猜你喜歡
劇照
更新時(shí)間：2025-06-10 17:01
詳細(xì)劇情
在英國(guó)小鎮(zhèn)韋瑟比，瓊組織了一次聚會(huì)，一位奇特的不請(qǐng)自來(lái)的青年被奉為上賓。第二天，這位不速之客又來(lái)了，在瓊的面前開槍自殺而亡。案件對(duì)小鎮(zhèn)震動(dòng)很大。不久，真相大白于天下。原來(lái)那晚，這位失戀的青年在與瓊發(fā)生關(guān)系后，又遭到瓊的拒絕，痛苦之極走上不歸路。
本片是導(dǎo)演的低成本處女作，反映了他對(duì)人性的看法：平靜下面潛藏著邪惡和欺詐，孤獨(dú)時(shí)只能以扭曲的方式解脫自己。人們循規(guī)蹈矩地生活．直至陌生人暴力自殺，才給他們帶來(lái)震動(dòng)，這暗示了英國(guó)社會(huì)的等級(jí)及教育制度是人們反復(fù)無(wú)常的心理根源。影片表現(xiàn)了人的行為，以及人們產(chǎn)生這種行為的社會(huì)根源。本片具有深刻的思想性。反傳統(tǒng)的表現(xiàn)手法使其有很強(qiáng)的藝術(shù)觀賞性。本片獲得1985年柏林電影節(jié)最佳故事片金熊獎(jiǎng)。
長(zhǎng)篇影評(píng)
1 ) 哲學(xué)的沉思-----一個(gè)虛無(wú)主義者的自殺事件
85年的金熊，導(dǎo)演還改編過(guò)路易馬勒的烈愛重傷，以及那部很出名的《時(shí)時(shí)刻刻》
一天一個(gè)單身女老師請(qǐng)了一班朋友到他家里吃飯，其中有個(gè)叫做約翰莫根的，不知道是誰(shuí)的朋友，潛入了他們的聚會(huì)，然后過(guò)了沒(méi)有兩天這個(gè)約翰莫根就來(lái)到老師家吞槍自殺了，故事圍繞著這樣一個(gè)迷團(tuán)展開，約翰莫根是誰(shuí)？他為什么自殺，接著鏡頭又轉(zhuǎn)到一個(gè)就快要奔赴前線的戰(zhàn)士和他的女友間，女友不肯和戰(zhàn)士結(jié)婚，直到戰(zhàn)士奔赴戰(zhàn)場(chǎng)，在一次游戲中，戰(zhàn)士被殺死了，女友獨(dú)自一人走在飛機(jī)場(chǎng)的跑道中，而這時(shí)的片段也回到了約翰莫根自殺時(shí)的那一槍，也是戰(zhàn)士被越南人民殺死的那一幕重合，這已是故事的結(jié)尾，當(dāng)中有許多不可告人的秘密隱藏在這個(gè)教師當(dāng)中，就像電影開頭時(shí)討論的尼克松的水門事件，涉及到政治，但是，在政治面前，普通人是普通的，他們孤獨(dú)，需要愛，在得不到愛的結(jié)果就像約翰莫根那樣，吞槍，對(duì)比下是教師的博愛，他可以和約翰莫根、圖書館朋友的丈夫、警察……發(fā)生關(guān)系，甚至可以在同學(xué)面前吸煙來(lái)上好這樣一節(jié)課，其中有位女學(xué)生問(wèn)老師：“文學(xué)有什么用？”“我擔(dān)心以后畢業(yè)找不到工作時(shí)?！崩蠋熯€是用那種老師的語(yǔ)氣回答，讀書不是為了別人，是為了自己的提升，一切的故事由這樣一位孤獨(dú)的對(duì)立面的老師來(lái)遐想，或者我們可以看成這部電影是這個(gè)語(yǔ)文老師的一部劇本。
一天一個(gè)單身女老師請(qǐng)了一班朋友到他家里吃飯，其中有個(gè)叫做約翰莫根的，不知道是誰(shuí)的朋友，潛入了他們的聚會(huì)，然后過(guò)了沒(méi)有兩天這個(gè)約翰莫根就來(lái)到老師家吞槍自殺了，故事圍繞著這樣一個(gè)迷團(tuán)展開，約翰莫根是誰(shuí)？他為什么自殺，接著鏡頭又轉(zhuǎn)到一個(gè)就快要奔赴前線的戰(zhàn)士和他的女友間，女友不肯和戰(zhàn)士結(jié)婚，直到戰(zhàn)士奔赴戰(zhàn)場(chǎng)，在一次游戲中，戰(zhàn)士被殺死了，女友獨(dú)自一人走在飛機(jī)場(chǎng)的跑道中，而這時(shí)的片段也回到了約翰莫根自殺時(shí)的那一槍，也是戰(zhàn)士被越南人民殺死的那一幕重合，這已是故事的結(jié)尾，當(dāng)中有許多不可告人的秘密隱藏在這個(gè)教師當(dāng)中，就像電影開頭時(shí)討論的尼克松的水門事件，涉及到政治，但是，在政治面前，普通人是普通的，他們孤獨(dú)，需要愛，在得不到愛的結(jié)果就像約翰莫根那樣，吞槍，對(duì)比下是教師的博愛，他可以和約翰莫根、圖書館朋友的丈夫、警察……發(fā)生關(guān)系，甚至可以在同學(xué)面前吸煙來(lái)上好這樣一節(jié)課，其中有位女學(xué)生問(wèn)老師：“文學(xué)有什么用？”“我擔(dān)心以后畢業(yè)找不到工作時(shí)?！崩蠋熯€是用那種老師的語(yǔ)氣回答，讀書不是為了別人，是為了自己的提升，一切的故事由這樣一位孤獨(dú)的對(duì)立面的老師來(lái)遐想，或者我們可以看成這部電影是這個(gè)語(yǔ)文老師的一部劇本。
2 ) Why did John kill himself?
“I only know goodness, and anger, and revenge, and evil, and desire. These seem to me far better words than neurosis, psychology, and paranoia. These old words, these good old words have a sort of conviction, which all this modern apparatus of language now lacks. We bury these words, these simple feelings, we bury them deep. Nor the building over that constitutes this century will not wish these feelings away.” John Morgan
How easy sometimes it is to fake cheerfulness! These good old words shall be respected, as well as one's true feelings too, respected and recognised, not faked nor buried. These words build the fundamentals of humanity, and there is nothing wrong of coming across them, experiencing them, feeling them, deeply. What is hindering us from expressing what we really think and feel? What if death comes and finds us in utter ore? The boy died with contentment, respecting the truth.
Why did he have to kill himself? He brought a gun before he came, obviously it was a planned death with a purpose. What was this purpose? As he was watching from the window the market, the people coming and going getting their shoppings done, what is in his mind? Is it that he could not connect to people? He could not come to terms with the faked cheerfulness and peace. Finally he found his comrade, yet, she shared, but did not want to admit. These mutual feelings electrified them both, especially her. She did not believe such moments existed that when they came, she denied and rejected them. He thought she would be different, but she chose to give in, being part of the prevailing society.
Like Gandhi, death is a non-violent way of him saying NO. Maybe to wake the living up too.
How easy sometimes it is to fake cheerfulness! These good old words shall be respected, as well as one's true feelings too, respected and recognised, not faked nor buried. These words build the fundamentals of humanity, and there is nothing wrong of coming across them, experiencing them, feeling them, deeply. What is hindering us from expressing what we really think and feel? What if death comes and finds us in utter ore? The boy died with contentment, respecting the truth.
Why did he have to kill himself? He brought a gun before he came, obviously it was a planned death with a purpose. What was this purpose? As he was watching from the window the market, the people coming and going getting their shoppings done, what is in his mind? Is it that he could not connect to people? He could not come to terms with the faked cheerfulness and peace. Finally he found his comrade, yet, she shared, but did not want to admit. These mutual feelings electrified them both, especially her. She did not believe such moments existed that when they came, she denied and rejected them. He thought she would be different, but she chose to give in, being part of the prevailing society.
Like Gandhi, death is a non-violent way of him saying NO. Maybe to wake the living up too.
3 ) 「Quotes」
「Do we become the way we look? Or do we look the way we really are?」
「If you're thinking, "I must use education for a career," Then you're already thinking of education in the wrong way. Education is a thing in itself. It's a way of fulfilling your potential. Looking for ways of thinking about things, Ways which, if you're lucky will help not just your career, but your whole life.」
「I think the lonely recognize the lonely.」
「You're lonely. All that hope coming out of you, all that cheerful resolution. All that wonderful enlightenment. For what? For nothing. You know it's for nothing. Don't tell me that cheerfulness is real.」
「When you're a boy, you think, "oh, it's so easy". Always wipe the slate and move on. Then, with the years, you find you become a prisoner of dreams.
↓
A girl ran away this morning.
↓
Good luck to her.
↓
Yes. Good luck.
↓
To all our escapes.」
「If you're thinking, "I must use education for a career," Then you're already thinking of education in the wrong way. Education is a thing in itself. It's a way of fulfilling your potential. Looking for ways of thinking about things, Ways which, if you're lucky will help not just your career, but your whole life.」
「I think the lonely recognize the lonely.」
「You're lonely. All that hope coming out of you, all that cheerful resolution. All that wonderful enlightenment. For what? For nothing. You know it's for nothing. Don't tell me that cheerfulness is real.」
「When you're a boy, you think, "oh, it's so easy". Always wipe the slate and move on. Then, with the years, you find you become a prisoner of dreams.
↓
A girl ran away this morning.
↓
Good luck to her.
↓
Yes. Good luck.
↓
To all our escapes.」
由于片中那家伙太像昆汀，導(dǎo)致走神無(wú)數(shù)次，sorry！
前40分鐘悶騷得難受，后半段才顯露出劇本的過(guò)人之處。
David Hare的主題：秘密、謊言、記憶。每一位演技派女神都有這么一段過(guò)去現(xiàn)在和將來(lái)。Joely 飾演Vanessa 的年輕時(shí)候，一樣的骨架、臉龐，一樣的藍(lán)眼睛。
寂寞人何苦專挑寂寞人的軟柿子捏。看點(diǎn)是打亂時(shí)序的碎片敘事而將吸引力放大了，三條時(shí)間線的混剪。音樂(lè)太過(guò)火，淡淡的故事不需要?jiǎng)趧?dòng)那么輝煌的感傷主旋律。眾星烘托凡妮莎女神獨(dú)秀場(chǎng)，靚女兒Joely演過(guò)去的她并包攬脫戲
女主角的教師身份與本片主題密切相連，探討了人的內(nèi)心與表面、欲望的隱藏與爆發(fā)，多條人物線索平行敘事，每個(gè)人都有秘密，敘事風(fēng)格上非常像伊戈楊的作品，都是那種不急不緩的悶騷神秘的調(diào)子，配樂(lè)使用是點(diǎn)睛之筆，給人悵然若失之感，劇本精巧，影射了英國(guó)社會(huì)各階層分化和青年教育的失敗
這個(gè)被剪成碎片學(xué)生模樣的《陌生男子》極有可能是不存在的麥格芬，但關(guān)于他的謎團(tuán)卻莫名成了人們通往歷史的時(shí)光機(jī)。記憶倒帶回過(guò)去，這也讓位于老師立場(chǎng)的女主背后那組記憶與忘卻間的悖論浮出水面。于是困惑所有人的問(wèn)題是誰(shuí)也說(shuō)不清楚的每個(gè)人背負(fù)著的隱痛，最終矛盾返回到迷茫一代對(duì)教育系統(tǒng)的拷問(wèn)。
文藝也可以有懸念，但懸念過(guò)多或過(guò)強(qiáng)，總會(huì)多少干擾到你想表達(dá)的思想內(nèi)涵。暴力的荷爾蒙效應(yīng)明顯可以在本片中起到提神的作用。
初臨城郊的年輕男子的神秘自殺釋放出一段周邊居民壓抑已久的黑暗激情。大膽通過(guò)陌生人的死討論其對(duì)與之臨時(shí)接觸者的活的意義，打破懸疑片邏輯演繹的傳統(tǒng)，以三十年跨度展開不斷切換的青年情事和案發(fā)前后三時(shí)間層面，在不斷建構(gòu)回憶的過(guò)程中建立主角與死者的情感共性，最終拼湊出模糊的心理脈絡(luò)。(4.5)
裝腔作勢(shì)實(shí)則糊爛，時(shí)不時(shí)插入一段凄厲抒情樂(lè)嚇唬我。主旨我明白，不是這么拍的。
剪輯素材取舍有問(wèn)題，不混亂，但很多地方交代不清又莫名其妙。
觀影盤點(diǎn)期，看過(guò)好充逼
導(dǎo)演想表達(dá)的東西生硬地插在了故事的幾段對(duì)話里，而這幾段對(duì)話跟整個(gè)故事其實(shí)沒(méi)啥關(guān)系 /2.5
主題就是孤獨(dú)啊痛苦啊這些老生常談的東西，拍得比較文藝意識(shí)流，剪切也是簡(jiǎn)單粗暴，導(dǎo)致前20分鐘看得一頭霧水，完全搞不清幾條線之間的關(guān)系。好不容易漸漸有點(diǎn)推理片的趕腳了，看著有點(diǎn)意思了，我還想著之前的沉悶可能只是老片子節(jié)奏偏慢造成的，故事應(yīng)該還不錯(cuò)，不料就這么完了，原來(lái)還是個(gè)文藝片……
瓦妮莎·雷德格瑞夫算是英國(guó)國(guó)寶級(jí)老牌女影星之一。她在本片中飾演一位性格自私的英國(guó)語(yǔ)文老師瓊。朱迪·丹奇都給她打醬油。影片有兩條故事線索，其一是瓊的青年期，其二是30年后的中老年期。一方面，她站在三尺講臺(tái)上教書育人，滿口仁義道德。另一方面，她對(duì)待感情和性又自私而草率。多情總被無(wú)情傷害
要說(shuō)多喜歡，也是談不上，但確實(shí)超預(yù)期了，觀感很特別…本身故事就夠神了，可比故事神的是剪輯，常常不相干的片段剪到一起，卻好幾處恰恰是我潛意識(shí)馬上想看的…比剪輯神的是音樂(lè)，除了和男友啪啪以及送別男友參軍配樂(lè)外，其他幾場(chǎng)有配樂(lè)的地方，其實(shí)都不咋需要音樂(lè)推動(dòng)或渲染，可他偏偏就有，不但有，還很不搭，說(shuō)他不搭吧，卻提神般的好聽，讓你在這些本沒(méi)啥值得遐想的地方，竟然思緒飄散了…
經(jīng)歷孤獨(dú)而不被理解的人們撞到了一起，有時(shí)悲劇發(fā)生后，我們才后知后覺(jué)，原來(lái)自己有多么可悲。本片的一處剪輯把當(dāng)下的兩人與過(guò)去兩人連結(jié)到一起，對(duì)性愛的暗示其實(shí)早已埋下伏筆。
這部電影一點(diǎn)也不英國(guó)啊，感覺(jué)很法國(guó)?？赐旮杏X(jué)上了一堂哲學(xué)課，割喉一段莫民奇妙，其他都很好。尤其是Tim，那時(shí)他才多大呀，也沒(méi)演過(guò)幾部片子，就能把這個(gè)神經(jīng)質(zhì)的角色詮釋的這么好，太贊了。
2.5，2020.05.05
女主太像梅麗爾.斯特里普，男的神似昆汀。這片其實(shí)不復(fù)雜，用弗洛伊德的理論足以解釋，性欲得不到釋放，可以把人憋到擰成麻花狀...
?「Do we become the way we look? Or do we look the way we really are?」「You're lonely. All that hope coming out of you, all that cheerful resolution. All that wonderful enlightenment. For what? For nothing. You know it's for nothing. Don't tell me that cheerfulness is real.」