TE||Bewitching India
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印度女神希里黛玉
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Bewitching India
迷人的印度
本文英文部分选自经济学人Obituary版块
Sridevi died on February 24th
希里黛玉于2018年2月24号去世
Bollywood’s Number One female superstar was 54
印度宝莱坞头号女星，享年54岁
THE media complained that Sridevi was such an enigma, so intensely reserved. She couldn’t deny it. She felt uncomfortable talking to reporters, and for years avoided promotions and parties for her films. When she left her make-up van for a shoot, an assistant holding her pallu out of the dust, her bouncers would shout: “No pictures when she walks!”, and so the lensmen would wait, in a tizzy, for the moment when she would pause and turn her perfect face to them. But still she preferred not to talk. In her heyday in the 1980s and early 1990s all questions about her plans, her sex appeal or her love interests were deflected with a coy “Ask Mummy”. For Mummy, in the traditional way, handled all her property and tax affairs, including the negotiations with besotted producers over how many lakh of rupees she would get for every film. At her first screen-call, at the age of four, she hid in her mother’s sari out of shyness. She seemed to go on hiding there for much of her career.
在媒体看来（媒体抱怨），希里黛玉极为寡言、如谜一般，令人费解。。她也确实如此。与记者交谈让她感到颇为不适，多年来她始终回避参与自己的电影宣传和派对（或电影庆功会）。当她走出化妆间来拍照时，助手帮她握住帕吕以免沾上尘土，保镖们则大声呼喊：“走路时禁止拍照！”摄影师们紧张地守候，直到她回眸伫立的片刻，完美容颜得以展现。然而她依然保持沉默。在上世纪八十年代和九十年代早期的鼎盛期时期，所有关于她的个人计划、性感风姿或是情感对象的问题，一律被她腼腆的糊弄说到：“问我妈妈吧”。就像一般传统家庭的妈妈一样，希里黛玉的妈妈帮她打理所有的财产和税务事宜，包括和愚蠢的制片商商讨每部电影能得到多少片酬。希里黛玉四岁时首次登上电视荧屏，她当时害羞的躲在了妈妈的纱丽里。而她在职业生涯的大部分时光里，她依然如此，把自己隐藏在母亲的保护伞下。
Yet she made 300 films, was Heroine Number One in Bollywood for two decades and won six Filmfare awards, India’s equivalent of the Oscars. In front of the camera she felt and was quite different, totally uninhibited. She could go from flirtatious to annoyed to rapturous in a matter of seconds, twitch her nose with disdain or slap a line of men across the face and, all the while, keep dancing. Her fans remembered every move from the climactic snake-dance scene in “Nagina” when, in deathly white, furious and venomous, she glided down a staircase to roll and gyrate in front of the evil snake-charmer, stinging his sidekicks with her hands and with the flash of her blue-lensed eyes. In “Himmatwala” her breakthrough film, she pranced so raunchily on a beach with her co-star, in a tight costume of pink and silver stripes, that she earned the nickname “Thunder Thighs”. And then there was that scene in “Mr India” in 1987—the film that also showed the whole country how good at comedy she was—when in a dimly lit cave she made love to the invisible man of the title, almost unbearably sensuous as she clung to rusty metalwork or writhed on piles of straw. She wore a plain blue chiffon sari, but it showed every curve, especially when drenched by water. If she looked so gloriously sexy in ordinary dress, could she help it?
然而，希里黛玉一生参演了300部电影，在宝莱坞了担任女一号长达二十年，并六次获得印度电影观众奖，相当于印度奥斯卡奖。相比于平时，希里黛玉在镜头前的表现迥然不同，完全不受拘束。她可以在短短几秒内从调情切换到恼怒再到狂喜，也可用轻蔑的方式抽动鼻子，或者一边扇着一排男人的巴掌，一边却一直跳着舞。她的粉丝们清晰地记得她在“蛇女”高潮情节里的每一个蛇舞动作，面对惨白、愤怒和有毒的蛇群，她从楼梯滑下，在邪恶的蛇神面前翻滚、旋转，用她的双手刺向他的同伙，眼神发出蓝色的光。在她的突破性电影《勇者无敌》（Himmathwala）中，她穿着粉红和银色条纹的紧身服装，和男主角在海滩边欢跃，因此得名“雷电腿”。1987年电影《印度先生》（Mr India）向全国展示了她是多么擅长演喜剧，电影中有那么一幕：在一个光线昏暗的洞穴里，她爱上了隐形人，时而紧紧地贴着生锈的金属制品，时而在一堆稻草上打滚，让人无法忍受。她穿着一件朴素的蓝色雪纺纱丽，完美地呈现了她身体的曲线，尤其是被水湿透后。她穿着普通的衣服看起来都那么性感，这能怪她吗？
That sari had been her idea, after she had rejected the over-the-top sequinned number designed for her. Her power lay in suggesting what every Indian woman in a simple sari with her hair loose could do, if only she had a man who loved her as Mr India did. Equally, her snake-shimmying inspired Egyptian belly-dancers and her likeness as Benazir, a fierce Pushtun character, was woven for years into carpets in Afghanistan.
这款纱丽是她自己的主意，而她拒绝了为她设计的满是亮片的纱丽。她的力量在于，她向大家展示了，只要有一个像印度先生一样爱她的人，每个穿着朴素纱丽和披散头发的印度女性都能做到的事。同样地，她的水蛇腰启发了埃及的肚皮舞舞者，她出演的贝娜齐尔（电影《以天为证》中角色），一个凶悍的普什图形象，被织在阿富汗地毯上许多年。
If she did not respond to this adoration, it was because she felt her work should speak. And besides, she had never lived a normal life. She had been playing to camera, loving it even more than it loved her, since she was a child in Tamil Nadu in the south, starring in Tamil and Telugu films. For a while a teacher came on set, but then she did without schooling. Chatterers said her parents pushed her, though in fact they could not keep her away. At ten and a half she played her first romantic role, since the director had decided that she filled out her sari like a woman, and shortly after that she went to Bombay, breaking into the brashest of India’s film industries. Her father was her chaperone, and everything was done for her. She never shopped as a girl, and as a star she did not need to, happy to have her exquisite saris of south silk chosen by someone else.
如果说她并未回应大众对她的喜爱，是因为她觉得她的作品可以为自己代言。并且，她的人生从不平凡。她一直在摄像机前表演，她对荧幕的爱甚至胜过观众对她的爱，她还是个在南部泰米尔纳德邦的小姑娘时，就已经成为泰米尔语和泰卢固语的电影明星了。有段时间还有老师教她，然而之后她就不再上学了（无师自通）。流言说是她父母逼她去演戏，而事实上他们根本没有阻止她上学。十岁半的时候，她扮演了第一个爱情电影角色，因为导演觉得她能像一个女人一样撑起她的纱丽，不久之后，她就去了孟买，闯入了火热的印度电影产业。她父亲是她的监护人，为她铺平了道路。虽然作为明星她并不需要自己买东西，但她从来没有像个小女孩一样逛过街，或者因收到别人为她挑选的南方丝绸制成的精致纱丽而感到开心。
Her lines, too, were said by other people when she first went to Bollywood, because she knew no Hindi; not a word. Little did they realise that she had spoken her own lines in Malayalam and Kannada films, other languages of the south, without knowing what they meant either. She memorised them phonetically, finding the right emotion somehow. When taking direction she would keep her face so blank that no one had any idea whether she had heard, so deeply was she thinking of the shot, the words and her role, whether a sparkling heroine-princess or (in “Sadma”, perhaps her finest piece of acting) a prostitute suffering from amnesia, or a breezy con-woman picking the pocket of a bartender to pay for bottles of beer.
同样，因为对印地语一窍不通，她第一次演的宝莱坞电影也是由别人配音。这些人很少知道希里黛玉在演印度南部地区的马拉雅拉姆语和卡纳拉语电影时，都是自己配音，尽管她也不懂这些语言的意思。她只记台词的发音，努力寻找恰当的情绪加以表达。在听表演老师的指导时，她一直面无表情，以至于没人知道她到底有没有听进去：那是她在为镜头的呈现、台词的表达和角色的扮演陷入了沉思，无论是出演万众瞩目的英雄公主、还是一个失忆的妓女（电影Sadma的主角，或许是她最优秀的表演）、又或是那偷调酒师的钱去买啤酒的活泼女骗子。
Fights and firecrackers
“生活中的斗士“与“影视界的奇才”
On screen she triumphed over the worst—scheming stepmothers, lecherous men, evil god-men—that could be thrown at her. “No pain, no gain” was a lesson she had learned off-screen too, though she didn’t want to specify what the whole press knew anyway, that she’d pursued a married co-star without success and was married late, at 33, to Boney Kapoor, a producer who already had a wife. That had all settled down, and she had taken 15 years out to bring up her daughters. At home she led a quiet, very systematic life, until she re-emerged in 2012 to make “English Vinglish”, a comedy about a mother, mocked by her family for her bad English, who went secretly to classes and surprised them all. But then she had always sprung surprises, bewitching a billion people as the shy girl from Sivakasi who, like the town’s famous firecrackers, could go from silent doll to live wire in the split second it took for the cameras to roll.
银屏中的她，“战胜”了那些会扑向她的“最坏的人”：诡计多端的继母、好色之徒和歹毒恶魔。现实生活中，她学会了“一分耕耘，一分收获”，她曾追求过一个已婚的男搭档，但没有成功，后来33岁时，她和已婚导演Boney Kapoor结了婚，至于媒体到底怎样知道这些的，她也不想细说。一切都安顿好后，她退出演艺圈，15年来一直在照顾她的几个女儿。在家里，她过着宁静的生活，一切都有条不紊。直到2012年，她才复出拍摄喜剧电影《印式英语》，影片讲述的是一位母亲因其蹩脚的英语而遭到家人嘲笑，于是她偷偷地报班学习，并最终让全家人感到意外。接下来，诗丽黛玮让人惊喜连连：那个来自西瓦卡西（Sivakasi）的腼腆女孩，就像该城著名的烟花，能在刹那之间从寂静无声变得活力四射，迷倒了十亿人。
翻译组：
Yi, 女，财务民工，经济学人爱好者
Neil, 男，外贸民工，经济学人铁粉
Lucia，女，翻译学硕士三年制，经济学人爱好者
校核组：
Forest，女，自由职业，经济学人爱好者
Dada： 男，医学英译 ，经济学人爱好者
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