本文有剧透,不喜者勿入。
《西尔玛》Thelma(2017年),这是一部挪威的惊悚奇幻电影,堪称为典型的幻想、心理、意识流大作,剧情简单,隐喻深厚,略伤脑细胞。
影片的开场是在一片白茫茫的雪地上,父亲带着
本文有剧透,不喜者勿入。
《西尔玛》Thelma(2017年),这是一部挪威的惊悚奇幻电影,堪称为典型的幻想、心理、意识流大作,剧情简单,隐喻深厚,略伤脑细胞。
影片的开场是在一片白茫茫的雪地上,父亲带着小小的西尔玛去狩猎,本来把枪口对准小鹿的父亲,却偷偷的转移了方向,对准了西尔玛,这是为什么?父亲有问题吗?最终,父亲还是把枪放下来了。
接着,剧情正式开始了。西尔玛是个生物系的大学生,就像所有离家求学的学生一样,西尔玛有对担心她的父母。不过,西尔玛的父母比一般的父母关心的更加过头了一点,她的父母通过手段查到她的课表,也就是对西尔玛行踪的掌控欲非常强烈,每天还必须通一次电话,甚至在西尔玛不想接电话的时候也一定要等到西尔玛接通电话才行。
有一天,西尔玛去了图书馆自习,这时她的旁边坐下了一个妹子,突然,图书馆外面的小鸟疯狂的扑打了起来,西尔玛也倒在了地上,像是癫痫发作一样。
西尔玛去看了医生,医生说需要跟她以前主治过她的医生联系,西尔玛并不想让自己的病情让自己的父母知道,医生说,只是查询她之前的病历而已,通知父母这样的事情是由西尔玛自己决定的。
接着,有一次在西尔玛游泳的时候,一个女生——安雅跟她搭话了,她就是西尔玛在图书馆邻座的那个女生,她关切的询问西尔玛的病情。西尔玛从此开始关注上了安雅,开始翻阅她的Facebook,知道了她有男朋友,朋友也很多。
这时,西尔玛的父母过来看她了,他们一起在餐厅里吃饭,西尔玛开心的跟父母聊她同学的事情,但是他父母不舒服了,批评了她,说:知识丰富并不能显得我们比别人厉害,不要说的好像你什么都知道一样。西尔玛听完后眼圈就红了。
之后,就是西尔玛的父亲与她的谈心时间,可以看出来父亲想要了解女儿的一切信息,但是女儿并不想这样,所以有所隐瞒。
父母离开后,西尔玛通过Facebook查到了安雅经常出入的地点,然后装作不经意的从安雅身边路过。
安雅认出了她,热情的跟她打招呼。就这样,西尔玛顺利的混进了安雅的小圈子。
在这个晚上,西尔玛梦到了安雅来到了自己的楼下,然后就惊醒了。她从窗户看下去,果然看到了安雅,赶紧跑下楼去和安雅见面。见到的那一刻,西尔玛再一次癫痫发作。
这里埋下了一个伏笔,安雅说是西尔玛让她来她楼下见面的,但是西尔玛并不知情。
然后,安雅就跟着西尔玛去了她的房间,两个人一起睡在一张单人床上面。
从此,两个人成为了无话不谈的好朋友,一起上课,一起出行,西尔玛甚至违背了自己一直以来坚持的信仰,开始喝酒、抽烟,只为了和安雅的关系能够更近一步。
就在安雅带着母亲和西尔玛一起去剧院看表演的时候,西尔玛再次忍不住要癫痫发作,安雅握紧西尔玛的手来安慰她。但是西尔玛最终还是抑制不住自己,赶紧离开了座位。这时,安雅也跟来了,她们两个在更衣室里开始紧紧的相拥、亲吻,西尔玛本来很开心,但是更多的是恐惧,她推开了安雅,匆匆的逃走了。
西尔玛开始跟上帝祈祷,请求上帝把她的那些想法全部给带走。然后找了一个安雅也认识的男生,开始尝试着交往。
在西尔玛又一次跟小伙伴聚会的时候,他们开始轮流着抽同一支烟,之后西尔玛就陷入了幻象,安雅主动过来跟她亲吻,有一条蛇绕过西尔玛的脖子,从西尔玛的口腔开始深入。
一个女生过来推了一下西尔玛,让她清醒了过来,意识到之前的不过是幻想,但还是忍不住的吐了。
西尔玛回到了住的地方,崩溃的哭了出来。
之后西尔玛去做了脑部的扫描,医生说现在还判断不出她的情况,会把她送到癫痫诊所。同时还告诉她,她六岁的时候发作过一次,医生对她用了镇静剂,这点对于六岁孩童的身体来说可能有点难以承受。
可是西尔玛对此并没有印象。
这个时候导演让我们看到了西尔玛的小时候,西尔玛想要亲近自己的母亲,但是母亲忙着照顾刚出生的小弟弟,让西尔玛一个人去玩。之后,在母亲把弟弟放到了小床上,过了一会儿再过来找的时候却发现弟弟不见了。母亲粗暴的抓住西尔玛,逼问她把弟弟藏到了哪儿。西尔玛说自己不知道,然后弟弟的哭声传了出来,是从沙发下面传出来的。厚重的沙发母亲一个人根本抬不起来,需要和父亲两个人合作才能把弟弟抱出来。
再回到主线,西尔玛去了癫痫诊所,男医生通过循序渐进的诱导手法,来刺激西尔玛再次的癫痫发作,再通过脑电波的侦测,来判断西尔玛到底是哪一种类型的癫痫。
就在西尔玛癫痫发作的时候,她看到了安雅,她很痛苦,由于她的强烈欲望,安雅消失了,之后西尔玛发作的症状就慢慢的缓解了下来。
医生拿着西尔玛的脑电波图,对西尔玛说,她得的是心理性癫痫(非病理性癫痫)。这种癫痫是由于受到外界的压力,通过潜意识而产生的。还跟西尔玛说,她的奶奶也得了这种病,初期根本看不出来,是经过精神病专家多年的观察才确诊的。
西尔玛一直以为自己的奶奶早就过世了,没想到尚存人间。于是去见了自己的奶奶。
没想到西尔玛的奶奶根本就没有对她的到来做出任何反应。
旁边照料的护工说,她的奶奶因为丈夫失踪,一直以为是自己的错,从愧疚里走不出来。
西尔玛的父亲因此对她的奶奶用药,有人建议说剂量太大,可能会造成严重的后果,但是西尔玛的父亲对此并不在意。
就这样,西尔玛的奶奶因为药物的原因完全沉浸到了自己的幻想世界里,再也无法走出来。
西尔玛回去之后想要联系安雅,发现怎么也联系不到。于是去了安雅的屋子,吃惊的发现安雅竟然是真的消失了。西尔玛很害怕,开始跟自己的母亲联系,想要回家。
回到家里,父母给西尔玛准备了安眠的茶水,说出了一直以来隐瞒的真相。
原来在女主小的时候,就发生过这样的事情。安雅本来有个弟弟,却总是无缘无故的失踪,而这一切都是女主造成的。直到有一次,女主的弟弟失踪后,父母找遍家里都找不到,而女主把手指向了湖边。原来女主的弟弟被转移到了冰面之下,女主的父亲眼睁睁的透过厚厚的冰面看着弟弟就这样断了气。
因此,女主的母亲想要自杀,没成功但是断了双腿,女主的父亲因此对女主用了大剂量的药物,再通过宗教的仪式和严格的管制来确保女主不会再做出这样的事情。
而现在,安雅出事了,女主再次被父亲用宗教的仪式和形影不离的陪伴来严格的管制住了。
父亲给女主一日三餐的喂药,确保女主把药全部吞下去才放心,直到有一天,女主问父亲:你是不是要把我变成和奶奶一样的人?
父亲没有回答。
女主睡着以后就做梦了,她梦到父亲坐在一条小船上,在阳光的照射下,突然身体自燃了,最终父亲死在了湖里。
女主醒来以后赶紧跑到湖边,发现只有一条船在那里,就知道父亲出事了。
女主跳进湖水,或许是想要救回父亲,没想到见到了安雅。
女主回家之后,母亲找遍所有的地方都找不到父亲,就想要找女主问个明白,但是女主头也不回的走了,临走的时候,让母亲站了起来。
女主回到了自己的学校,从此幸福的和安雅在了一起。故事到此就结束了。
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看完电影以后,我陷入了深深的思考,女主用超能力先是小时候杀死弟弟,长大了接受不了自己是同性恋就让恋人失踪,回到家以后不想受老爸控制就杀死爸爸,导演是真的想讲一个这样的故事吗?你莫不是逗我,什么时候杀人合法了?
后来,我明白了,任何人都没有超能力可以想让一个人消失消失,想让一个人死亡就让一个人死亡,所以导演是想通过女主的超能力这种外在表现的手法,来表现我们成长过程中所做出的决定。
当父母的注意力集中在弟弟身上时,这个时候小小的弟弟就是家里权力最大的人,甚至女主都要被弟弟给操纵,弟弟哭了,女主不去逗他,在父母眼里,那就一切都是女主的错。
女主不想让自己受到弟弟的操纵,所以选择了漠视弟弟,不再关注。然而,在女主父母的眼里,女主这样的做法就是大逆不道的,所以女主的父母和女主第一次发生了严重的分歧,但是女主坚持了自我的独立。
当女主上大学,遇到安雅的时候,电脑里面的表现是安雅的靠近甚至是主动亲吻,都是女主潜意识操纵下的结果。但是,感情的世界,又有谁能说得清呢?你能一拍大脑就决定你喜欢的人到底是男是女吗?你能决定你喜欢的人一定是你自己给定的条件下的人吗?我想,导演只是通过加强大家的印象让大家意识到女主是怎么想的。
所以,女主想要靠近安雅,安雅也想要靠近女主,她们是两厢情愿的。但是女主接受不了自己喜欢女性这个事实,所以女主想要忘记安雅,可是越想忘越是忘不掉。于是女主决定离开安雅所在的地方,回到家里,让自己和安雅之间的感情自然的冷却。
可是,女主的那个管教非常严格的家庭,怎么会允许女主是同性恋呢?
女主的父母非常害怕,自然想要通过一切能够想到、能够实施的手段来控制女主,让女主把自己的想法扔掉,换成和父母一样的‘正统’的想法。
女主本来是回家休息的,但是没想到这是进了狼窝一样的地方啊。女主不想受到父亲的强压控制,因此女主趁着父亲离家,没办法管她的时候,脱离了母亲的控制,回到了校园。
在校园里,女主看到了自己真正想要的东西,那就是与安雅的爱情。
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评分方面我只打算给这部电影打个三星,毕竟看惯了爆米花电影,偶尔看这种晦涩的文艺片真的是很难搞懂导演在说什么。
总的来说,这部电影还是很不错的,专门喜欢这种比较难看懂的电影的人可以试一试。其实我给的六分真的是给低了,导演的能力还不错。
军事、战争我不是很懂,但逻辑常识人人都有,唯独编剧没有,除此之外,编剧还没文化。
一开头就挺多地方不合理,搞不懂小鬼子为嘛都集中往对方火力最集中的地方前进?肉身挡子弹,他们不会这么傻吧?我做长官,也不会让自己手下的兵毫无遮挡的以肉身冲击火力最猛的阵线。后面国军要员也看得令人捉急,知道鬼子来抓自己,知道自己是个大bullsey
军事、战争我不是很懂,但逻辑常识人人都有,唯独编剧没有,除此之外,编剧还没文化。
一开头就挺多地方不合理,搞不懂小鬼子为嘛都集中往对方火力最集中的地方前进?肉身挡子弹,他们不会这么傻吧?我做长官,也不会让自己手下的兵毫无遮挡的以肉身冲击火力最猛的阵线。后面国军要员也看得令人捉急,知道鬼子来抓自己,知道自己是个大bullseye,还穿着国军的军装大摇大摆卫兵呼呵开道跟百姓往城外撤,咱别侮辱国人智商成不?化妆撤退怎么不行了?嫌丢人还是咋滴?嫌丢人你别撤退啊,前面硬刚可行?从片子里边看可能他没有证件,不穿军装,八路军认不出找不到嘛……
最后特别要吐槽一下各种用词:
1、接头暗号“金乌破日”,我真是两脸懵圈啊。金乌的辞源编剧是不是不知道啊?古代传说太阳是由乌鸦每天背着东升西落的,这么就有了“金乌负日”的说法,我觉得算是成语啦,同时金乌也是太阳的别称。抗日剧你闹哪样乱改也不可能金乌会去破日的,难道你暗号寓意是小鬼子会自杀?编剧真太没文化了,好歹你用“踆乌减赫、金乌减赫、金乌后羿”也强过破日;
2、中国黑室。这个谐音真的没法忍,虽然百度了确实有这么个机构,但真的没法忍。
评分骗人的,我想给2星甚至更低,但是怎么办呢孩子拍的也挺辛苦的样子,宠着呗
没看过这电影的原作,但小闲人的颜值还是很可以的,微博切账号正好看到小闲人的什么视频说国内可以网上看了,于是本着能支持就支持一下的态度关爱一下很久没关爱的小墙头,而且才2块5想着买不了你吃亏买不了你上当。——结果看完觉得这电影可能也就值这点了。
评分骗人的,我想给2星甚至更低,但是怎么办呢孩子拍的也挺辛苦的样子,宠着呗
没看过这电影的原作,但小闲人的颜值还是很可以的,微博切账号正好看到小闲人的什么视频说国内可以网上看了,于是本着能支持就支持一下的态度关爱一下很久没关爱的小墙头,而且才2块5想着买不了你吃亏买不了你上当。——结果看完觉得这电影可能也就值这点了。
我吐槽小能手就顺着时间线一边吐槽一边捋一捋故事哈。
小闲人的角色叫做信,是奴隶出身,有个从小一起长大的好基友,虽然跟好基友每天都有干不完的活,概括起来讲就是砍柴,但是他们两个天赋异禀,所以在成长的不断切磋中成为了剑术高手。【?偶遇高手get武林秘籍了解一下】而且两个小朋友有一个共同的梦想,就是当大将军!
后来好基友被一个带着不太合适假发套的大老板看中(我们简称他低发际线将军),带走去当官了。信小朋友并没有因此消沉,而是在每天砍柴的摸鱼过程中,摸索出了一个牛逼的必杀技,一句话描述的话就是,跳起来戳下去。
一个月黑风高的晚上,好基友带着一身伤回到了信的身边,并把一张这啥地图和听说很牛逼的佩剑托付给了信,在中气十足的说完他想说的话,留了最重要的重点卖个关子以后,升天了。
信拿着这啥的地图居然在乌漆嘛黑的夜晚成功找到了孤身一人的跟好基友长得一样的土大王,并且面对追兵听说很厉害的伏地魔激似高手的时候,信【第一次】使用自己的跳起来戳下去必杀技,成功打败之。后来在土大王的忽悠下,决定先放下好基友替身而死的仇恨,先帮土大王打败他很牛逼的本乡弟弟及一群狗腿。
但是主角团只有两个人实在不好看也有点太基情四射,所以这时候出现了一个穿成猫头鹰的吉祥物山里人环奈妹妹,她的作用是带路。
显然猫头鹰妹妹跟带路没有什么必然联系,所以他们在不知道去往哪里的路上又碰到了一个据说很厉害的杀手,信通过背后两个人嘴炮buff击败。
过程不重要的主角三人组来到了一个土大王和他唯一信任的低发际线将军说好碰头的地方。低发际线将军没有辜负期望,带着他的下属闪亮登场了。但是讨论以后低发际线将军说光凭现有的人力物力不行哪我们打不过本乡弟弟和他的狗腿们,土大王计划通,表示我早就想好了我要找几百年前因为我们单方面背叛所以恩断义绝的前盟友山里人帮忙【黑人问号?】
说干就干一群人就直接跑山里了,然后一群穿的像罗马武士的山里人听他们自称是土大王,就决定带这群看着有点穷酸的人去见自己的山大王。山大王带着很浮夸的面具,听土大王和信一顿嘴炮,类似于虽然我们有仇,但是这个主要是因为国家太多没有统一,老子统一了不就好了,以及类似于死掉的人虽然因为我方的背叛死掉了但是完成他们的梦想不是更重要吗这样的【哈?】的大道理,山大王表示认可,于是决定结盟,第一步也是最有诚意的一步就是拿下面具露出真容,哦吼,是雅美。
土大王终于找到了帮手,也是这时候我才知道这群人比我想的还要穷酸。他们统计说土大王及低发际线将军的30人,加上山大王及山里人的3000人,雄赳赳气昂昂去打本乡弟弟和狗腿们的8万人了。只要智商高,我们可以的,奥利给!
那么我们有什么妙计呢?嗯哼是这样的呢亲亲你看一下,你们呢带着面具混在我的人里面,我山大王假装跟本乡弟弟谈判几百年前我们就说好的结盟的事情,骗他老娘有几十万兵,然后这样那样,我们就赢了。【你说啥呢?】
后来计划赶不上变化,本乡弟弟虽然中二代言人但是也不是一点智商都没有,他规定说结盟可以你们滴,50个人进来。
然后土大王,山大王,信,猫头鹰,低发际线以及爽朗君、罗马斗士等据说50个人但是我怀疑不止,成功混进了城门,一进去土大王就面具一揭说哈哈没想到吧我土大王又回来了【台词我编的】,吓的8万兵的其中多少人一个转身就跑。于是土大王发挥了他的高智商,指挥到我们滴,50个人,兵分两路,我去当靶子,信你抄近路去胖揍本乡弟弟。哇好厉害的计谋【敷衍】
于是一路人马是50分之?,包括土大王,山大王雅美,低发际线叔叔,以及化身狂战士被箭射中也不怕不怕的山里人,跟8万兵其中不知道多少对打,虽然艰辛但是绝对不会输。
另一路人马是信,猫头鹰,爽朗以及不重要的罗马山里人,在地道里面碰到了本乡弟弟杀手锏黄巨人和我单打很牛但是我不屑跟你们打将军,信在罗马人其二的帮助下,【第二次】使用自己的跳起来戳下去必杀技,跳起来把黄巨人踢倒然后做掉了。【哈?】
由于主角是信,所以他这边故事线多一点,打败黄巨人以后他们直接杀到了一个守卫都没有的本乡弟弟跟狗腿们我猜是文臣议事的可能是?正殿,我说错了还是有一个守卫的,本乡弟弟拍出那个我单打很牛将军,主角团队依次拍出罗马人,爽朗君,信车轮战,都没有赢,好在主角团队是不会死人的所以不用担心。那么日本漫画的一个惯例就是反派死于话多,我单打很牛将军在准备给信最后一击之前嘚吧嘚吧讲了一通,信躺在地上想起了跟好基友许下的诺言当大将军的梦想,buff满了!【第三次】使用自己跳起来戳下去的必杀技,把我单打很牛将军打败了。【哈?】
虽然守卫只有一个,但是我们本乡弟弟到底是中二帝王,一技之长就是我跑的很快。他迅速的跑到了战况一边倒的土大王那边,本来都快把土大王打死了的腿毛们不知道为什么就停下来吃瓜了,看土大王暴揍本乡弟弟看完以后,才想起来说,兄弟们我们不嫩死土大王就要说我们造返啦动起来动起来。
这时候前面也不时出现仿佛最终boss笑起来很西索的黑长直大泽叔叔闪亮登场,在听了土大王一通统一的梦想以后觉得土大王很有潜力,于是带着自己的不知道多少兵马帮着控制住了场面以后扬长而去。
故事最后,土大王,信,猫头鹰走在正殿中欣喜着自己的胜利,啊又是美好的一天。
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这啥故事啊有病病,日本人拍大片真是一股小家子气,之前看过的大河剧也是的穿着最贵的衣服在一个个说不上华丽的室内搭建房间里,坐着聊天,一聊能聊好多集。也不是说你不要漫改,你改改那些谈朋友的少女漫可以了,不管是场景宏大的比如之前看过的巨人,还是科幻背景的,或者这部这种还碰瓷我大天朝历史的,都拍不出来啊。正面例子你看看哈利波特呢,特效啊搭建啊都要钱啊。而且动漫对伐,中二就中二了,拍成真人真的不忍直视,逻辑硬伤也太多。这片我看到后来当成搞笑片看了,最终也是没忍住写了那么老长一篇吐槽。
16岁时看了阿拉伯的劳伦斯几乎要放弃拍电影
And when the film was over, I wanted to not be a director anymore because the bar was too high.
It was the first time, seeing a movie, I realized that there are th
16岁时看了阿拉伯的劳伦斯几乎要放弃拍电影
And when the film was over, I wanted to not be a director anymore because the bar was too high.
It was the first time, seeing a movie, I realized that there are themes that aren't narrative story themes. There are themes that are character themes, that are personal themes. That David Lean created a portraiture, surrounded the portrait with a mural of scope and epic action, but at the heart and core of "Lawrence of Arabia" is "Who am I"?
I started making movies when I was a young kid, but I remember the time I almost gave up my dream of being a movie director. I must have been 16.
越对什么事情感到自信或确定无疑,成果就越少
The more I'm feeling confident and secure about something, the less I'm gonna put out. The more I'm feeling, "Uh-oh, this could be a major problem in getting the story told," I'm gonna work overtime to meet the challenge and get the job done. All right, that's done. I don't know if it's worth it.
Spielberg:And so, I hate the feeling of being nervous, but I need to feel in this moment I'm really not sure what I'm doing. And when that verges on panic, I get great ideas. The more I feel backed into a corner, the more rewarding it becomes when I figure my way out of the corner.
Just before I went off to make "Jaws," I got to meet Henry Hathaway. He was kind of a tough-guy director, and he said, "There's gonna be moments where you're gonna get to the set and you're not gonna know what the hell you're doing. It happens to all of us. You've gotta guard that secret with your life. Let no one see when you're unsure of yourself. Hide that from everybody, or you'll lose the respect of everyone."
未见到的潜在危险更让人恐惧,细腻的心理层面
I knew that it's gonna take three or four weeks to rebuild the shark, and so we'd have to make up something else that didn't exactly show the shark but gave the sense the shark was near.
The barrels were a godsend, because I didn't need to show the shark as long as those barrels were around. What you don't see is generally scarier than what you do see, and the script was filled with "shark." Shark here, shark there, shark everywhere. The movie doesn't have very much shark in it.
John Williams:If the shark had been available visually, it might have changed the whole psychology of the experience.
青少年时期的自我认知,摄像机就是笔
I didn't have a lot of high esteem for myself, you know, growing up. I just was a lonely guy.
The camera was my pen. I wrote my stories through the lens. And when I was able to say "action" and "cut," I wrested control of my life.
But I didn't know anything about whether I was gonna have a career or where this was gonna go. I just knew that it filled up the time and it gave me a tremendous amount of satisfaction. And the second I finished a movie, I wanted to start a new one because I felt good about myself when I was making a film. But when I had too much time to think, all those scary whispers would start-- start up. It was not fun to be me in between ideas or projects.
遇到伯乐
"If you sign with us, I will support you as strongly in failure as I will in success."
对镜头语言的掌控
Steven Bochco:Steven had a gear in his brain that automatically translated words into pictures almost without it being a conscious process for him. There was a unique visual voice there that you had to not only pay attention to, but you had to give somewhat of a free rein to.
Edelstein:Right off the bat, it was clear that no one moved the camera like Steven Spielberg. Other directors had a fantastic sense of space. Orson Welles, you name it, people who understood composition. But the way that Spielberg's camera moved through a shot and then ended up somewhere that completely shifted or intensified the emotion of the scene, that was just a natural gift he had. Who knows where that came from. Who-- but it was his own technique.没人象斯皮尔伯格一样移动摄像机。其他导演有很出色的空间感。随便说一个Orson Welles非常理解构图。但是斯皮尔伯格在一个镜头中对摄像机的移动,以及在某一处停下来,完全改变或强化了场景的情感,那是他的天分。
George Eckstein called me and said, "Network's really upset that the truck didn't blow up, so they're ordering us to go back to that cliff and blow the truck up." And I said, "I'm not gonna do it." The death of the truck is so agonizing. I said, "I made that truck die slowly." The oil, like blood, dripping off the steering wheel. The wheel slowly rolling to a stop. The fan still going, but the truck's dying. I mean, it's the death of the truck. That's what the audience wants to see. This criminal element paying-- you know, paying the price for what it did to this man. I wouldn't do it. I wouldn't blow up the truck.
对表达媒介的熟悉
Bochco:For Steven, the little screen was an interesting canvas, and obviously he painted on it very well, but he knew that this screen simply wasn't a large enough canvas.
Spielberg:For me, directing is camerawork, and so I'm very on the front line of that. I've gotta set up the shot, I've gotta block the actors, choreograph the movement of the scene, bring the camera into the choreography, figure out when the camera stops, how it moves, how far it moves, what the composition is, so I've always got my eye on the lens, and that's what I do. I even pick the lens I want.对我来说,导演就是摄像技术,因此我总是在摄像的前线。我需要设定镜头,隔离演员的因素,为镜头设计动作,将镜头带入到动作中,确定摄像机什么时候停止,怎样移动,移动多远,构图是什么样的,因此我的眼睛总是关注在镜头上,那就是我所做的。我甚至会自己挑选想要的镜头。
Scorsese:His strength is really the ability to be able to tell a story in pictures instinctively. I sometimes watch his pictures on TV without the sound just to see the pictures.
Edelstein:Pauline Kael, one of the most influential film critics of all time, wrote in "The New Yorker" that Steven Spielberg had made one of the most phenomenal debuts in the history of film. She compared him to Howard Hawks in terms of how natural his feel for the medium was. What Kael saw in Spielberg was someone with a real movie sense, but she also said she wasn't necessarily sure there was great depth to go with it. She didn't see a sign of an emerging film artist like Martin Scorsese. What she saw instead was the birth of a new generation Hollywood hand.
幸运的处于一个活跃的文化氛围中
Spielberg:We were very, very fortunate to be part of that time. The culture was converging. It was filmmakers, it was artists, musicians, performers. It was an incredible, fertile time.
未曾有意追求电影的精神内核,自己的精神层面会通过工作渗透到作品中
I don't search for films consciously that have a spiritual core. There's a spiritual part of myself that happens to bleed over into the work, and so I subconsciously, which is the only choice that's important, will find things that inherently have something of a belief system that's beyond our understanding, that's a little bit out there.
人与人之间的联结
Coyote:For many years I wondered about the universal appeal of this movie, and one day, it hit me. There are no two humans on Earth that are father apart than those humans and that alien creature. And if Elliott, and the mother, and the little girl, and the scientist, could all love and empathize and make a rapprochement and a rapport with this creature, so, too, can any two humans on Earth, and I think that was a subtext that bubbled up through the film and must have touched something, because you don't get many films that are universally loved and appreciated 40 years later. And it spoke to something. Some desire to be able to reach across boundaries and touch other people.
对儿童演员的特别关照
Spielberg:I think all of my movies that have dealt with young people and their stories are about the importance of empowering these children to take control of the story, at least take control of their lives.我所有的电影都与年轻人和他们的故事有关,使这些孩子们更强大,控制故事的呈现很重要,至少他们可以控制自己的生活。
二战喜剧片带来的失败与挫折
But it was like I committed a war crime by making "1941." Everyone was eviscerating it. I was really devastated. Just that feeling of failure, that cold emptiness, where every reminder of the movie, you get that sick feeling in the center of your stomach, and you just want to go dig a hole and stick your head in it. I mean, for the next year, I put my head in a lot of holes. And my friend George Lucas came to the rescue.
自身的成熟,期待电影在更本质更人性方面的变化
Spielberg:I was looking for a different perception of myself. And if I didn't want to consciously make a departure and prove something, not just to myself but to everyone else, I might not have chosen "Color Purple" as my next movie. But it was my first really mature film, which took on, you know, substantive, humanistic subject matter. I was turning 40 and I was looking at life perhaps less optimistically.
紫色中本可以有更深入的表达
Spielberg:I got in trouble with several critics who didn't like that I shied away from the love story between Shug and Celie. And the scene where Shug Avery shows Celie, with a mirror, her vagina, that that did not go into the movie, which would've really changed the entire nature and tone of the film. I just didn't go for the full monty the way the book did. I might've done that had I made the movie 10 years later. I was just timid. I was just a little embarrassed. I just wasn't the right guy to do that.
对自己犹太人身份从拒绝到接受
I certainly experienced being excluded and being picked on and discriminated against. All I wanted to do was fit in. And by being Jewish, there was no way I could fit into anything.
I began to deny my Jewishness, you know, began to deny everything that I had accepted as a child and was not willing to accept if it was going to make me a pariah. I was ashamed of myself. I still feel ashamed of myself even remembering that long stretch of my life where I didn't want to be Jewish anymore.
辛德勒名单的基调
I tried to do it with no fancy tricks, no fancy lenses, no big Hollywood sweeping cranes. I tried to take all the tools with which I made so many of my films and just chuck them out the window. I never handheld anything, but I wanted to handhold as much of "Schindler's List" as I possibly could. I just wanted to create for all of us the feeling that we were absolutely there at the time.
光影的隐喻
Neeson:Oskar Schindler was a gregarious man. He was a second-rate businessman. Bit of a shady character, you know? A man about town, loved the women, loved his booze. A bon vivant, that's what he was.
Spielberg:Everything we do in this medium is about light and shadow, how the cinematographer lights the actors, lights the set. If you look at "Schindler's List," Amon Goeth was always lit beautifully. He always had that beautiful front light. You know, the guy was very clear. There was no mystery in him. You don't have to enhance his evilness, if you may say, by lighting. Now, if you look at Oskar Schindler, that was a confused individual. He came to Poland to make money, so it's always glamorous, but always shadowy. And then as the movie's progressing, he gets more frontal light. The shadows disappear.身为导演的情感投入,以及电影之外的社会互动
It was, emotionally, the hardest movie I've ever made.
Kennedy:That was a pivotal moment in Steven's life. He recognized he couldn't take any of the profits from the film. He wanted to give something back, so he started what became the Shoah Foundation, documenting that oral history and capturing history in a way that allowed people not to forget.
多面手
Robert Zemeckis:For a filmmaker, you can't have a better producer than one of the greatest directors in the world. He really nurtures young talent coming up. It's a pretty amazing roster. He's also a major figure in the television business. He started a restaurant. Dive! Submarine sandwiches. The man was, like, doing 27 things at once and being perfectly unselfconscious about it.
Geffen:I don't think Steven really fears anything. He's always ready to go and do something new.
拯救大兵瑞恩中镜头距离与观众心理感觉的关系,声效,应变能力
Spielberg:I tried very, very hard to put the audience as close to the experience as I possibly knew how to do so there wouldn't ever be a safe feeling in the audience. And when you narrow that distance-- if you're successful in narrowing the distance, then the audience really becomes those characters.
Edelstein:In "Saving Private Ryan," Spielberg understood the expressionistic possibilities of sound.
And if you're not Steven, if you don't have this lifetime of cinematic language in your head, that's a different kind of day. But because his eye is so connected to his brain and every movie that he's ever seen and every movie that he's ever made, he just went out and said, "Here's how we're gonna do this, and that's it." Incredible.
自身的情感挫折与电影作为治疗方法
It was complex for me for a long time, but at least I had a art form that I could filter it through. At least I had that. If movies did anything for me, it-- I've avoided therapy because movies are my therapy.
“无论怎样都要争取自由”的电影主题,爱国主义与理想主义
Insdorf:There are people struggling in one way or another for freedom in these movies. Give... us free. He doesn't take freedom for granted.
Spielberg:I really believe in this country, and I always have. And it just resonated throughout my work-- wanting to tell American stories, wanting to tell stories about principled, ethical people who, against all advice and against most everyone else's better judgment, just proceed to do the right thing. I'm sure that sounds like I'm this kind of, you know, idealist or some sort of a patriot, but I am a patriot. And I'm somewhat of an idealist, too.
讲故事的方法
Steven worked a long time to find where the story was to tell it.斯蒂芬会花很长时间去找在哪里讲故事。
保持中立
Spielberg:I felt I could not make this one-sided. And so, I knew it would be controversial from the very get-go.
Daniel Craig:This movie was trying to affect and turn on a debate. Is vengeance the answer? Does it actually solve anything? If you continue the cycle of violence and cycle of blood, then... that's what they'll be and nothing else. Steven was very keen to tell a human story, that these were men and not superheroes. Their indecision and their mistakes and their-- is the reality of what happened, you know? Life isn't a "James Bond" movie.复仇是否就是答案
叙事的方法
Kushner:You're in the hands of somebody who will always show you what you need to see in order to understand, on a narrative level, what's happening. And you'll also see a lot of things that will help you understand on deeper levels as well. And that sort of narrative device
电影带出的不确定性
Hoberman:The movie was perceived to be suffering from a sense of moral equivalence, which is really the bravest thing about the movie. It's looking for aspects of humanity on both sides of this conflict. Ambiguity is something that you don't normally associate with Spielberg's films, and "Munich" is the film where he went the furthest in the bluntness and the ferocity with which he approached that subject.
家庭,分离与重聚
Spielberg:Family is a big element in my life, which is why so many of my stories are about separation and then reunification. Even "Lincoln" is about separation and reunification.
工作团队的稳定,与他人合作,激励同伴
Williams:He understands that people and can serve him and how to synchronize his wishes with your own. He would've made a great general.
在看电影中不断学习
Kennedy:Steven looks at movies constantly and over and over and over again, referencing shots and framing and ideas. That's something Steven does all the time.Spielberg:Great filmmakers' works live on to create tremendous moments of inspiration. And so, one of the films I still see every year is "Lawrence of Arabia." The shots, the sheer vistas, and the portrait of such a complex character, it's pure moviemaking. 伟大的电影导演的工作是创造巨大的启发性时刻。自我审视中的过去,成长
Spielberg:Many years ago, Pauline Kael gave me a really great review on "Sugarland Express," but she said, "Whatever's on the surface might be all that is there. There may be nothing behind that." And she was absolutely right. I hadn't grown up yet through the movies. That was going to come in time.
到现在为止的评论
Maslin:Take a look at what he's done over close to 50 years. There's certainly a lot of variety. There are some things he's done that haven't worked, but there is absolutely nobody like him and no film career trajectory that is anything like his in the history of film. He speaks cinema as if it's his native language. He is so fluent in it that he does things that nobody else would dare to do and they are instantly recognizable as things that are purely his.
Scorsese:He has a dynamic sense of real filmmaking. I'm talking about filmmaking of--in the great narrative tradition of American cinema. 真正的电影制作的动态感
Coppola:Steven was blessed in that he could be commercial and he could do art.That's why I always compare him to a kind of George Gershwin, because Gershwin could write a Broadway show or he could write "Concerto in F." He could both, and very few people can do both. And Steven can do both. And that's a talent you have to be born with. 商业与艺术
在噪热夏夜里,再次看完36年前上影厂拍摄的老故事,这可比网剧接地气多了。
《大桥下面》市井生活逼真,那个女主秦楠(龚雪饰)封煤球炉动作都那么自然,一气呵成,剧尾小高(张铁林饰)叹"国家好了,我们生活也就好了……这就是我们的命运",摆路边摊的两个体户(裁缝和修自行车的),居然有着这般牵强朴素世界观,现在讨生活的普遍百姓恐怕也体会不到这么深。
剧中龚雪有一种能洞穿人心的眼
在噪热夏夜里,再次看完36年前上影厂拍摄的老故事,这可比网剧接地气多了。
《大桥下面》市井生活逼真,那个女主秦楠(龚雪饰)封煤球炉动作都那么自然,一气呵成,剧尾小高(张铁林饰)叹"国家好了,我们生活也就好了……这就是我们的命运",摆路边摊的两个体户(裁缝和修自行车的),居然有着这般牵强朴素世界观,现在讨生活的普遍百姓恐怕也体会不到这么深。
剧中龚雪有一种能洞穿人心的眼神,生动刻画一位返城知青无奈、自强、忍辱负重的单亲家庭困境;声音温柔得如同催眠,耐看耐听得很。
《风起陇西》背离了传统谍战影视剧的信仰叙事,它让我们窥见某些大义背后的无情无义、寡廉鲜耻
《风起陇西》背离了传统谍战影视剧的信仰叙事,它让我们窥见某些大义背后的无情无义、寡廉鲜耻
刚刚更新完结的12集搜狐网剧《我爱你》,说得上是又丧又治愈。
回忆小时候,我们都喜欢看玛丽苏狗血青春剧,男女主角一出场,每天都是轰轰烈烈、元气满满,仿佛要把整个世界都背负在肩上,然后今生能够相遇就为了谈个恋爱,甜蜜煽情到你死我活。
随着时间的推移,我们都慢慢长大进入现实世界后,知道了之
刚刚更新完结的12集搜狐网剧《我爱你》,说得上是又丧又治愈。
回忆小时候,我们都喜欢看玛丽苏狗血青春剧,男女主角一出场,每天都是轰轰烈烈、元气满满,仿佛要把整个世界都背负在肩上,然后今生能够相遇就为了谈个恋爱,甜蜜煽情到你死我活。
随着时间的推移,我们都慢慢长大进入现实世界后,知道了之前电视里演的那些都是假的,生活中不但新的一天总有新的烦恼,而且那些被描述的惊天动地的爱情,其实也只是生活的一小部分。
于是后来我更喜欢看真实一点的,哪怕它很丧很琐碎,但那才有共鸣,也更能被治愈;《我爱你》就是这样一部包含着柴米油盐酱醋茶,有咸有甜的真实情感剧写照。
其实,现实中的爱情都不会有太多轰轰烈烈的桥段,这部剧正是能把爱情的平凡,以及三对恋人在爱情里的成长,真实地展现出来,让人看到了青春爱情里的甜蜜与无奈。
剧中三对大学时便开始相知相识的恋人:王毅和杜小桔、彭枫和郎婷、梁安庆和张纯蓝;从大学时光到毕业六年后,十年的时间跨度中,他们的情感生活即使出现种种转折和蜕变,却也依旧离不开对方给自己带来的影响,当三对年轻人被缘分安排再次相遇时,便上演了一出兜兜转转的人间悲喜,生活难免有不如意之处,爱情亦然。
《我爱你》的全剧叙事一直是双线并行,整个故事巧妙地在两个时空中交叉铺陈,一个是十年前甜美的校园大学生活,一个是十年后无奈的社会奔走,十年间的沉淀和对比,能够清晰地发现主角六人组的成长和领悟,这样的结局看似有些BE,但却完美向所有人展示了:一辈子很长,婚姻的真相,不是找到那个最心动的人,而是找到那个最合适的人的道理,比一些为了BE而BE,前期甜到掉牙,后期不用心收尾的强行BE剧不知道要高出多少。
就像18年的《人不彪悍枉少年》走的是“天降+竹马”的路子,男女主每一次微笑都写满了“心里有鬼”,每一次对视都映满了心照不宣,当时看得我全程都是停不下来的姨母笑;可就在我已经捧着一腔少女心等着HE的降临时,编剧在最后来了个致命一击,主角五人组全员BE各奔东西,如此骚的操作,真的不是青春疼痛文学看多了?还是小四的死忠粉掉皮了?我怕不是看了个假青春剧!男帅女美的《盛堂幻夜》也是前期的画风甜到不行,谁能想到结局里男主帅“炸”了,我没有夸张,是真的炸成了一朵烟花…… 惊不惊喜,意不意外? 不仅如此,女主还疯了,这种强行BE的坑爹行为妥妥的就是再拿观众当猴耍。
这种单纯的为虐而虐,充其量不过是毫无价值的“惨剧”,和必然而成的“悲剧”一点都沾不上边,赚到的也只有白眼,并非无人不悲的眼泪,更别提留下意难平的余韵了。
可是《我爱你》却独辟蹊径,在这群强行BE的闹剧中冲杀出来,走出了属于自己的一条路,虽然也是看似BE的结局,但《我爱你》走的,却是一条顺其自然,并与现实紧密关联的理性之路,既完美阐述清楚了剧情,又是在真心实意地面对观众。
它会真诚的告诉你,原来在现实生活面前,包括爱情在内的所有一切都可以坚不可摧,同样也都可以不禁一折;原来大家的爱情经历那么的相似,所有的悲欢都是如此的相通,大学时期的恋人分开以后,因为种种现实原因,能够最后走到一起的概率本就微乎其微。
曾经那些约定过的海誓山盟,许诺过的天长地久,最后到了现实面前都会无能为力,你不是不想兑现承诺,你只是什么都做不了罢了,因为在生活中,不仅仅只有爱情这一件事需要去面对,去承担。
所以在《我爱你》这部剧里,我看到了真实,仿佛看到了自己曾经义无反顾,然后狼狈不堪的模样;看到了身边朋友们同样在年轻时奋不顾身,只为追求心中那一抹最美的玫瑰红,但最后的结果,只会是事后互相回忆,并安然见证彼此的悲欢离合。理解、沟通、聆听、付出、接纳、改变、宽容、原谅,这才是《我爱你》这类青春剧应该传递给我们的价值观。
全片看下来很失望,无论是从原著还是旧版的来说,这一版注定无法达到之前的高度。明明是一个很好的题材缺拍成这样子
看完电影感觉导演想表达的点很多,但是每一个点都没有捉住,如国家情,亲情,战友情,反战等等。主线保罗和队友之前的感情交代太弱,看下来,除了保罗和那个偷鹅的感觉较深,其他兄弟的死,真的没有什么太大的感触,但是电影篇幅很多都是保罗兄弟战死,保罗的惊恐和错愕,不太明白。
<全片看下来很失望,无论是从原著还是旧版的来说,这一版注定无法达到之前的高度。明明是一个很好的题材缺拍成这样子
看完电影感觉导演想表达的点很多,但是每一个点都没有捉住,如国家情,亲情,战友情,反战等等。主线保罗和队友之前的感情交代太弱,看下来,除了保罗和那个偷鹅的感觉较深,其他兄弟的死,真的没有什么太大的感触,但是电影篇幅很多都是保罗兄弟战死,保罗的惊恐和错愕,不太明白。
还有保罗上战场好几年,以演员表现来说,还以为他天天都是新兵,不像新战场几年老兵的表现。
而且西线的故事也没有表达的很好,好像西线僵持就几个月,不像几年,要不是后面的独白真的看不懂。
还有谈判真的很尬,想笑,主线都讲不好,谈判线没有深度和过家家一样,导演应该是想表达谈判桌上和战场残酷的对比,但是处理的太直白了。
只想说反战片不是战争中的各种血肉横飞,也不是谈判桌上的戏谑和残酷战场的对比,这些都被用烂了,而且电影里面的人物刻画就好像每个人加入战争前都是没有社会背景的人,战场上发生什么,就只是战场上的事,除了偷鹅那个交代了一下他的家庭,其他人都好像白纸,特别男主更加。好像面临战争个人命运和社会命运无关一样。
而且还有各种丝巾传承,前后偷鹅对比,蛐蛐死了,主角也死了等等一大堆剧情前后关系,这些真的好生硬,??????
反正看下来就是很杂,又很乱,而且很普通,浪费我的期望。
个人随便写写对电影的看法,好电影大家都爱看,不好也可以指出,如果有傻逼说什么你咋不去看战狼这种前后不着调的话,只能说评价电影都能刺激到你的美帝心了,那也没办法,有些人适合做狗??。
期待了很久,终于等到快出完了开始看了。首先,这部剧的形式非常新颖,剧中人物都是饰演的自己,六位大叔在采访中也都说了,第一次觉得这个角色好难演,因为演得就是自己。但是,这并没有难倒做了几十年黄金配角的他们。他们用自己的专业征服了剧组和观众。其次,觉得这部剧充分说明了,主角并不是全剧的一切。往往我们都是只关注每部剧的主角,而忽视了那些其实起到很大作用的配角。此剧正是在告知观众,这几位名配角在剧组
期待了很久,终于等到快出完了开始看了。首先,这部剧的形式非常新颖,剧中人物都是饰演的自己,六位大叔在采访中也都说了,第一次觉得这个角色好难演,因为演得就是自己。但是,这并没有难倒做了几十年黄金配角的他们。他们用自己的专业征服了剧组和观众。其次,觉得这部剧充分说明了,主角并不是全剧的一切。往往我们都是只关注每部剧的主角,而忽视了那些其实起到很大作用的配角。此剧正是在告知观众,这几位名配角在剧组的生活日常,对整部剧和剧组起到的作用。六位大叔如果去做个talk show综艺,应该会大火。好期待是否会因为此剧出道综艺,哈哈。
大过年的和家人看个喜剧片挺好的。特意挑了这部电影。导演是崔志佳导演,应该是原来爱笑会议室的成员吧,又看到了于洋,宋晓峰,孙越,虽然是喜剧片,但是看到最后很感人,前半部分是欢笑,后半部分流着泪看的,片子拍的太好了,剧情很感人,面部表情,细微的动作,眼神,人物演的都非常好,那个小孩子演的也挺好,很感人,推荐大家看看。
大过年的和家人看个喜剧片挺好的。特意挑了这部电影。导演是崔志佳导演,应该是原来爱笑会议室的成员吧,又看到了于洋,宋晓峰,孙越,虽然是喜剧片,但是看到最后很感人,前半部分是欢笑,后半部分流着泪看的,片子拍的太好了,剧情很感人,面部表情,细微的动作,眼神,人物演的都非常好,那个小孩子演的也挺好,很感人,推荐大家看看。
男主手指就是杀人武器,没想到一个B级片还能拍的这么好,在车里打斗的场景很有新意,其中有好多血腥镜头,裸漏镜头拍的也很性感,女主抽烟的镜头拍的很帅,单手换子弹的特写简直了…女二男主妹妹胸部一直晃啊晃,晃的我眼晕,对付邪教组织那部分显得太熟练了,最后把大boss血刃也算很过瘾了,总体来说还是一部合格的cult片
男主手指就是杀人武器,没想到一个B级片还能拍的这么好,在车里打斗的场景很有新意,其中有好多血腥镜头,裸漏镜头拍的也很性感,女主抽烟的镜头拍的很帅,单手换子弹的特写简直了…女二男主妹妹胸部一直晃啊晃,晃的我眼晕,对付邪教组织那部分显得太熟练了,最后把大boss血刃也算很过瘾了,总体来说还是一部合格的cult片
本片出品是黄百鸣的东方电影,新艺城在之前一年解散,这部貌似是东方的创业作。票房600出头,不理想,港片年度第58位。
有《小鬼当家》的影子。但搞笑桥段一般。
洪金宝、黄百鸣和廖伟雄三个不同类似的爸也救不了普通的剧作。
个人觉得廖伟雄和毛舜筠挺般配的。
小小彬并不可爱,反而黄一山的乸型有戏。
黄贯中出演谭冠中,略蠢,却不失
本片出品是黄百鸣的东方电影,新艺城在之前一年解散,这部貌似是东方的创业作。票房600出头,不理想,港片年度第58位。
有《小鬼当家》的影子。但搞笑桥段一般。
洪金宝、黄百鸣和廖伟雄三个不同类似的爸也救不了普通的剧作。
个人觉得廖伟雄和毛舜筠挺般配的。
小小彬并不可爱,反而黄一山的乸型有戏。
黄贯中出演谭冠中,略蠢,却不失善良。 黄
光亮延续了《富贵黄金屋》中的角色个性,就是来搞笑的。
黄百鸣真是喜欢用叶祖荣,从新艺城用到东方。如今黄百鸣已将东方转手,成立了天马电影,靠叶问苦苦支撑。
看過越獄,或者更貼切地說是在一個密閉空間內「破案」,的戲劇不多,但已經有種工廠化流水作業的感覺。
一開始簡單交待人物,順便故佈疑陣,讓觀眾覺得很高大上,「解謎、破案」途中免不了有戰鬥,特別是肉搏戰,然後就是反轉劇情,把整部戲包裝成很燒腦似的。最終HE,主角得勝,正義長存,主角收穫愛情、親情、友情等。
不是說正能量不好,我喜歡好人得好報的故事,但可能這種越獄片不是我杯茶
看過越獄,或者更貼切地說是在一個密閉空間內「破案」,的戲劇不多,但已經有種工廠化流水作業的感覺。
一開始簡單交待人物,順便故佈疑陣,讓觀眾覺得很高大上,「解謎、破案」途中免不了有戰鬥,特別是肉搏戰,然後就是反轉劇情,把整部戲包裝成很燒腦似的。最終HE,主角得勝,正義長存,主角收穫愛情、親情、友情等。
不是說正能量不好,我喜歡好人得好報的故事,但可能這種越獄片不是我杯茶,同一條方程式,第一次吃,好吃!第二次吃就已經開始感到乏味了。當然,過程中還是邏輯通順、說故事手法還很有水準、層層「解謎」還是不錯的
但這部失手在於前半部份就把謎解清 - 誰是誰非、之前發生了什麼事已基本展示給觀眾,所以後面的劇情幾乎可以不用帶腦子看。主要反轉劇情發生在前半,男主朋友原來才是最大間諜,是售賣機密的主謀,還假惺惺說是男主朋友+到處招搖撞騙,搶足了眼球,所以到電影最後,男主拍檔原來沒死並且參與賣情報計劃這反轉劇情就不再勁爆。反而貫穿全劇的「性」在這位女搭擋身上更突出,例如一開始讚賞男主性能力棒得可說是搭檔bonus,及至再次見面時,竟然垂涎男主性能力而想說服男主加入或者說想把男主納入後宮,在打算殺掉女主時罵女主的重點竟時她沒機會享受男主性能力!她性上癮?還是谷了什麼不該的東西上腦?而故事最後,又真暗示男主與新女搭檔似乎有發展親密關係??!
再看看那位德國特工被困時受到性虐的暗示,及逃出來後用性虐報復船上那幾個監獄看守這條線,不是叛變女特工性上癮,而是編劇想表達什麼?
女權?
不是只有女子才被男子視為性玩物,男主也被視為性玩物?這太刻意了。而且怎麼由反面人物來體現所謂「女權」?反而正面人物的男主,不停有新女搭檔上線,而該位曾被性虐的特工進行兩次報復-報復看守人及替男主解決叛變女特工- 是暗示「女權」只是泡影,「男權」才是王道?難道這才是隱藏的神反轉劇情?
囧
昨天看了第一部,久违地激起了我那种“好想继续看”的心情,但是最后还是把想接着第二部的渴望忍了下来,期待了一天,今天闲下来后打开了第二部,看完后就和大部分人感觉的一样,确实不如第一部……如果说第一部狗血,第二部就是出离狗血。我是很接受不了LJ前一秒还在和john接吻,下一秒就吻上了peter,不管里面说了多少“只有亲过了错的人,才知道哪一个才是对的人”的道理,对于有感情洁癖的人来说,至少我是很
昨天看了第一部,久违地激起了我那种“好想继续看”的心情,但是最后还是把想接着第二部的渴望忍了下来,期待了一天,今天闲下来后打开了第二部,看完后就和大部分人感觉的一样,确实不如第一部……如果说第一部狗血,第二部就是出离狗血。我是很接受不了LJ前一秒还在和john接吻,下一秒就吻上了peter,不管里面说了多少“只有亲过了错的人,才知道哪一个才是对的人”的道理,对于有感情洁癖的人来说,至少我是很不认可这一部里面传达出来的价值观的。这本来就不是什么值得称赞的事情,为什么还费这么多口舌强调这件事情上所谓的正确性。没错,LJ是通过这种方式确认了自己对peter的感觉,但是她也伤害了john。这不是一句“I'm sorry”就可以翻篇的。再说了,哈喽LJ,你不久前还因为没和john坦白已经和peter在一起了的事情而道歉,那个愧疚不已的人去哪了,或者你真的因为别人一句I'm cool,就以为everything is fine……妥妥的渣女,我为沦为工具人的john惋惜。但是其实话说回来,LJ没和john坦白的心理我是能理解的。人是矛盾综合体,在很多事情上不是明知道这样做是错的就绝对不会去做的人。从之前LJ和她的gay蜜谈话的时候就可以看得出来,LJ对于和peter的这段感情是有多不自信的。她因为peter上一段感情的事情,已经为她和peter之间筑上了几堵墙。就在这个时候,john出现了,一个自己曾经特别喜欢过的人,他帅气,幽默,和自己有很多共同点,和他待在一起很舒服,最重要的是他好像还喜欢着自己,和这样一个人朝夕相处,除非是石心,不然不可能不动心。LJ在和peter交往的过程中产生的不自信,john的出现,相当于肯定了LJ也是一个值得被爱的女孩,嗯,她是值得被爱的。至少到这个时候,我是能理解她没有和john坦白的行为的。我发现我很难在john和peter之间做选择(为什么是你选你又不是女主),john和LJ在一起,给我的是“涓涓流水细侵阶”的感觉,因为有着很多的共同点,在他面前只需要做自己,和这样的人在一起会很舒服。而peter和LJ,他和她在一起就像是火焰点燃了烟花的引子,他点燃了她全部的热情。深陷于母亲离世与姐姐不在身边的无所适从中的LJ,遇上了阳光的peter,就有一种枯木逢春的感觉。
其实我觉得,peter和LJ两个人是不太合适的,两个人的精神世界有太多不契合的地方了,并且他们好像因为有着相近的经历而忘记了其实他们的兴趣爱好、认知程度等很多方面是不在一个层面上的。john就和LJ很像。所以LJ和john在一起会觉得很舒服,之前和peter假恋爱融入他的圈子的时候她会偶尔产生“想找个地缝钻进去”的感觉。所以没有认识到这个问题的结果是什么?相处过程中会产生很多矛盾,第二部里面有很多地方就体现出来了。并且我觉得,两个人有刻意回避一些不得不面对的问题。
但庆幸的是,两个人对于对方的容忍度都很高啊,很会从自己身上找问题,这样纯粹的心理真的很难得了。不适合是真的,但有多少段恋情是从一开始就看明白了彼此不适合而从源头杜绝的,或许经过磨合,两个人终于还是一起走到白头。