安吉麗娜·朱莉：特立獨(dú)行的好萊塢女王

朱莉曾這樣評價(jià)自己：“如果說我對黑暗的東西想得比別人更多，那可能是因?yàn)槲冶日l都熱愛生活。”成長于單親家庭的她曾經(jīng)叛逆墮落，有過自我放逐的痛苦青春;在銀幕上大放異彩的她曾經(jīng)個(gè)性陰沉、古怪，甚至給世人留下了“壞女人”的印象;而如今的她變得沉穩(wěn)、平靜、自信，敢于突破自我，開始了新的職業(yè)生涯——導(dǎo)演，也成為一名杰出的人道主義工作者，為世界難民與女性的權(quán)益付出巨大的心血。作為一代性感女神，她還與好萊塢最著名的性感男人組建了獨(dú)特的幸福家庭。她以特立獨(dú)行的方式讓自己的生命完美綻放，讓世人為之感到震撼。

There is a piece of behind-the-scenes footage， probably locked deep in the Disney vault1）， that the tabloids would pay millions to get their hands on. In it， a then four-year-old Vivienne Marcheline Jolie-Pitt2） makes her big-screen debut， as a somewhat reluctant participant in Maleficent， the prequel3） to Sleeping Beauty.

“Her first day， she doesn’t want to put the dress on. Then she wants to have food and she wants to get the dress off. Then she doesn’t want to do her hair …” says the young actress’s mother. “All she had to do that day was chase this little ball on the end of a stick， which would be turned into a butterfly. But we realized on that day that anything you tell her to do， she will not do.” So Angelina Jolie and Brad Pitt spent the day acting like rodeo4） clowns5）. “I’ve got the stick， and he’s on the edge of the [fake] cliff so that when she jumps， she jumps into his arms. We’re making these faces and singing these songs， anything we can do，” she says.

Angelina Jolie tells this story in the commissary6） on the Universal Studios lot in Los Angeles. As she stirs honey into her mint tea and talks with openness about her band of six children， there’s a moment to take in her face， which is a process， in that it is somehow unlike all other faces. Jolie simply has been given more than her fair share7）： the cheekbones， the pillowy8） lips， the almond eyes in a placid shade of blue that you can’t quite make out on film. Jolie is almost wraithlike in her slenderness. The action figure who kicks and claws and shoots and punches her way through Salt and Mr. and Mrs. Smith and all three Tomb Raiders clearly radiates from the mind， not the limbs. Indeed， the tattoos snaking around her arms are almost like cave drawings at this point， shadowy reminders of the rebel that once was—there is something nearly incorporeal9） about this woman.

This probably has everything to do with the project that she has reluctantly left upstairs for a few hours—editing her second directorial effort， the WWII epic Unbroken. All morning Jolie has been studying the flight patterns of America’s lumbering10） B-24 bomber versus that of the smaller， zippier Japanese Zero. It’s the kind of work that appeals to her dudeish daredevil side. And it’s one detail in a million crucial to accurately telling the true story of Louis Zamperini， a 1930s delinquent11） turned Olympic runner turned Army airman who survived an airplane crash at sea， 47 days marooned12） in a rubber raft， and more than two years of torment in Japan’s notoriously brutal POW camps—only to return to America a national hero.

“I’m happy that I can do something that has nothing to do with my physical presence or anything but my mind. That makes me very happy. I’m very much more comfortable like this，” she says.

It should come as no surprise that a woman who created a family of six children across multiple continents in six years， who involves herself in the struggles of refugee communities worldwide13）， who built her own definition of domesticity with the most famous sex symbol in Hollywood， would， upon discovering a new career passion， dive in at the deep end. Her directorial debut， 2011’s In the Land of Blood and Honey14）， incited political controversy even before it was released. But Blood and Honey was an indie15）， made for a relatively modest $10 million. Unbroken， on the other hand， will be a Hollywood epic. Unbroken will be the test of Jolie’s career. A-list actress turns serious director is unusual—who， besides Jodie Foster16）， comes to mind？ A-list actress turns big-budget war-movie director？ It has never been done.

Jolie hasn’t acted in a film since 2010， when she starred in both The Tourist with Johnny Depp and the ass-kicking spy blitz Salt. She knew that for a film to pull her back in front of the camera “it would have to be something slightly extreme that would push me to do something out of my comfort zone，” she says. “And so completely bizarre that it wasn’t just returning to do regular scenes.” Maleficent certainly delivers.

A quick refresher： In the 1959 Disney classic Sleeping Beauty， the horned， black-cloaked， towering Maleficent curses angelic Princess Aurora to mortally prick her finger on a spinning wheel—a fate avoided by the intercession17） of a good fairy who amends the spell18）： Aurora will sleep until kissed by her true love. Most little girls adore （and identify with） the flaxen-haired Aurora; is it any surprise that young Angelina preferred Maleficent？ “I don’t know why，” she says， pondering. “I think I loved to hate her. She just terrified me， and yet I was extremely drawn to her.”

So she became the movie’s star， not its director， though from the get-go she had her own ideas about the picture. She wanted to make sure Disney didn’t go soft on it; that， as long as19） we understand why Maleficent is evil， she really is evil. “She was very pointed in her direction，” says producer Joe Roth. “Here’s the determination you have to make as a producer： Is it going to make a great movie， or is it going to get in the way？ In her thing， she’s only interested in making a great movie. She’s a perfectionist. She has no interest in people who are not willing to go the distance to20） make things great， and she requires people to have the same level of commitment she has. So it’s a hard working process， but it ends up being a great result.”

Pax and nine-year-old Zahara （or ZZ， as Jolie calls her） also appear in the film. No Shiloh， however. “I asked Shiloh about being Aurora， and she laughed in my face，” Jolie says， with evident pride. “She said she’d be a horned creature.”

If Jolie takes a certain pride in seven-year-old Shiloh’s riot-grrrl attitude， it’s probably because， like her daughter， she grew up more interested in daggers than dresses. Rubbing shoulders with21） the rich kids at Beverly Hills High School but coming home to a household with a tight budget—her mother， former actress Marcheline Bertrand， gave up her career to raise two kids without the support of their famous and famously derelict22） father， Jon Voight—Angelina was hardly the prom-queen type. “In high school， all my friends were always boys. [I was] a lot like Shi，” she says. Girlish distractions held no allure. “I wasn’t very social. I didn’t go to the mall. I didn’t have sleepovers. I was very private.”

Her path to self-discovery provided the viewing public with some gems： There was the girlfriend， the early marriage to Jonny Lee Miller， the other early marriage to Billy Bob Thornton， the infamous vials of blood23）， the frequent assertions （in interviews and occasionally on red carpets） of sexual daring. After all that， the revelation24） that Angelina Jolie was suddenly jetting off on United Nations missions around the world was perhaps the most puzzling of all.

The tumult was “misinterpreted as [me] wanting to be rebellious，” Jolie says. “And in fact it wasn’t a need to be rebellious—it’s that need to find a full voice， to push open the walls around you. You want to be free. And as you start to feel that you are being corralled25） into a certain life， you kind of push against it. It may come out very strange， it may be interpreted wrong， but you’re trying to find out who you are.”

What she hit upon was a deep and abiding fear “of a life half-lived，” she says. “I realized that very young—that a life where you don’t live to your full potential， or you don’t experiment， or you’re afraid， or you hesitate， or there are things you know you should do but you just don’t get around to them， is a life that I’d be miserable living， and the only way to feel that I’m on the right path is just to be true to myself， whatever that may be， and that tends to come with stepping out of something that’s maybe safe or traditional.”

Asked what has changed about her relationship with Pitt now that they’re eight years in， She pauses for a second. “We’re … family，” she says. For a woman who thought she’d never have a family of her own， then blew up with the kind of fame that can become an isolation chamber， that’s saying a lot. “You get together and you’re two individuals and you feel inspired by each other， you challenge each other， you complement each other， drive each other beautifully crazy. After all these years， we have history—and when you have history with somebody， you’re friends in such a very real， deep way that there’s such a comfort， and an ease， and a deep love that comes from having been through quite a lot together.”

Which wends our way to the next question—the one that’s been selling gossip rags26） for eight years. “You know what’s funny？” she says. “We even forget that we’re engaged. I don’t even know how long we’ve been engaged for—”

Of course she’s not going to give us an answer. But if it makes you feel better， the Jolie-Pitt children are in the same boat as the rest of us. “I tell you， the kids are so excited about the wedding，” she says. “We can’t tell them when it is， and they don’t know when it is. They thought it was last year， and then it wasn’t.” But they won’t make them wait forever.

Shiloh may not care for princesses， but she is studying the art of being a flower girl.

有一段幕后花絮也許正深鎖在迪士尼公司的片庫中，那是眾多娛樂小報(bào)都愿意出價(jià)數(shù)百萬美元將其收入囊中的。在這段花絮中，當(dāng)時(shí)年僅四歲的維維恩·瑪琪琳·朱莉-皮特首次亮相大銀幕，頗有點(diǎn)兒不情愿地出演影片《沉睡魔咒》——電影《睡美人》的前傳中的一個(gè)角色。

“第一天拍攝時(shí)，她先是不肯穿戲服，接著又想吃東西，又想把戲服脫下來。然后，她又不肯做發(fā)型……”這位小演員的媽媽說道，“她當(dāng)天要做的就是追趕一個(gè)系在棍子末端的小球，小球在后期制作時(shí)會變成一只蝴蝶。但是那天我們發(fā)現(xiàn)，無論你讓她做什么，她都不肯照做。”于是那一整天，安吉麗娜·朱莉和布拉德·皮特都表現(xiàn)得像牛仔競技表演中的小丑一樣。“我拿著棍子，皮特站在懸崖布景邊，這樣當(dāng)她往下跳時(shí)，就會跳到他的懷里。我們倆又做鬼臉又唱歌，使盡了渾身解數(shù)。”她說。

安吉麗娜·朱莉在位于洛杉磯的環(huán)球電影公司片場的餐廳內(nèi)講述了這段趣事。她將蜂蜜拌入薄荷茶中，坦率地談?wù)撝牧鶄€(gè)子女。此時(shí)，我有片刻的工夫仔細(xì)端詳她的面容，這需要一個(gè)過程，因?yàn)檫@張臉不知為何是如此與眾不同。朱莉?qū)嵲谑翘苌咸斓木祛櫫耍焊吒叩娘E骨，柔軟的雙唇，一對杏眼，眼眸的顏色是你幾乎無法在影片中辨認(rèn)出來的寧靜的藍(lán)色。朱莉幾乎像鬼魅般纖瘦。她在電影《特工紹特》《史密斯夫婦》和三部《古墓麗影》中塑造的那些踢腿、抓爬、開槍、拳擊的動作形象顯然是通過智慧塑造出來的，而不是靠肢體。的確，那些盤繞在她手臂上的文身如今看來幾乎就像是洞窟壁畫一樣，隱隱約約地提醒著人們她曾經(jīng)有過的叛逆歲月——這個(gè)女人身上有著某種近乎超凡的特質(zhì)。

這也許和她為了這幾個(gè)小時(shí)的采訪而不情愿放下的樓上在做的項(xiàng)目有很大關(guān)系，她正在剪輯自己導(dǎo)演的第二部作品——二戰(zhàn)史詩片《堅(jiān)不可摧》。整個(gè)上午，朱莉都在研究笨重的美制B-24轟炸機(jī)與更為小巧靈活的日本零式戰(zhàn)斗機(jī)在飛行模式上的差別。這種工作對于性格中帶著天不怕地不怕的男孩子氣的她來說很有吸引力。飛行模式的差別這一細(xì)節(jié)對于準(zhǔn)確描述路易斯·贊佩里尼的真實(shí)經(jīng)歷具有至關(guān)重要的作用，而這只是無數(shù)細(xì)節(jié)中的一個(gè)。贊佩里尼曾經(jīng)是20世紀(jì)30年代的少年犯，而后成為一名奧運(yùn)會賽跑選手，后來又參軍當(dāng)了一名陸軍航空兵。他所在的飛機(jī)在海上失事后，他死里逃生，在橡皮救生筏上漂流了47天，后來在以殘暴聞名的日軍戰(zhàn)俘營里忍受了兩年多的折磨，最后回到美國，成了一名民族英雄（編注：贊佩里尼于2014年7月逝世）。

“我很高興可以做一些和我的外表或其他什么無關(guān)，而只需運(yùn)用我的頭腦的工作。這樣的工作讓我非常開心。像這樣我感覺自在多了。”她說。

在六年的時(shí)間里養(yǎng)育了跨越幾大洲的六個(gè)孩子，奔走世界各地投身于幫助難民營的社會活動，與好萊塢最著名的性感偶像攜手給家庭生活賦予了她自己的含義——這樣的一個(gè)女人在發(fā)現(xiàn)了新的工作熱情后立即全身心地投入其中，這應(yīng)該不會令人感到意外。她在2011年執(zhí)導(dǎo)的首部作品《血與蜜之地》甚至在上映前就激起了政治上的爭議。不過，《血與蜜之地》是一部獨(dú)立影片，拍攝成本相對低廉，只花了一千萬美元。而《堅(jiān)不可摧》將會是一部好萊塢史詩大片。《堅(jiān)不可摧》將是對朱莉職業(yè)生涯的一次考驗(yàn)。一流女星轉(zhuǎn)行做嚴(yán)肅導(dǎo)演的事并不常見——除了朱迪·福斯特，你還能想到誰？一流女星執(zhí)導(dǎo)高額預(yù)算的戰(zhàn)爭片呢？尚無先例。

自從2010年與約翰尼·德普共同主演《致命伴旅》并在優(yōu)秀間諜追蹤片《特工紹特》中主演之后，朱莉便沒有演過電影。她知道，如果一部電影想要將她拉回到鏡頭前面，“這部電影必須有點(diǎn)超乎尋常的東西，能讓我做些有挑戰(zhàn)性的事情，”她說，“并且要怪誕十足，不能只是回去拍些尋常的鏡頭。”《沉睡魔咒》無疑符合她的愿望。

先簡要地回顧一下這部電影的背景：在迪士尼公司1959年出品的經(jīng)典影片《睡美人》中，身材高大、頭上長角、身披黑色斗篷的瑪琳菲森對天使般的奧羅拉公主施下詛咒，公主將會被紡車刺破手指而死——不過由于一位好心的仙女斡旋，公主躲過了這一命運(yùn)，那位仙女修改了咒語：奧羅拉將一直沉睡，直到真愛之吻將她喚醒。大多數(shù)小姑娘都喜歡（并且將自己想象成）長有淡黃色頭發(fā)的奧羅拉。安吉麗娜小時(shí)候則更喜歡巫婆瑪琳菲森，有人會對此感到驚訝嗎？“我不知道為什么，”她思索著說，“我想當(dāng)時(shí)我很想恨她。她把我嚇壞了，但我又被她深深吸引。”

于是朱莉出演了這部影片，她不是導(dǎo)演，但從開拍伊始，她對影片就有自己的想法。她想確保迪士尼不對這個(gè)角色手下留情，既然我們明白瑪琳菲森為什么會這么邪惡，那她就真的應(yīng)該表現(xiàn)邪惡。“她在人物刻畫方面非常敏銳，”制片人喬·羅斯評價(jià)道，“身為制片人，這時(shí)你必須做出決定：這樣是會拍出一部好電影，還是會妨礙影片的拍攝？于她而言，她只對拍一部好電影感興趣。她是個(gè)完美主義者，對于那些不愿堅(jiān)持把事情做好的人不感興趣，而且她要求別人也像她一樣投入。因此，工作的過程相當(dāng)辛苦，但是最后出來的結(jié)果非常好。”

帕克斯和九歲的扎哈拉（朱莉叫她ZZ）也出現(xiàn)在了影片中。不過，夏伊洛沒有出現(xiàn)。“我問夏伊洛要不要演奧羅拉，她卻當(dāng)著我的面笑起來，”說這話的時(shí)候，朱莉明顯帶著自豪的口吻，“她說她要演就演長角的怪物。”

如果說朱莉?qū)ζ邭q的夏伊洛的叛逆?zhèn)€性感到一定的驕傲的話，那或許是因?yàn)楹团畠阂粯樱诔砷L的過程中也是不愛女裝愛刀槍。雖然朱莉和許多富家子弟一起就讀于貝弗利山高中，她的家境卻頗為清寒。她的媽媽瑪琪琳·伯特蘭之前是演員，為了養(yǎng)育兩個(gè)孩子放棄了自己的事業(yè)，而她那出了名不負(fù)責(zé)任的明星父親喬恩·沃伊特則對他們不管不問。因此，那時(shí)的安吉麗娜可不是舞會王后的類型。“中學(xué)時(shí)代，我所有的朋友一直都是男生。（那時(shí)的我）跟夏伊很像。”她說。讓女孩子們分心的那些東西對她毫無誘惑力。“我不太合群，不逛商場，也沒有參加過通宵派對。我當(dāng)時(shí)很孤僻。”

她的自我發(fā)現(xiàn)之路為大眾看官們帶來了不少精彩看點(diǎn)：曾經(jīng)的同性戀女友，與喬尼·李·米勒的早婚，與比利·鮑勃·松頓的另一場早婚，那臭名遠(yuǎn)揚(yáng)的盛放愛人鮮血的小瓶，還有（在接受采訪和走紅地毯時(shí)）頻頻冒出的有關(guān)大膽性事的種種斷言。在所有這一切之后，有關(guān)安吉麗娜·朱莉忽然飛往世界各地，履行聯(lián)合國使命的消息披露大概是所有事情中最令人困惑的了。

這些鬧騰的事兒“被誤解為（我）想要叛逆，”朱莉說，“實(shí)際上，我那么做并不是出于叛逆的需要，而是我要充分表達(dá)自己的意見，沖破周圍的藩籬。當(dāng)你開始感到自己正在被某種生活禁錮時(shí)，你就會有點(diǎn)想推翻這種生活。也許你的行動會顯得怪異，也許你的行動會遭到誤解，但你在試圖發(fā)現(xiàn)真正的自我。”

她所領(lǐng)悟到的是自己一直以來對“未能盡情生活”的深深恐懼。她說：“我很年輕的時(shí)候就認(rèn)識到一點(diǎn)：如果不充分發(fā)揮自己的潛力，不去嘗試，總是畏縮、遲疑，明明知道有些事應(yīng)該做卻沒有花時(shí)間去做，那這樣的生活將令我痛苦不堪。讓我覺得生活道路正確的唯一方式就是誠實(shí)對待自己，不管是什么樣的自己，而那往往意味著擺脫某種或許安穩(wěn)、傳統(tǒng)的東西。”

當(dāng)被問到與皮特共同生活了八年之后，兩人的關(guān)系有什么變化時(shí)，她躊躇了片刻，然后說：“我們是……家人。”對于一個(gè)曾經(jīng)認(rèn)為自己永遠(yuǎn)不會擁有屬于自己的家庭，之后又迅速獲得了令人望而卻步的巨大聲譽(yù)的女人來說，這句話意味深長。“兩個(gè)人走到一起，分別是獨(dú)立的個(gè)體，感覺受對方啟發(fā)，兩人互相挑戰(zhàn)，互為補(bǔ)充，讓彼此瘋狂愛上對方。這么多年之后，我們有了過去——當(dāng)你和一個(gè)人有了過去，你就會與他建立起非常真實(shí)、深厚的友情，由此兩人相處時(shí)會非常舒適、自在，并且深愛對方，而這都來源于你們共同經(jīng)歷過許多事情。”

這一話題讓我們的談話轉(zhuǎn)向了下一個(gè)問題——八年來各路八卦小報(bào)都借以大賣特賣的問題。“你知道好笑的是什么嗎？”她說，“我們甚至都忘了我們訂婚了。我甚至都不記得我們訂婚多久了——”

當(dāng)然，她不會向我們透露婚期。不過，朱莉和皮特的孩子們也和我們一樣對此一無所知，這樣大家會不會感覺好受些呢？“跟你說，孩子們對婚禮興奮不已，”她說，“我們沒法告訴他們具體的日期，所以他們也不知道。他們以為我們會在去年舉行婚禮，可是我們沒有。”不過，他們不會讓孩子們一直等下去的（編注：該文原文發(fā)表時(shí)兩人尚未舉行婚禮）。

夏伊洛或許對扮演公主不感興趣，但她現(xiàn)在正在學(xué)著如何做一名合格的花童。