背景資料：《猩球崛起》是經(jīng)典系列科幻電影《人猿星球》的前傳，它講述了由于人類自負(fù)導(dǎo)致了猿猴智力的發(fā)展，猿族與人類之間爆發(fā)戰(zhàn)爭,以及地球上的人類是如何在各種自私自利下，一步一步的走向滅亡.《阿凡達(dá)》的特效團(tuán)隊為本片制造出了上百個逼真的猩猩，加上先進(jìn)的日觀等下動作捕捉技術(shù)，視覺效果絕對令你震撼。

猿猴形象在西方受推崇的原因：荷蘭女哲學(xué)家Stine Jensen曾在《女人為什么愛猿猴》一書中向我們描述幾百年來猿猴與女人，其實是同人類的關(guān)系是如何發(fā)生根本轉(zhuǎn)變的。而在電影銀幕上，從《金剛》到《人猿泰山》，強(qiáng)壯霸氣的雄性猿類形象一直是好萊塢熱衷的題材，1994年“大猿猴項目”（GAP）的實施更標(biāo)志著猿類形象在西方大眾文化中獲得普遍關(guān)注。由此來看，“凱撒”的粉墨登場，其實也有著數(shù)十年的文化心理積淀。

第一期——【紐約客影評】猩球崛起——進(jìn)化，變成革命

第二期——【紐約客影評】猩球崛起——進(jìn)化，變成革命(二)

Caesar spreads the serum to the other animals, and what starts as a prison revolt quickly becomes a species revolt.The changes in the apes’ intelligence are so vivid that we experience the alterations as a stirring birth—the origins of revolutionary consciousness—even though it is we humans, in the end, who will get overthrown. In a truly creepy moment, Caesar goes back to the house in which he was raised and stares silently at Will and his girlfriend (Freida Pinto) in bed together. The scene marks a sexy return to Boulle’s idea: for apes, human behavior becomes an object of avid curiosity and study. And we wonder, Who’s the prime primate, at the top of the species hierarchy? The position is suddenly up for grabs.
Caesar 將這種血清發(fā)放給其他動物，一場獄中造反很快演變成了種族起義。猿猴們智力上的增長如此的顯著，以至于讓人們感到這場變動只是一場大變革的開始：猿猴們的反叛意識才剛剛興起，即使我們?nèi)祟?，最終也會敗給他們。其中還有一個令人害怕的場景，Caesar悄悄回到他長大的地方，安靜的看著Will和他的女友一起躺在床上。這個場景漂亮地照應(yīng)了Boulle的思路：對于猿猴，人類的行為正是他們渴望了解和學(xué)習(xí)的對象。我們開始疑惑，這樣一來，誰才是靈長類動物的首領(lǐng)，能位居這個物種的統(tǒng)治階層？這個職位突然成了可爭取的空缺。

Digitized acting (if that’s the right phrase) should be as warmly recognized as any other kind of acting.When Will arrives at the pen, intending to take Caesar home, the ape sees the leash in Will’s hands and sorrowfully but firmly closes the door of the cell—staying behind with his own kind forever.To register the moment, Serkis lengthens his jaw in sullen resolve, turns his back, and gives Caesar a regretful shudder—the scene is almost tragic. Throughout the movie, the filmmakers capture tiny changes in mood and physical appearance, and the grand effects are startling.
數(shù)字化演技（如果可以這么稱呼的話）應(yīng)與其他演技一樣得到熱烈接受。當(dāng)Will來到猿猴基地打算接他回去的時候，Caesar 看到了他手中的鏈子，傷心之余堅決地關(guān)上了房門，選擇永遠(yuǎn)與同類待在一起。為了突出這個場景，Serkis讓Caesar拉長了臉，表情慍怒堅決，Caesar轉(zhuǎn)過身去，遺憾地聳了聳身體——場面是那么的悲傷。整部電影中，制作者抓住了人物情緒和肢體表現(xiàn)的細(xì)微變化，這帶來的效果令人驚嘆。

Finally, the apes break free, running all over San Francisco, busting into the biotech company’s corporate headquarters and liberating the remaining apes in Will’s lab. For once, the riot of movement is exhilarating rather than just extravagant. I’ve seen dozens of digital creatures and endless cars smashing through windows, but when the freed apes, like water bursting through a dam, pour through the building’s glass walls at different levels, the image is a pop epiphany of freedom. “Rise of the Planet of the Apes” is spectacle with a kick: the transcendence of the normal in creatures so like ourselves is both an entertainment and a needling rebuke to human vanity.
最終，猿猴們沖出基地，獲得了自由，身影遍布舊金山城。他們沖進(jìn)那家生物公司的總部，釋放了關(guān)在Will實驗室的猿猴們。就這一次，這場暴動開始變得令人振奮，而不僅僅被視為虛擬世界的一場行動。我曾在電影中看到無數(shù)電子生物和汽車從窗戶中沖出的場景，但當(dāng)看到被釋放的猿猴像巨大水流沖過大壩一樣涌出大樓一層層的玻璃幕墻時，才頓悟這畫面就是對“自由”的詮釋。奇觀場景的背后亦給人警示：一種似人類的生物超越正常進(jìn)化過程對我們來說，是一種娛樂材料，亦是對人類自負(fù)虛榮的痛斥。

Digital is here to stay, but this terrific movie tells us that it’s time to move on from the current clichés. The superheroes and the thundering plastic toys need to be tossed into the back of the closet, where they belong. If invention, wild and free, yet tied to emotion and philosophical speculation, is given a chance, digital filmmaking could have a more brilliant future than any we can now imagine.
數(shù)字化場景定格在那里了，但這部精彩的電影是想告訴我們更多：是時候走出固步自封，整日陳詞濫調(diào)的圈子了。將超級英雄和大塑料玩偶丟回壁櫥里吧，那里才是他們的歸宿。如果制片者在構(gòu)思電影情節(jié)時，能賦予人物感情和思維推測以更大膽自由的創(chuàng)意，那么數(shù)字化電影制作的前景將無限光明，超乎想像。

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