《她有話要說》：輕聲卻撼動人心的驚悚片

In February 2020, a New York jury found Harvey Weinstein, the producer whose films had won dozens of Oscars, guilty of criminal sexual assault and rape. Now, 2 1/2 years later, he faced seven counts in Los Angeles and was guilty of three counts.

2020年2月，製作的電影曾獲數十次奧斯卡金像獎的製片溫斯坦，遭紐約陪審團以刑事性攻擊與性侵定罪。2年半後的現在，溫斯坦在洛杉磯面臨7項指控，其中3項罪名遭裁定成立。

Jurors in this trial received a particular instruction: The judge barred them from watching the trailer for “She Said.”

這次審判的陪審團員收到一項特別指示：法官禁止他們觀看「她有話要說」電影預告片。

That’s the film adaptation of the nonfiction book of the same title. In it, New York Times journalists Jodi Kantor and Megan Twohey describe — in pragmatic, restrained how-we-got-that-story prose — the reporting that led them to publish a series of articles detailing Weinstein’s behavior. Those articles helped ignite the #MeToo movement, in which thousands, perhaps millions, of women took to social media and other channels to detail their own stories of sexual harassment and assault.

這部影片改編自同名非小說類書籍。在書中，紐約時報記者喬迪．坎特與梅根．圖伊以實際、克制的「我們如何取得故事」散文體，敘述她們發表一系列揭發溫斯坦行為報導的過程。這些報導引爆「我也是（Me Too）」運動，成千上萬、也許有數百萬女性，在社群平台與其他管道發聲，揭露自己遭性騷擾或性侵害的經歷。

Measured and deliberate, the film avoids grandstanding, speaking in low tones where another movie might shout. Little is glamorized or embellished here. The points the film makes about predation, complicity and silencing are often made in passing. “She Said” concentrates instead on process, prioritizing the patient accretion of testimony and corroboration. It’s a thriller, yes, but rendered discreetly, in sensible workplace separates. Its force accumulates slowly, stealthily even — lead by lead, fact by verified fact — until the tension surrounding a cursor’s click is an agony.

電影則節制而穩重，避開譁眾取寵，其他電影可能大吼呈現的情節，它以低語娓娓道出。全片幾無美化與綴飾，有關獵捕、共謀、噤聲等情節多是點到為止。「她有話要說」將劇情重心聚焦在過程，著重證詞與求證的耐心積累過程。是的，這是一部驚悚片，但在理性的工作場域中被謹慎地呈現。它的力道是緩慢甚或是神不知鬼不覺堆疊的，線索勾出線索，證實取得真相，直到游標點擊的張力成為痛楚。

“She Said” largely stresses the unglamorous grind of an investigation: the phone calls, the doorstepping, the delicate moral suasion that reporters use to convince sources to trust them. Here is the argument Twohey uses with the women she speaks with: “I can’t change what happened to you in the past, but together we may be able to use your experience to help protect other people.”

「她有話要說」很大程度強調了調查工作乏味辛苦的一面：無數通電話、登門拜訪，記者說服消息來源信任他們的微妙道德勸說等。圖伊與受訪女性對話時就是這麼說：「我無法改變妳過去發生的事，但我們或許可以一起運用妳的經驗協助保護其他人。」

“She Said” details a triumph of journalistic sympathy and precision. What will become of the real-world movement this reporting kindled? The jury’s still out.

「她有話要說」細述了一場新聞記者同理心與精準度的勝利。但是由報導引發的現實世界運動將如何演變？尚無定論。

「與你共舞」：惠妮休斯頓的寂寞吶喊

No one could sing like Whitney Houston, and Kasi Lemmons, the director of the biopic “Whitney Houston: I Wanna Dance With Somebody,” only rarely asks her lead, Naomi Ackie, to try. This is a jukebox retelling of Houston’s parabola from sweatshirts to sequins, from church choir girl to tabloid fixture, from her teenage romance with Robyn Crawford, the woman who would continue on as her creative director, to her volatile marriage to Bobby Brown, who slithers into the movie licking his lips like he’s hungry to eat her alive.

沒有人能像惠妮休斯頓那樣唱歌，而惠妮休斯頓傳記電影「與你共舞」導演卡茜萊蒙斯，也沒有要求她的女主角娜歐蜜艾基如此做。這部片改編自惠妮一生的高低起伏與光碟點唱機般的金曲匯集，涵蓋她從運動衫穿到亮片禮服，從教會唱詩班女孩到八卦報刊熟面孔，從她青少女時期與羅蘋克勞福的一段情，這位女性後來成為她的創意總監，還有她和巴比布朗不穩定的婚姻，他潛伏在片中舔著嘴唇的樣子，彷彿恨不得生吞她。

Those beats are here. But it’s the melodies that matter, those moments when Ackie opens her mouth to channel Houston’s previously recorded songs. We’ve heard Houston’s rendition of “I Will Always Love You” countless times, and Lemmons bets, correctly, that the beloved hit will still seize us by the heart during the rather forthright montage she pairs with it, images of Houston marrying Brown, birthing her daughter Bobbi Kristina and honoring Nelson Mandela underneath a sky filled with fireworks.

這些情節盡在其中，然而當艾基開口和惠妮生前錄製歌曲對嘴的那些片段出現，音樂才是本片的重點。我們聽過惠妮演繹「我會永遠愛你」無數次，而萊蒙斯確信，這首備受喜愛的金曲，在她拼貼相對而言平鋪直敘的畫面播放之際，仍然能牢牢抓住我們的心，這些畫面包括惠妮和巴比布朗結婚，她生下女兒芭比．克莉斯汀娜，以及在煙火絢爛的天空下為曼德拉獻唱。

Ackie doesn’t much resemble the superstar, although her carriage is correct: eyes closed, head flung back, arms pushing away the air as if to make room for that mezzo-soprano. That the film sticks to Houston’s surfaces is half excusable. Screenwriter Anthony McCarten seems to find that the woman underneath the pop star shell was still struggling to define herself at the time of her death at the age of 48. At Houston’s final “Oprah” performance, re-created here, she belts an earnest ballad called, “I Didn’t Know My Own Strength.”

艾基和這位超級巨星並沒有那麼神似，但是她表演的神態是正確的：閉著雙眼，頭微微後仰，雙手向空中伸展，彷彿要為這位次女高音歌手開展空間。這部片執著於惠妮的表面，至少有一部分算是情有可原。編劇安東尼．麥卡坦似乎發現到這位在流行樂巨星外皮底下的女性真貌，直到48歲去世之前，她一直掙扎於定義自我。片中重現惠妮最後一次在「歐普拉溫芙蕾秀」的演出，她發自肺腑的高唱歌曲「我不知道我的力量（或譯「心的力量」）」。

Houston didn’t write her own material; she just sang like she did, courtesy of Cissy’s fastidious coaching. “God gives you a gift, you got to use it right,” Cissy lectures. Yet, Houston as seen here can only say yes or no to other people’s ideas of what she should sing, wear and do. Increasingly, she chooses opposition. Her successes are shared — but her mistakes are all hers.

惠妮自己沒有寫歌，她只是在母親西西嚴格的近身訓練下，照她所會的方式唱歌。「上帝給了妳這項天賦，妳必須好好使用。」西西如此訓誡。然而，關於她應該唱什麼歌，穿什麼衣服和做什麼事的旁人意見，片中的惠妮只能說好或不。漸漸地，她選擇唱反調。她的成功被大家瓜分，但失敗全歸咎於她一人。

Houston’s defiance is the movie’s attempt to answer the great mystery of her career: why she deliberately damaged her voice through smoking and hard drugs. “It’s like leaving a Stradivarius in the rain!” the legendary then-head of Arista Records Clive Davis yelps.

惠妮的叛逆，正是這部電影所嘗試解答、她的事業最大謎團：她為何故意用抽菸和毒品來傷害自己的嗓子？「這就像是把史特拉底瓦里琴放在雨中！」時任芒穗唱片老闆的樂壇傳奇人物克萊夫戴維斯大叫。