13212623
  • Aloneye
    2018/8/25 0:26:28
    关于《阿尔法:狼伴归途》,四个超级有趣的事实!狼的品种;本片有动物被人道地kill;导演第一次无弟相伴;还有让我想起了瑞克的川香酱!欧!
    你知道伴随男主角那条“狼”的品种吗? “没有动物在拍摄期间受到伤害!”,本片达到了吗? 知道本片的拍摄地吗?(有点荒) 让我想起了《瑞克和莫蒂》,哈哈哈哈哈哈哈(请忽略) 一 、 捷克斯洛伐克狼犬 电影中这只狗的品种是捷克斯洛伐克狼犬。 捷克斯洛伐克狼犬的是一种相...  (展开)
    你知道伴随男主角那条“狼”的品种吗? “没有动物在拍摄期间受到伤害!”,本片达到了吗? 知道本片的拍摄地吗?(有点荒) 让我想起了《瑞克和莫蒂》,哈哈哈哈哈哈哈(请忽略) 一 、 捷克斯洛伐克狼犬 电影中这只狗的品种是捷克斯洛伐克狼犬。 捷克斯洛伐克狼犬的是一种相...  (展开)
    【详细】
    9613218
  • ??
    2021/1/13 22:53:51
    还行~

    我想说我真的对老港片电影带有天然滤镜。。。即便是这部电影已经是小时候看的了,已经早已经记不清具体情节了,已经完全不记得结局是什么了,但还是留了个好看,还行的印象哈哈哈哈哈,这个滤镜真的是绝了,比现在的国产剧还没出来我就自带讨厌的偏见真的是。。。已经不知道情节了,只记得里面的邱淑贞和释小龙是我最喜欢的了。。话说释小龙最近在干啥

    我想说我真的对老港片电影带有天然滤镜。。。即便是这部电影已经是小时候看的了,已经早已经记不清具体情节了,已经完全不记得结局是什么了,但还是留了个好看,还行的印象哈哈哈哈哈,这个滤镜真的是绝了,比现在的国产剧还没出来我就自带讨厌的偏见真的是。。。已经不知道情节了,只记得里面的邱淑贞和释小龙是我最喜欢的了。。话说释小龙最近在干啥

    【详细】
    13136188
  • 圈儿? ~
    2019/11/19 23:31:16
    高开低走

    来看看评分,刚开始几集还挺快节奏的,剧情也有追的欲望~后面慢慢一言难尽……像是一个平白的叙事故事,没有很多细节去突出每个人物的丰满程度,就是为了赶进度把主线交代清楚,剧情方面漏洞越来越多,感觉不合理。主演没有cp感,兄妹也不像兄妹,自顾自演戏、无法入戏,很遗憾,一开始以为会是年底的爆款,渐渐糊了……可能是白夜追凶太深入,前半部一直都觉得荒木会反转,哈哈,目前看应该是实打实的饰演日本人

    来看看评分,刚开始几集还挺快节奏的,剧情也有追的欲望~后面慢慢一言难尽……像是一个平白的叙事故事,没有很多细节去突出每个人物的丰满程度,就是为了赶进度把主线交代清楚,剧情方面漏洞越来越多,感觉不合理。主演没有cp感,兄妹也不像兄妹,自顾自演戏、无法入戏,很遗憾,一开始以为会是年底的爆款,渐渐糊了……可能是白夜追凶太深入,前半部一直都觉得荒木会反转,哈哈,目前看应该是实打实的饰演日本人

    【详细】
    12041200
  • 随便逛逛
    2020/2/3 23:25:57
    扯淡少年

    就是给一个显得钱没地方花的公子哥,冲人面拉人气的一部垃圾电视剧,上世纪上海有那么潮?

    黄这个面瘫富二代无非就是钱多点没地方花而已,实在不行建议他这种人去做慈善,别整天顶着吊儿郎当的脸到处现,这种人国外屁都不敢放

    上世纪随便哪个帅哥不把这种装十三货色碾出粪,吴彦祖够不够,尔冬升,金城武,冯德伦等人够不够,郑少秋够不够?切

    就是给一个显得钱没地方花的公子哥,冲人面拉人气的一部垃圾电视剧,上世纪上海有那么潮?

    黄这个面瘫富二代无非就是钱多点没地方花而已,实在不行建议他这种人去做慈善,别整天顶着吊儿郎当的脸到处现,这种人国外屁都不敢放

    上世纪随便哪个帅哥不把这种装十三货色碾出粪,吴彦祖够不够,尔冬升,金城武,冯德伦等人够不够,郑少秋够不够?切

    【详细】
    12213207
  • 拇指先生阿佳佳
    2010/7/13 12:12:54
    很瞎很搞笑。
    对于我这个快18岁的人来说,我还是感觉这个电影有点瞎。
    处处都能看见,其他电影的身影,即使我周围的孩子们,都笑的超开心。我也是笑了,但里面有些实在是很瞎。
    最后,七仔竟然进化了,进化成了那个大狗,好像数码宝贝里的加鲁鲁兽。里面的激光墙,是生化危机里面有用过。而且那个想统治世界的人,用那个机器人来称霸世界,和变形金刚里面的桥段是一样的。
    有的片段,我看了之后还有点感觉害怕。
    对于我这个快18岁的人来说,我还是感觉这个电影有点瞎。
    处处都能看见,其他电影的身影,即使我周围的孩子们,都笑的超开心。我也是笑了,但里面有些实在是很瞎。
    最后,七仔竟然进化了,进化成了那个大狗,好像数码宝贝里的加鲁鲁兽。里面的激光墙,是生化危机里面有用过。而且那个想统治世界的人,用那个机器人来称霸世界,和变形金刚里面的桥段是一样的。
    有的片段,我看了之后还有点感觉害怕。
    但是袁老师的身材说实话真的很好。
    这个电影还是给孩子们的,孩子们高兴就是最好。
    【详细】
    3437242
  • 振早涧琥珀主
    2014/12/28 23:31:53
    徐老怪再一次证明了自己。。。
       徐克的《智取威虎山》紧跟着姜文的《一步之遥》上映,悲剧啊。。
          前几年,姜文整出了一部《让子弹飞》,票房、口碑双丰收,作为导演的逼格也是蹭蹭的往上涨,就在大家期望姜导再整出一部经典的时候,莫名其妙的《一步之遥》来了,一部烂片真的会毁掉几十年积攒下来的声誉,之于老谋子的黄金甲,陈凯歌的无极
       徐克的《智取威虎山》紧跟着姜文的《一步之遥》上映,悲剧啊。。
          前几年,姜文整出了一部《让子弹飞》,票房、口碑双丰收,作为导演的逼格也是蹭蹭的往上涨,就在大家期望姜导再整出一部经典的时候,莫名其妙的《一步之遥》来了,一部烂片真的会毁掉几十年积攒下来的声誉,之于老谋子的黄金甲,陈凯歌的无极,无论以前拍了多少的经典影片,一部经典烂片,夸张点可以说前功尽弃啊。。所以想翻身,你得更加有诚意,更加有心意,看到你的努力。夜路走多了什么鬼没见过,现在中国的观影人已经不那么好糊弄了。
           言归正传,《智取威虎山》这样一部取材改编自小说、样板戏的内容、情节家喻户晓没有新意老故事,老徐再次抓住了槽点,爆发出了惊人的能量,跌破了所有人的眼球。这不是一部传统的中国式大片,没有上纲上线的说辞,也没有保家卫国的说教,就像是个人英雄主义在中国的初露端倪,没有冗繁的情节,但细节处理的却相当到位,用树枝子抠屁股就很有生活细节。。。。
          影片一开始,我还以为进错了放映间,不着头脑的现代场景,这是什么节奏?着实有点摸不着头脑,乱入的感觉。
          韩庚的存在,应该是为了影片的投资吧? 要不是提前知道,你也很难发现座山雕居然是梁家辉演的,林更新驾御203这样的角色还是缺少了很多东西,还是不太适合战争题材,不过余男真的是万能女配,座山雕小老婆和栓子母亲的角色转换的相当到位;小白鸽的存在让你知道这里面其实还是有女主角的。。。
          影片最后所谓“第二种可能”,大场面最后才出现,瞬间提升了影片作为大片的档次,没有点大家伙,怎么就感觉诚意不足呢?
          再次感谢徐老怪,再次为大陆的名导们提了醒,裹足不前是不行的,同样是老故事,影片效果高下立见,表现在各个层面,起码让我感觉花钱看是值的!
         再一次的鞠躬感谢!!
    【详细】
    72981019
  • yourstoryya
    2014/5/5 21:31:48
    两部步步--时间旅行者把时空分成了三条线
    看了步步惊情,对黄棣所说的“祖母悖论”非常感兴趣,将两部步步连起来看,发现自从张晓(时间旅行者)回到过去改变历史,时空就分成了三条线。
    第一条线,我们称之为“原线”,在这条线上,古代和现代的历史都没有出现任何变化,古代确实有一个马尔泰若曦,不过她只是若兰的妹妹,雍正并没有爱过她。现代确实有一个张晓,因为与男朋友黄棣吵架出了车祸,但张晓并没有前世的记忆,只是尘世中的一个普通人。

    看了步步惊情,对黄棣所说的“祖母悖论”非常感兴趣,将两部步步连起来看,发现自从张晓(时间旅行者)回到过去改变历史,时空就分成了三条线。
    第一条线,我们称之为“原线”,在这条线上,古代和现代的历史都没有出现任何变化,古代确实有一个马尔泰若曦,不过她只是若兰的妹妹,雍正并没有爱过她。现代确实有一个张晓,因为与男朋友黄棣吵架出了车祸,但张晓并没有前世的记忆,只是尘世中的一个普通人。

    第二条线,我们称之为“惊心线”。”原线“上的张晓(时间旅行者)回到古代,成为马尔泰若曦,在这个时空节点上,”原线“分裂成两条时空线,其中一条是”原线“本身,不受时间旅行者的影响,另一条变为”惊心“线。在这条线上,雍正爱上马尔泰若曦(时间旅行者),历史也发生变化。由于历史发生变化,经过300年后,”惊心”线上并没有张晓这个人的存在。

    这时候问题就出现了。既然马尔泰若曦(时间旅行者)油尽灯枯死于“惊心”线,而“惊心”线上又没有未来的张晓这个人,那马尔泰若曦(时间旅行者)的魂魄将如何依存?为什么雍正说,“你不能来我的世界,我就去你的世界找你”?

    说这句话的雍正,是“惊心”线中的雍正,他的世界,就是“惊心”线时空中的世界。他要去哪个世界寻找马尔泰若曦(时间旅行者)?

    所以,在“原线”上,张晓从车祸中醒来的时间节点上,马尔泰若曦(时间旅行者)在殁于“惊心”线后,其魂魄来到现代,“原线”分裂成两条时空线,其中一条还是“原线”本身,不受时间旅行者的影响,在这条线上,张晓从车祸中醒来,还是简简单单的张晓;另一条变为“惊情”线,张晓从车祸中醒来,被时间旅行者附体。而雍正也通过自身努力,跨越了两条时空线(从“惊心”到“惊情”),转世来到时间旅行者的世界,也就是“惊情”线上的时空,与爱人相见。

    所以,对于时间旅行者来讲,从“原线”到“惊心”线,再到“惊情”线,是一次精神旅行;而对于被改变了的雍正来说,从“惊心”线到“惊情”线是一次转世,是经过300年努力后的结果,实现了他对爱人和对自己的承诺:“你不能来我的世界,我就去你的世界找你”。

    总结起来,“原线”在古代的时间节点上,分裂出一条“惊心”线,在现代的时间节点上,分裂出一条“惊情”线。

    还真是蛮有意思,不知道编剧和我想的是否一样吖。
    【详细】
    6659989
  • 水之南
    2012/2/11 4:40:44
    长短句
    一、多个时空


    《纯粹理性批判》中的第一经验类比(Analogies of Experience)要求在现象中有一个恒定且唯一之物来表象意识中的时间本身。恒定,或永恒,因为作为总体的时间本身是始终在那的;惟一,因为只有一个时间。这个惟一且永恒的东西,即现象中的实体(Substance)。康德明确把这个实体与洛克的托子(Substratum)区分开来,认为实体是以各种方式显现于人
    一、多个时空


    《纯粹理性批判》中的第一经验类比(Analogies of Experience)要求在现象中有一个恒定且唯一之物来表象意识中的时间本身。恒定,或永恒,因为作为总体的时间本身是始终在那的;惟一,因为只有一个时间。这个惟一且永恒的东西,即现象中的实体(Substance)。康德明确把这个实体与洛克的托子(Substratum)区分开来,认为实体是以各种方式显现于人的,而不是像托子那样不可知,也不显现。

    我要说,洛克的托子的作用是保证物的个体化与同一性。这个作用在康德那儿,似乎是由物自体和先验范畴共同完成。先验范畴组织现象,在使意识对现象的认识成为可能的同时,也使同一的意识本身成为可能——对先验对象的构成即对自我的构成。而物自体在这个过程中究竟如何起作用,不详。康德的物自体与洛克的托子一样,是个让理论显得尴尬,却又不得不进行的假设。

    尽管康德反复说现象中的实体不是洛克的托子,但这个实体究竟是什么,他又语焉不详。出于他对牛顿力学的接受,有人尝试将其理解为牛顿意义上的质量。我论证过,这样的解读将面临一个两难困境:如果实体是个体化了的质量,时间便不是惟一的;如果实体是现象世界中的总质量,基于二律背反的理由——这个总体无法成为经验对象——我们便无法经验到它。(详细论述见篇末附录)

    若是跳出康德阐释,取前一个困境:时间不是惟一的,每个作为现象的物都意味着一个独立的时间体系,我们就科幻了:空间中的一个一个的物,奠基着意识中的一个又一个时间系,我们可以生活在不同的时空中,当我们经验不同的物。甚至,对应地说,我们总在成为另一个人,当我们来到不同的时空。

    于是,我情愿把亨利的生活看作对康德的一次失败却有趣的解读。与其说他是一位时间旅行者,一位不停地穿越时空的超人或可怜人,不如说,他的意识中并没有一个绝对惟一的时间,他所来到并离开的每一个时空,都是一个独立自在的世界,尽管这些世界看上去很像,但哪个都不依赖于另一个——从理念的意义上说。


    二、沉默,或消失


    影片的前半部分,亨利的突然消失被解释为一种不治的遗传疾病。没有理由地,他时不时就去了另一个时空,赤身裸体地寻找可以穿上的衣服。仿佛常人来到一个新的环境,总是迫不及待地寻找一个身份,穿到自己身上。
    亨利总会在一个无从预料的时刻消失,克莱尔生活在一个不确定的世界中。她的爱情是确定的,但她爱的人不确定地存在着。她的生活中弥漫着不确定性,而这恰好让她格外珍惜亨利在她身边的每一分钟。

    克莱尔一次次怀孕又一次次流产,因为胎儿也有穿越症,莫名其妙地,便在某个时刻,出离了子宫。但克莱尔最后一次怀孕时,对亨利说,你每次消失都是因为感觉到了压力。所以,从现在开始,我要保持绝对地平静,这样胎儿就可以顺利出生了。
    看到这里,我恍然大悟,原来亨利的穿越症是个隐喻,关于男人的隐喻:面对压力,便会沉默与回避,这不正是男人的本能反应么——而这在女人看来,仿佛爱人去了另一个时空,不知何时才能回来,甚至,会不会回来。

    我查了查,电影改编自一位女造型艺术家的首部小说,写于一段失败的恋情之后。原来如此。

    很多年前听到过一个说法:爱情,对男人来说,是挂在墙上的一幅画,你并不总是去看它;但对女人来说,则是房间里音乐,你想不听都不行。所以,男人需要时不时地呆在纯然属于自我的世界里,在沉默中成为自己。女人却要认为这是对她的疏远、对亲密的疏离,并因此而坐立不安,想方设法闯进那份铁一般的沉默。结果,要么把自己撞疼,要么把爱情撞碎。
    这是对小儿女情态的描述。若成年点,便会更同情于另一个说法:人生在世,无非是男人讨慰藉,女人讨生活。人并不总是需要慰藉,尤其在得意之时。人却总在生活,就算你不想。


    三、看着,却无法改变


    在一次穿越中,亨利来到母亲身边,在地铁里,母亲在看报,他们作为陌生人简短却亲切的交谈了一会儿。亨利告诉母亲,他要结婚了,这个女孩让他感到安全。
    克莱尔问他:你什么不去阻止那场车祸,既然你可以回到车祸发生之前。“我无法阻止。无数次我回到过去,回到母亲还在的时候,但每次我都无法改变发生着的一切。”——这话让人特别难过。我们并不能改变过去,就像不能重新雕刻一座已然完成的塑像。

    不是么?很多时候,我们从自己当下的境遇中抽身而出,试图站在一个更开阔的角度,超脱地看现在的纠结、焦虑,或苦闷,并自嘲这些都没什么的。但当你身在当下,你知道未来的自己就坐在对面,笑着,看着自己,慈悲地。但你还是无法因此脱身而出。你仍然只能呆在你当下的处境中,无论是过分的快乐,还是仿佛无法挣脱的哀伤。

    每一个时刻都是三维的,它包含着过去、现在,和未来这三个维度。我们在回忆中编辑时间,编辑自己,有意无意地遗忘一些,并把另一些反复摩挲。过往明明灭灭,像晴天里,随风晃动的百叶窗投在墙上的影子。每次回忆之后,我们都成为另一个人。
    未来也是。未来无数次作为想象呈现于当下,各式各样地,仿佛清晰的回忆。回忆与憧憬,如同天平的两臂,对称着,平衡着,在现在这个支点上。所以,现在这个时刻,最重。


    四、期限


    有天聚会时,亨利中枪后痛苦挣扎的裸体突然出现在他们的门厅里。又消失了。克莱尔说,我从没见过四十岁之后的你。我见过的你总是很年轻。从这个时候起,死亡就成了他们中的另一个在场者,尽管它总是沉默着。

    亨利穿越到未来,遇见了自己的已经十岁的女儿。女儿告诉他,他死于自己五岁那年。她们一直很想念他。那时他们的女儿还没出生。那时克莱尔还一如既往地希望与亨利白头偕老,就像她还没长大时那样,就像她长大之后第一次遇到亨利时那样,就像亨利死后,她仍然留着亨利所有的衣服,等着亨利回来那样。

    于她而言,亨利是不会死的。他无非是走远了一下子回不来,他无非是在时空中迷了路,找不到一件让他温暖的衣服。

    女儿五岁那年,亨利和克莱尔都已知道,亨利即将死去,中弹而死。期限降至,可能在任何一天,任何一个时刻。在它到来之前,所有相聚的时光都是铭刻,都是用最日常的方式来进行的一次祭奠,一次追忆。当这个期限还不确定,他们相爱着,仿佛一对最平凡的恋人;当这个期限已然确定,他们相爱着,装作不知道他们即将分离。

    一个期限并不见得让期限到来之前的一切都显得美好。但,美好的东西都有一个期限。确定的期限,或不确定的期限。你不能试图挽留,那会犹如握紧手中的细沙,握得越紧,便流失得越快,宛如时间,从指缝间悄然流走。
    这个期限是否到来,何时到来,都不是你能选择的。你能做的,仅仅是在它到来之前的每一刻,不让自己在未来后悔——克莱尔明白这些,并且,她做到了。

    而,这不正是人生么。


    ——————
    附录:On Understanding Substance as Mass

    Introduction

    In the First Analogy of Experience, Kant argues that there must be some permanently persistent substance in the appearances which represents the persistence of time. Given Kant’s endorsement of Newtonian physics, commentators such as Eric Watkins suggest that such permanently persistent substance can be understood as Newtonian mass. In this paper, however, I argue that we face a dilemma when we try to cash out the notion of substance in terms of Newtonian mass.
    The paper proceeds in three steps. In the first section, I present the reason why there needs to be a permanently persistent substance in the appearances, and discuss why it seems to be compelling to conceive of the permanently persistent substance as Newtonian Mass. Then, in the second section, I argue that there are (only) two ways of conceiving of the permanently persistent substance as Newtonian mass, namely, to conceive of substance as individuated mass and to conceive of substance as the sum total of mass in the world of appearances. I show that there are textual indications as well as philosophical reasons to support each option. In the third section, however, I argue that both ways suffer from inescapable problems. Thus, conceiving of the permanently persistent substance in terms of Newtonian mass is not viable.

        
    Section I. The Permanently Persistent Substance

    In this section, I shall first present the reason why Kant thinks that there must be a permanently persistent substance in the appearances. I then discuss why it is compelling to conceive of such substance as Newtonian mass.
    In the chapter “System of all principles of pure understanding,” Kant discusses what makes possible the applications of the categories, i.e. the pure concepts of understanding, to objects, i.e. appearances that are given to sensible intuitions. That is, he discusses what it is that makes the categories have objective validity. Kant’s claim is that the applications of the categories are only possible under certain conditions, and these conditions are spelled out by the principles. For instance, the applications of the relational categories (substance-accidents, cause and effect, and mutual interactions) are possible if they are applied to objects according to the principles of Analogies of Experience. In addition to the three specific principles that correspond to each of the three relational categories, Kant also provides a general principle overarching all three Analogies. The general principle is stated in the second edition as follows: “Experience is possible only through the representations of a necessary connection of perceptions” (B 218). Watkins provides a helpful interpretation of this general principle:
    “The general idea is that each of the three relational categories represents a necessary connection that is required for experience of a single time and of objects existing and being temporally related to each other within a single time to be possible.” (My emphasis)
    Since this paper is focused on the notion of substance in the first Analogy, I shall ignore the second and third Analogies. So I now turn to a close examination of the first Analogy.
    The first Analogy, i.e. the principle of the persistence of substance, is stated in the second edition as follows: “In all change of appearances substance persists, and its quantum is neither increased nor diminished in nature.” (B 224) Watkins summarizes Kant’s argument for the first Analogy as follows (which I take to be a correct interpretation):
    Premise 1: Appearances, i.e. objects of experience, are made possible by time’s persistence.
    Premise 2: We do not perceive time itself.
    Therefore, In order to have experience of appearances, there must be some permanent substance in the appearances which can represent time or time’s persistence.
    While the appearances, as the objects given to our intuitions, are changing, the substance in appearances always stays the same and is permanent. So, Kant calls the permanent substance “the substratum of everything real” (B 225). But, some clarifications about Kant’s use of the term “substratum” are needed to prevent potential confusions. Substratum in Kant’s text does not mean what Locke uses this term to mean, namely, the bearer of properties which is unchanging and about which we can have no knowledge. For, according to Locke, we can only know what is given to our senses, but since the underlying substratum cannot be given to our senses, we have no access to it and therefore cannot know it.
    Kant, by constrast, does not think that there is any Lockean substratum in the world of appearances. For Kant, the fact that the states of the substance are changing and the substance stays the same does not mean the states are separable from the substance. Rather, the changing states of the substance are simply the ways in which the substance is given to us. Thus, we can know the substance, that is, we know the substance through its states. In order to avoid the Lockean implication of the term “substratum,” I shall only use “substance” to refer to the permanently persistent thing in the appearances despite Kant’s own use of “substratum” to talk about what is permanent in the appearances.
    Since I have argued that Kant’s notion of substance is not the Lockean substratum, then what is the Kantian notion of substance? We need a positive account of what the substance is. It is obvious that such a permanently persistent thing cannot be captured by ordinary physical objects, no matter whether they are natural objects (say, rocks) or artifacts (say, ships), for neither artifacts nor natural objects always stay the same such that in principle they can never suffer changes. So, it seems no ordinarily construed physical things can be qualified as substance that is permanently persistent. On the other hand, it is very hard to imagine that anything non-physical could play the role the substance is supposed to play. For it is hard to imagine how a non-physical being could be given to our sensible intuition or could be spatiotemporally organized by our a priori intuitions. So, it is unlikely that Kant means something non-physical by “substance.” Thus, there are two constraints on spelling out what substance is. First, it is something physical. Second, as I have shown, the physical being that can be understood as substance cannot be ordinarily individuated physical things such as planet or rock.
    In order to meet the above two conditions, Watkins suggests that, given Kant’s commitment to Newtonian science, it is likely that Kant has Newtonian mass in mind when he talks about the substance, since no matter how a physical object changes, its mass always stays the same. Since Newtonian mass is physical and is not an ordinarily individuated object, it seems quite compelling that the substance, which is permanently persistent, just is Newtonian mass. According to common sense, Newtonian mass is understood to be underlying objects such that we cannot directly perceive mass but can only perceive mass through the way it is given to our intuition, namely, through the perception of the objects that have mass. Thus, mass is neither unknowable nor directly perceivable, which seems to fit the description of the substance perfectly.
    Moreover, there are many textual indications that suggest the identification of substance with mass. Let me note two examples. First, recall the general principle overarching the three specific Analogies, namely, “In all change of appearances substance persists, and its quantum is neither increased nor diminished in nature.” (B 224) It seems that “quantum” is most naturally to be understood as mass, for mass seems to be the only thing in nature that is neither increased nor diminished on Newtonian physics.
    The other indication is Kant’s example to illustrate his claim that “he <a philosopher> thus assumed that as incontrovertible that even in fire the matter (substance) never disappears but rather only suffers an alteration in its form.” (B 288, my emphasis):
    “A philosopher was asked: How much does the smoke weigh? He replied: If you take away from the weight of the wood that was burnt the weight of the ashes that are left over, you will have the weight of the smoke.” (B 288)
    We can see that here Kant explicitly identifies substance with matter. And it is quite plausible to think that “matter” is just another way of saying “mass”. That is, “mass” seems to be the theoretical analog of the term “matter.” This hypothesis is supported by the example of the weight of smoke. For, in the example, the way to calculate the weight of smoke just is to calculate the mass (multiplies the gravitational constant).
    However, despite the compelling reasons for the identification of substance with mass, in the next sections, I shall argue that the substance cannot be understood as Newtonian mass, for when we try to work out the details of understanding the substance as mass, we face an unavoidable dilemma.


    Section II. Some Mass or the Sum Total of Mass

    In this section, I shall argue that there are two ways of conceiving of substance as Newtonian mass, and then show that both ways have some support from the text and are to some extent philosophically plausible. So, both ways deserve detailed considerations. But, in the next section, I shall argue that both ways face insurmountable problems.
    In identifying substance with mass, we need to settle an ambiguity: Is the mass meant to be some mass, say the mass of a rock which is 7 kilograms (a randomly chosen weight), or to be the sum total of mass in the world of appearances which is a very large but nonetheless definite amount? Since both some mass and the sum total of mass are permanently persistent, we cannot tell which way of identifying is more plausible with respect to the permanent persistence of substance. So, we must appeal to some other philosophically and/or textually interesting points to ground a preference in choosing one over the other.
    Let us first consider identifying the substance with some or individuated mass. First, the first Analogy is the principle according to which the relational category substance-accident is to be applied. Kant defines accidents to be “the determinations of a substance that are nothing other than particular ways for it to exist.”(B 229) Many commentators interpret the relation to be between object and its properties or states. Thus it makes more sense to think that the mass, which is the underlying bearer of properties, is the individuated mass of some object, instead of the sum total of mass in the world of appearances. For instance, in the example of the weight of smoke, Kant seems to conceive of substance as the matter, i.e. mass, of an individual object. Moreover, if we conceive of substance as the sum total of mass in the world of appearances, it is very hard to imagine how substance can be the bearer of properties or what kind of properties of which substance is the bearer.
    One might argue that, on the interpretation according to which substance is the sum total of mass, even though we could imagine no properties of which substance is the bearer, we can still conceive of substance as the bearer of (changing) states, i.e. the successive states of the world of appearances. I reply that Kant cannot accept such an idea because the states of the world are not objects of possible experience, for it is at least empirically true that no one could have the whole world of appearances as his object of experience. I will return to this point later on in the paper and use it to argue that conceiving of substance as the sum total of mass is untenable given Kant’s theoretic commitments.
    The above discussion is about reasons to prefer the identification of substance with some mass. I now turn to the reasons to prefer the identifications of substance with the sum total of mass. There are some textual evidences in the first Analogy that suggest this latter identification. For instance, the following passage:
    “…here the issue is only appearances in the field of experience, the unity of which would never be possible if we were to allow new things (as far as their substance is concerned) to arise. For then everything would disappear that alone can represent the unity of time, namely the identity of the substratum in which alone all change has its thoroughgoing unity. This persistence is therefore nothing more than the way in which we represent the existence of things (in appearances).” (B 229/A186, my emphasis)
    In this passage, Kant seems to identify the permanent persistent substance that represents the persistence of time with the unity of appearances, which seems to be the sum total of mass in the whole world of appearances. Let me argue for my understanding of this passage that it indicates that Kant identifies substance with the sum total of mass. I shall argue by reductio: Suppose Kant identified substance with individuated mass in the above passage. Then, it would make no sense to think that the arising of new substance could make the representation of the unity of time impossible. For the arising of new substance in no sense affects the substance, i.e. the mass, of the original objects. Let me use an example to illustrate. Suppose there is a rock whose mass is 7 kilograms and there arises a new object out of nothing, whose mass is 5 kilograms. Insofar as the rock’s mass remains the same, whether or not there are new masses arising out of nothing does not affect the unity of the rock’s mass, which is 7 kilograms. Therefore, in this passage, Kant conceives of substance as the sum total of mass in the whole world of appearances.
    So far I have shown that there are compelling reasons to identify substance with some mass or with the sum total of mass respectively. In the next section, I shall argue that there are also devastating reasons to each identification such that either way we go, we face unsolvable problems.


    Section III. One Single Time and the Limit of Possible Experience

    I now turn to the problems from which the each identification suffers. In this section, I shall argue that these problems make both identifications untenable. Let us first consider the identification of substance with individuated mass (i.e. some mass). I argue that the reason why individuated mass cannot be identified with substance is that individuated mass cannot represent the oneness of time. Recall Kant’s argument for the principle of the first Analogy: in order to have experiences of objects as temporal, we must identify a permanently persistent substance that can represent time in objects. While the states of the substance change, the substance persists so that the substance can represent time that persists. It is important to notice that time, which is supposed to be represented by substance in appearances, is one single time. But, individuated mass cannot represent one single time. For there are many individuated masses, for instance, the mass of a rock which is 7 kilograms, the mass of a cup which is 0.5 kilogram, and the mass of a table which is 3 kilograms, each of which is permanently persistent and undergoes changes. If one of them can represent time, any other also can. In that case, we do not have one single time. Rather, we have many times or time-series, each of which is persistent.
    Let me explain in details why multiply individuated masses cannot represent on single time. If these individuated masses can represent one single time, there must be some one single thing that is shared by these individuated masses that serves to represent the singularity of time. Whatever this shared thing is, it is not any of these individuated masses. Therefore, individuated mass cannot present one single time. However, on the other hand, time has be to singular. Here is a passage in the first Analogy which explains why time has to be one single time rather than a plurality of times:
    “Substances (in appearances) are the substrata of all time-determinations. The arising of some of them and the perishing of others would itself remove the sole condition of the empirical unity of time, and the appearances would then be related to two different times, in which existence flowed side by side, which is absurd. For there is only one time, in which all different times must not be placed simultaneously but only one after another.” (B 232/A189)
    One might argue that it does not matter how many individuated masses can represent time, it only matters that there is an individuated mass that represents time. Insofar as there is such a substance, which is permanently persistent, it suffices to represent one single time. I reply that, in that case, we still do not know which individuated mass is suppose to be the representer of the one single time in appearances. For there is not reason to think that the mass of one object is more suitable to represent time than the mass of another object is, insofar as both of the individuated masses are permanently persistent. Any choice of one over the other is arbitrary. But the unity or singularity of time is not arbitrary, for there can only be one time-series which persists, and any other time-series or temporal relations are just temporal parts of this unique time-series. Thus, I conclude that individuated mass cannot be the representer of time in appearances.
    I now turn to argue that the sum total of mass cannot represent time either. The idea of my argument is to make use of Kant’s solution to the Antinomies to show that the permanently persistent substance that represents time in the appearances cannot be the sum total of mass because the sum total of mass is not an object of possible experience. Let me lay out my argument in detail.
    In “The Antinomy of Pure Reason” chapter, Kant presents four pairs of arguments concerning four cosmological ideas about the world-whole, namely, whether there is a beginning of time, whether there is indivisibly simple substance, whether there is a first cause, and whether there is a necessary existent. As Allen W. Wood argues, the four antinomies share a general form, namely, the thesis of each antinomy claims that there must be a first member of the conditioning-conditioned chain, while the antithesis of each antinomy claims that there is no first member of such a chain and that the chain goes back into infinity. Kant argues that there are valid arguments for each of the four theses as well as valid arguments for each of the four antitheses, so we need a solution to such contradictions.
    Kant’s solution to the contradictions, as Wood argues, relies on his doctrine of transcendental idealism. As for the first two antinomies, Wood argues
    The mathematical antinomies are generated by mathematical principles that apply to things only insofar as they are given in sensible intuition…But these [the first two] series of conditions are never given to intuition as a whole...The theses are false because the principles of possible experience make it impossible for objects corresponding to the cosmological ideas of a first event, a largest extent of the world or a simple substance, ever to be given to intuition.”
    Thus, the reason why Kant thinks that the claims made by the theses of the first and second antinomies are false is that neither the beginning of time nor the spatial boundary of the world or an indivisible substance can ever be given to our sensible intuition. If something cannot be given to our sensible intuition, according to Kant, we cannot have experience of it. Let me call this principle the object-of-sensible-intuition principle, namely, if something cannot be given to our sensible intuitions, then it cannot be object of our possible experience. And we can apply this principle to an object to determine whether that object can be object of possible experience. That is, if the object in question can be given to our sensible intuition, then the object can be object of our possible experience, but if the object cannot be given to our sensible intuition, then it cannot be object of our possible experience.
    Now, let me apply the object-of-sensible-intuition principle to the idea of the sum total of mass. We can see that the sum total of mass cannot be given to our sensible intuition, so, the sum total of mass cannot be object of our possible experience. For the world of appearances seems to mean the whole universe or cosmos (because everything in the universe stands in causal relations to each other), there is no way for all of the mass in the whole universe to be given to our sensible intuition. Actually, we do not even know whether there are spatial boundaries of the universe, so we do not even know whether the sum total of mass in the all universe is finite. Thus, the sum total of mass cannot be object of possible experience. So, the sum total of mass cannot be that which represents time in appearances. For the reason there must be a permanently persistent substance in appearances which represents time is to make our temporally connected representations of objects possible. But, if the sum total of mass cannot be object of experience, it cannot make our experience of object possible. Thus, the permanently persistent substance in appearances cannot be the sum total of mass.
    One might object that in the antinomies, the cosmological ideas at issue are condition-condition series. (B 436/A410) But the sum total of mass is not a series. Rather, it is an aggregate about which the question of conditioning and conditioned does not arise at all. Thus, Kant’s remarks on the antinomies have no bearing on whether the idea of the sum total of mass has any objective validity or significance. Moreover, the first two antinomies concern whether the conditioning-conditioned series go on into infinities. And it seems that it is impossible for us to experience infinity, for no matter what we experience it is finite insofar as we have experienced it. But, the quantum of the sum total of mass seems to be a definite and finite amount. By virtues of what can we claim that the sum total of mass cannot be object of experience? Is this “cannot” an empirical cannot, or an In-Principle cannot? If the answer is the former, the empirical “cannot” does not seem to be strong enough to show that the sum total of mass cannot be experienced, because we cannot know or predict whether in the future empirical sciences and technologies will make the sum total of mass possible object of experience. If the answer is the latter, at least further explanations of why the sum total of mass, which is a finite and definite amount, cannot be object of possible experience in principle are needed.
    To the first objection I have two replies. First, in the first antinomy, Kant also discusses whether there is boundary or the largest extent of space. It is not obvious that there is a spatial series in the sense that it is obvious that there is a temporal series in which one moment succeeds its previous moments. However, according to Kant, we can think of the space acquiring its quantum through repeatedly or successively adding spatial units to the previous spatial units. (A 428/B 456) That is, the way of conceiving of space as a spatial series depends on the way of conceiving of time as a temporal series, which is naturally serial. Then, by the same token, we can also think of the sum total of mass acquiring its quantum by successively adding massive units to previous massive units. Thus, if the object-of-sensible-intuition principle applies to the idea of the boundary of space, it should also apply to the idea of the sum total of mass of the whole world of appearances.
    Second, the fact that Kant applies the object-of-sensible-intuition-principle to the first two (or three) cosmological ideas to solve the contradictions does not mean that the principle can only be employed to deal with the antinomies. If the principle is applicable to other ideas, we can also use the principle to deal with other ideas. Since the object-of-sensible-intuition principle is derived from transcendental idealism, which is an important element in the whole Critique, there is no reason why the principle cannot be applied to other ideas than cosmological ideas. Thus, it is legitimate to use the object-of-sensible-intuition principle to show that the sum total of mass of whole world of appearances cannot be object of possible experience. So, the sum total of mass cannot be what represents time in appearances.
    My reply to the second objection has two steps. First, it needs to be clarified that, although the first two antinomies concern whether the conditioning-conditioned series are infinite, Kant’s solution by the object-of-sensible-intuition principle does not rely on the whether the series are infinite. The principle only concerns whether the things to which the cosmological ideas refer can be given to our sensible intuition. It does not concern whether the things are infinite. It seems true that infinity cannot be object of sensible intuition. But this does not mean that all finite things can be given to our sensible intuition. Actually Kant rejects the claim that all finite things can be given to our sensible intuition. For Kant thinks the thesis of the first antinomy is false, because the beginning of time or the boundary of space cannot be given to our sensible intuition so that it cannot be object of possible experience.
    The second step of my reply is to spell out in which sense of “cannot,” the sum total of mass cannot be object of possible experience. It seems to me that the distinction between empirical “cannot” and In-Principle “cannot” is hard to cash out in the context of Critique. For, in the Critique, any legitimate claim to knowledge entails that the object of which the knowledge is can be experienced. Thus, it seems that the empiricality of the “cannot” entails the In-Principality of the “cannot”.
    However, concerning the claim that we cannot predict whether in the future empirical sciences and technologies will make the sum total of mass possible object of experience, what would Kant say? Would Kant agree that future sciences and technologies might or could transform a transcendent idea into an idea which refers to object of possible experience? I do not think he would. For Kant thinks his Critique settles metaphysical questions once and for all by theoretical reason, which is static or a-historical. Future discoveries made by sciences and technologies should be able to do no damage to the doctrines in Critique. Moreover, it should be odd to Kant’s ear that progresses made by empirical sciences could have any bearings on the doctrines in the Critique, which he builds up from scratch employing only pure reason, which is absolutely a-historical.
    Thus, I conclude that the above arguments show that identifying substance with the sum total of mass in the world of appearance is not tenable. Since I showed earlier in this section that identifying substance with individuated mass is not tenable either, I conclude that the general strategy of identifying substance with mass is untenable.


    Section IV. Concluding Remarks

    In this paper, I showed that a seemingly very promising way of understanding the permanently persistent substance discussed in the first Analogy, namely, conceiving of substance as Newtonian mass, is untenable. Then, I wonder whether there are other promising ways of providing a positive account of substance or actually it is the case that the notion of substance in the first Analogy is itself untenable. At this stage, maybe I could follow Kant’s stance on the things of themselves, namely, they exist, but we can have no knowledge about the way of their existence. But, at the same time, we need to have this minimal conviction that they exist. Similarly, concerning substance, we can have no knowledge about what the permanently persistent substance is, but we need to have the minimal conviction that it exists in the world of appearances and it serves to represent time.
    【详细】
    530131278
  • 135****4321
    2015/3/31 23:31:35
    关于残团的一些看法
     ----残团,脑残的团

        现在抗日神剧很多,我也不多说什么。我知道这是所谓“爱国情绪”的一种表达,我知道作为一个中国人,我不能说这又有什么错。但是我认为也不能把太多的商业元素加入到电影里,电影是艺术品,而不是纯纯粹粹的商品,更不是电视上那些供大爷大妈消遣的肥皂剧。

        
     ----残团,脑残的团

        现在抗日神剧很多,我也不多说什么。我知道这是所谓“爱国情绪”的一种表达,我知道作为一个中国人,我不能说这又有什么错。但是我认为也不能把太多的商业元素加入到电影里,电影是艺术品,而不是纯纯粹粹的商品,更不是电视上那些供大爷大妈消遣的肥皂剧。

        我不想过多提那段历史,因为那是耻辱的历史,是值得铭记的历史。不是某些商业公司塞满裤腰带的噱头,就像这不电影中,完全是颠覆了那段历史。如果真是这样抗战要打八年?会有那么多同胞死难?完全颠覆了我的历史观,我想那段历史所要传达的不是民族仇恨,更不是一群超人般的英雄爆艹鬼子,而是落后就要挨打的血的教训。你们若将历史当儿戏,若将同胞付出的鲜血当儿戏,就会教坏后人,也许将来的某一天历史将会重演吧.....
         
        我也不知道这些电影是“爱国”还是害国。

                        当然了你可以权当以上都是我的废话
                                 权当是一个逗比在bb
        
    那我就从电影内容来谈,这部电影内容可以说破绽百出吧

    举个例子比如说团长手上的M3冲锋枪,这是美国43年的货,中国在抗战之后才出现这种武器。而北平沦陷也不过是1937年7月

    也且不说这,日军和国军战斗场面也是漏洞百出。你家打仗和奥特曼打怪兽一样么?导演是不是美国大片看多了?

    还有就是少儿不宜场景的安排,我感觉完全是毫无必要。首先这种手法就应该有所保留,更应在影片开头标注,更令我不明白的是在这部电影里这些情节我不明白有何用处。

    对于这部电影我也没怎么看,但我也是看完了全场。总之我觉得做工是很粗糙的,这从英文字幕可以看出,ok 你竟然能打成o我也是醉了




    最后的最后我是极其不推荐看大家看着部电影,我也是在学校里被逼着看的。
                                                                                 以上 某小鬼
    【详细】
    74301697
  • 香蕉百香果
    2023/3/27 16:32:25
    小小少年 暗生情愫 那种默契心照不宣

    一直就对校园青春剧非常有好感,看到B站有推荐,就冲来看了,不得不说非常惊喜。

    有的校园剧拍的不错,但剧本总是落了俗套,或者随着剧情发展,要么变成青春疼痛文学,要么主人公人设崩了,但我想说这部剧三个主人公的人设全程没崩,而且故事也基本圆回来了就很厉害,可以看出编剧的功力(毕竟,我也去刷了一遍小说,感觉就非常青春疼痛文学,无病呻

    一直就对校园青春剧非常有好感,看到B站有推荐,就冲来看了,不得不说非常惊喜。

    有的校园剧拍的不错,但剧本总是落了俗套,或者随着剧情发展,要么变成青春疼痛文学,要么主人公人设崩了,但我想说这部剧三个主人公的人设全程没崩,而且故事也基本圆回来了就很厉害,可以看出编剧的功力(毕竟,我也去刷了一遍小说,感觉就非常青春疼痛文学,无病呻吟,作的作死,要是按原著拍男女主人设都得被骂)

    青梅竹马好磕的点不仅在于两个人一起经历了那么多美好的时光(这一层当然导演已经拍的很好了),而且更重要的是两个人对彼此都有非常非常深入的了解,像是麦琪的礼物一般,提前一步就想彼此之所想,为彼此考虑,而且不以告诉对方为目的,而是默默付出不计回报。这件事说起来简单,但并不容易做到,所以能磕到这一点就觉得非常甜。比如,乔乔因为李强手骨折,第一反应是不要告诉秦川,因为她知道秦川一旦知道就立刻会去替她报仇,这里有个前提是她自己就知道自己对秦川的重要性,但她没有拿这点出来炫耀,或者手一骨折就去找秦川,那也和人设不符。而是默默承受了一切。而秦川,虽然不知道乔乔怎么搞骨折的,但还屁颠颠跑去人家里哄人,叫自己奶奶去给乔乔炖汤(真的是胳膊肘向外拐)还帮她翻书,真的就已经把乔乔当成自己非常亲密的人,才会自然而然做出这些举动,这种心照不宣就是我的最爱哈哈哈哈

    这种深入了解的默契还有好多地方都能体现,比如乔乔帮秦川写发言稿也非常戳我。从她竞选领队看其实她对足球知识了解不多,但是,,,秦川肯定经常在她耳边叨叨,她也记住了不少,才能在演讲稿中如数家珍,哇咔咔咔咔就贼好磕

    还有想说下女主的人设。真的,要搁我身上,碰到秦川说要和刘雯雯一起回家,我都能炸了,肯定要和秦川吵架,但谢乔呢,她也很生气,但还是因为秦川能忍了。甚至,在刘雯雯有危险的时候硬着头皮也上了,后来她有解释说是因为秦川的关系,我觉得她是真心的。她再不能接受刘雯雯,那是秦川彼时接受的人,所以她也是因为秦川才去救刘雯雯的,这种高尚可能只有乔乔能做出来了,要换我,我早跑了哈哈哈啊。所以说乔乔还是非常值得人喜欢的,也是理智的,虽然是院子的团宠,但非常有自己的见解,就是很可爱的妹妹!

    反正整部剧我是爱了,少年间的喜欢就是这么简单,纯洁,却不自知。真的,这部有的非常纯爱了,最后秦川都没好意思拉乔乔的手手,但就是让我血压上升啊啊啊,谁懂!!编剧真的非常优秀了,导演也是很会拍,就是那场雨中足球,不知道为啥一卡一卡的,没太看出酣畅淋漓的感觉,其余的都很棒

    希望我们的小糊剧被更多人看见,两位小演员未来可期!!安利安利

    【详细】
    150661268
  • 新大町
    2015/9/16 0:00:59
    《解救吾先生》的一些题内与题外话
    個人電影清單#171.《解救吾先生》

    個人評分:7.8/10

    下文含剧透。(其实剧不剧透也没差...)

    没去上海电影节,但也有幸赶在全国提前点映先看了这部作品。电影在年中开始做宣传的时候便引起了我的关注,主要原因还是剧本改编自真实案件。

    正片阅毕,首先最大的一个感想是:国产警匪犯罪片似乎越来越摸出属于自己一套风格了,某种程度上可以说是有别于港
    個人電影清單#171.《解救吾先生》

    個人評分:7.8/10

    下文含剧透。(其实剧不剧透也没差...)

    没去上海电影节,但也有幸赶在全国提前点映先看了这部作品。电影在年中开始做宣传的时候便引起了我的关注,主要原因还是剧本改编自真实案件。

    正片阅毕,首先最大的一个感想是:国产警匪犯罪片似乎越来越摸出属于自己一套风格了,某种程度上可以说是有别于港产警匪片的另一种张力,in a good way, of course.电影本身很容易让观众与同期的《烈日灼心》一并比较,从受众面来说《烈日》应该更为大众所接受,因为其改编自小说的剧本总会比这个改编自真实案件的剧本来得更加戏剧化(狗血化),不过偏偏这样戏剧化的剧情走向也是观众所乐于看到的。然而我个人其实更喜欢真实案件改编的电影,就如同过去的《十二宫》,且不论电影本身以及改编得如何,但单是故事背后的真实案件就很值得在观影后翻阅回相应的资料耐人寻味地咀嚼,因为很多时候现实生活比电影演的更荒唐。

    其实名人绑架案的改编电影也并非如海报所说的吴若甫就是第一案,早在90年代香港便有许多电影还原了当年的绑架案和凶杀案,与本片的题材比较相似就是《惊天大贼王》以及《插翅难逃》,直接映射了当年张子强绑架李嘉诚之子李泽钜那个创下吉尼斯绑架赎金世界纪录的绑架案(1996年的10.38亿现金,张在现场直接用几十个编织袋带走,他自己只留了4.38亿,剩下的6亿全分给手下,成为历史迄今涉案金额最庞大的且成功绑架的案子)。

    而其实在这部片里面,刘德华饰演的吾先生与绑匪交谈的过程也有暗示提及到当年张子强的绑架案,与后者不同的是,吴若甫这个案子最终还是依靠神勇无比的北京公安局一战成名的刑侦手段(其实我觉得多少也有点偶然成分)侦破,而张子强的那宗案件李家并没报案(大概一是知道张子强不是一般人,二是不信任当时的腐败的香港政府及警察)。

    再从这部电影的几个参与人物的角度谈谈这部电影吧:

    导演丁晟:丁晟之前执导过的作品有《硬汉》系列、《警察故事2013》、《大兵小将》,《吾先生》跟他从前的作品基本保持着一贯的风格:偏硬,且爱零散地在全片过程分布些笑点,不过这部的几个人物关系算是让这部作品的风格温和了一点,如:华子与他妈、胖子绑匪与吾先生、刘烨与诺一(什么鬼),这些部分是源自事实,有些则是导演有意改编为之。

    华仔:惨无人道地沦为男二。(甚至男三了我觉得...)

    吴若甫:其实吴在这部电影出演,既是个惊喜又是个让人纠结的地方。惊喜自然在于可以看看他在戏里去重走一遍这么次经历会有什么表现;而纠结之处则在于他并非出演原型中的自己,而是饰演曾经拯救他的那个刑警原型,这也成为我看着这片不时出戏的原因....不过片尾在车上吴若甫和刘德华对话后吴若甫脸上和眼皮的那一丝不易察觉的抽搐,不知道是导演让其有意为之还是他自己“入戏”后的唏嘘感慨表现。

    王千源:继《绣春刀》和《钢的琴》之后,王千源在这部电影里的演技可谓是给自己的演艺生涯竖了个新里程碑,说他一个人撑起了这大半台戏也不为过,哪怕他演的是个反派,哪怕牌面上这反派只是个配角,但我觉得他的角色形象与戏份重要性俨然就是个男一号了。当然也因此华仔变沦为了个只有男二甚至男三的戏份角色了。

    虽然这部电影并不是什么精彩绝伦拍案叫绝的罕有佳作,但看完这片回来后我还是第一时间回顾了下当年的真实案件,以下归纳总结的一些细节,条理顺序可能有点乱,但可给大家作为观后参考:

    1、真实案件中华子全名为王立华,戏中绑架并撕票的那个孔氏兄弟真实中为王氏兄弟,也真的撕了弟弟的票了...

    2、刘德华在片尾唱的那首《小丑》当时吴若甫也真的在被绑时候哼唱了。(不过自然不是电影效果中的那种唱得胖子绑匪都想要潸然了下的感觉了...)

    3、真实案件中吴若甫被锁了九把锁,所以电影中我们看到刘德华身上铁链那么多也并不夸张。

    4、真实案件中华子被捕归案拉到房间按在墙上审问的对白完全跟电影一样,这点电影并没有作改编。(刑警大哥们在北京电视台的镜头下也满身是戏啊)

    5、真实案件中吴若甫也的确当过兵,且在被绑匪拿枪上膛顶着的时候就马上感觉出了这是真枪,于是没有敢过多反抗便跟了绑匪上车。

    6、与吾先生同被绑那位染发伪杀马特抢戏小哥在真实案件中也的确存在,且遭遇经历跟电影基本无异,吴若甫也的确在被绑中说愿意用全部财产换两人的性命。

    7、真实案件中的华子也是个比较丧病的罪犯,在被捕后一直保持毫不在意的笑容,不过掩藏吴若甫的地点是他自己提出见女友后主动供出的。

    8、真实案件中华子在被捕时手里的确揣着手枪和手雷,都没上保险。(这也真是太特么拼了...)

    9、真实案件中看守吴若甫的嫌疑犯有五个,一个带着手雷守着吴若甫和杜小哥,另外四个则在另一间房里呼呼大睡...特警冲进农房的时间其实已是22:50,自然并非电影掐着表算好的20:59。

    10、吴若甫解释自己为何不出演自己原型的角色时说,他接拍这部戏并出演刑警副队长这角色,一是希望弘扬警队里的这些精英形象,二是因为他认可导演的为人(导演说自己拒绝日货,吴若甫对此深以为然)。同时他不演自己更重要的理由是他认为华仔肯定会比自己演得好。(然而我并不这么认为)

    11、真实案件中,特警们在破屋入内的第一时间是将自己垒成人肉防护墙盖住吴若甫和杜小哥两名人质,以防嫌疑犯拉手雷同归于尽伤及人质,这一点让吴若甫相当感动,以至于后来特地去参加了一名参与营救的特警的婚礼。这个必须要压轴作为对奋战在生死一线的特警刑警大哥们致敬!


    pps,一些相关资料连接:


    北京电视台当年的实况纪实节目:

    http://www.iqiyi.com/w_19rqybb27p.html

    事件后续整理:

    http://www.iqiyi.com/w_19rr5mpdil.html

    鲁豫有约之吴若甫2004年劫后采访文字实录:

    http://www.ycwb.com/gb/content/2004-02/21/content_644523.htm

    鲁豫有约之吴若甫2012年劫后8年再受访(看前5分钟就行,其余主要是跟老婆上来秀恩爱):

    http://v.ifeng.com/documentary/figure/201201/77e4a819-1a96-4658-abef-e571570248ce.shtml
    【详细】
    76003219
  • sciencecat
    2017/12/12 6:25:01
    非常喜欢这个题材。
    更新中。 明日的约定 07 看完了。我就知道这婚结不了。 虽然早就有好心人剧透我本庄对日向施暴了,但是在看到那里之前,听到他说你要不要结婚之后休息一段时间,我就知道这婚肯定结不了。 在本庄看来,处理学生因为家长而带来的情绪对于日向是负担。但是其实日向正因为自己当初...  (展开)
    更新中。 明日的约定 07 看完了。我就知道这婚结不了。 虽然早就有好心人剧透我本庄对日向施暴了,但是在看到那里之前,听到他说你要不要结婚之后休息一段时间,我就知道这婚肯定结不了。 在本庄看来,处理学生因为家长而带来的情绪对于日向是负担。但是其实日向正因为自己当初...  (展开)
    【详细】
    8979218
  • Diva.plus
    2020/5/9 8:59:42
    肛媽教你“舔狗不得好死”
    这篇影评可能有剧透 故事的起因是被父親送到平民學院歷練,看上去很聰明實際上是個弱智智的大小姐被電子郵件騙了500w日元(電信詐騙受害者),然後不能為父上知道這公款私用,所以盯上了帥哥甲子園冠軍的1000w日元獎金,女主角和黑執事招募了帥哥鑽石組團並要求抽走500w,理由是可以幫他們變得受歡迎
    这篇影评可能有剧透 故事的起因是被父親送到平民學院歷練,看上去很聰明實際上是個弱智智的大小姐被電子郵件騙了500w日元(電信詐騙受害者),然後不能為父上知道這公款私用,所以盯上了帥哥甲子園冠軍的1000w日元獎金,女主角和黑執事招募了帥哥鑽石組團並要求抽走500w,理由是可以幫他們變得受歡迎...  (展开)
    【详细】
    12579260
  • 羽蒙
    2020/6/15 19:14:22
    平静太久了,是时候酣畅淋漓的“爽”一把

    12663217
  • 燕尾蝶
    2017/7/5 22:36:59

    冲着当时热度很大的文章 陈妍希去看的,结果就的活生生的富春山居图翻版。影评讲的是短短几天内,电影明星、舞蹈演员、跳水冠军,三个没有任何关联的知名人士面带微笑意外死亡,在社会上引起不小的轰动。(微笑死亡就觉得既离谱又狗血)与此同时,擅长搞怪耍宝的热血青年警察王不二与深藏不露的警队老油条黄飞红搭档破案,惹出不少的乱子,令他们的上司Angela郁闷不已。某天,地产项目经理王峰微笑死亡,案子交到An

    冲着当时热度很大的文章 陈妍希去看的,结果就的活生生的富春山居图翻版。影评讲的是短短几天内,电影明星、舞蹈演员、跳水冠军,三个没有任何关联的知名人士面带微笑意外死亡,在社会上引起不小的轰动。(微笑死亡就觉得既离谱又狗血)与此同时,擅长搞怪耍宝的热血青年警察王不二与深藏不露的警队老油条黄飞红搭档破案,惹出不少的乱子,令他们的上司Angela郁闷不已。某天,地产项目经理王峰微笑死亡,案子交到Angela一组手中。为了尽快扭转警局中的不利局面,Angela、王不二和黄飞红展开全力追查,他们率先从与几名死者都有过交往的女演员刘金水入手。而在这一过程中,妖艳鬼魅的戴依依出现,无疑令案情朝向更为扑朔迷离的方向发展。这阵容放今天根本集结不到一起,但是简直是大大的浪费,李连杰简直太幻灭了,刘诗诗还是美美美,和柳岩剪不断理还乱的关系,陈妍希泳装竟还有一丝丝性感,总是这种片子能躲就躲,躲不过看看就过吧

    【详细】
    8646403
  • JACKY
    2021/5/21 0:16:57
    最爱喜剧片之一

    补:年少时最喜欢的电影之一,特别逗,当时片名还是咖喱辣椒2,觉得张学友与梁朝伟的组合比与周星驰的组合更默契,兄弟情更浓厚。片子整体也比1更轻松幽默,更富有想象力,各种搞笑桥段非常精彩,结尾镜头拉出,才发现二位是在狱中,绝了!学友真是被唱歌耽误的影帝,演技绝对精湛,很多片子甘愿当配角,而且也拿过最佳男配,可惜还是没有影帝,不知道会有没有机会了。梁朝伟的喜剧功底是一等一的,香港影帝多数都能很好驾

    补:年少时最喜欢的电影之一,特别逗,当时片名还是咖喱辣椒2,觉得张学友与梁朝伟的组合比与周星驰的组合更默契,兄弟情更浓厚。片子整体也比1更轻松幽默,更富有想象力,各种搞笑桥段非常精彩,结尾镜头拉出,才发现二位是在狱中,绝了!学友真是被唱歌耽误的影帝,演技绝对精湛,很多片子甘愿当配角,而且也拿过最佳男配,可惜还是没有影帝,不知道会有没有机会了。梁朝伟的喜剧功底是一等一的,香港影帝多数都能很好驾驭喜剧片,也都有很好的喜剧作品,这可能也是港片的一大特色。

    【详细】
    13558233
  • Loci
    2022/9/3 10:36:23
    那时候时间不用时间丈量
    如果换一个故事背景这样纪录片式的叙事方式我可能第五分钟就会退出,但是因为我也曾拥有过这样一片"土地”,所以才能打开回忆准确无误的找到对号入座的情绪,反复观看一些片段,乐此不疲。 你最害怕在电影里在别人的故事里找到自己的影子,因为这时候一些感情不自觉地就会让你...  (展开)
    如果换一个故事背景这样纪录片式的叙事方式我可能第五分钟就会退出,但是因为我也曾拥有过这样一片"土地”,所以才能打开回忆准确无误的找到对号入座的情绪,反复观看一些片段,乐此不疲。 你最害怕在电影里在别人的故事里找到自己的影子,因为这时候一些感情不自觉地就会让你...  (展开)
    【详细】
    14625215
  • 答案
    2020/3/21 2:47:44
    针对抵制耽改说几句话

    不是所有太太都在为爱发电,不是所有太太都应该为爱发电,作者也需要赚钱养活自己。

    不是所有的书粉都应该抵制耽改,对电视剧或者电影没什么反应的,或者追下去的,不叫真香。

    应该抵制怎样的耽改?这边牵扯的作品仅个人观点,热血同行【原著艳势番】转性+性格魔改+空降女主+剧情魔改,火王【原著火王】转性+性格魔改+剧情魔改。抵制的是那些不尊重原作,擅自魔改的那些作品

    不是所有太太都在为爱发电,不是所有太太都应该为爱发电,作者也需要赚钱养活自己。

    不是所有的书粉都应该抵制耽改,对电视剧或者电影没什么反应的,或者追下去的,不叫真香。

    应该抵制怎样的耽改?这边牵扯的作品仅个人观点,热血同行【原著艳势番】转性+性格魔改+空降女主+剧情魔改,火王【原著火王】转性+性格魔改+剧情魔改。抵制的是那些不尊重原作,擅自魔改的那些作品

    在座的打一星的用户,你们可能甚至连鬓边的书,鬓边的电视剧都没有好好的认认真真的看一集,所以你们有什么资格抵制?靠着你们拿原耽女孩的身份么?

    拒绝不理智行为

    【详细】
    12416286
  • 刘天琪
    2021/11/12 21:33:34
    少看毁三观电影

    要不以后会清水煮青蛙,有些事你觉得这是电影安排忍了,慢慢的就会三观崩塌,这难道就是文化入侵?这第二部拍的都把我气死了,我没看完就特意下载豆瓣来发泄我的愤怒,拍的莫名其妙,狗只对他们一家子忠诚是吧,别的主人都是过客是吧,太扯了吧,男主有女朋友,让女性朋友住过来,纠缠不清?就这三观,男女主成了,我也恶心,什么玩意,电影拍的很好,就是故事的三观让人作呕,看他我感觉受到了伤害,我可真是看的太后悔了,

    要不以后会清水煮青蛙,有些事你觉得这是电影安排忍了,慢慢的就会三观崩塌,这难道就是文化入侵?这第二部拍的都把我气死了,我没看完就特意下载豆瓣来发泄我的愤怒,拍的莫名其妙,狗只对他们一家子忠诚是吧,别的主人都是过客是吧,太扯了吧,男主有女朋友,让女性朋友住过来,纠缠不清?就这三观,男女主成了,我也恶心,什么玩意,电影拍的很好,就是故事的三观让人作呕,看他我感觉受到了伤害,我可真是看的太后悔了,如果你还没看,千万别看,

    【详细】
    13988216
  • 天欲雪
    2022/4/1 19:32:14
    百刀谱

    1荒郊野岭头投河这么多人围观小伙子不会暗恋马家娘子吧南和北要转180度,90度怎么就停了大哥你是蛇,吃点虫子怎么了2负心汉啊卧槽除了金钗,不是还有对珍珠耳环这坏男人没有恶报我是不服的3和尚你敢单手上香4当街打狗撒尿哈哈大笑,人被蛇咬死了当起正义之士了贪念一起,万事休矣5尊严还是虚名看着吐血的小白,真的想给张二狗两巴掌6断尾送桃夭啊7这是吃豆腐吗人口买卖,死不足惜8

    1荒郊野岭头投河这么多人围观小伙子不会暗恋马家娘子吧南和北要转180度,90度怎么就停了大哥你是蛇,吃点虫子怎么了2负心汉啊卧槽除了金钗,不是还有对珍珠耳环这坏男人没有恶报我是不服的3和尚你敢单手上香4当街打狗撒尿哈哈大笑,人被蛇咬死了当起正义之士了贪念一起,万事休矣5尊严还是虚名看着吐血的小白,真的想给张二狗两巴掌6断尾送桃夭啊7这是吃豆腐吗人口买卖,死不足惜8

    这个桥是怎么架起来的啊磨牙也没转头啊,遮着眼而已9雪天7日小孩竟然没死许婆婆真可恶,该死10

    疾病乱投医啊

    我还是更喜欢你桀骜不驯,转头就走的模样,桃夭所以你为啥不搬家呢

    11媪姬真可爱佛家寺庙为什么是道家的印12这个富商多没人娶啊,媪姬也没有很漂亮,带着女儿还要等100天

    不动用妖力也不会是人,妖怪不老不死不好吗

    宁愿化香,也不愿意说实话多呆几天

    照海救惊蛰不就什么事都没有了

    【详细】
    14312535
  • 虱臆
    2018/12/8 22:04:53
    大家年轻的时候都好靓

    学友哥在片子里全程指人瞪眼,眼睛又圆又小可爱至极,为陈雅伦看的,第一次看她的片子是《龙凤茶楼》,与莫少聪大眼仔cp,当时感觉这个女演员的feel好像红姑,一双眼睛很迷人,穿上紧身裙风情万种。至于片中的李丽珍后来才认出来,之前都是看到她中年的模样,脸完全很少女,一双又细又长的腿。话说莫少聪在这个片子里变黑很多,也变胖了,但是撩妹的本领还是一样的啊。

    其中陈雅伦有句台词吧“比周星驰还

    学友哥在片子里全程指人瞪眼,眼睛又圆又小可爱至极,为陈雅伦看的,第一次看她的片子是《龙凤茶楼》,与莫少聪大眼仔cp,当时感觉这个女演员的feel好像红姑,一双眼睛很迷人,穿上紧身裙风情万种。至于片中的李丽珍后来才认出来,之前都是看到她中年的模样,脸完全很少女,一双又细又长的腿。话说莫少聪在这个片子里变黑很多,也变胖了,但是撩妹的本领还是一样的啊。

    其中陈雅伦有句台词吧“比周星驰还风光”,话说你《龙凤茶楼》不也跟星仔对过戏咩。莫少聪片子里被打死了很可惜,总是准备金盆洗手、最后一单的时候出差错。有的地方不知是删减的问题还是剪辑的问题,很别扭,一些镜头也拍摄的不舒服,车技特效倒是不错哈哈哈。喜欢在回转寿司店里莫少聪冲上前去强吻李丽珍那个慢镜头,李丽珍以为他一脸怒气会要动手的样子,结果是一阵狂风暴雨的强吻,emmm接下来要看关于大眼仔的片子啦。

    【详细】
    9809386
  • ●就像欧洲人喜欢
    2015/8/15 11:57:56
    我觉得除了两大公式这个bug之外,母亲短命,为什么直到J这一代才推出公式之类的都不算坑
    还记得SATAN是怎么获得偶然公式的吗?是他的亲生父亲把他带到一个地方强迫他背下的,说明在这之前就有人推导出了偶然公式,既然之前有人推出了偶然公式,那么作为相对立的生命公式难道就没有人推出来吗?只有自私的人才会撞死那三个小孩,片中出现了几次J的父亲告诫他不要做一个自私的人说明他的父亲可能知道了偶然公式,但却没有用别人的生命为自己续命,也有可能是曾经有人利用偶然公式想杀掉他父亲,结果被他母亲用自己的
    还记得SATAN是怎么获得偶然公式的吗?是他的亲生父亲把他带到一个地方强迫他背下的,说明在这之前就有人推导出了偶然公式,既然之前有人推出了偶然公式,那么作为相对立的生命公式难道就没有人推出来吗?只有自私的人才会撞死那三个小孩,片中出现了几次J的父亲告诫他不要做一个自私的人说明他的父亲可能知道了偶然公式,但却没有用别人的生命为自己续命,也有可能是曾经有人利用偶然公式想杀掉他父亲,结果被他母亲用自己的生命换了过来。记得勺子说过每一代的祖母都有能力救老爷吗?这就说明每一代郭家人都是被这两个公式杀死的,偶然公式会被祖母破坏掉,所以就剩下生命公式了,这也就是为什么女的也这么短命的原因了。还有为什么直到这一代生命公式才被推出来,片中最后J决定把两大公式封存起来,那又怎么确定前几代人不是推出来了然后又封存起来了呢,至于是不是都是交给勺子封存那就不知道了,因为有人说勺子就是X。
    【详细】
    7570386
  • 乌鸦火堂
    2018/11/30 16:04:17
    再不给家里打电话,当心父母不要你了

    “火箭爷爷102”,我更中意这个标题

    “火箭爷爷102”,我更中意这个标题

    【详细】
    979251
  • 马卢主义者
    2021/8/27 23:08:55
    科普:最后的同盟之战(没看过原著的电影党来)
    这篇剧评可能有剧透 时间线:最后的同盟之战发生在第二纪元3434年,魔戒大战发生在第三纪元3019年,中间相差3018年,第三纪元结束于3021年也就是说还差两年就整好相差一整纪元了。 人物关联: 1.埃兰迪尔 各位应该还记得阿拉贡吧?阿拉贡是刚铎与阿尔诺重联王国首位国王,而他所继承的王位便
    这篇剧评可能有剧透 时间线:最后的同盟之战发生在第二纪元3434年,魔戒大战发生在第三纪元3019年,中间相差3018年,第三纪元结束于3021年也就是说还差两年就整好相差一整纪元了。 人物关联: 1.埃兰迪尔 各位应该还记得阿拉贡吧?阿拉贡是刚铎与阿尔诺重联王国首位国王,而他所继承的王位便是电视...  (展开)
    【详细】
    13834263
  • 感性的一串7
    2018/6/20 0:08:56
    印度战国
    这篇影评可能有剧透 歌曲太好听了 特别是男宠那首 果然是宝莱坞巨作 场景肉眼可见的烧钱啊 阿拉丁是拿了大男主剧本吧 枭雄演的太赞了 长得像印度的布莱德利库珀 看到一半居然想看看阿拉丁和王后同框时能够迸发出怎样的火花了 虽然不能完全认同王后带领一众妇女宁为玉碎不为瓦全的行为 但是不畏强权...
    这篇影评可能有剧透 歌曲太好听了 特别是男宠那首 果然是宝莱坞巨作 场景肉眼可见的烧钱啊 阿拉丁是拿了大男主剧本吧 枭雄演的太赞了 长得像印度的布莱德利库珀 看到一半居然想看看阿拉丁和王后同框时能够迸发出怎样的火花了 虽然不能完全认同王后带领一众妇女宁为玉碎不为瓦全的行为 但是不畏强权...  (展开)
    【详细】
    9442257
  • 火辣椒
    2020/4/16 13:29:32
    挑明了爱慕关系剧情悬疑方面就好深入推进
    一开始的碰瓷大戏比较生猛,本来还担心只是像看“中国风韩剧”那样的看三个人在三角关系里你侬我侬,不过到了后面慢慢就被编剧的良心吸引了。首先,作为一个下饭恋爱剧,铺陈悬疑气氛的时间倒是比铺陈儿女情长的时间多,这点很特别,不过编剧在开头的碰瓷答案其实已经摆明了态...  (展开)
    一开始的碰瓷大戏比较生猛,本来还担心只是像看“中国风韩剧”那样的看三个人在三角关系里你侬我侬,不过到了后面慢慢就被编剧的良心吸引了。首先,作为一个下饭恋爱剧,铺陈悬疑气氛的时间倒是比铺陈儿女情长的时间多,这点很特别,不过编剧在开头的碰瓷答案其实已经摆明了态...  (展开)
    【详细】
    12511214
  • 豆友240146139
    2021/7/27 21:12:43
    人应当和动物和谐相处

    真的是太低幼了,完全就是拍给三岁小孩看的。一个北极熊按理说应该是高大威猛的,但看上去还没有袋鼠野猪强壮。海豹不是北极熊的食物吗,怎么会在一起合作办案了。动物电影最大的问题就是说话的问题,动物到底会不会说话。如果动物会说话,那就不要一直在那里装哑巴,如果不会说话那就不要安排一大堆的台词。这部电影看起来有点类似《勇闯夺命岛》,都是受到不公正待遇来复仇的。开始的时候反派都是可以轻松干翻男主角的,但

    真的是太低幼了,完全就是拍给三岁小孩看的。一个北极熊按理说应该是高大威猛的,但看上去还没有袋鼠野猪强壮。海豹不是北极熊的食物吗,怎么会在一起合作办案了。动物电影最大的问题就是说话的问题,动物到底会不会说话。如果动物会说话,那就不要一直在那里装哑巴,如果不会说话那就不要安排一大堆的台词。这部电影看起来有点类似《勇闯夺命岛》,都是受到不公正待遇来复仇的。开始的时候反派都是可以轻松干翻男主角的,但电影的最后又必然是代表了正义一方的男主角打败了大魔王。人类想要让大魔王回头是岸,但是大魔王选择了跳楼。动物是人类的朋友,这句话看上去怎么这么可笑。就不说那么多吃狗肉的了,鸡鸭鹅猪牛,一年不知道有多少被端上了餐桌。你就是这么对待朋友的?谢绝动物表演,没有买卖就没有伤害。但是又有多少动物在为人类工作呢?动物园的动物,是给你免费看的吗。没有人去看它们,谁来提供吃的给它们呢。虽然我很怕狗,但是我发现犬真的作用很大可以做很多工作。打猎看家放羊,样样精通。你不让二哈在雪地里拉雪橇,它就会拆家。本部电影的悲剧就是人类造成的,如果人类不让大魔王去干活,那么大魔王就不会受伤。如果人类对它多关心一点,它就不会选择报复社会了。人类如何才能和动物和谐相处呢,这本身就是一个矛盾。很多地方本来就是动物的地盘,但是人类的活动范围扩大,霸占了动物的地盘害得动物只能迁徙。先让人类把侵占的土地让出来,再来谈和动物的和谐共处吧。很多动物灭绝的原因,都和人类脱不了干系。

    【详细】
    13707625
  • 豆友qTKU_kkxKI
    2022/1/3 14:45:56
    孩子还是很喜欢的
    很早之前看电视剧就喜欢上四小只,家里面也买了好多公仔,尤其喜欢粉粉的那个朵朵,这次电影整个故事对于大人来说可能有点单调,但孩子们却看的却很专心,最后美佳妈妈和四小只团聚的场景,确实蛮感人的,我们几个大人说实在也有点感动到,哈哈,这次的电影让孩子们更喜欢萌鸡...  (展开)
    很早之前看电视剧就喜欢上四小只,家里面也买了好多公仔,尤其喜欢粉粉的那个朵朵,这次电影整个故事对于大人来说可能有点单调,但孩子们却看的却很专心,最后美佳妈妈和四小只团聚的场景,确实蛮感人的,我们几个大人说实在也有点感动到,哈哈,这次的电影让孩子们更喜欢萌鸡...  (展开)
    【详细】
    14114214
  • sitemap