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2023/02/17 第420期 訂閱/退訂看歷史報份
紐時周報精選 ‘She Said’ Review: A Quiet Thriller That Speaks Volumes 《她有話要說》:輕聲卻撼動人心的驚悚片
‘Whitney Houston: I Wanna Dance With Somebody’ Review: Her Lonely Heart Calls 「與你共舞」:惠妮休斯頓的寂寞吶喊
‘She Said’ Review: A Quiet Thriller That Speaks Volumes 《她有話要說》:輕聲卻撼動人心的驚悚片
文/Alexis Soloski


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.


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


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.


“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.”


“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.



‘Whitney Houston: I Wanna Dance With Somebody’ Review: Her Lonely Heart Calls 「與你共舞」:惠妮休斯頓的寂寞吶喊
文/Amy Nicholson


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.


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.


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.”


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.


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.




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