罗杰·伊伯特评《美丽心灵》（中英双语）

The Nobel Prize winner John Forbes Nash Jr. still teaches at Princeton, and walks to campus every day. That these commonplace statements nearly brought tears to my eyes suggests the power of "A Beautiful Mind," the story of a man who is one of the greatest mathematicians, and a victim of schizophrenia. Nash's discoveries in game theory have an impact on our lives every day. He also believed for a time that Russians were sending him coded messages on the front page of the New York Times.

"A Beautiful Mind" stars Russell Crowe as Nash, and Jennifer Connelly as his wife, Alicia, who is pregnant with their child when the first symptoms of his disease become apparent. It tells the story of a man whose mind was of enormous service to humanity while at the same time betrayed him with frightening delusions. Crowe brings the character to life by sidestepping sensationalism and building with small behavioral details. He shows a man who descends into madness and then, unexpectedly, regains the ability to function in the academic world. Nash has been compared to Newton, Mendel and Darwin, but was also for many years just a man muttering to himself in the corner.

Director Ron Howard is able to suggest a core of goodness in Nash that inspired his wife and others to stand by him, to keep hope and, in her words in his darkest hour, "to believe that something extraordinary is possible." The movie's Nash begins as a quiet but cocky young man with a West Virginia accent, who gradually turns into a tortured, secretive paranoid who believes he is a spy being trailed by government agents. Crowe, who has an uncanny ability to modify his look to fit a role, always seems convincing as a man who ages 47 years during the film.

The early Nash, seen at Princeton in the late 1940s, calmly tells a scholarship winner "there is not a single seminal idea on either of your papers." When he loses at a game of Go, he explains: "I had the first move. My play was perfect. The game is flawed." He is aware of his impact on others ("I don't much like people and they don't much like me") and recalls that his first-grade teacher said he was "born with two helpings of brain and a half-helping of heart." It is Alicia who helps him find the heart. She is a graduate student when they meet, is attracted to his genius, is touched by his loneliness, is able to accept his idea of courtship when he informs her, "Ritual requires we proceed with a number of platonic activities before we have sex." To the degree that he can be touched, she touches him, although often he seems trapped inside himself; Sylvia Nasar, who wrote the 1998 biography that informs Akiva Goldsman's screenplay, begins her book by quoting Wordsworth about "a man forever voyaging through strange seas of Thought, alone." Nash's schizophrenia takes a literal, visual form. He believes he is being pursued by a federal agent (Ed Harris), and imagines himself in chase scenes that seem inspired by 1940s crime movies. He begins to find patterns where no patterns exist. One night he and Alicia stand under the sky and he asks her to name any object, and then connects stars to draw it. Romantic, but it's not so romantic when she discovers his office thickly papered with countless bits torn from newspapers and magazines and connected by frantic lines into imaginary patterns.

The movie traces his treatment by an understanding psychiatrist (Christopher Plummer), and his agonizing courses of insulin shock therapy. Medication helps him improve somewhat--but only, of course, when he takes the medication. Eventually newer drugs are more effective, and he begins a tentative re-entry into the academic world at Princeton.

The movie fascinated me about the life of this man, and I sought more information, finding that for many years he was a recluse, wandering the campus, talking to no one, drinking coffee, smoking cigarettes, paging through piles of newspapers and magazines. And then one day he paid a quite ordinary compliment to a colleague about his daughter, and it was noticed that Nash seemed better.

There is a remarkable scene in the movie when a representative for the Nobel committee (Austin Pendleton) comes visiting, and hints that he is being "considered" for the prize. Nash observes that people are usually informed they have won, not that they are being considered: "You came here to find out if I am crazy and would screw everything up if I won." He did win, and did not screw everything up.

The movies have a way of pushing mental illness into corners. It is grotesque, sensational, cute, funny, willful, tragic or perverse. Here it is simply a disease, which renders life almost but not quite impossible for Nash and his wife, before he becomes one of the lucky ones to pull out of the downward spiral.

When he won the Nobel, Nash was asked to write about his life, and he was honest enough to say his recovery is "not entirely a matter of joy." He observes: "Without his 'madness,' Zarathustra would necessarily have been only another of the millions or billions of human individuals who have lived and then been forgotten." Without his madness, would Nash have also lived and then been forgotten? Did his ability to penetrate the most difficult reaches of mathematical thought somehow come with a price attached? The movie does not know and cannot say.

中文版：

纳什被授予诺贝尔奖之后，依然每天步行去普林斯顿讲课。这些平凡的情节让我感受到“美丽心灵”的力量，以至于热泪盈眶。《美丽心灵》记述的正是这个集伟大数学家和精神分裂症患者为一体的纳什的故事。他研究发现的博弈论无时无刻不影响我们的生活。他还一度坚信俄国借《纽约时报》头版给他传递密电。

《美丽心灵》中，罗素克劳饰演纳什，詹妮弗·科尼尔饰演他的太太艾丽西亚，纳什的病症第一次显现出来时，她正待产。剧中正邪2股力量同时从纳什的心灵中迸发出来，他为人类作出了巨大的贡献，同时受强烈的幻觉困扰。克劳对纳什的塑造栩栩如生，他摒弃了煽情主义，而是借助细节举止赋予角色生命。他的表演展现了一个堕入疯癫又在学术王国戏剧性重生的角色。纳什曾与牛顿，门德尔，达尔文平起平坐，也曾只是个对着墙角喃喃自语许多年的精神病患者。

导演罗·霍华德抓住了纳什身上“善”的特质，正是这种核心力量激励太太和周围其他人支持他，不离不弃，在纳什最低迷的时期“相信奇迹会发生”（太太语）。电影开头，纳什是个安静不安分的年轻人，一口西弗吉尼亚腔。慢慢地，他转变成一个焦虑的偏执狂，整天神神叨叨，自视为被政府跟踪的间谍。演员克劳是个能改变外表适应角色的神人，电影里他跨越46年的扮相可谓以假乱真。

20世纪40年代末，青年纳什在普林斯顿求学时，曾一字一句地跟奖学金得主说：“你的论文没有提出任何有价值的观点。”输了一局围棋，纳什辩解：“我先走的，我的棋没有任何问题，是规则的错。”他意识到自己和别人的摩擦（“我不怎么喜欢别人，别人也不怎么喜欢我。”），一直记得一年级老师形容自己：“生下来就是有脑无心。”正是艾丽西亚帮助他找到了自己的心灵。他们相遇时艾丽西亚在读研究生，纳什的天才吸引她去感受对方的孤独，忍耐对方的表白：“宗教要求我们先进行柏拉图恋爱再上床。”她对纳什的接触绝不超过纳什的底线，尽管对方常常蜷缩在自己的世界里。阿吉瓦·戈德曼的剧本参照了希尔弗尔·纳赛尔于1998年撰写的传记，后者开篇引用了华兹华斯的诗句“一个孤独的男人，永远航行在波谲云诡的智慧海洋里。”纳什的精神分裂症非常明显。他以为自己被联邦密探（艾德·哈里斯）追捕，根据20世纪40年代的犯罪电影想象自己逃跑的场面。他开始在学术领域无中生有。某天晚上他站在星空下让艾丽西亚给星星取名字，然后他把星星连起来好像在空中作画。这挺浪漫的，但是艾丽西亚看到他的办公室就没有任何浪漫感了，里面堆着无数的剪报，纳什用疯狂的线条把字母归成几块，凭空捏造出理论来。

电影以纳什的治疗过程为线索，他遇到了一个善良的精神病医生（克里斯托弗·普拉姆），给他采用痛苦的胰岛素休克疗法。冥想某种程度上可以帮助恢复，不过当然了，仅仅在他冥想的时候才有效。最终，效力更强的药品开发出来，纳什试开始尝试回归普林斯顿的学术世界。

纳什的故事令人着迷，我翻阅其他的资料，发现多年来他过着隐居的生活，只是游荡在校园里，自言自语，一边喝咖啡抽烟，一边浏览好几份报刊杂志。直到一天他当着同事的面赞美了女儿一句，仅仅普通的一句，大家都清楚纳什的状况好了一点。

影片中出现了一个经典场景，诺贝尔委员会的代表（奥斯丁·潘德雷腾）拜访纳什，暗示委员会在考虑给他颁奖。纳什明白科学家一般等确定获奖以后才接到通知：“你来这里是想看看我还疯不疯，怕我把颁奖典礼搞砸了。”他确实拿了奖，但是什么都没有破坏。

电影没有重点刻画纳什的精神疾病，而是借此反映纳什性格中的荒诞可笑，执拗可爱，煽情的情节让观众时而满怀希望，时而扼腕叹息。这不过是一场病而已，几乎毁了纳什夫妇的生活，但是并非完全无法接受，后来纳什幸运地逃离了精神分裂症的漩涡。

诺贝尔奖的颁奖礼上，纳什坦诚地说自己的康复过程“一点也不好受。”他说：“查拉图斯特拉若不疯，泯然众人矣。”纳什若不疯，也会泯然众人吗？某种程度上，他生来具备越过层层阻碍抵达逻辑思维最高峰的能力，精神分裂症是否是天赋的代价？影片无法回答。

译文来自译言