【美国“狗仔队之父”罗恩・格拉拉（上）】罗恩

　　Paparazzo，“帕帕垃圾”，意大利语，指一种会嗡嗡叫、惹人烦的蚊子。1960年，费德里柯・费里尼大师的电影《甜蜜生活》中有一个专门拍摄明星私生活的摄影记者，就叫“Paparazzo”。从此，这个名字就专门用来称呼那些让名人讨厌的小报摄影记者。在国内，这一职业则被称为“狗仔”。
　　罗恩・格拉拉，上世纪七八十年代美国最著名的狗仔队员，曾因偷拍好莱坞明星马龙・白兰度而被打掉5颗牙齿，因长期跟踪拍摄当时的“第一夫人”杰奎琳・奥纳西斯而被告上法庭……他虽是一个臭名昭著的摄影师，但总能抓拍到明星们最光彩照人的一瞬间，他的图片里蕴藏的巨大能量能塑造明星，这种独有的才华也为他赢得了知名度。但格拉拉始终认为，自己和那些潜入明星卧室或故意激怒明星以求拍到他们丑态的狗仔队员不同。今年77岁的格拉拉隐居在新泽西州郊区，如今他正为当下狗仔行业中的一些危险迹象感到忧虑。
　　
　　I first meet Ron Galella when I break into his home. The notorious 1)paparazzo and his wife, Betty, live in a 2)neoclassical megamansion in rural New Jersey. There’s a white marble fountain out front; columns frame the door. At the base of the stairs is a 3)slab of concrete imprinted, Hollywood Walk of Fame style, with Galella’s handprints and his looping signature. I walk up and ring the doorbell several times, but it seems to be broken, so I yell, “Hello?” and finally turn the knob and open the door one hesitant crack. The first thing I see are rows of bright blue eyes.
　　[1]Elizabeth Taylor. [2]Barbra Streisand.
　　[3]Robert Redford. There are 10 or so black-and-white pictures, their 4)irises tinted, propped carefully on large easels―a gallery of iconic celebrity.
　　Suddenly, Galella appears, carrying a photo tripod that he uses as a crutch; he’s recently had knee surgery. “Hello, hello, come in!” he barks, friendly but gruff. Even at 77, Galella is a physically imposing man, with thick features, a 5)boxer’s nose and a 6)staccato laugh. We walk past the carpet and the mantelpiece toward the dining-room table, which is covered in a shining 7)mulch of books and prints.
　　We sit in the kitchen, and Galella reminisces happily with me about the good old days, back when he turned his lens towards Hollywood. The son of Italian immigrants, Galella first got his hands on a camera when he was in the Air Force, during the Korean War, and along with it he bought a book called How to Shoot Glamour. In art school under the 8)GI Bill, he toyed with becoming a ceramicist or a dance instructor. But Galella was eternally drawn towards the famous―he was curious, he says, to test the stars, to see if their glamour was real. The truth, he decided, was that anyone could become iconic; the camera itself was the true celebrity, a “magic medium” to which the famous owed their power.
　　His first big sell was a simple picture of a little girl―he’d tried to capture actress [4]June Lockhart’s daughter, but couldn’t get permission, so he shot a different child instead, earning $62. “But once I found celebrity journalism, I plied my know-how,” Galella says with satisfaction. “For a take of Elizabeth Taylor or [5]The Lennon Sisters, you could get $1,000 from these magazines. 9)Photoplay, 10)Modern Screen and the 11)National Enquirer, of course.” In those days, Hollywood photography was dominated by the glamour shot, that 12)lacquered 13)residue of American PR machinery. Galella embraced instead the piratical spirit of the Europeans, adding a certain entrepreneurial zeal all of his own, blending high-art skills with a dedication that bordered on monomania.
本文为全文原貌 未安装PDF浏览器用户请先下载安装 原版全文 　　In 1978, he had already established himself as the dread paparazzo of his era―not the only one, but certainly the most famous, the most dogged.
　　[6]Richard Burton sent 14)goons to steal his film; [7]Brigitte Bardot had her boyfriend hose him down. Most notoriously, [8]Jacqueline Onassis won a lawsuit against him in 1973, a court order for him to stay 25 feet away from her and her children. For years, he drove each day from the Bronx, where he had built a lab in his father’s basement, to premieres, galleries, 15)Park Avenue. “In 1967, I got Jacqueline at the Wildenstein Gallery. I followed her to her apartment, and once you know where they live, that’s where you have to be. They’re like a mouse coming out of a hole.”
　　In those days, Galella was regarded as a bug, a parasite. (The word paparazzo is derived from an Italian word for mosquito.) But from Galella’s perspective, he was always misunderstood. His art was a corrective to the artifice of the star system. It was a kind of forced 16)Turing test of celebrity, determining whether the star is human. Only by seeing someone shocked and spontaneous can you tell if their charisma is genuine. “I’m very quick, that was the technique: fast-shoot, fast-shoot! I don’t even look through the viewfinder. And you 17)nail the picture like that, you get the surprise expression. Beauty that radiates from within.”
　　Galella talks to me about his favourite, most iconic photo, Windblown Jacqueline, an image of Jacqueline Onassis striding down the street, her hair blowing into her eyes as she turns her face, smiling, toward him―she didn’t realise Galella was there when she turned toward his cab’s honking horn. “I call it the Mona Lisa smile.”
　　Galella is eager to distinguish himself from the more aggressive breed of paparazzo―both the
　　old-style European photographers willing to break into a star’s bedroom and the new generation,
　　zooming in on 18)cellulite and bad plastic surgery. That wasn’t his style, he says. He’d hover, chatting up doormen, improvising with a combination of
　　19)brass and discretion. Still, he found plenty of
　　violence. In 1973, he followed [9]Marlon Brando down to Chinatown, only to have Brando punch out five of his teeth (Brando had to go to hospital with an infected hand). The two settled out of court, and later Galella returned to shoot the actor wearing a special football helmet, with Ron printed on the front.
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　　我第一次见到罗恩・格拉拉是在闯入他家后。这位臭名昭著的狗仔队员和他的妻子贝蒂住在新泽西州郊区一幢新古典主义风格的豪宅里。门前有一个白色大理石喷泉，大门嵌上罗马石柱边框。石阶最底部是一块厚厚的水泥板，上面有格拉拉的手印和龙飞凤舞式的签名，很有好莱坞星光大道的风格。我走上前，按了几次门铃，但门铃好像坏了。于是我扯开嗓子大叫：“喂？喂？”我终于扭开门把手，犹豫地打开了一条缝隙。第一眼看见的就是一排排炯炯有神的蓝眼睛，包括伊丽莎白・泰勒、芭芭拉・史翠珊和罗伯
　　特・雷德福的。大约有十张黑白照片被精心地立置于大画架上，相中人物的虹膜全是染上色彩的――俨然一个名人肖像画廊。
　　突然，格拉拉出现，拄着拍摄用的三脚架当拐杖使。不久前他刚做了膝盖手术。“喂，进来！”他大声说着，声音友善但粗哑。即使已77岁高龄，格拉拉看起来仍相当伟岸雄壮，五官粗犷，鼻子扁塌，时不时大笑几声。我们走过地毯和壁炉架，走向餐桌，那上面堆放着许多闪闪发亮的书和出版物。
　　我们坐在厨房里，格拉拉和我一起愉快地回忆着过去的风光日子，他最初把镜头对准好莱坞的那段日子。格拉拉是意大利移民的后裔。朝鲜战争期间，他在空军服役时，第一次接触照相机，同时还买了一本名叫《如何拍摄动人艺术照》的书。借着依照《退伍军人权利法案》国家提供的教育机会，他进了艺术学院念书，那时他曾不很认真地考虑过当一名陶艺家，或者舞蹈教师。但是名人对他总是充满吸引力――他说，他很好奇，想测试一下，看看他们的光芒是不是真的。事实是，他最后得出结论，任何人都可以成为偶像。真正的“明星”是照相机，那些名人的权势全拜这“魔法媒介”所赐。
本文为全文原貌 未安装PDF浏览器用户请先下载安装 原版全文 　　他的第一张卖出好价钱的照片仅仅是一个小女孩的照片――他试图拍摄女演员琼・洛克哈特的女儿，但是没有得到允许，于是他拍了另一个女孩，由此赚到62美元。“但是，在发现名人八卦新闻这一卖点之后，我把自己的技能发挥到淋漓尽致。”格拉拉满意地说，“一张伊丽莎白・泰勒或列侬姐妹的照片卖给那些杂志可以赚到1000美元。购买照片的杂志包括《故事影片》、《摩登银幕》，当然还有《国家询问者》。”那个时候，好莱坞摄影主要是些光鲜亮丽的艺术照，典型美国公关机器的产物。格拉拉崇尚欧洲人的海盗精神，再加上他那进取求拓的热情，将高超的艺术技巧和几近狂热的献身精神融合发挥。
　　1978年，他已经是那个时代最令人恐惧的狗仔――不是唯一的一个，但绝对是最出名最顽固的。理查德・伯顿曾雇打手去偷他的胶卷；碧姬・芭铎曾让她男朋友用水管喷赶他离开。最广为人知的是，1973年，杰奎琳・奥纳西斯和他打官司获胜，法庭命令他不得靠近杰奎琳及其子女25英尺（约7.62米）的范围内。多年来，他每天从位于纽约布朗克斯区的工作室（用他父亲的地下室改建而成）开车到明星出没的首映式、画廊和派克大街。“1967年，我在怀尔登斯坦画廊拍摄到杰奎琳。我跟踪她到她的公寓。一旦知道他们的住所，那就是你守候的地方。他们就像出洞的老鼠。”
　　那些日子，格拉拉被看成祸害、寄生虫（paparazzo，即“狗仔”，该词源于意大利语的mosquito，即“蚊子”）。但在格拉拉看来，他觉得自己一直被人们误解。他的作品是对虚伪明星体制的纠正，好像强迫他们接受一种名人“图灵测试”，检验明星是否只是普通人。只有看到他们受惊和随性时的举止才能了解他们的魅力是否真实。“我的动作很快，这就是技巧：快速拍摄！快，快！我甚至不看取景器。那样抓拍出来的照片才能定格住受惊的表情。美从里面散发出来。”
　　格拉拉谈到他最喜欢的照片，最经典的照片，“风中的杰奎琳・奥纳西斯”――她大步走在街上，风把头发吹进她的眼睛，她转头，微笑着，面对他――当时格拉拉乘坐的出租车的喇叭鸣响着，她却全然没有意识到格拉拉就在出租车里面。“我称之为蒙娜丽莎的微笑。”
　　格拉拉急于把自己和那些更咄咄逼人的狗仔队区别开。无论是那些喜欢闯进明星卧室的老派欧洲狗仔，还是聚焦明星赘肉和糟糕整容手术的新一代狗仔，他都不认同他们的风格。他会在周围盘旋，和门卫闲聊，厚着脸皮也不失谨慎，随机应变。虽然如此，他没少遭遇暴行。1973年，他跟踪马龙・白兰度到唐人街，结果被白兰度打掉了5颗牙齿（白兰度手部也受伤了，得去看病）。两人最后庭外和解。之后，格拉拉还去拍过白兰度，头戴特制的橄榄球头盔，头盔前面印着他自己的名字。
　　（待续）
　　
　　
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