很烂的一部电视剧,回避了很多老总的槽点,很多事情语焉不详,误导观众,比如八月失败,朱毛之争。还有一个细节就是湘南年关暴动胡少海的爹跟朱德说了几句话,其实完全是编剧不懂土地革命的体现,宜章这段,我觉得天下公平那段话真的扯,大家都好吃懒做等分钱么?自己赚来的就一定要分给别人么?
还有雷云飞这个人物在抗战前就被杀
很烂的一部电视剧,回避了很多老总的槽点,很多事情语焉不详,误导观众,比如八月失败,朱毛之争。还有一个细节就是湘南年关暴动胡少海的爹跟朱德说了几句话,其实完全是编剧不懂土地革命的体现,宜章这段,我觉得天下公平那段话真的扯,大家都好吃懒做等分钱么?自己赚来的就一定要分给别人么?
还有雷云飞这个人物在抗战前就被杀了 ,没记错的话 应该是1926年就被国民党杀害了。。
同样不明白为什么要编一个雷云飞投奔抗日(疑问)而且还死于长乐之战(狂汗)还来个临终朱德送别
长乐之战 129师倒是真有这一幕。。。
129师386旅772团团长叶成焕在长乐村战斗中负重伤,后来伤势过重牺牲,师长很悲痛
可不可理解为编剧艺术性的加工把这事 写到了朱德身上 来表现朱德的人物品质
“幻想作品的基础价值不在于堆砌新奇设定,而在于用基本的、通俗的事例最大限度地提供关于人和世界各种可能性的思考。从这一点上来看,《灵笼》做到了。”
作者 “幻想作品的基础价值不在于堆砌新奇设定,而在于用基本的、通俗的事例最大限度地提供关于人和世界各种可能性的思考。从这一点上来看,《灵笼》做到了。” 作者 王不画,漫画行业资深逃兵 山峰就在那里,每个冒险家都有不同的攀登方式。 《灵笼》,2019年播出的原创网络幻想动画,作为这两年内讨论度最高的国漫之一,截至下半季完结,在B站收获了2.4亿播放量,追番人数590万,弹幕404万条,评论超过50000条。 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 第一季太太太好看了,上学那会怎么没有这纪录片,会很帮助我们理解那些大诗人。看到杜甫三吏三别看哭了。原来李白那些杨贵妃磨墨,高力士脱靴都是谣传。但是李白的干谒诗写的是真狂(看不上我是你们有眼无珠)。李白居然有四个老婆,其中两个还都是前宰相的孙女(插个玩笑弹幕吐槽李白吃软饭第一人,话自然不能这么说哈哈)。谁能想到李白一生都想做官。也是个失意人,因为出身商籍不能参加科考到处求人找做官的差事。这样他 第一季太太太好看了,上学那会怎么没有这纪录片,会很帮助我们理解那些大诗人。看到杜甫三吏三别看哭了。原来李白那些杨贵妃磨墨,高力士脱靴都是谣传。但是李白的干谒诗写的是真狂(看不上我是你们有眼无珠)。李白居然有四个老婆,其中两个还都是前宰相的孙女(插个玩笑弹幕吐槽李白吃软饭第一人,话自然不能这么说哈哈)。谁能想到李白一生都想做官。也是个失意人,因为出身商籍不能参加科考到处求人找做官的差事。这样他还能写那么多酣畅淋漓气宇轩昂的诗作太佩服了。杜甫原来是个富二代(富三代)他爹是大司马,杜甫太惨了碰上奸佞科考无望,再加上安史之乱爆发到处逃难,孩子都被饿死。杜甫原来如果我们白水,安史之乱叛军打进了潼关,杜甫开启了逃难之旅。除却晚年人生统共就做了不到两年官,天天逃难。在从长安到成都的路上翻山越岭,携家带口,饥寒交迫还被人骗。没事爱去曲江,长安沦陷的时候,自己在长安城不知道怎么活下来的。国破山河在就是那时候写的。感觉在我们的印象中,杜甫好像没有年轻过,他当年也曾是个鲜衣怒马的少年,过得无忧无虑的。杜甫有着最伟大的济世情怀。不管自己过得如何潦倒,仍看不得老百姓遭受战争的迫害,可怜天下寒士的命运。柳永把自己的文采献给了勾栏女子,让她们在历史中留下了姓名。李商隐做了一辈子的幕僚,又陷入了牛李党争,常年与家人离别,也是实惨。辛弃疾是个能人,武将出身,胆识过人,文采又极好。还很有生财之道,不愁吃穿。他广为人知的名篇太多了。黄四娘家花满蹊,写元宵节的那人却在灯火阑珊处等等。要是大诗人都像辛弃疾一样吃喝不愁就好了。我又写了一篇流水账呜呜呜。虽然纪录片只能体现他们的万分之一,但我也看的很过瘾。 期待两位顶流的表现这个颜值真的是太期待了如果是真的我能舔屏肖战的女神也是baby 啊啊啊我疯了快点开机别溜我们保佑是真的!第一次期待一部剧呜呜呜。内娱还没有一部剧能让我这么有期待值。感动住了能看到他两合作我愿意用我闺蜜单身10年来换哈哈哈。。快点开机吧!!!!!绝绝子再说一遍绝绝子 期待两位顶流的表现这个颜值真的是太期待了如果是真的我能舔屏肖战的女神也是baby 啊啊啊我疯了快点开机别溜我们保佑是真的!第一次期待一部剧呜呜呜。内娱还没有一部剧能让我这么有期待值。感动住了能看到他两合作我愿意用我闺蜜单身10年来换哈哈哈。。快点开机吧!!!!!绝绝子再说一遍绝绝子 What do you think of when you see this cartoon? Although it is very simple, do you understand its meaning? Look, Xiaohong and Xiaoqiang are walking on their way to school. They walk to the garbage What do you think of when you see this cartoon? Although it is very simple, do you understand its meaning? Look, Xiaohong and Xiaoqiang are walking on their way to school. They walk to the garbage beside the road, only to see that the garbage bin is empty, but the garbage on the ground beside the garbage bin is piled up into a "hill pile". Seeing Xiaohong, she frowned and said to Xiaoqiang, "Xiaoqiang, you see it's too dirty here. Let's clean it up!" Xiaoqiang replied, "Yes! This is very dirty. Let's clean it up quickly! " Say, Xiaohong and Xiaoqiang are not afraid of dirty, and put the garbage into the dustbin together. Then Xiaoqiang took out a pen, paper and glue from his schoolbag and wrote on the paper: Civilization is only one step away. Heat then glued the paper to the wall. When people saw it on the road, they all gave praise to both of them. Yes! Civilization is only one step away. But who will put garbage into the dustbin like Xiaohong and Xiaoqiang in the picture? Maybe it's just a trivial matter, but are there only two students in society who will do this? I heard someone sigh: "There must be more than these two people." But who did it?I can't help but think of a report: One year, during the Golden Week of May Day, * Square, regarded as a "holy land" by Chinese people, produced 19 tons of garbage per day, which was 133 tons in 7 days. Sanitation workers said that if not cleared in time, the www.iyuezhi.com garbage in the square would be enough to drown the ankles every day! Besides, there are 600,000 pieces of chewing gum residues in the www.fnhfz.com garbage. And chewing gum residue is extremely difficult to remove. Cleaners have to scrape and rinse dozens of times with high-pressure water guns and shovels to remove the chewing gum residue. It takes about 100 seconds and 1 to remove each piece of chewing gum residue. 10 yuan's money. At this time, can you still say that ignorance of civilization is a trivial matter?Therefore, we should put the rubbish in the dustbin, otherwise, we will live in a world full of rubbish. 心路历程:第一集男主原声劝退→第八集男主演技劝退→三千年前剧情劝退,看得我毫无波澜,各演各的→女主原声演技也开始让人绷不住了→这剧好割裂,大家都在各演各的→局长小姨太竟然比三千年前让人感动→第22集画面劝退,回光返照劝退,镜头拍摄方式和剧情都尬的要死→待更新 总的来说,男女主演技原声出戏,一个过虚一个过阳,一 心路历程:第一集男主原声劝退→第八集男主演技劝退→三千年前剧情劝退,看得我毫无波澜,各演各的→女主原声演技也开始让人绷不住了→这剧好割裂,大家都在各演各的→局长小姨太竟然比三千年前让人感动→第22集画面劝退,回光返照劝退,镜头拍摄方式和剧情都尬的要死→待更新 总的来说,男女主演技原声出戏,一个过虚一个过阳,一套组合拳时不时让人崩一下,遭不住了。我或许还可以习惯硬着头皮看下去,但这个剧情,天呐越来越难看,高开低走是你应得的,炒热的盘子够量的粉丝都带不动请君下滑的趋势。 男女主感情线好烂,没有过渡没有细节,演员也没演出角色前后情感状态的变化,感觉经历了很多之后,剧情告诉我他们更相爱了,我只看出来“无事发生”。三千年前也想虐没虐起来,白开水一样拍了等于没拍,重点剧情虐恋这部分竟然拍得赶客,也是蛮厉害的,两位真的各演各的,看得我只有尴尬。剧情感觉是写了大纲然后填鸭式完成,啪啪啪的看似很快又无事发生,最后又一步到位了,让人??,谁懂,观众完全无法代入+共情,他们演得很努力,我看得很吃力。 《错会半生》是一个自我怀疑并且被怀疑击败的故事,除此之外它还有着艺术教育与批评、隔代关系这样的主题。 剧情 至于剧情,则不像豆瓣的简介中所说,lara为了相夫教 《错会半生》是一个自我怀疑并且被怀疑击败的故事,除此之外它还有着艺术教育与批评、隔代关系这样的主题。 剧情 至于剧情,则不像豆瓣的简介中所说,lara为了相夫教子而放弃大好前程,果真如此讲述,恐怕故事又俗套沦为女性婚姻觉醒的故事。恰巧让影片拔高的是,lara真正放弃钢琴的原因在于她自己不相信自己是一个有天赋的人。正如与儿子讨论儿子作品时,前一句是批评,后一句是问他的儿子自己喜不喜欢。这种套娃结构如她老师所说,自己当前的批评,无非是一种测试,重要的是自己有没有能过批评这关。显然lara是不相信自己具备天赋,把老师所说的自己第一次登台演出,会让父母丢脸。可惜lara太在意后半句,反而连半句登台演出的机会都没有实现。 当然,lara自始至终仍处于自我怀疑中,或者说没有完全放弃钢琴。 从钢琴座椅的变化可以看出lara的自我犹豫及怀疑
一个人,很扎眼的游走,在动物园,车站边,大街上,天桥上,邮筒旁,徘徊。。。很以为这是在庆祝一个人的自由,但形只影单,人潮里,却又不自觉地心存不自在。为孩子捡起一支玩具球, 听他学着说谢谢。怀揣一封真正的情书,寄给最喜欢的人,是一种难以名状的喜悦吧。这是他想过的生活吧。这是他想有的幸福吧。
似乎他并不喜欢樱花季,但今年他会特别期待,春天的到
一个人,很扎眼的游走,在动物园,车站边,大街上,天桥上,邮筒旁,徘徊。。。很以为这是在庆祝一个人的自由,但形只影单,人潮里,却又不自觉地心存不自在。为孩子捡起一支玩具球, 听他学着说谢谢。怀揣一封真正的情书,寄给最喜欢的人,是一种难以名状的喜悦吧。这是他想过的生活吧。这是他想有的幸福吧。
似乎他并不喜欢樱花季,但今年他会特别期待,春天的到来。
我喜欢光生的简单认真,我也这么一个人很扎眼地漫无目的过。多时是一种自我宣泄,在满是幸福的人群中,想对比出自己的可笑,然后把这种可笑晒得到处都是。
恋爱总有一天会变成生活,生活会变成喜悦。光生的信,被编剧写得真美。这种发散式道白,很衬整个剧的节奏。
每个城市都有每个城市的锦绣繁华,每个城市也都有每个城市的故事传说,繁华彰显了城市的经济富足与举世闻名的地位,而故事又蕴含了城市原本的神秘色彩与历史沧桑的文化。其实比起前者,可以从大街小巷,社会人文直观的看到,后者才是一个城市独有的灵魂。
在这不同的城市故事中,有自古大家都知晓的历史事件,当然了也有不为人知的些许秘密。而在这
每个城市都有每个城市的锦绣繁华,每个城市也都有每个城市的故事传说,繁华彰显了城市的经济富足与举世闻名的地位,而故事又蕴含了城市原本的神秘色彩与历史沧桑的文化。其实比起前者,可以从大街小巷,社会人文直观的看到,后者才是一个城市独有的灵魂。
在这不同的城市故事中,有自古大家都知晓的历史事件,当然了也有不为人知的些许秘密。而在这些秘密中,似乎都略带隐喻,又难以启齿甚至是说不清道不明。因为每个城市都有它的特殊性,甚至是有着城市中弥漫着的,一种无法解释的恐怖元素的传说。
位于广州市荔湾区的荔湾广场,它是一座占地4万多平米,汇集了商场、商铺以及高级住宅为一体的大型现代化商住群楼,广州的朋友一定都知道这个地方。它在广州当地的知名度与北京的朝内81号不相上下。我这么一说,大家都应该明白了这是什么意思。“荔湾广场”四个大字远看经常被大家看成“荔湾尸场”,而在这里面也同样深藏着一些恐怖的元素。
电影《探灵档案》其实是改编自同名热播网剧,它作为国内首部根据网剧改编而成的电影,也是积攒了大量的看过之前网剧的网友的关注。这部电影最鲜明的特点,以及它最令观众感兴趣产生观看欲望的,肯定是发生在广州这个城市中的“城市传说”。利用“城市传说”这个标签来营造出惊悚、悬疑、恐怖电影的故事梗概以及相关卖点的电影,就一定会想到之前大火的惊悚悬疑电影《京城81号》,它的传奇性的票房成绩,也让同样有这方面恐怖题材元素的“城市传说”瞬间被大家关注,不管是广州的荔湾广场,还是重庆的红衣男孩,甚至是沈阳的鬼楼等一系列的故事,仿佛都再次进入了人们的视线。
其实对于荔湾广场的传说,的确是这部电影《探灵档案》的创作蓝本,在电影中的荔湾广场被改名为港湾广场,故事最初的起因,也是因为主角走进这所大厦而展开的。其实电影中的人物角色以及多线索叙事的结构,看似设置的极其复杂,然而却是相对简单的。从各个主要角色相继毫不相干的出场,到后面全部因为一件事情而串联起来,再到经过一系列的恐怖氛围的渲染,惊吓甚至是无所适从之后,谜底在一点点的揭开,不为人知的陈年往事在相继化解,水落石出的最终结局为这部电影的恐怖惊悚找到一个合理的出口。
电影《探灵档案》的整个故事的设置其实与国内的其他恐怖惊悚题材的电影,在最终结局解析部分的落点还是截然不同的,相比其他同类型电影最终在审查制度的严格规定之下,归类于心理范畴,或者是精神疾病不同,这部电影营造出来的恐怖出口以及看点还是相当合理化的,即便它也是有“伪科学”的嫌疑,但电影整体的故事完整性很好,而且给人以更多的想象空间。
有一种恐怖,来源于心魔,有一种惊悚,是自己吓唬自己。其实“心魔”这种虚无缥缈的东西,发生在任何人的身上,它都是一种很难释怀的感触。在这部电影中,“心魔”的概念一直贯穿始终,这里面所说的心魔,它掌控着每个人的命运,不管你曾经做过什么,也不管你曾经做过的事情是不是已经被你选择性遗忘了,只要有“心魔”的存在,这些事情就都有着“现世报”的可能性。神经的紧张,无法释怀的过去,自我营造出的恐怖感,让电影《探灵档案》中的每个主人公都倍感折磨着。
从综艺节目《快乐大本营》中走出来的吴昕,她是这部电影中的女一号,也是电影上映前宣传期中呼声最高的演员。可能有很多观众还把对于吴昕的印象停留在综艺节目的女主持人的范畴内,但看过电影的观众一定会惊喜的发现,原来吴昕还是有演恐怖电影的潜质的。无论是从惊悚的层面她带给观众的想象空间,还是从恐怖电影传统运用的惊吓手段,吴昕的演绎都完成的不错。在时而小女人惊悚无助,时而沉着冷静眼神犀利中变换自如,也给这部电影增添了光彩。
其实《探灵档案》这部电影,它是一部大框架构思的惊悚悬疑片,它不是简简单单的把故事、人物、背景全盘托出,让营造出的恐怖元素去完成恐怖看点的部分,它是利用了“城市传说”的概念,加之每个人物背后的故事,以及善有善报恶有恶报的传统理念来完成的。无论大家是不是恐怖电影的爱好者,这部剧情线索丰富、演员演技带来惊喜的电影,大家都应该走进影院一睹它的精彩。
所以说,清楚明白,清楚明白,清楚明白,最终的结果都是不清楚也不明白。
2 股票。主要是期指。一天就破产,当然是有杠杆的。杠杆杠杆杠杆。这是金融危机的一大恶,到
所以说,清楚明白,清楚明白,清楚明白,最终的结果都是不清楚也不明白。
2 股票。主要是期指。一天就破产,当然是有杠杆的。杠杆杠杆杠杆。这是金融危机的一大恶,到现在也纠正不了,也真的没法纠正。
《大时代》里的 方展博玩得也是期指,这里阿豹玩得也是期指,期指风险大,搏杀也很激烈,普通人小心为妙。
股票的风险相比小多了。成熟的股票市场不是赌场,只要理性投资,总是会有回报的。
3 楼市。买楼,贷款买楼,香港那个弹丸之地对楼的梦幻,如今也席卷了内地。坏事总是传播的快一点。什么海景山景,到底有个屁用,几百万的贷款,一换就是30年,资本主义好吗?就好在这里。干一辈子,是啊房子是你的,但你有的也只有房子了。
4 高利贷。资金总是往更能获利的地方流动。再次表扬锺原大师,在这部电影里,他才是最会理财的。高利贷在低利率的情况下仍然存在,乃是因为无聊如何不可能所有人都能从银行获得贷款。
这个情况,在我们内地更加严重,因为利率未市场化。
5 再次表扬锺原大师,简直就是理财的真谛。后来那些关于股市的话,都是胡扯的,吓唬你的。
6 那拿着煤气罐要自杀的老头的一段自白,说得真是让人动容,社会最底层承受这一切浮华背后的牺牲。所以有时候相信香港人反对内地人什么的,大体也可以理解的。我们倒是羡慕他们还有表达的自由。
6 我爱银河的电影,杜琪峰很少让人失望。杜琪峰这两年总是要表达一种情绪,即香港不是香港了。黑社会那部片子想说,黑社会已经被内地掌握了,这部电影甚至要说,香港的金融体系也要被内地人掌握了。作为一个香港人,杜琪峰的这种心态可以理解。
也许这也是事实。
故事开始于旅行,也终结于旅行。所不同的是,四十年的这次旅行少了憨厚的崔师傅和聪明的刘医生,我们的主人公春芬也由青春逼人变得人老珠黄;四十年前的旅行驶向未知的远方,因为有了对前途的憧憬,春芬的心雀跃而充实;四十年后的旅行驶向
故事开始于旅行,也终结于旅行。所不同的是,四十年的这次旅行少了憨厚的崔师傅和聪明的刘医生,我们的主人公春芬也由青春逼人变得人老珠黄;四十年前的旅行驶向未知的远方,因为有了对前途的憧憬,春芬的心雀跃而充实;四十年后的旅行驶向老崔的安息之所,因为有了命定的归宿,春芬的心寂寞而坚定。四十年的往事不断在春芬脑海中闪回,仿佛她一直守在“向阳号”上,而崔师傅和刘医生也与她一路同行,不曾离去。
“向阳号”之旅便是人生之旅。老崔、春芬、刘奋斗在“向阳号”上相遇、相知、痴缠,然后各奔东西,踏上各自的人生旅途。尽管他们的人生之路有或长或短的交合,但每个人都有自己的人生轨迹。片名叫做《芳香之旅》,女主人公又取名“春芬”,导演的意图很明显,欲以时代变迁中的女性人生作为全片主线,两位男士的命运仅作为陪衬。然而,这条主线是如此地苍白,以至于整个故事几乎沦为庸俗电视剧的三角恋模式。片中的人物也许都太“高尚”了,面对命运的捉弄、他人的挑衅,只有忍气吞声、盲目顺从。人物性格一旦被抹平,矛盾冲突也就被消解。而没有冲突何来戏剧。老崔总是为春芬着想,春芬与刘奋斗幽会他还要保驾护航,最终出车祸竟是因为要去接妻子的旧情人;春芬也总是为老崔着想,无论老崔阳痿还是成了植物人,她都毫无怨言地尽着一个妻子的本分,老崔的生活就是她的生活。他们不停张望着别人的旅途,却把自己人生的列车驶向了绝路。
老崔和春芬一生都在追求表面的完美,比如六十万公里无事故、比如和谐的婚姻,而实质上这样的生活早就畸变成一种病态,总有一天会因微小的变故而土崩瓦解。有时候,人物会因执拗而可爱,也会因顺从而面目可憎。老崔和春芬便是这种小心翼翼、善良懦弱却让人怒其不争的角色。而刘奋斗恰因为他的自私、卑琐而生动鲜活,他明白自己想要什么并努力抗争,只可惜这个人物的戏份太少,而聂远的表演太过僵硬,刘奋斗只能给观众浮光掠影之感。
对春芬而言,刘奋斗也是浮光掠影,再美好的记忆也只是生命中一次意外的惊喜。刘奋斗是她人生之旅上短暂同行的乘客,老崔则是她命定的旅伴。刘奋斗让春芬有了梦想,老崔则帮春芬实现梦想。老崔让春芬戴上了红围巾,也让春芬坐了一次火车。只要是春芬想要的,老崔都尽力满足。刘奋斗只是沿途的风景,崔师傅才是春芬的归宿。无论这归宿春芬是否想要,无论这归宿对于春芬是悲是喜,既然和老崔一路走来,那么来路即是归途,她也注定要和老崔携手归去。所有的文艺作品都在慨叹命运的无常和无奈,只不过在这部影片里,这种无奈表现得更加明显罢了。
“向阳号”之旅更是时代之旅。导演并不满足于故事本身的深度和广度。在影片中他明确表达了反思时代的野心。那是一个极度压抑个性的时代。人们以喊口号的方式释放激情,以领袖的名义检讨自责和责难他人。整个时代集体的心灵压抑在片中夸张而戏剧性地表现为性压抑,而性压抑又反过来成为整个时代心灵压抑的显著表征。更为可悲的是,主人公春芬习惯于这种压抑,直到心灵麻木,直到她也去压制和她当年极为相似的英子。英子是春芬这一生的转世和投影,她压制英子其实依然是压抑自己。
影片用字幕明晰地划分了每段故事所发生的时代,并用众多怀旧符号去营造当时的时代感。近年来,这样的怀旧电影层出不穷,这样的技巧也屡见不鲜。影片用手风琴、黄军装和毛主席像章堆砌出六十年代,而后又用剪发头、麦乳精和《卖花姑娘》堆砌出七十年代。行文至此,我不得不提及另外一部类似题材的电影——《孔雀》。《孔雀》或许有这样那样的缺憾,但它对时代感的成功营造几乎无人提出异议。怀念一个时代、还原一个时代并反思一个时代,最重要的是营造那个时代的氛围,是找准当时人们的心理状态。时代符号只是为了画龙点睛,而不是一个时代的全部。
只堆砌时代符号无法复原一个时代,只用几个字幕也无法完成跨越几十年的宏大叙事。
人生之旅和时代之旅本应水乳交融,因为人生只能是处于某个时代的人生,失去了时代背景,人生就失去了依托;而时代是百态人生汇合而成的时代,没有千姿百态的人生之旅就无所谓时代之旅。而在本片中,这样的故事放在任何一个时代似乎都并无大碍,而影片反映的时代变迁对人物命运的影响似乎微不足道。影片中塑造的人物是平面的,营造的时代是破碎的,人物和时代又是剥离的。
显然,导演的野心是一回事,导演的能力又是一回事。
自从《孔雀》在柏林“开屏”以后,国内便一窝蜂地去拍怀旧电影,直到这部《芳香之旅》终于无旧可怀。我们需要的是对旧时代深刻的反思和有力的批判,不需要本片这样对过去时光盲目苍白、平铺直叙的怀念。一部和《孔雀》有着相同的演员、相同的背景,连个别主题音乐都要克隆《孔雀》的电影究竟有多大价值。年轻的张静初无力挽救一部剧情、表演和镜头语言都缺乏张力的电影。影片中仿佛能看到她一个人在黑暗中无助地摸索,这种无人指引的摸索的结果只能是平庸的表演。
举一个例子就说明该片和《孔雀》的差距。同样是张静初,同样是对命运的抗争,《孔雀》中姐姐用自行车带降落伞的段落的冲击力远远大于春芬从垃圾场中开出“向阳号”的举动。本片中这一段落的音响很嘈杂,直到“向阳号”在众人哄笑声中熄火。首先,这是春芬丈夫的车。这表明她依然没有找到自己的旅途,而且这是一辆六十年代的、已然报废的车。车身上大大的“废”字暗示着被时代遗弃的不仅是汽车,还有开汽车的春芬——那个依然活在对领袖崇拜中、依然活在刘奋斗给她带来的梦境中的春芬。
这场戏所表现出的颓丧自动消解了春芬这次行为艺术神圣的仪式感。这场戏乃至整个影片都给我们苍白无力的感觉。尽管本片拍出了那么美的田园风光,那么娇艳撩人的油菜花,但色彩的饱满无法弥补影片的干瘪,风景的艳丽不能掩盖故事的苍白。整部影片就像一幅慢慢洇开的水粉画,最后什么也没留下。结尾处春芬的笑容是那样苍白,眼泪又是如此矫情。
没有结果,好在还有旅程。老迈的春芬依然人在旅途,恍惚间她又回到了“向阳号”上,她仍然是那个对未来充满幻想的年轻的售票员。或许她根本无需回忆,因为她从未离开,匆匆前行的只是无情的岁月。身处二十一世纪的春芬坐着六十年代的“向阳号”竟是那样和谐,是人们趟过了岁月之河,还是岁月穿行于茫茫人海,一时无从分辨了。
忽然想起一首老歌,意境竟和这部电影惊人的契合:
“究竟是我走过路,还是路正走过我,风过西窗客渡舟船无觅处;
是我经过春与秋,还是春秋经过我,年年一川新草遥看却似旧。”
2006-2-21
一个是邋遢粗鄙金牙屌丝男,一个是高冷清新结巴小鲜肉。一个明明是表舅,非叫小唐,一个明明是外甥,非叫老秦。
王宝强在喜剧上有所突破,不再以呆傻正直为主要特征
一个是邋遢粗鄙金牙屌丝男,一个是高冷清新结巴小鲜肉。一个明明是表舅,非叫小唐,一个明明是外甥,非叫老秦。
王宝强在喜剧上有所突破,不再以呆傻正直为主要特征,唐仁的角色算是最市井的底层人物,你能想象许三多戴着八卦,大摆风水阵打麻将,偷看女房东洗澡吗?宝宝强的功夫底子在本片中也有体现,除了打斗戏之外,印象最深刻的是双手被绑时用脚搓铁丝给秦风开手铐,身体的灵活性柔韧性相当好。
刘昊然的表现也不错,应该是第一次担当电影男主角吧,没有掉链子,高颜值高智商高冷的形象挺成功。头戴式耳机酷酷地挂在脖子上,无论是风衣还是衬衫造型,都很帅,乍一看有点像苏志燮。秦风是个天赋异禀的少年,被唐仁惊呼为“最强大脑”、“带搜索功能的人脸识别器”,推理小说迷,因为父亲等不为人知的原因向往“完美犯罪”。本片的最后他识破了一个完美犯罪,却可能因为无证据或者是同情对方而并未告发,或许内心中还有点惺惺相惜。
最搞笑——肖央、陈赫
肖央和陈赫饰演一对争锋相对的蠢警察坤泰和黄兰登。黄兰登油亮的小中分,永远露着肚脐的东南亚小市民造型,黄兰登梳着麻花辫的小胡子和屡屡被虐的鼻子都给本片添加了很多笑料。找合适的人走合适的路线这是影片做得很好的地方。肖央和陈赫谐星戏路各有高招,夸张而不违和。
最风情——佟丽娅
一直觉得佟丽娅更适合浓妆,本片中一抹红唇,大波浪长发,上翘眼尾,深刻的五官,苗条的身姿,加上高光灯下白净的皮肤,极尽妖娆。果然是老公拍出的老婆最美。这个女房东的角色只不过是花瓶人设,当然是能美能省钱还能给自己人加加分最好啦,导演的小算盘打得真响。
最佳演技——张子枫。
这个女孩在唐山大地震中就给我留下了非常深刻的印象,一双会说话的眼睛,让人仿佛看到若干年后的女影后。本片的前半段是清纯的女中学生,与刘昊然在一起有点小鹿乱撞的青涩,纯爱的粉红让人一时望神以为在看青春纯爱片。随着剧情的渐进,越发觉得这个女孩扑朔迷离,像是有着不为人知的过去,又有种让人有种莫名的心疼。第一个关键词青春,第二个关键词神秘,第三个关键词惊悚。反转时通过男孩的讲解,感受到她的超高智商,最后的一抹邪魅而若有所思的笑容让人倒吸一口凉气,最佳演技!这孩子能轻松驾驭人性、纯爱、疼痛青春、生活、悬疑、恐怖等类型的电影,绝对是个人才!
最佳借鉴——港式幽默与异国推理
影片中有不少对港片的借鉴或者致敬。黄金劫匪案与杀人案的双故事线交错有点模仿杜琪峰的《PTU》的意思,医院枪战那段戏也非常精彩,慢镜头配上《往事只能回味》的老歌,有点PTU的痕迹但多了一些喜剧效果。菜场打斗时小唐吃辣椒粉做暗器,明显借鉴了成龙《A计划》的桥段。给女房东过生日那一段借鉴了《A计划2》,MS当时的女主是张曼玉。小唐和秦风换上风衣做搭档,酷拽地走上街头,一群白鸽飞过,不是戏谑吴宇森的《英雄本色》。这么多元素糅合在一起也算是别具一格了。
秦风的口中如数家珍的暹罗连体人、歌野晶午、杰克?福翠尔、青崎有吾与《体育馆杀人》、东野奎吾与《白夜行》,使影片的推理显得比较标准,也披上了异国色彩。
---------------------------------------------------------------
从来没有想过有一天会给陈思诚码字,不喜欢作为演员的他,但这部片子确实导得不错。节奏的掌控,大皇宫追车戏的调度等也都算可圈可点。不足的地方也有不少,例如预告片太俗,差点以为是烂片没看。泰国警方一直找不到唐秦二人太假等等。听说续集已在筹备,陈导请答应我,做好导演就行,别演出,一定会去支持的。
一
《边走边唱》
原著:史铁生小说《命若琴弦》
编剧署名:陈凯歌
变形:强行融入了史诗风格的寓言色彩
举例:主角盲歌手所唱的民歌,由乡间俚曲改成了华夏先祖的传说
“古时候有英雄,叫夸父,追日头,五百年”
“古时候有女子,叫女娲,炼石头,五百年”
中国电影的死结就是剧本,剧本这一关过不了,再好的戏也出不来。
一
《边走边唱》
原著:史铁生小说《命若琴弦》
编剧署名:陈凯歌
变形:强行融入了史诗风格的寓言色彩
举例:主角盲歌手所唱的民歌,由乡间俚曲改成了华夏先祖的传说
“古时候有英雄,叫夸父,追日头,五百年”
“古时候有女子,叫女娲,炼石头,五百年”
陈凯歌:“可以把这部电影看做是陈凯歌的精神自传。”
评价:拍得非常沉闷,我光看老艺人说一些词不达意,玄而又玄的话。(芦苇)
二
《霸王别姬》
原著:李碧华小说《霸王别姬》
编剧署名:芦苇、李碧华(未参与创作)
变形:剧本完全由芦苇操刀,陈凯歌没有动过一个字
芦苇:“我写剧本,你不要当编剧。”
陈凯歌:“我巴不得。”
八卦:徐枫找到陈凯歌的时候,他开始根本没看上这个故事,觉得太通俗,是三流小说。可是因为除了徐枫没有人给他投钱,最终接招。
三
《风月》
原著:叶兆言小说《花影》
编剧署名:陈凯歌、王安忆、舒琪(未参与创作)
变形:陈凯歌和王安忆两人经过了多次的长谈交流
王安忆:“他是一个贪婪的人,他要的东西太多了。我不知道他让电影承担这样重大的负荷对头不对头,但我预感到他将是‘成也萧何,败也萧何’……有时候我甚至觉得,像陈凯歌这样思想和情感太多的人,迷上电影,真是一件不幸的事情。”
陈凯歌:“王安忆是个作家,并不适合写剧本,尤其不适合给我写剧本。因为我们俩的优势是一样的……王安忆写的东西精神上是很高的,我跟她有点像,所以我们没办法真正写出一个落到地面上、落到人间的故事,因此整个过程很困难。所以在剧本的阶段就决定了这部电影可能会有问题。”
八卦:叶兆言受邀写了最初两稿,陈凯歌拿走了。到上映时,电影字幕中并没有提到该片改编自叶兆言的《花影》。
评价:到了拍《风月》的时候,陈凯歌完全听不进去别人的意见和建议,我告诉他前面有老虎会咬人,他不听,非得咬了他才跑回来告诉我:“老板,真的有老虎会咬人。”(徐枫)
我太注重艺术,太注重技巧,那种存在于《霸王别姬》里的非常非常“真”的东西没有了。……我已忘了简单的力量,《风月》是一个犯错误的阶段。(陈凯歌)
四
《荆轲刺秦王》
编剧署名:陈凯歌、王培公
变形:巩俐对剧本提出了意见,在经过讨论、修改了前三十场戏之后,她方才答应出演赵姬。
八卦:姜文对剧本不满意,并提出了很多想法,他认为,如果他不能理解荆轲这个人物,他就无法去演,最终辞演荆轲。
本片在日本首映的版本是根据剧本剪成的,连陈凯歌自己都认为“文学剧本却有违视像规律”,后来又重新剪了一版,变平铺直叙为板块结构。“与其这样拉开的散点儿的叙事,还不如把情节集中起来。”后来在2003年接受白睿文采访时,他又表示“第二个版本是我被迫为欧美市场做的,他们派了一个人到北京来说你应该这样剪、那样剪。因为这是一部预算很高的电影,我没办法不听,心里很不开心,因为我觉得原来的版本更符合我的原意。”
评价:在剧情与人物的逻辑关系上,如其剧本般的混乱不堪难以理喻,犹如进入了一座无视结构原理的巨无霸式的建筑之中,满目是大而无当华而不实的堆砌,台词声嘶力竭内容却苍白无力。(芦苇)
五
《无极》
编剧署名:陈凯歌、张炭
陈凯歌:“张炭是有贡献的,我觉得他最大的贡献就是陪我一块聊天。”
张炭:“我和陈凯歌导演在5个月的剧本讨论中,唯恐观众不笑,观众能笑,是看到了剧中的荒谬性,《无极》是蕴含着深刻主题的诙谐剧、悲喜剧。”
六
《赵氏孤儿》
原著:纪君祥杂剧《赵氏孤儿》
编剧署名:陈凯歌
变形:一是加入屠岸贾弑君情节,二是韩厥放孤后未自杀,三是加入了程妻一角,四是屠岸贾的死法。
高璇:“我们最引以为豪的创作是元杂剧没有的人物——程妻对于情节走向的翻转、推动,贡献最大的情节是程婴把赵孤抱回家,城门四合,兵士逼迫全城交出婴儿,程婴找公孙,回家发现程妻已把赵孤顶包程勃交出,从而把赵孤和100个婴儿捆绑置换为公,程勃为私,懂剧本的人知道:此节盘活上部。”
高璇:“关于上半部,情节都在,意思变了,因此上半部不能说是我们的上半部,同样下半部也并非与我们无关,战争一节:赵孤冒进被围、屠岸贾救之受伤、赵孤再求程婴反救之,包最后一节弑屠,没离开前也都大致有了。”
高璇:“我们的后半部是:程婴利用赵孤接近屠岸贾,几次杀之未遂,于是决计利用赵孤复仇,当前史批露,赵孤于情无法下手,于理必须杀屠,程婴目睹赵孤纠结,遂觉自己逼少年杀人之残忍,在复仇箭在弦上一刻,少年崩溃手软,程婴为护赵孤,以身殒命。”
任宝茹:“电影中,‘毒蚊子杀王’和‘两条鱼滑倒韩厥’两处情节并非我们的设计,而是导演的妙笔。”
八卦:在剧本写了一多半、完成“搜孤救孤”结点后,由于接受不了赵孤和屠岸贾情深意笃十五年、听了自己身世就提刀弑父这样的情节,高璇与任宝茹退出创作,而陈凯歌坚持最后结局是“一个快意恩仇的故事”。
什么时候陈凯歌可以放下他那半吊子的哲学思考和抑不住的人文关怀,不再揽编剧的活儿,或许《霸王别姬》还有得超越。
其实,一切悲剧的起点已经安排在了陈凯歌考北大落榜那一年:
“人家说我的作文写的就不成,别的科目成绩还可以,他们还纳闷我作文不好,干嘛还考中文系。其实,当时我自认作文写得是不错的,很有文学性,已经忘了当时的作文题目了……”