David隨著社會(huì)身份的變化得到好幾個(gè)名字，davy baby，trotwood，daisy，davidson，但沒有一個(gè)人愿意呼喚他的真名，連他自己都吐槽說，我愛人們給我起名。本我和超我的抗?fàn)幘驮诿诌@得到了巨大的體現(xiàn)。 小時(shí)候就喜歡和保姆一起，a face of wax和a face of durch cheese, 其中的厲害只能自行體會(huì)。多么生動(dòng)而又真實(shí)啊。那些大象一樣的活塞，紅日一般的眼睛，誰又能無時(shí)無刻閃過這樣的靈感并記錄下來，藏在隨身攜帶的古董盒子？那些聲稱自己是作家的人，多少能體會(huì)到這樣的快樂和艱辛？

質(zhì)樸無華的價(jià)值觀——《大衛(wèi)·科波菲爾的個(gè)人史》

今天聊聊電影《大衛(wèi)·科波菲爾的個(gè)人史》。

片名The Personal History of David Copperfield (2019)，別名狄更斯之塊肉余生記(臺(tái))。

《大衛(wèi)·科波菲爾的個(gè)人史》改編自文學(xué)巨匠查爾斯·狄更斯的半自傳作品《大衛(wèi)·科波菲爾》。數(shù)十年間，《大衛(wèi)·科波菲爾》多次被搬上大熒幕，2019年版的《大衛(wèi)·科波菲爾的個(gè)人史》是最新一版改編作品。

小說《大衛(wèi)·科波菲爾》是查爾斯·狄更斯在1849年-1850年創(chuàng)作的作品，將他自己少時(shí)經(jīng)歷寫進(jìn)書中。主人公大衛(wèi)·科波菲爾在經(jīng)歷混亂顛簸的生活后，終于找到了屬于自己的位置……

大衛(wèi)·科波菲爾出生時(shí)是名遺腹子，在爸爸去世幾個(gè)月后出生，由媽媽和女仆撫養(yǎng)長大。大衛(wèi)幾歲時(shí)，母親再嫁，繼父和繼父的姐姐自視甚高，對(duì)小大衛(wèi)極為苛刻。

后來母親早逝，繼父將大衛(wèi)送去當(dāng)童工，在這里大衛(wèi)遇到了大量社會(huì)底層人士，也結(jié)交到了需要真性情的朋友。不堪精神和肉體雙重折磨，大衛(wèi)從工廠里逃走，投靠姨婆重新接受教育。

再往后，大衛(wèi)遇到了形形色色的人，有愛人、有友人，也有心懷不軌的歹人。世事變遷莫測(cè)，在自己的不斷努力和大家的幫助下，終于“善有善報(bào)、惡有惡報(bào)”，一群人快樂地生活在一起。

這也是最為“政治正確”的一版《大衛(wèi)·科波菲爾》。

男主角大衛(wèi)·科波菲爾是棕色人種，黑種人、黃種人數(shù)量眾多，就差再安排幾名LGBT人士。

影片儼然是世界人民大聯(lián)歡，政治正確地令人發(fā)笑。但凡當(dāng)時(shí)黃種人、黑種人能夠一起開展工業(yè)革命，世界格局也不可能是現(xiàn)在的樣子。

創(chuàng)作文學(xué)作品除了需要?jiǎng)尤说奈墓P外，優(yōu)秀的故事素材更為重要。因此我們也經(jīng)?？吹胶芏嘀骷?，都有著豐富的人生經(jīng)歷，畢竟要有生活經(jīng)歷才能寫出深邃的文學(xué)作品。

作家經(jīng)常需要采風(fēng)就是這個(gè)道理，作家在體驗(yàn)人生百態(tài)的過程中也在不斷的觀察和思考。

查爾斯·狄更斯本人的讀書求學(xué)經(jīng)歷、童工經(jīng)歷、寄人籬下經(jīng)歷、律所工作經(jīng)歷都成了他的創(chuàng)作素材。而且查爾斯·狄更斯還秉持最樸實(shí)的價(jià)值觀，強(qiáng)調(diào)“善有善報(bào)、惡有惡報(bào)”，這些都通過他的作品表現(xiàn)出來。觀眾們也喜歡這種價(jià)值觀正確充滿正能量的作品。

每個(gè)人會(huì)遭遇不幸，但總會(huì)得到幫助，也總是能夠自強(qiáng)不息，努力改變自身所處境地。大衛(wèi)的經(jīng)歷正是如此，他快樂過也痛苦過，一個(gè)人的時(shí)候沒有屈服于命運(yùn)，而是不斷尋找機(jī)會(huì)抗?fàn)?；得到朋友們幫助的時(shí)候也沒有得意忘形，而是努力回報(bào)；朋友們需要幫助的時(shí)候，他也沒有袖手旁觀，而是積極伸出援手.

大衛(wèi)人生起伏，最終能夠完成人生成功，很大程度是趕上了社會(huì)巨變的末班車。他成功抓住了工業(yè)革命末期的尾巴，讓自己的人生取得了一個(gè)不錯(cuò)的結(jié)果。

在社會(huì)劇烈變動(dòng)的時(shí)候，實(shí)現(xiàn)階級(jí)跳躍更加容易。越是四平八穩(wěn)的時(shí)候，階級(jí)固化越是嚴(yán)重。

當(dāng)然最根本的還是要本身有實(shí)力，做好成功的準(zhǔn)備，在機(jī)遇來臨的時(shí)候抓住它。能力、機(jī)遇、關(guān)系缺一不可。

大衛(wèi)早早就以童工身份步入社會(huì)，早早見識(shí)了各種壞人的丑惡嘴臉。他憤然離開血汗工廠，投奔姨婆，這才有機(jī)會(huì)接受教育，才能進(jìn)入律所實(shí)習(xí)。

但現(xiàn)在的情況卻不同，在資本家和工賊不間斷的鼓吹下，打工人被教育要安于現(xiàn)狀，安心工作，不要整天胡思亂想。我都已經(jīng)是工人了，還要整天被打。

今天可以明目張膽地鼓吹996，明天就可以大張旗鼓地宣傳007，某米都敢公開喊出“屌絲者得天下”。現(xiàn)在打工人想的不是翻身做主人，而是以成為工賊為榮。

打工人的生活只是眼前的茍且而已，如果沒有大衛(wèi)的姨婆做退路就別想著復(fù)制大衛(wèi)的經(jīng)歷。這也是《大衛(wèi)·科波菲爾》受到歡迎的一個(gè)原因，至少在文學(xué)作品里還能看到最質(zhì)樸的善惡輪回。

《大衛(wèi)·科波菲爾》告誡人們做人道理，大衛(wèi)姨婆對(duì)少年大衛(wèi)反復(fù)告誡“永不卑賤，永不虛偽，永不殘忍”。

“永遠(yuǎn)不要在任何事上卑劣卑賤，永遠(yuǎn)不要作假，永遠(yuǎn)不要?dú)埲?。免除這三種罪惡，我可以永遠(yuǎn)對(duì)你懷抱希望?！?/p>

這是做人最基本的底線，也是狄更斯希望的世界該有的樣子。大衛(wèi)的起伏人生充滿作者的浪漫主義色彩，做個(gè)好人最終就會(huì)有好報(bào)。或許在狄更斯眼中世界并不完美，但每個(gè)人可以保持最起碼的善良，善良的人會(huì)被作者安排一個(gè)好結(jié)局，不善良的人會(huì)被作者懲罰。如果觀眾也有這樣樸實(shí)的價(jià)值觀，可以多去書中尋找尋找。

浪漫主義的個(gè)人史，

質(zhì)樸無華的價(jià)值觀。

這里是硬核影迷集散地，歡迎關(guān)注：妙看影視

大衛(wèi)小時(shí)候曾寄養(yǎng)在米考伯家，一個(gè)的有趣的人物，每天各種人來家里要債，因欠債還進(jìn)了監(jiān)獄。放出來后裝成教授到學(xué)校招搖撞騙討工作，后又流落街頭。善良的大衛(wèi)一直是同情米考伯的，為他辯護(hù)說他人畜無害，看到米考伯被揭穿不得不離開時(shí)，即使知道米考伯想多騙點(diǎn)路費(fèi)也主動(dòng)給他。

喜歡米考伯大概是因?yàn)檎鎸?shí)，人對(duì)真實(shí)的東西時(shí)很敏感的。覺得生活中這樣的小人物很多，自己又何曾不是這樣的，偶爾撒點(diǎn)小謊，騙點(diǎn)小錢，但人畜無害，在身出困境時(shí)依然不忘幽默自嘲，被問到你們流落街頭了嗎時(shí)，回答時(shí)我們目前主要生存于戶外，這樣的小人物，有點(diǎn)像科恩兄弟的謀殺綠腳趾里的主角酷哥，懶散隨意無所謂的態(tài)度應(yīng)對(duì)所有的情況。用簡單生活應(yīng)對(duì)一切牛鬼蛇神。

狄更斯的5段式工整小說改編電影，整體笑點(diǎn)很多，劇情緊湊

Part1 小時(shí)候被后爸欺負(fù)， 被扔到瓶子工廠上班

Part2 被一個(gè)騙子收留

Part3 被Aunt收留

Part4 愛上Dora

Part5 與真愛走到一起

PS：看的UK上映的生肉，以下是詞匯整理

好看的striking

女高音soprano

一家之主 man of the house

記下來pur down

窮困up in the air

winter castle

a captive

有時(shí)候認(rèn)為，寫作能力能靠訓(xùn)練得來，但看完覺得，天生的觀察家和文字玩家才是作家的先機(jī)。

David隨著社會(huì)身份的變化得到好幾個(gè)名字，davy baby，trotwood，daisy，davidson，但沒有一個(gè)人愿意呼喚他的真名，連他自己都吐槽說，我愛人們給我起名。本我和超我的抗?fàn)幘驮诿诌@得到了巨大的體現(xiàn)。

小時(shí)候就喜歡和保姆一起，a face of wax和a face of durch cheese, 其中的厲害只能自行體會(huì)。多么生動(dòng)而又真實(shí)啊。那些大象一樣的活塞，紅日一般的眼睛，誰又能無時(shí)無刻閃過這樣的靈感并記錄下來，藏在隨身攜帶的古董盒子？那些聲稱自己是作家的人，多少能體會(huì)到這樣的快樂和艱辛？

雖然是理想化的形象，但還是愿意去相信這樣一個(gè)故事。再工整再做作，也不過是藝術(shù)的升華。

以上

A one-two punch of two feature films from Scottish satirist Armando Iannucci, THE DEATH OF STALIN is an irreverent satire of the power struggle between the party leader Nikita Khrushchev (Buscemi) and the chief of the People's Commissariat for Internal Affairs (NKVD), Lavrentiy Beria (Beale) in the aftermath of Stalin’s demise in 1953, mustering an Anglophone ensemble to play Russians and retaining each player’s distinctive accent, TDoS is openly ahistorical and scramble a hodgepodge of historical events to show up USSR Communist party’s treacherous political intrigues and draconian executions, with mockery as its ballast, after all the film’s source is a French graphic novel rather than any orthodox biography.

THE PERSONAL HISTORY OF DAVID COPPERFIELD, on the other hand, is Iannucci’s revisionist take on the famous novel and its Victorian milieu, corralling a colorblind cast and enlivening the palette even when our hero is in his absolute rock-bottom, its uncharacteristic comical tone and striking brightness are anything but Dickensian.

Mordant wits and biting repartees are Iannucci’s forte, and in TDoS, they are aplenty, the whole Politburo is made up of the targets of ridicule and contempt: Tambor’s deputy chairman Georgy Malenkov is a tinpot dunderhead; Beria, a sadistic wheeler-dealer who are prone to hectoring; Khrushchev has that particular political acumen, and cunningly adept in conniving and conspiring; Palin’s Foreign Minister Vyacheslav Molotov is a party maximalist, but barely has any say-so in the game. As for Stalin’s two heirs, Svetlana (Riseborough) is at the end of her tether, and the plastered Vasily (Friend), a lost cause liable to nonsensical babbling, they are not veritable successors of their father’s legacy.

The movie is irrefutably offensive to the people of USSR by omitting any humane traits of the erstwhile powers that be, portraying the whole polity of communism and collectivism as a laughing stock, it only betrays Iannucci and co.’s nationalistic mean-spiritedness of squeezing every inch of laughter out of harrowing events to entertain their core audience, and they can easily get off the hook by claiming artistic licenses, those events were factual what they have done is to coax them together to represent an occidental, pejorative outlook on Western democracy’s old adversary.

That said, Both Beale and Buscemi are fantastic thespians, their at-loggerheads political gamesmanship is immensely gratifying to watch, Beale acts like a savage porcupine, those quills are bristling with venom and cruelty whereas Buscemi has a weasel-like disarming facade, but he can be equally ruthless in a pinch. Also Issacs’ Marshal Georgy Zhukov enters the feeding frenzy late but he has that panache to impress, not least with his umpteen bedazzling decorations.

Iannucci shows his shortcoming in scenes of action, the Moscow massacre sequences are rather sloppily wrought, and his control of an ensemble piece isn’t exactly can be called fluid or artistic, especially when things pan out in a fanatic commotion, audience may feel being manhandled just to keep up with the ongoing mess.

Things are ameliorated in TPHoDC, for one thing, the fabulous period art production is a remedy for sore eyes, and young David’s (Patel) misadventure is often offset by the quirkiness of supporting characters, like Capaldi’s buoyant Mr. Micawber, or Laurie’s certifiable Mr. Dick. Everything is arranged in a fairy-tale fashion, like the dainty boat house or the liberating kite-flying expansiveness, tragedy is merely a plot devise, it crops up and vanishes in the next breath.

Patel has grown up to a more competent leading man stature, he can be credibly romantic and sensibly virtuous, his David holds on his own against a kaleidoscope of scene stealers, my preference is a delectably sinister Whishaw as Uriah Heep, whose slapping bouts with Swinton’s auntie Betsy is a humdinger of cartoonish delight.

David’s to-be-a-gentleman-cum-author rite of passage could be written off as a stiff and insular idée fixe, but Iannucci and Blackwell’s script updates it with a more universally appealing, like his irrational infatuation and final realization of who is a more suitable match of matrimony, the whimsical and ladylike Dora Spenlow (Clark, who also moonlights as David’s mother Clara), or Agnes Wickfield (Eleazar), the unassuming but courageous daughter of Mr. Wickfield (Wong), a tippled lawyer.

Collectively, TPHoDC reaches a much happier coda than the novel with David’s extended family grows and settles down with a big hearty smile, the “personal” in the title indicates Iannucci’s own predilection for finding a different color in existent materials, if TDoS is a tad off-color in its taste, TPHoDC, conversely, is a glowing tonic that re-introduces a timeworn classic.

referential entries: Iannucci’s IN THE LOOP (2009, 7.1/10); Garth Davis’ LION (2016, 7.1/10).

Title: The Death of Stalin

Year: 2017

Country: UK, France, Belgium, Canada, USA

Language: English

Genre: Comedy, Drama, History

Director: Armando Iannucci

Writers: Armando Iannucci, David Schneider, Ian Martin, Fabien Nury

based on the comic book by Fabien Nury and Thierry Robin

Music: Christopher Willis

Cinematography: Zac Nicholson

Editing: Peter Lambert

Cast:

Simon Russell Beale

Steve Buscemi

Jeffrey Tambor

Andrea Riseborough

Jason Isaacs

Michael Palin

Olga Kurylenko

Rupert Friend

Paul Chahidi

Dermot Crowley

Paul Whitehouse

Adrain McLoughlin

Paddy Considine

Nicholas Woodeson

Diana Quick

Jonathan Aris

Roger Ashton-Griffiths

Rating: 6.3/10

Title: The Personal History of David Copperfield

Year: 2019

Country: UK, USA

Language: English

Genre: Comedy, Drama

Director: Armando Iannucci

Screenwriters: Armando Iannucci, Simon Blackwell

based on the novel by Charles Dickens

Music: Christopher Willis

Cinematography: Zac Nicholson

Editing: Peter Lambert, Mick Audsley

Cast:

Dev Patel

Tilda Swinton

Hugh Laurie

Ben Whishaw

Peter Capaldi

Morfydd Clark

Daisy May Cooper

Aneurin Barnard

Rosalind Eleazar

Benedict Wong

Jairaj Varsani

Gwendoline Christie

Darren Boyd

Aimée Kelly

Anthony Welsh

Bronagh Gallagher

Anna Maxwell Martin

Paul Whitehouse

Nikki Amuka-Bird

Victor McGuire

Peter Singh

Sophie McShera

Matthew Cottle

Rating: 7.3/10