In 'The Wolf of Wall Street,' Leonardo DiCaprio plays Jordan Belfort, the celebrated crook of the 1990s who prided himself on his ability to sell anything and did in fact swindle investors out of hundreds of millions of dollars. Martin Scorsese's epic-scale comedy of criminality, adapted by Terence Winter from Mr. Belfort's book of the same name, is selling three hours of incessant shouting and sensationally bad behavior-mud wrestling without the mud that includes drugs, booze, debauchery, degeneracy and dwarf-throwing. It's meant to be an entertaining, even meaningful representation of the penny-stock maestro's life and times. But I couldn't buy it, and couldn't wait for the hollow spectacle to end.
That's no knock on Mr. DiCaprio, who throws himself, heart and soul, into a character with deep deficits in both departments. Let's stipulate that his extravagant embodiment of excess is extremely skillful and very funny, and put other stipulations on record as well.
Jonah Hill, equipped with phosphorescent teeth and a manic affect, is often hilarious as Jordan's partner in the sleazy firm of Stratton Oakmont. So is Matthew McConaughey in a madcap soliloquy on masturbation and the need to stay relaxed. The film does full justice to its denizens' devotion to cocaine, Quaaludes and heroin, and to morphine, which Jordan takes 'because it's awesome.' The Scorsese touch is everywhere in evidence: swirling set pieces (Stratton Oakmont's boiler room, full of rabid brokers, as a Roman bacchanal), spectacular camera moves (Rodrigo Prieto was the cinematographer), and all of it heightened and sharpened by Thelma Schoonmaker's editing. Some of the settings are enjoyable, up to a point, for their tacky sumptuousness: I liked the trashing of a Lamborghini Countach. And sharp-witted scenes do play out from time to time on a human scale. In one of them, a couple of FBI agents engage the wily Jordan in a game of cat-and-rat.
Eventually, though, the pandemonium wears you down; in my case, eventually meant the end of the first hour, with two more hours to go. 'Stratton Oakmont is America,' insists Jordan, ever the overreacher, in the course of his self-serving valedictory. Maybe so, but any meaningful perspective on the greedfest of the period is obscured by the gleefulness of the depiction. The film may well prove profitable: Lurid outlaws are always appealing, and there's pleasure to be had in the downfall of slimeballs. But 'The Wolf of Wall Street' demands a huge investment of time for a paltry return.
在电影《华尔街之狼》(The Wolf of Wall Street)中，莱昂纳多·迪卡普里奥(Leonardo DiCaprio)饰演上世纪90年代臭名昭著的骗子乔丹·贝尔福特(Jordan Belfort)。贝尔福特对自己卓尔不群的推销能力颇感骄傲，也确实骗走了投资者数亿美元。马丁·斯科塞斯(Martin Scorsese)执导的《华尔街之狼》是一部有关犯罪故事的喜剧巨制，由特伦斯·温特(Terence Winter)改编自贝尔福特的同名自传。在这部长达三个小时的影片中，你会听到连续不停的大呼小叫，并看到耸人听闻的恶劣行为，如吸毒、酗酒、放荡、堕落和扔侏儒等。这部电影是想还原那位低价股操纵大师有趣甚至是有意义的人生。但我实在不能买账，也等不到这个空虚故事演完的那一刻。
片中的乔纳·希尔(Jonah Hill)是个牙齿闪着磷光、有着狂躁情绪的家伙。他是贝尔福特卑劣的投资公司Stratton Oakmont的合伙人，他的形象往往令人捧腹。马修·麦康纳(Matthew McConaughey)在自慰和需要放松时的狂妄独白也很搞笑。影片充分发挥了某些人对可卡因、安眠酮、海洛因和吗啡的热爱。片中的贝尔福特就服用这些药物，因为“感觉超棒”。整部片子到处都明显洋溢着斯科塞斯的风格：令人眩晕的布景（Stratton Oakmont的锅炉房、挤满了激进的经纪人），波澜壮阔的镜头（罗德里戈·普列托(Rodrigo Prieto)任摄影师），所有这些经过特尔玛·休恩梅克(Thelma Schoonmaker)的剪辑显得更为强烈和锋利。从一定程度上说，影片中一些俗气、奢华的场景是令人愉快的：我喜欢把兰博基尼康塔什(Lamborghini Countach)当废物一样丢掉。时不时还会有一些很接地气的机敏桥段。其中一场戏是几个美国联邦调查局(FBI)特工让诡计多端的贝尔福特陷入了一场猫鼠游戏当中。