边。如果说景色、建筑物可以复制照搬，那从此刻开始，伍迪?艾伦就是要着力展示文艺之都的非浪得虚名了。
那如何展示？他70年代时写的一篇小短文Twenties Memory（二十年代回忆录），应该可以算得上是电影剧本的前身吧。如果你对这样的情节感兴趣，又对巴黎有向往，或是想知道美国文艺大家们都有着怎样的性格，又或是想列个暑期阅读书单什么的，我想，这部电影就是个很好的起点。
伍迪?艾伦凭此片获得第84届奥斯卡金像奖最佳原创剧本奖和第69届金球奖最佳编剧奖。
Twenties Memory
二十年代回忆录
伍迪?艾伦 著〓孙仲旭 译
I FIRST came to Chicago in the twenties, and that was to see a fight. Ernest Hemingway was with me and we both stayed at Jack Dempseys training camp. Hemingway had just finished two short stories about prize fighting, and while Gertrude Stein and I both thought they were decent, we agreed they still needed much work. I kidded Hemingway about his forthcoming novel and we laughed a lot and had fun and then we put on some boxing gloves and he broke my nose.
我第一次到芝加哥是在20年代，为了看一场比赛，我跟欧内斯特?海明威在一起，我们都在杰克?邓普西的训练营住。海明威刚写完有关职业拳击赛的两个短篇，我和格特鲁德?斯泰因都觉得不错，不过认为还需要再打磨一下。关于他即将完成的长篇小说，我经常跟海明威开玩笑，然后我们戴上拳击手套，他打破了我的鼻子。
That winter, Alice Toklas, Picasso, and myself took a villa in the south of France. I was then working on what I felt was a major American novel but the print was too small and I couldnt get through it.
那年冬天，艾丽丝?托卡拉斯、毕加索还有我在法国南部租了幢别墅，我当时在写一本小说，我感觉是美国小说中的巨著，然而字体太小，我没能完成。
In the afternoons, Gertrude Stein and I used to go antique hunting in the local shops, and I remember once asking her if she thought I should become a writer. In the typically cryptic way we were all so enchanted with, she said, “No.” I took that to mean yes and sailed for Italy the next day. Italy reminded me a great deal of Chicago, particularly Venice, because both cities have canals and the streets abound with statues and cathedrals by the greatest sculptors of the Renaissance. 下午时，我和格特鲁德?斯泰因经常去本地铺子里淘古董。记得有次我问她，我是不是该去当个作家。她以令我们都着迷的不置可否的特有方式说：“不。”我把那当作意思是“对”，第二天就坐船去了意大利。意大利让我时时想起芝加哥，特别是威尼斯那儿，因为两个城市都有运河，街上都到处是文艺复兴时期最伟大的雕塑家创作或者设计的雕像和大教堂。
That month we went to Picassos studio in Arles, which was then called Rouen or Zurich, until the French renamed it in 1589 under Louis the Vague. (Louis was a sixteenthcentury bastard king who was just mean to everybody.) Picasso was then beginning on what was later to be known as his “blue period,” but Gertrude Stein and I had coffee with him, and so he began it ten minutes later. It lasted four years, so the ten minutes did not really mean much.
那个月，我们去了毕加索在阿尔的画室，那里以前叫鲁昂或苏黎世，直到法国人在1589年将它重新命名，当时由“含糊人”路易统治（路易是个16世纪的混蛋国王，对谁都刻薄）。毕加索当时正开始后来人们所称的“蓝色时期”，不过我和格特鲁德?斯泰因跟他喝过咖啡，10分钟后他就开始了这一时期，持续了4年，所以那10分钟咖啡时间并非真的意义重大。
The first step towards getting somewhere is to decide that you are not going to stay where you are. 要想到达某个目标，第一步就是离开你原来所在的地方。
Your new life starts today. Dont waste it by trying to get back what was taken away. 你的生活从今天开始，不要浪费时间，试图回到回不去的曾经。
Picasso was a short man who had a funny way of walking by putting one foot in front of the other until he would take what he called “steps.” We laughed at his delightful notions, but toward the late 1930s, with fascism on the rise, there was very little to laugh about. Both Gertrude Stein and I examined Picassos newest works very carefully, and Gertrude Stein was of the opinion that “art, all art, is merely an expression of something.” Picasso disagreed and said, “Leave me alone. I was eating.” My own feelings were that Picasso was right. He had been eating.
毕加索是个矮个子，他走路的样子滑稽：他把一只脚挪到另一只脚前面，直到他可以走他所谓的“步子”。他那些叫人开心的想法把我们逗得哈哈大笑，可是到了30年代后期，正当法西斯主义尘嚣日上时，很少有什么事可以让人大笑。我和格特鲁德?斯泰因很细致地研究毕加索的最新作品，格特鲁德?斯泰因的看法是：“艺术，所有艺术都是对某种事物的表达。”毕加索不同意，并说：“别烦我，我在吃东西。”我个人感觉毕加索说得没错，他的确吃了有一阵子了。
Picassos studio was so unlike Matisses, in that, while Picassos was sloppy, Matisse kept everything in perfect order. Oddly enough, just the reverse was true. In September of that year, Matisse was commissioned to paint an allegory, but with his wifes illness, it remained unpainted and was finally wallpapered instead. I recall these events so perfectly because it was just before the winter that we all lived in that cheap flat in the north of Switzerland where it will occasionally rain and then just as suddenly stop. Juan Gris, the Spanish cubist, had convinced Alice Toklas to pose for a still life and, with his typical abstract conception of objects, began to break her face and body down to its basic geometrical forms until the police came and pulled him off. Gris was provincially Spanish, and Gertrude Stein used to say that only a true Spaniard could behave as he did; that is, he would speak Spanish and sometimes return to his family in Spain. It was really quite marvelous to see. 毕加索的画室跟马蒂斯的很不一样，体现在毕加索的画室邋遢，马蒂斯则把一切都放得绝对井井有条。很奇怪的是，得反过来说才是实情。那年9月，有人出钱请马蒂斯画寓意画，但因为他妻子生病，一直没有画，最后用墙纸贴上充数。这些事我记得清清楚楚，因为都发生在我们全住在瑞士北部那套廉价公寓的那年冬天之前。那里偶尔下雨，来得急，去得快。西班牙立体派胡安?格里斯说服艾丽丝?托卡拉斯为他画静物当模特儿。他以自己对物体典型的抽象概念，开始把她的脸和身体破坏成基本的几何形状，直到警察来把他带走。格里斯不是西班牙首都的人，格特鲁德?斯泰因常说只有一个真正的西班牙人，才会像他那样行事：即说西班牙语，并不时回到西班牙的家里。真的很让人开眼。
I remember one afternoon we were sitting at a gay bar in the south of France with our feet comfortably up on stools in the north of France, when Gertrude Stein said, “Im nauseous.” Picasso thought this to be very funny and Matisse and I took it as a cue to leave for Africa. Seven weeks later, in Kenya, we came upon Hemingway. Bronzed and bearded now, he was already beginning to develop that familiar flat prose style about the eyes and mouth. Here, in the unexplored dark continent, Hemingway had braved chapped lips a thousand times.
我记得一天下午，我们正坐在法国南部一间同性恋酒吧里，把脚舒舒服服地放在法国北部风格的凳子上。当时格特鲁德说：“我想吐。”毕加索觉得那样说很有趣，我和马蒂斯把这句话看作该出发去非洲的暗示。7个星期后，在肯尼亚，我们遇到了海明威，他给晒成了古铜色，还蓄了胡须，他已经开始形成描写眼睛和嘴唇的那种平实文风。在那里，在未经探索的黑大陆，海明威勇敢地面对无数次嘴唇开裂。
“Whats doing, Ernest?” I asked him. He waxed eloquent on death and adventure as only he could, and when I awoke he had pitched camp and sat around a great fire fixing us all fine derma appetizers. I kidded him about his new beard and we laughed and sipped cognac and then we put on some boxing gloves and he broke my nose.
“怎么样，欧内斯特？”我问他。他滔滔不绝地大谈死亡及冒险，也只有他才有资格谈。我醒来时，他已搭起帐篷，正坐在一个大火堆旁给我们准备很好吃的烤香肠开胃小食。对他刚蓄起来的胡须，我开他的玩笑，我们大笑，还喝白兰地，然后我们戴上拳击手套，他又打伤了我的鼻子。
That year I went to Paris a second time to talk with a thin, nervous European composer with aquiline profile and remarkably quick eyes who would someday be Igor Stravinsky and then, later, his best friend. I stayed at the home of Man and Sting Ray and Salvador Dali joined us for dinner several times and Dali decided to have a oneman show which he did and it was a huge success, as one man showed up and it was a gay and fine French winter.
那一年，我第二次去了巴黎，去跟一个瘦削而且神经质的欧洲作曲家谈事情，他的脸侧面像鹰，眼神锐利无比，他后来成了伊戈尔?斯特拉文斯基，我后来成了此人最好的朋友。我待在曼和斯汀?雷的家里，萨尔瓦多?达利来吃过几次饭。达利当时决定举办一次个人画展，他真的举办了，并取得了极大成功，因为只有一个人来看。那是在法国度过的一个愉快而美好的冬天。
I remember one night Scott Fitzgerald and his wife returned home from their New Years Eve party. It was April. They had consumed nothing but champagne for the past three months, and one previous week, in full evening dress, had driven their limousine off a ninetyfoot cliff into the ocean on a dare. There was something real about the Fitzgeralds; their values were basic. They were such modest people, and when Grant Wood later convinced them to pose for his “American Gothic” I remember how flattered they were. All through their sittings, Zelda told me, Scott kept dropping the pitchfork. 我记得有天晚上，斯科特?菲茨杰拉德和他妻子参加完新年晚会回到家里，那是在4月。过去3个月里，除了香槟酒，他们不吃不喝。之前那个星期，他们身穿整整齐齐的晚礼服，在一次挑战中，把他们的高级轿车开下90英尺高的悬崖，掉进了大海。关于菲茨杰拉德夫妇，有一件事是真的：他们的价值观属于人所共有的那种。他们都是很谦虚的人，格兰特?伍德后来说服他们为他的《美国式哥特风格》当模特时，我记得他们有多么受宠若惊。赛尔妲告诉我他们坐着不动被画时，斯科特老是把干草叉弄掉。
I became increasingly friendly with Scott in the next few years, and most of our friends believed that he based the protagonist of his latest novel on me and that I had based my life on his previous novel and I finally wound up getting sued by a fictional character.
后来几年内，我跟斯科特越来越熟，我们的多数朋友都相信他的最新小说中的人物是以我为原型，我则按照他的上一部小说生活，到头来，我被一个虚构人物起诉。
Scott was having a big discipline problem and, while we all adored Zelda, we agreed that she had an adverse affect on his work, reducing his output from one novel a year to an occasional seafood recipe and a series of commas.
斯科特当时在自律方面严重不足，尽管我们都喜欢赛尔妲，但我们一致的看法，是她对斯科特的工作有负面影响，把他的产量从每年一部长篇小说降低到偶尔写写海鲜菜谱和一系列逗号。
Finally, in 1929, we all went to Spain together, where Hemingway introduced us to Manolete who was sensitive almost to the point of being effeminate. He wore tight toreador pants or sometimes pedal pushers. Manolete was a great, great artist. Had he not become a bullfighter, his grace was such that he could have been a worldfamous accountant.
最后，在1929年，我们一起去了西班牙。在那里，海明威把我们介绍给马诺莱特，此人敏感到身上几乎有脂粉气。他穿紧身斗牛裤，有时候是自行车紧身裤。马诺莱特是个伟大而又伟大的艺术家，要不是当了斗牛士，他风度优雅得本来可以当一位举世闻名的会计师。
We had great fun in Spain that year and we travelled and wrote and Hemingway took me tuna fishing and I caught four cans and we laughed and Alice Toklas asked me if I was in love with Gertrude Stein because I had dedicated a book of poems to her even though they were T. S. Eliots and I said, yes, I loved her, but it could never work because she was far too intelligent for me and Alice Toklas agreed and then we put on some boxing gloves and Gertrude Stein broke my nose.
Dont let your dreams just be dreams. 别让你的梦想仅仅只是梦想。
In the end, you''''ll realize that everything you worry is just a waste of time and energy. 到最后你会发现，所有担心的事情根本就是浪费时间和精力。
我们那年在西班牙玩得开心无比。我们旅行、写作；海明威带我去钓金枪鱼，我钓到了4罐；我们欢笑；艾丽丝?托卡拉斯问我是不是爱上了格特鲁德?斯泰因，因为我把一本诗集献给了她，尽管那是T.S.艾略特写的诗。我说没错，我爱她，不过永远不可能有结果，因为她对我来说太聪明了，艾丽丝?托卡拉斯表示同意，我们就戴上拳击手套，格特鲁德?斯泰因打破了我的鼻子。
↑静静的塞纳河，及最著名的地标艾菲尔铁塔
↑地道的法国式歌舞厅“红磨坊”(Moulin Rouge)，电影《红磨坊》就在这里实地取景
↑卢浮宫及美籍华人建筑师贝聿铭设计的卢浮宫入口“玻璃金字塔”
↑莫奈画作《睡莲》的取景池塘
伍迪?艾伦在短文中“拽”的文艺大家的形象在影片中都被高度还原，整部剧中处处是亮点，处处有惊喜。（以上、以下图片分别来自影片截图及互联网）
科尔?波特（Cole Porter），美国人，天才的百老汇音乐家，一战期间移居巴黎。电影中科尔?波特弹唱的曲子《Lets Do It》出自他为1928年的音乐剧《巴黎》所作配乐。 Birds do it, bees do it
Even educated fleas do it
Lets do it, lets fall in love
成名于20年代，大红于30年代的科尔?波特，与其他百老汇创作家的最大不同在于：他的作品都是自己包揽词与曲。有一部根据波特的人生历程改编的影片——《小可爱》（DeLovely），有兴趣的可以找来看看。
科尔?波特
6岁的科尔就在母亲的辅助下开始了音乐学习。10岁时完成了处女作“Song of the Birds”，后又发表了多部音乐作品。童少年时代科尔所展示出的音乐天赋已让人不容小视。
Life is like a mirror, we get the best results when we smile at it. 生活像一面镜子，当我们朝它微笑的时候，得到的回应是最美好的。
Dont blame your past for what you dont have. Blame your present. Ask yourself this: “What can you do now to get what you want now?” 别为了你无法拥有的东西而责怪你的过去，要怪就怪你的现在。问问自己：“为了你现在想得到的，你做了些什么？”
斯科特?菲茨杰拉德（Scott Fitzgerald），美国20年代著名作家，最著名的小说为《了不起的盖茨比》（The Great Gatsby，或译作《大亨小传》）。此书堪称美国社会缩影的经典代表，描述上世纪二十年代美国人在歌舞升平中空虚、享乐、矛盾的精神与思想。
赛尔妲?菲茨杰拉德（Zelda Fitzgerald）是斯科特?菲茨杰拉德的妻子，富家女，有天赋的芭蕾舞者和作家，因生活浮华和情绪多变而著称，当时评论多指责其消费铺张而导致丈夫不得不靠撰写蹩脚的三流小说以谋生。但有女权主义者认为菲茨杰拉德毁掉了一位才华远胜过他本人的女子，因为他的作品中曾多次借用妻子的书信和日记段落。赛尔妲40年代起被诊断为精神失常，后在精神病院的火灾中丧生，与丈夫合葬。
约瑟芬?贝克（Josephine Baker），生于美国、移居法国的黑人歌手、演员和舞蹈家，被称为“黑人维纳斯”或“黑珍珠”。 影片中，约瑟芬是以舞者身份出场，一支舞让男主人公Gil的眼睛都直了（笔者也是一样）。
欧内斯特?海明威（Ernest Hemingway），14岁开始学习拳击，参与过两次世界大战，20年代曾在巴黎短暂居住，与菲茨杰拉德是很好的朋友。后来两人大概因文人相轻而开始互相看不顺眼。赛尔妲则从一开始就不喜欢海明威，说他表里不一，缺乏男子气概，甚至无端断定他是同性恋。海明威则评论说：菲茨杰拉德被女人毁掉了。