年令人过目难忘的四个电影人物造型

When reflecting on the year in film, moviegoers often remember strong performances, or they might consider how a movie worked as a narrative, the emotions it evoked, what chances it took.

在回顾过去一年的影片时，观众们经常想起那些有力的表演，或者会思考一部电影怎样叙事，激发了哪些情绪，做了哪些尝试。

But some people might just remember the mustaches.

但有些人可能就记住了胡子。

This year has been one of diverse and bold hair and makeup choices, from the frizzy, matted blue-tinted mane of the Witch in “Into the Woods” to the shimmering, expertly shaped pompadour of James Brown in “Get On Up.” In some cases, the absence of hair comes into play, like the bald, heavy-on-the-eyeliner look of Ramses in “Exodus: Gods and Kings.”

今年银幕上的发型和化妆各式各样，大胆新颖，从《魔法黑森林》(Into the Woods)中女巫卷曲、蓬乱的蓝色调鬃毛，到《激乐人心》(Get On Up)中詹姆斯·布朗(James Brown)微微发亮、精心塑造的大背头。有时，秃头也能发挥作用，比如《法老与众神》(Exodus: Gods and Kings)中拉美西斯的秃头、重眼影造型。

The year’s most compelling makeup and hair designs have been almost characters themselves (and are certainly more dynamic than some of those who appear on-screen). But while physical features are obvious right away, they can also give shape and nuance to the performances of those who assume them. Sometimes, a big nose creates a window of understanding.

今年最引人注目的化妆和发型设计几乎都源自角色的原型本身（其中有些无疑比银幕上的造型更有活力）。除了能让观众一眼看出角色的外貌特征，它们也能为演员的表演赋予整体感觉和微妙之感。有时，一个大鼻子就能加深观众的理解。

Here are four memorable designs from the year, including commentary from some of the artists who helped shape the looks.

下面是今年最令人难忘的四个设计，包括参与塑造这些造型的一些艺术家们的评论。

The Wonder of Whiskers

胡须的神奇之处

Each film Wes Anderson makes seems to exist in its very own universe. And “The Grand Budapest Hotel,” set mainly in the 1930s, uses distinct elements and props to help define its world.

韦斯·安德森(Wes Anderson)的每部电影似乎都存在于它自己的世界里。《布达佩斯大饭店》(The Grand Budapest Hotel)以20世纪30年代为背景，通过独特的元素和道具定义它的世界。

Mr. Anderson wanted an abundance and a variety of facial hair on the men, with no beard or mustache adorning each actor’s face in quite the same way. It’s a veritable hipster’s row of styles, from pencils to handlebars to a black-and-gray goatee worn by Jeff Goldblum.

安德森想让男人们脸上的毛发丰富多样，每个演员脸上装饰的胡子都不太一样。它是名符其实的时髦派风格，从一字胡、八字胡，再到杰夫·戈德布拉姆(Jeff Goldblum)的黑灰色山羊胡。

The various mustaches were conceived by the designer Frances Hannon, who has built a number of facial hair styles for Bill Murray in Anderson films (“Rushmore,” “The Life Aquatic With Steve Zissou”). Here, she asked many of the actors to grow out their facial hair so she would have the option to cut it in any shape she wanted.

这些各不相同的胡子是设计师弗朗西丝·汉农(Frances Hannon)设计的，在安德森的多部电影中（比如《青春年少》[Rushmore]和《水中生活》[The Life Aquatic With Steve Zissou]），她都为比尔·默里(Bill Murray)设计了面部毛发。这次，她让该片的很多演员留起胡子，供她修剪成任何想要的形状。

Mr. Murray came to her with a full beard, so she was able to shape it into the thick, bushy mustache pictured here. “Bill has never worn that look before,” Ms. Hannon said, “so it was lovely to get something new.”

默里留了满脸胡子，这样汉农就能修剪成附图中这种浓密的胡子。“比尔以前从没留过这种胡子，”汉农说，“加点新东西，挺可爱的。”

Framing the ’80s

营造80年代的感觉

We first see the hair of Anna Morales (Jessica Chastain) during the opening credits of “A Most Violent Year.” She’s at her makeup mirror.

我们第一次看到安娜·莫拉莱斯（Anna Morales，杰西卡·查斯坦[Jessica Chastain]饰）的头发是在《至暴之年》(A Most Violent Year)的片头字幕里。她正对着镜子化妆。

If audiences didn’t yet know the film was set in the early 1980s, one look at Anna’s straight bangs confirms it. The rest of her shoulder-length hair forms a slight curved frame around her face. It’s a simple look, but a powerful one for this woman, whose husband, Abel (Oscar Isaac), runs a heating oil business, but whose past is a little more complicated.

如果观众还不知道这部影片是以20世纪80年代初为背景，那看一眼安娜的直刘海就知道了。她留着齐肩长发，刘海以外的部分在脸庞四周形成微微弯曲的弧度。这个造型很简单，但对这个女人来说显得很有力量，她丈夫艾贝尔（奥斯卡·伊萨克[Oscar Isaac]饰）经营取暖油生意，不过她的过去更为复杂。

Anna comes from a mob family and her hair, sometimes matched with large sunglasses or wide-lapel Armani trench coats, indicates both a degree of class and no-nonsense power.

安娜来自一个黑帮家庭，她的发型有时搭配大墨镜或阿玛尼大翻领军装式风衣，既能点明她的社会阶层，又有严肃的威慑力。

The hair creates a resemblance to the look of Michelle Pfeiffer, but Ms. Chastain gives it more of an edge. Kay Georgiou, who frequently styles the hair of Matt Damon and Gwyneth Paltrow for films, oversaw the look.

这个发型与米歇尔·法伊弗(Michelle Pfeiffer)的造型有点相似，但查斯坦让它更具锋芒。凯·乔治乌(Kay Georgiou)负责这个造型。她经常为马特·达蒙(Matt Damon)和格温妮丝·帕特洛(Gwyneth Paltrow)在电影中设计发型。

Sometimes Anna’s hair, which is lighter than Ms. Chastain’s natural color, is pulled back, creating layers and a bit of playfulness, but still maintaining authority.

安娜的头发比查斯顿本来的发色浅，有时安娜向后撩头发时会露出这两个层次，有点戏谑，但仍不失威严。

A Larger Profile

一个更大的侧影

In the true-crime drama “Foxcatcher,” the actor Steve Carell, best known for comedy, loses himself behind a prosthetic facade in portraying the multimillionaire John E. du Pont. The standout in the makeup package is the beaklike nose he sports.

在根据真实罪案改编的电影《狐狸猎手》(Foxcatcher)中，以出演喜剧闻名的演员史蒂夫·卡瑞尔(Steve Carell)饰演大富翁约翰·E·杜邦(John E. du Pont)时隐藏在假面具后面。这个造型最突出的就是鸟嘴状鼻子。

The director Bennett Miller saw Mr. Carell as a good choice to play du Pont but didn’t want him to be too recognizable. He charged the makeup designer Bill Corso with the task of altering Mr. Carell’s look.

导演贝尼特·米勒(Bennett Miller)认为卡瑞尔是饰演杜邦的合适人选，但不想让观众一眼就认出他来。他要求造型师比尔·科森(Bill Corso)改变卡瑞尔的外貌。

“We had to make Steve look like a blue-blooded man of great family wealth,” Mr. Corso said. “There’s a specific look, a definite visual that goes along with that.”

“我们必须让史蒂夫看起来像一个拥有巨大家族财富的贵族，”科森说，“这个贵族有具体、确切的外貌。”

He did several makeup tests to get the look that would so dramatically change Mr. Carell. “We were literally creating a new human being,” Mr. Corso said.

他做了几次化妆试验，希望能极大改变卡瑞尔的外貌。“我们实际上在创造一个新人，”科森说。

Du Pont called himself “the Golden Eagle” and had a distinctive, eagle-like profile. The designers aimed to capture that profile while not creating a carbon copy of the real du Pont.

杜邦自称“金鹰”，有着独特的，鹰隼般的外形。设计师们想塑造出那个外形，但又不想弄得跟杜邦本人一模一样。

Mr. Corso restructured Mr. Carell’s nose, giving it a hook. He also shaved his hairline back and gave him more of a forehead.

科森重塑了卡瑞尔的鼻子，把它变成鹰钩鼻。他还把卡瑞尔的发际线往后刮了一点，留出更多额头。

Roles With Bite

戴假牙的角色

In 2014, the actress Tilda Swinton wore false teeth in four movies: “The Zero Theorem,” “The Grand Budapest Hotel,” “Only Lovers Left Alive” and “Snowpiercer,” a film directed by Bong Joon-ho. In this thriller, Ms. Swinton plays the cruel and calculating Minister Mason, distinguished by a giant pair of glasses and a mouthful of bulky, misshapen choppers.

2014年，演员蒂尔达·斯文顿(Tilda Swinton)在四部电影中戴着假牙：《零点定理》(The Zero Theorem)、《布达佩斯大饭店》、《唯爱永生》(Only Lovers Left Alive)，以及奉俊昊导演的《雪国列车》(Snowpiercer)。在最后这部惊悚片中，斯文顿饰演残酷、狡猾的梅森部长(Minister Mason)，她戴着一副大大的眼镜，有一口庞大、丑陋的牙齿。

For all of these films, Ms. Swinton used the same tooth-designing specialist, Chris Lyons of the company Fangs F/X in London. His work has led him to designing all manner of teeth, including gold fangs fitted for a Doberman used in a Kanye West music video.

在所有这些影片中，斯文顿用的是同一个牙齿设计专家——伦敦Fangs F/X公司的克里斯·莱昂斯(Chris Lyons)。他在工作中设计了各种牙齿，包括为坎耶·韦斯特(Kanye West)一个音乐录影带中的一只杜宾犬设计了金色尖牙。

Mr. Lyons took a casting of Ms. Swinton’s mouth and designed teeth to fit. Those were clipped on over Ms. Swinton’s real teeth. For Minister Mason, he came up with a quirky look but didn’t quite want it to be comical. He was, however, interested in adding a little bling. “There’s a little bit of gold on the left-hand side,” he said. “We used real gold to make the filling of one tooth. We did it to put more character into the character.”

莱昂斯做出斯文顿的口腔模型，依照它来设计假牙，把假牙安在斯文顿的真牙上。他为梅森部长设计了一个古怪的造型，但并不想让它太滑稽。不过，他还有兴趣加上一点闪亮的东西。“左边有一点金子，”他说，“我们用真金做某个牙的填料。这样做是为了让这个人物更有个性。”