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圣诞老人真的存在吗？当玩伴和家人坚持他只是虚构的，任何儿童都会产生怀疑。但是，一个小男孩(乔什·哈切森配音)的坚持终于获得了回报。圣诞前夕，他在恍惚中睡着，忽然地板开始颤抖，桌上的器皿哗哗作响，随着汽笛声呜呜长鸣，一列神秘的火车停在门前，他紧张地打开房门，看见一个和蔼的列车长(汤姆·汉克斯配音)，列车长邀请他乘车旅行，前往北极参加圣诞庆典。
小男孩惊讶极了，惴惴不安地答应下来，登上火车后，他又发现更多的小伙伴，大家在一起开开心心，经历了一场难忘的旅程。火车的终点站终于到达，孩子们欢快地跳下火车，北极城的圣诞庆典正式开始，所有人都沉浸在欢乐的气氛中。这时，一个圣诞老人走到小男孩面前，和蔼地询问他需要什么礼物，小男孩嗫嚅地说，他只想要驯鹿身上的一个小铃当。但是回家的时候，小男孩不小心弄丢了铃当，他伤心极了。没想到第二天醒来，他发现小铃当就完好无损地摆在圣诞树下，母亲看到后非常惊讶，不过她认为铃当坏掉了。其实小男孩心里非常清楚，只有相信圣诞老人的人，才能听到小铃当清脆的响声……
《极地快车》根据《勇敢者的游戏》的作者克里斯-范-奥斯伯格的同名冒险童话改编，讲述小男孩克劳斯坚持相信圣诞老人的存在，尽管他的父母和周围的朋友都告诉他圣诞老人不存在。终于克劳斯的坚持为他赢得了回报，一个圣诞节前夜，一辆巨大的极地特快列车停在他家门口，列车长(汤姆-汉克斯)带着他和他的朋友坐列车，去极地拜访传说中的圣诞老人！由于《极地快车》涉及很多电脑特技镜头，制作成本高达1亿5000万美元……
11月10日，充满魔幻色彩的新影片《极地特快》在美国上映。该片运用“动作捕捉”技术对汤姆·汉克斯的表演进行了处理，使其一人饰演5个角色，并使该片成为第一部既是真人片、又是动画片的电影。美国电影界评论说：一场电影科技革命由此开始了。
《阿甘正传》老搭档再携手
《极地特快》改编自一本经典儿童图书，讲述小男孩克劳斯在圣诞节的奇遇。尽管身边的人都认为圣诞老人是编造的，克劳斯依然坚信他的存在。一个雪花纷飞的平安夜，一辆巨大的蒸汽火车停在克劳斯家门口，带领他去北极寻找圣诞老人。旅途中，克劳斯结识了无所不能的孤独男孩、美丽的英雄女孩等形形色色的旅客，也遇到各种挑战。最终克劳斯在列车上找到了快乐，也悟出一个道理：生活中最重要的东西只能凭借感觉而存在。
这部影片是汉克斯与导演赞米基斯在《阿甘正传》和《荒岛余生》后的第三次合作。汉克斯在片中饰演了7岁的克劳斯、克劳斯的父亲、火车列车长、神秘流浪者和圣诞老人5个角色，并且担任了配音工作。但是，只有列车长与汉克斯长得像，克劳斯的造型则是根据汉克斯小时候的样子设计的。
表演时满脸粘着传感器
《极地特快》虽是一部用电脑制作的影片，却与动画片完全不同。动画片中没有真人表演，而《极地特快》中动画形象的一颦一笑都是真人演出来的，只不过，影片使用了“动作捕捉”这项革命性技术，真人的演出影像被数字化了。
汉克斯在表演过程中不需要任何戏服，但要穿上装满感应器的黑色紧身衣，同时在面部粘上150个感应器，这样，他眼睑、嘴唇、眉毛等部位的每一个表情和动作都可以通过传感器被计算机准确捕捉。表演完毕后，动画师只需为这些捕捉到的表情和动作加上卡通形象即可。这样，汉克斯一人分饰五角才成为可能。事实上，赞米基斯起初要求汉克斯饰演片中所有角色，但由于汉克斯实在太累，所以只接了5个角色。
由于“动作捕捉”技术将真人动作与数码技术完美结合，《极地特快》不仅把原作中的油画插图风格表现得细腻传神，而且动画人物的造型与感情更像真人，因此不少影评人称赞：人物形象完全与细致丰富的画面融合在一起，好像连演员的DNA都被数字化了。
具有划时代意义
美国电影界认为，由于采用了最新的“动作捕捉”技术，《极地特快》成为一部有里程碑意义的电影，其意义不亚于第一部有声电影《爵士歌王》。
很多人问导演赞米基斯，为什么不直接把《极地特快》拍成真人片。赞米基斯列出了三条理由。第一，由于运用了新技术，《极地特快》的全部摄影是在一个仓库中完成的，表演区不过10平方英尺，这大大节约了拍摄资金，尽管该片制作成本高达1.65亿美元，但如果全由真人实地拍摄，成本可能高达好几亿美元。第二，如果让真人在影片中出现，就必须放弃原书中的绚烂色彩和画面。第三，该故事几乎全部集中在小男孩克劳斯身上，找一个演技像汉克斯那么出色的小演员是不可能的。但为什么不干脆拍成动画片呢？赞米基斯说，直接由电脑制作的动画人物，表情动作绝不会像真人表演那么富于变化。
不过也有人批评说，动作捕捉技术把演员变成了数字化木偶，而且担心这种表演方式可能会导致影片因过度注重琐碎细节而失去艺术美感。就连《极地特快》的制片人也承认，“动作捕捉”既不能代替三维动画，也不会代替传统的真人表演。
小男孩惊讶极了，惴惴不安地答应下来，登上火车后，他又发现更多的小伙伴，大家在一起开开心心，经历了一场难忘的旅程。火车的终点站终于到达，孩子们欢快地跳下火车，北极城的圣诞庆典正式开始，所有人都沉浸在欢乐的气氛中。这时，一个圣诞老人走到小男孩面前，和蔼地询问他需要什么礼物，小男孩嗫嚅地说，他只想要驯鹿身上的一个小铃当。但是回家的时候，小男孩不小心弄丢了铃当，他伤心极了。没想到第二天醒来，他发现小铃当就完好无损地摆在圣诞树下，母亲看到后非常惊讶，不过她认为铃当坏掉了。其实小男孩心里非常清楚，只有相信圣诞老人的人，才能听到小铃当清脆的响声……
《极地快车》根据《勇敢者的游戏》的作者克里斯-范-奥斯伯格的同名冒险童话改编，讲述小男孩克劳斯坚持相信圣诞老人的存在，尽管他的父母和周围的朋友都告诉他圣诞老人不存在。终于克劳斯的坚持为他赢得了回报，一个圣诞节前夜，一辆巨大的极地特快列车停在他家门口，列车长(汤姆-汉克斯)带着他和他的朋友坐列车，去极地拜访传说中的圣诞老人！由于《极地快车》涉及很多电脑特技镜头，制作成本高达1亿5000万美元……
11月10日，充满魔幻色彩的新影片《极地特快》在美国上映。该片运用“动作捕捉”技术对汤姆·汉克斯的表演进行了处理，使其一人饰演5个角色，并使该片成为第一部既是真人片、又是动画片的电影。美国电影界评论说：一场电影科技革命由此开始了。
《阿甘正传》老搭档再携手
《极地特快》改编自一本经典儿童图书，讲述小男孩克劳斯在圣诞节的奇遇。尽管身边的人都认为圣诞老人是编造的，克劳斯依然坚信他的存在。一个雪花纷飞的平安夜，一辆巨大的蒸汽火车停在克劳斯家门口，带领他去北极寻找圣诞老人。旅途中，克劳斯结识了无所不能的孤独男孩、美丽的英雄女孩等形形色色的旅客，也遇到各种挑战。最终克劳斯在列车上找到了快乐，也悟出一个道理：生活中最重要的东西只能凭借感觉而存在。
这部影片是汉克斯与导演赞米基斯在《阿甘正传》和《荒岛余生》后的第三次合作。汉克斯在片中饰演了7岁的克劳斯、克劳斯的父亲、火车列车长、神秘流浪者和圣诞老人5个角色，并且担任了配音工作。但是，只有列车长与汉克斯长得像，克劳斯的造型则是根据汉克斯小时候的样子设计的。
表演时满脸粘着传感器
《极地特快》虽是一部用电脑制作的影片，却与动画片完全不同。动画片中没有真人表演，而《极地特快》中动画形象的一颦一笑都是真人演出来的，只不过，影片使用了“动作捕捉”这项革命性技术，真人的演出影像被数字化了。
汉克斯在表演过程中不需要任何戏服，但要穿上装满感应器的黑色紧身衣，同时在面部粘上150个感应器，这样，他眼睑、嘴唇、眉毛等部位的每一个表情和动作都可以通过传感器被计算机准确捕捉。表演完毕后，动画师只需为这些捕捉到的表情和动作加上卡通形象即可。这样，汉克斯一人分饰五角才成为可能。事实上，赞米基斯起初要求汉克斯饰演片中所有角色，但由于汉克斯实在太累，所以只接了5个角色。
由于“动作捕捉”技术将真人动作与数码技术完美结合，《极地特快》不仅把原作中的油画插图风格表现得细腻传神，而且动画人物的造型与感情更像真人，因此不少影评人称赞：人物形象完全与细致丰富的画面融合在一起，好像连演员的DNA都被数字化了。
具有划时代意义
美国电影界认为，由于采用了最新的“动作捕捉”技术，《极地特快》成为一部有里程碑意义的电影，其意义不亚于第一部有声电影《爵士歌王》。
很多人问导演赞米基斯，为什么不直接把《极地特快》拍成真人片。赞米基斯列出了三条理由。第一，由于运用了新技术，《极地特快》的全部摄影是在一个仓库中完成的，表演区不过10平方英尺，这大大节约了拍摄资金，尽管该片制作成本高达1.65亿美元，但如果全由真人实地拍摄，成本可能高达好几亿美元。第二，如果让真人在影片中出现，就必须放弃原书中的绚烂色彩和画面。第三，该故事几乎全部集中在小男孩克劳斯身上，找一个演技像汉克斯那么出色的小演员是不可能的。但为什么不干脆拍成动画片呢？赞米基斯说，直接由电脑制作的动画人物，表情动作绝不会像真人表演那么富于变化。
不过也有人批评说，动作捕捉技术把演员变成了数字化木偶，而且担心这种表演方式可能会导致影片因过度注重琐碎细节而失去艺术美感。就连《极地特快》的制片人也承认，“动作捕捉”既不能代替三维动画，也不会代替传统的真人表演。
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The Polar Express
Roger Ebert / November 10, 2004
Cast & CreditsBody movement performers: Hero Boy/Father/Conductor/Hobo/ Scrooge/Santa: Tom Hanks
Smoker/Steamer: Michael Jeter
Hero Girl: Nona Gaye
Lonely Boy: Peter Scolari
Know-It-All: Eddie Deezen
Additional voice performers:
Hero Boy: Daryl Sabara
Smoker/Steamer: Andre Sogliuzzo
Sister Sarah: Isabella Peregrina
Lonely Boy: Jimmy Bennett
Warner Bros. presents a film directed by Robert Zemeckis. Written by Zemeckis and William Broyles Jr., based on the book by Chris Van Allsburg. Running time: 100 minutes. Rated G.
Printer-friendly »
E-mail this to a friend »
"The Polar Express" has the quality of a lot of lasting children's entertainment: It's a little creepy. Not creepy in an unpleasant way, but in that sneaky, teasing way that lets you know eerie things could happen. There's a deeper, shivery tone, instead of the mindless jolliness of the usual Christmas movie. This one creates a world of its own, like "The Wizard of Oz" or "Willy Wonka and the Chocolate Factory," in which the wise child does not feel too complacent.
Those who know the Chris Van Allsburg book will feel right at home from the opening moments, which quote from the story: "On Christmas Eve, many years ago, I lay quietly in my bed. ..." The young hero, who is never given a name, is listening for the sound of sleigh bells ringing. He is at just the age when the existence of Santa Claus is up for discussion.
The look of the film is extraordinary, a cross between live action and Van Allsburg's artwork. Robert Zemeckis, the same director whose "Who Framed Roger Rabbit" (1988) juxtaposed live action with animation, this time merges them, using a process called "performance capture," in which human actors perform the movements which are translated into lifelike animation. The characters in "The Polar Express" don't look real, but they don't look unreal, either; they have a kind of simplified and underlined reality that makes them visually magnetic. Many of the body and voice performances are by Tom Hanks, who is the executive producer and worked with Zemeckis on "Forrest Gump" (1994) -- another film that combined levels of reality and special effects.
The story: As Hero Boy lies awake in bed, there is a rumble in the street and a passenger train lumbers into view. The boy runs outside in his bathrobe and slippers, and the conductor advises him to get onboard. Having refused to visit a department store Santa, having let his little sister put out Santa's milk and cookies, Hero Boy is growing alarmingly agnostic on the Santa question, and the Polar Express apparently shuttles such kids to the North Pole, where seeing is believing.
Already on board is Hero Girl, a solemn, gentle African American who becomes the boy's friend and also befriends Lonely Boy, who lives on the wrong side of the tracks and always seems sad. Another character, Know-It-All, is one of those kids who can't supply an answer without sounding obnoxious. These four are the main characters, in addition to the conductor, a Hobo (who lives on top of the train), Santa and countless elves.
There's an interesting disconnect between the movie's action and its story. The action is typical thrill-ride stuff, with the Polar Express careening down a "179-degree grade" and racing through tunnels with a half-inch of clearance, while Hero Boy and the Hobo ski the top of the train to find safety before the tunnel. At the North Pole, there's another dizzying ride when the kids spin down a corkscrewing toy chute.
Those scenes are skillful, but expected. Not expected is a dazzling level of creativity in certain other scenes. Hero Girl's lost ticket, for example, flutters through the air with as much freedom as the famous floating feather at the start of "Forrest Gump." When hot chocolate is served on the train, waiters materialize with an acrobatic song-and-dance. And the North Pole looks like a turn-of-the-century German factory town, filled with elves who not only look mass-produced but may have been, since they mostly have exactly the same features (this is not a cost-cutting device, but an artistic decision).
Santa, in this version, is a good and decent man, matter-of-fact and serious: a professional man, doing his job. The elves are like the crowd at a political rally. A sequence involving a bag full of toys is seen from a high angle that dramatizes Santa's operation, but doesn't romanticize it; this is not Jolly St. Nick, but Claus Inc. There is indeed something a little scary about all those elves with their intense, angular faces and their mob mentality.
That's the magic of "The Polar Express": It doesn't let us off the hook with the usual reassuring Santa and Christmas cliches. When a helicopter lifts the bag of toys over the town square, it knocks a star off the top of the Christmas tree, and of course an elf is almost skewered far below. When Santa's helpers hitch up the reindeer, they look not like tame cartoon characters, but like skittish thoroughbreds. And as for Lonely Boy, although he does make the trip and get his present, and is fiercely protective of it, at the end of the movie, we suspect his troubles are not over, and that loneliness may be his condition.
There are so many jobs and so many credits on this movie that I don't know whom to praise, but there are sequences here that are really very special. Some are quiet little moments, like a reflection in a hubcap. Some are visual masterstrokes, like a camera angle that looks straight up through a printed page, with the letters floating between us and the reader. Some are story concepts, like the train car filled with old and dead toys being taken back to the North Pole for recycling. Some are elements of mystery, like the Hobo, who is helpful and even saves Hero Boy's life but is in a world of his own up there on top of the train and doesn't become anybody's buddy (when he disappears, his hand always lingers a little longer than his body).
"The Polar Express" is a movie for more than one season; it will become a perennial, shared by the generations. It has a haunting, magical quality because it has imagined its world freshly and played true to it, sidestepping all the tiresome Christmas cliches that children have inflicted on them this time of year. The conductor tells Hero Boy he thinks he really should get on the train, and I have the same advice for you.
Note: I've seen the movie twice, once in the IMAX 3-D process that will be available in larger markets. New, oversized 3-D glasses, big enough to fit over your own glasses, light enough so you can forget them, made this the best 3-D viewing experience I've ever had. If there's a choice, try the IMAX version. Or go twice. This is a movie that doesn't wear out.
Roger Ebert / November 10, 2004
Cast & CreditsBody movement performers: Hero Boy/Father/Conductor/Hobo/ Scrooge/Santa: Tom Hanks
Smoker/Steamer: Michael Jeter
Hero Girl: Nona Gaye
Lonely Boy: Peter Scolari
Know-It-All: Eddie Deezen
Additional voice performers:
Hero Boy: Daryl Sabara
Smoker/Steamer: Andre Sogliuzzo
Sister Sarah: Isabella Peregrina
Lonely Boy: Jimmy Bennett
Warner Bros. presents a film directed by Robert Zemeckis. Written by Zemeckis and William Broyles Jr., based on the book by Chris Van Allsburg. Running time: 100 minutes. Rated G.
Printer-friendly »
E-mail this to a friend »
"The Polar Express" has the quality of a lot of lasting children's entertainment: It's a little creepy. Not creepy in an unpleasant way, but in that sneaky, teasing way that lets you know eerie things could happen. There's a deeper, shivery tone, instead of the mindless jolliness of the usual Christmas movie. This one creates a world of its own, like "The Wizard of Oz" or "Willy Wonka and the Chocolate Factory," in which the wise child does not feel too complacent.
Those who know the Chris Van Allsburg book will feel right at home from the opening moments, which quote from the story: "On Christmas Eve, many years ago, I lay quietly in my bed. ..." The young hero, who is never given a name, is listening for the sound of sleigh bells ringing. He is at just the age when the existence of Santa Claus is up for discussion.
The look of the film is extraordinary, a cross between live action and Van Allsburg's artwork. Robert Zemeckis, the same director whose "Who Framed Roger Rabbit" (1988) juxtaposed live action with animation, this time merges them, using a process called "performance capture," in which human actors perform the movements which are translated into lifelike animation. The characters in "The Polar Express" don't look real, but they don't look unreal, either; they have a kind of simplified and underlined reality that makes them visually magnetic. Many of the body and voice performances are by Tom Hanks, who is the executive producer and worked with Zemeckis on "Forrest Gump" (1994) -- another film that combined levels of reality and special effects.
The story: As Hero Boy lies awake in bed, there is a rumble in the street and a passenger train lumbers into view. The boy runs outside in his bathrobe and slippers, and the conductor advises him to get onboard. Having refused to visit a department store Santa, having let his little sister put out Santa's milk and cookies, Hero Boy is growing alarmingly agnostic on the Santa question, and the Polar Express apparently shuttles such kids to the North Pole, where seeing is believing.
Already on board is Hero Girl, a solemn, gentle African American who becomes the boy's friend and also befriends Lonely Boy, who lives on the wrong side of the tracks and always seems sad. Another character, Know-It-All, is one of those kids who can't supply an answer without sounding obnoxious. These four are the main characters, in addition to the conductor, a Hobo (who lives on top of the train), Santa and countless elves.
There's an interesting disconnect between the movie's action and its story. The action is typical thrill-ride stuff, with the Polar Express careening down a "179-degree grade" and racing through tunnels with a half-inch of clearance, while Hero Boy and the Hobo ski the top of the train to find safety before the tunnel. At the North Pole, there's another dizzying ride when the kids spin down a corkscrewing toy chute.
Those scenes are skillful, but expected. Not expected is a dazzling level of creativity in certain other scenes. Hero Girl's lost ticket, for example, flutters through the air with as much freedom as the famous floating feather at the start of "Forrest Gump." When hot chocolate is served on the train, waiters materialize with an acrobatic song-and-dance. And the North Pole looks like a turn-of-the-century German factory town, filled with elves who not only look mass-produced but may have been, since they mostly have exactly the same features (this is not a cost-cutting device, but an artistic decision).
Santa, in this version, is a good and decent man, matter-of-fact and serious: a professional man, doing his job. The elves are like the crowd at a political rally. A sequence involving a bag full of toys is seen from a high angle that dramatizes Santa's operation, but doesn't romanticize it; this is not Jolly St. Nick, but Claus Inc. There is indeed something a little scary about all those elves with their intense, angular faces and their mob mentality.
That's the magic of "The Polar Express": It doesn't let us off the hook with the usual reassuring Santa and Christmas cliches. When a helicopter lifts the bag of toys over the town square, it knocks a star off the top of the Christmas tree, and of course an elf is almost skewered far below. When Santa's helpers hitch up the reindeer, they look not like tame cartoon characters, but like skittish thoroughbreds. And as for Lonely Boy, although he does make the trip and get his present, and is fiercely protective of it, at the end of the movie, we suspect his troubles are not over, and that loneliness may be his condition.
There are so many jobs and so many credits on this movie that I don't know whom to praise, but there are sequences here that are really very special. Some are quiet little moments, like a reflection in a hubcap. Some are visual masterstrokes, like a camera angle that looks straight up through a printed page, with the letters floating between us and the reader. Some are story concepts, like the train car filled with old and dead toys being taken back to the North Pole for recycling. Some are elements of mystery, like the Hobo, who is helpful and even saves Hero Boy's life but is in a world of his own up there on top of the train and doesn't become anybody's buddy (when he disappears, his hand always lingers a little longer than his body).
"The Polar Express" is a movie for more than one season; it will become a perennial, shared by the generations. It has a haunting, magical quality because it has imagined its world freshly and played true to it, sidestepping all the tiresome Christmas cliches that children have inflicted on them this time of year. The conductor tells Hero Boy he thinks he really should get on the train, and I have the same advice for you.
Note: I've seen the movie twice, once in the IMAX 3-D process that will be available in larger markets. New, oversized 3-D glasses, big enough to fit over your own glasses, light enough so you can forget them, made this the best 3-D viewing experience I've ever had. If there's a choice, try the IMAX version. Or go twice. This is a movie that doesn't wear out.
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