五個贏得演員奧斯卡的場景

每年奧斯卡最有趣的部分之一是猜測該學院將選擇代表每個提名的表演的剪輯。

One of the most entertaining parts of the Oscars each year is guessing which clip the Academy will choose for each nominated performance. Will the ‘Best Actor’ and ‘Best Actress’ nominees cringe as a scene of them chewing the scenery plays out? Will the supporting actors look awkward as an unexpectedly emotional moment is shown in front of a room full of their peers?

每年奧斯卡最有趣的部分之一是猜測該學院將為每種提名的表演選擇哪個剪輯。 “最好的演員”和“最好的女演員”被提名人會畏縮作為他們咀嚼風景的場景嗎？輔助演員會看起來很尷尬，因為意外的情感時刻在充滿同齡人的房間前顯示？

In truth, cinephiles like to think they know which scenes the Academy will pick as the best representations of each actor’s performance. Sometimes their picks align with what is truly a star’s most fantastic scene in a film, but on other occasions, they are likely chosen for how they flow alongside other scenes included in the broadcast.

實際上，電影中的人喜歡認為他們知道該學院將選擇哪個場景作為每個演員表演的最佳代表。有時，他們的精選與電影中真正最棒的場景相吻合，但是在其他情況下，他們可能會選擇與廣播中包含的其他場景一起流動的方式。

Sometimes, though, a movie scene is so memorable, beautifully realised, and wonderfully performed that it feels like it secured an actor their Oscar win all on its own. These are the scenes that got people talking after they left the cinema, and the ones that people watch repeatedly for years to come. These scenes mightn’t have been used in an Oscars clip, but they’re almost certainly the ones that pushed a star over the line when it came time to decide a winner.

但是，有時候，電影場景是如此令人難忘，實現的精美，並且表現出色，以至於感覺就像是一位演員，他們自己的奧斯卡獎得以贏得全部勝利。這些場景讓人們離開電影院後談論，人們多年來反復觀看的場景。這些場景可能沒有在奧斯卡頒獎典禮上使用，但幾乎可以肯定的是，在決定贏家時，那些將明星推到了榜首的場景。

From a coin toss fraught with deadly peril to a mother deciding to relinquish custody of her son, by way of a mentally ill woman taking perverse delight in toying with someone’s mind, here are five scenes that won actors their Oscars.

從充滿致命危險的硬幣折騰到決定放棄兒子的母親，通過一位精神病患者在與某人的思想玩耍時感到不正當高興的女人，這裡有五個贏得了演員奧斯卡獎的場景。

Five scenes that won actors their Oscars:

五個贏得了演員奧斯卡的場景：

The coin toss (Javier Bardem, ‘No Country For Old Men’)

硬幣折騰（哈維爾·巴德姆（Javier Bardem），“沒有老人的國家”）

When Javier Bardem accepted his ‘Best Supporting Actor’ Oscar for his chilling performance as Anton Chigurh in the Coen brothers’ No Country For Old Men, he thanked the mercurial directors for believing in his ability to portray a dead-eyed psychopath in such a convincing way. Chigurh was a cinematic monster unlike any that had come before, and his scenes dripped with malice and an undercurrent of danger, even when he was simply talking to the owner of a gas station.

當哈維爾·巴德姆（Javier Bardem）接受奧斯卡（Oscar）的“最佳男配角”奧斯卡（Oscar），因為他在科恩兄弟（Coen Brothers）對老人的《無國家》中飾演安東·奇格（Anton Chigurh）的表演時，他感謝Mercurial董事相信他能夠以這種令人信服的方式描繪他的死眼精神病患者。奇格爾（Chigurh）是一個電影般的怪物，與以前的怪物不同，即使他只是在與加油站的主人交談時，他的場景滴落著惡意和危險的暗流。

“What’s the most you’ve ever lost in a coin toss?” Chigurh’s unsettling hitman asks the poor, unsuspecting proprietor. By this point, audiences have already seen Chigurh strangle a sheriff’s deputy to death and shoot a random driver with a bolt pistol, so they know this seemingly innocent question won’t lead to anything good for the owner.

“您在硬幣折騰中丟失了最多的是什麼？” Chigurh的令人不安的殺手問貧窮，毫無戒心的所有人。至此，觀眾已經看到Chigurh將警長的代表勒死了死亡，並用螺栓手槍射擊了一個隨機的駕駛員，因此他們知道這個看似無辜的問題不會對所有者有任何好處。

Chigurh’s stillness, calm delivery, implacable accent, bizarre haircut, and menacingly abstract musings all make for a scene that balances on a knife-edge without ever erupting into violence. It’s a tour de force from Bardem, and surely the scene that convinced the Academy he was taking home the gold. However, praise must also be reserved for Gene Jones, who expertly portrays the confusion and fear of a man who doesn’t truly know how close to death he just came, but he has an inkling.

Chigurh的靜止，平靜的交付，濃重的口音，怪異的髮型和險惡的抽象沉思都使一個場景都可以平衡刀邊緣，而不會爆發暴力。這是巴德姆（Bardem）的巡迴賽部隊，當然可以說服這所學院他帶回家金牌。但是，還必須為吉恩·瓊斯（Gene Jones）保留讚美，後者熟練地描繪了一個男人的困惑和恐懼，他不知道他剛剛來到死亡，但他有一個暗示。

Joanna’s change of heart (Meryl Streep, ‘Kramer vs Kramer’)

喬安娜（Joanna）的心（Meryl Streep，“ Kramer vs Kramer”）的改變

Meryl Streep’s first Oscar win came for her nuanced performance in the late Robert Benton’s legal drama Kramer vs Kramer. The 1979 film told the story of a New York City couple’s divorce, and the harrowing custody battle that followed for their seven-year-old son Billy, in such a sensitive, complex manner that it’s still the gold standard for this kind of movie more than 40 years later.

梅麗爾·斯特里普（Meryl Streep）的首次奧斯卡獎是因為她在已故的羅伯特·本頓（Robert Benton）的法律戲劇《克萊默（Kramer）與克萊默》（Kramer）中的表現而得以出現。這部1979年的電影講述了紐約市夫婦離婚的故事，以及他們七歲的兒子比利（Billy）緊隨其後的令人痛苦的監護之戰，以一種敏感，複雜的方式，以至於這類電影是40年後的金牌標準。

Streep won ‘Best Supporting Actress’ for playing Joanna Kramer, an unhappy wife and mother who tells her husband Ted (Dustin Hoffman) that she’s leaving home, but also walks out on her son at the same time. Throughout the film, Joanna goes from a woman suffering from mental health issues who abandons her son for 15 months, then returns and tries to wrestle custody of him back from the father who raised him through the turbulent time she was away. It’s an emotional rollercoaster that Streep always ensures stays on the rails.

斯特里普（Streep）因扮演喬安娜·克萊默（Joanna Kramer）而贏得了“最佳女配角”，他是一個不幸的妻子和母親，她告訴丈夫泰德（Dustin Hoffman）她要離開家，但同時又走出了兒子。在整部電影中，喬安娜（Joanna）從一個遇到心理健康問題的女人放棄了兒子15個月，然後返回並試圖從父親身上奪回他的監護權，後者在她不在的動盪時期裡撫養了他。這是一種情感過山車，Streep總是確保在軌道上留下來。

Joanna is a complicated woman, and it would have been easy for the film and Streep’s performance to portray her as a villain, but that never happens because Benton and Streep go to great lengths to make Joanna sympathetic and real, despite what she did. Even her final scene, which I believe netted her the Oscar, is a clinic in how to pull off a difficult emotional balancing act without ever losing the audience or drifting into melodrama.

喬安娜（Joanna）是一個複雜的女人，電影和斯特里普（Streep）的表演很容易將她描繪成小人，但這永遠不會發生，因為本頓和斯特里普（Benton and Streep）竭盡全力使喬安娜（Joanna）的同情和真實，儘管她做了什麼。即使是她的最後一幕，我相信這是她的奧斯卡獎，也是一家診所，是如何在不失去觀眾或逐漸變成情節劇的情況下實現艱難的情感平衡行為的診所。

“King Kong ain’t got shit on me!” (Denzel Washington, ‘Training Day’)

“金孔對我沒有屎！” （丹澤爾·華盛頓，“訓練日”）

The Oscars love to show clips of actors delivering fiery, impassioned monologues that showcase a star’s full emotional range. Most of these clips are from poignant dramas that tug at the heartstrings. However, when Denzel Washington won ‘Best Actor’ for his searing portrayal of Detective Alonzo Harris in the 2002 crime drama Training Day, his impassioned monologue came from a very different emotional place.

奧斯卡頒獎典禮喜歡展示演員的剪輯，這些演員提供了激烈，熱情洋溢的獨白，這些獨白展示了明星的完整情感範圍。這些剪輯中的大多數來自拖延心弦的淒美戲劇。然而，當丹澤爾·華盛頓（Denzel Washington）在2002年犯罪戲劇訓練日對偵探阿隆佐·哈里斯（Alonzo Harris）的灼熱描繪贏得了“最佳演員”時，他熱情洋溢的獨白來自一個非常不同的情感場所。

As Harris

作為哈里斯