??伦杂小动偘d與文明》一書,而結(jié)合??庐愑诔H说男匀∠騺砜?,也許真的有很多不明就里的人會(huì)認(rèn)為福柯自己本身就是一個(gè)瘋子??墒?,要知道《瘋癲與文明》本質(zhì)上是一部歷史學(xué)著作,而??碌恼軐W(xué)思考,或者說他人對(duì)??录捌淅碚摰恼軐W(xué)解釋,都是基于歷史而言的。然而要在中國(guó)的語境下去理解??滤鶖⑹龅寞偘d與文明的關(guān)系史,幾乎很容易產(chǎn)生偏差,尤其是只有印刷文本的情況下。因?yàn)橹袊?guó)并沒有瘋?cè)嗽?,或者說精神病院的歷史,要說有,那也是20世紀(jì)的精神病院,這與西方漫長(zhǎng)的處理“瘋?cè)恕钡臍v史相比,是小巫見大巫。所以,當(dāng)一位不研究西方的中國(guó)人提到“瘋狂”這個(gè)詞時(shí),貶抑的含義是會(huì)首先進(jìn)入他或她的腦海的。在中國(guó)考察“瘋”一字,恐怕沒有一段與之相關(guān)的歷史?!都崱贩Q“瘋”為頭風(fēng)病,即腦血栓之意。以“瘋”指稱“精神錯(cuò)亂”,怕是20世紀(jì)之后的含義,說不定也與東亞某國(guó)的語言有關(guān)。而到近些年,我們學(xué)著西方,把一些中性的含義也加入了“瘋”一字,指做事的反常。這便慢慢接近西方語言了。另外,“癲”字更常見地是與“瘋”同義,而自近代以來也逐漸包含了“不羈”的意思。??略谒寞偘d歷史書中,講述了從文藝復(fù)興時(shí)期開始的西方“文明社會(huì)”對(duì)“瘋癲”以及“瘋癲之人”的看法的流變,正如我剛才所說,這并未在“例外的例外”的中國(guó)土地上出現(xiàn)。
進(jìn)入21世紀(jì),影像文本開始廣泛參與“文化研究”。所謂“文化研究”,想必反映了博學(xué)的大師們,對(duì)人文領(lǐng)域的一切現(xiàn)象進(jìn)行考察的夢(mèng)想。文化研究者的一個(gè)預(yù)設(shè)是,某一現(xiàn)象絕非單純的哲學(xué)的、歷史的、文學(xué)的或社會(huì)學(xué)的現(xiàn)象,它必定為各方面因素聯(lián)動(dòng)的結(jié)果,任意一方面因素的單獨(dú)解釋都是不完美的,都不能揭示這一現(xiàn)象的“真實(shí)”。因此,它們致力于讓自己博學(xué),于是影像文本便成為文化研究不可或缺的對(duì)象之一。在拙文中將要提及的三部影片,《奇愛博士》(1964年)、《發(fā)條橙》(1971年)和《飛越瘋?cè)嗽骸罚?975年),除了第一部,想必都是文化研究者不應(yīng)遺漏的文本吧。筆者不愿意,也沒有能力成為一位博學(xué)的文化研究者,只是希望在拙文中胡亂書寫一些小感想,其拋磚引玉之功,便是想讓文化大家們略略回頭,你們是否在考察過去的現(xiàn)象時(shí)也不應(yīng)忽視影像文本呢?
《飛越瘋?cè)嗽骸返挠⑽脑笠馐恰帮w越杜鵑巢之人”,將“杜鵑巢”譯為瘋?cè)嗽?,是一個(gè)并不非常聰明的做法。盡管字典上很明白地寫著,“杜鵑”在某些情況下就是指“缺乏理智、愚蠢、瘋狂”,不過我想不是每位觀眾都會(huì)去翻字典的。和拙文主題聯(lián)系最緊密的也就是此片,它直接地將故事設(shè)置在一家精神病院之中。很多時(shí)候我們還是會(huì)把取難而舍易,認(rèn)為精神病院就是一個(gè)社會(huì),或者說一個(gè)政府,病人就是社會(huì)中的被政府所管轄的個(gè)體。這樣想沒有問題,但是,影片所表現(xiàn)的精神病院的規(guī)則,并沒有太多的夸張和虛飾——就應(yīng)該如此(網(wǎng)上某篇影評(píng)認(rèn)為此片表現(xiàn)了“資本主義社會(huì)精神病院的罪惡”)。我們不應(yīng)在還未弄清楚精神病院和病人本身關(guān)系之前,就開始大談?wù)蜕鐣?huì),政府和個(gè)人的問題,然后去聯(lián)系捷克裔導(dǎo)演佛曼“布拉格之春”后的逃亡。
是精神病院認(rèn)為病人是有精神問題的嗎?理解影片之后,我們會(huì)得到否定的答案。首先,除了麥克墨菲,其他病人幾乎都是自愿來到醫(yī)院接受治療的。其次,從某種意義上說,麥克墨菲也是自愿前來的(裝?。?,他的個(gè)人特殊性在于他在來之前是一名罪犯,因此他終究無法“想走就走”。第三,醫(yī)院無法確定麥克墨菲是患病的,所以他們才將他留下繼續(xù)觀察。這樣,精神病院是影片中包括麥克墨菲的所有人的避難所,只是因?yàn)辂溈四票旧碛兄鴱?qiáng)烈的個(gè)性,所以他盡管逃避了監(jiān)獄中的繁重勞動(dòng),但并沒有在醫(yī)院中獲得滿足。麥克墨菲的個(gè)性和身份是為了情節(jié)發(fā)展而設(shè)定的,是一種偶然性的因素。要分析瘋癲,我們的關(guān)注點(diǎn)就不應(yīng)在麥克墨菲身上:他自始至終都沒有認(rèn)為自己發(fā)生了精神錯(cuò)亂。而那些像哈定、比利之類的人物,他們自己覺得自己不正常,這才是關(guān)鍵所在。
讓我們暫停一下,跳到《發(fā)條橙》一片上。筆者認(rèn)為此片最能揭示中心的一句臺(tái)詞,是在影片第二部分的結(jié)尾處。那里,主角亞歷克斯接受了研究所的心理治療,從而對(duì)暴力和性產(chǎn)生了極度的厭惡。嘗到這項(xiàng)心理治療計(jì)劃的內(nèi)政部長(zhǎng)弗雷德里克認(rèn)為,痊愈的人們將不再使他人受難,而是永遠(yuǎn)使自己受難——人人都將被拯救,人人都將是耶穌??上У氖?,當(dāng)前只有亞歷克斯一人得到了“拯救”,如果世界上只有他一位神靈,那么他的結(jié)果就是被惡魔所擊垮。當(dāng)然,影片最后讓亞歷克斯這位現(xiàn)代世界的耶穌如圣經(jīng)故事所述一般復(fù)活了,那么,如同老年黑人所說的失卻法律和秩序的骯臟的現(xiàn)代世界,就因耶穌的死而警醒了嗎?影片的結(jié)束畫面仍然是性愛,受人們所鼓勵(lì)和支持的性愛。內(nèi)政部長(zhǎng)的得意的“消滅犯罪”的計(jì)劃,在舞臺(tái)上就差點(diǎn)為一名貌似反對(duì)黨政治家的發(fā)言所完全駁倒。這名反對(duì)黨說,亞歷克斯現(xiàn)在已經(jīng)沒有任何選擇了,尤其是沒有道德上的選擇,他無法選擇去從善或者從惡。反諷的是,不論是內(nèi)政部長(zhǎng)還是亞歷克斯自己,亞歷克斯走出研究所的時(shí)候,都不斷地暗示:從現(xiàn)在起,你自由了。顯然,影片希望說明的是,當(dāng)?shù)赖聵?biāo)準(zhǔn)也成為政府的統(tǒng)一政策時(shí),那人們就真正是被上了發(fā)條了。
回到瘋?cè)嗽?。瘋?cè)嗽菏钦蛘呱鐣?huì),或者說“文明”所設(shè)立的,歷史地看,瘋?cè)嗽褐械寞側(cè)吮闶恰安晃拿鳌钡娜?。亞歷克斯被強(qiáng)制送到監(jiān)獄或者研究所去“文明化”,而哈定和比利則自愿地或半自愿地進(jìn)入醫(yī)院接受“文明化”。如果后者不進(jìn)入醫(yī)院,那么他們會(huì)被“文明”看作“不文明”的人,最終的結(jié)果也是強(qiáng)制性的。觀眾可能還記得這樣一個(gè)場(chǎng)景。麥克墨菲問拉契德護(hù)士,他能不能不吃藥,搞特殊。拉契德護(hù)士回答他說,他不自覺吃藥,醫(yī)院自然有辦法強(qiáng)制他吃藥。在《飛越瘋?cè)嗽骸返恼麄€(gè)劇情中,麥克墨菲始終在抵制醫(yī)院的治療,但他沒有一次是能戰(zhàn)勝醫(yī)院的保安而按照其自由意志行動(dòng)的。那么,“文明”所認(rèn)為的瘋癲與不瘋癲之間的界線是什么呢?正如??滤f,一切都是理性惹的禍。自文藝復(fù)興時(shí)期到19世紀(jì),瘋?cè)说谋瘧K史決不能怪罪于某一特定的社會(huì)或政府,而是應(yīng)該讓理性,還有秉持理性理想的人們進(jìn)行深刻的反思。甚至可以這么說,沒有理性,就沒有瘋癲的歷史。
理性本身是無罪的,理性也不負(fù)有原罪。但在瘋癲史上,為何理性如同魯迅筆下的禮教一般吃人了呢?在《發(fā)條橙》和《飛越瘋?cè)嗽骸穬刹坑捌?,我們都深深地為不理性的罪犯和病人們同情。我隨機(jī)問過一些《飛越瘋?cè)嗽骸返挠^眾,問他們:拉契德護(hù)士是正面角色還是反面角色?回答都是反面角色。然而,理性沒有錯(cuò),同時(shí)理性也不能被迷信。犯罪難道不應(yīng)該被打擊嗎?如果不是,那為什么幾乎所有觀眾都會(huì)在《發(fā)條橙》中的暴力和強(qiáng)奸式或?yàn)E交式性愛鏡頭感到不適?影片的第三部分彌漫著深深的憂慮和思考,到底應(yīng)該讓“文明”去為人們選擇理性,還是讓人們?cè)诜缸镏白杂X地選擇理性?這種自覺性是否可能?也許,自愿進(jìn)入瘋?cè)嗽旱哪切┎∪嗽谀撤N程度上已經(jīng)是自覺的了,但是他們?cè)谶M(jìn)入醫(yī)院之前已經(jīng)對(duì)社會(huì)造成了某種危害和混亂,所以這里的自覺并不完全。印第安人最后成功逃出醫(yī)院,奔向未知,我們?nèi)匀粵]有看到答案。
答案在《奇愛博士》之中嗎?影片很短,一群“瘋狂”的人們將人類文明導(dǎo)向毀滅。影片的反戰(zhàn)主題十分明顯,然而,核戰(zhàn)爭(zhēng)的爆發(fā)原因卻是荒誕的。片中,美國(guó)總統(tǒng)可能認(rèn)為除了他自己,所有人都已進(jìn)入瘋癲狀態(tài),殊不知,對(duì)蘇聯(lián)實(shí)施核打擊的作戰(zhàn)制度卻是通過“民主”討論后得出的,美國(guó)總統(tǒng)也參與了這些討論。因此,民主也并不意味著根本的理性,否則,“理性”的美國(guó)總統(tǒng)也不至于很難挽回嚴(yán)重的后果。也許,里帕將軍的過于敏感和性問題確實(shí)讓他不會(huì)理性;也許,奇愛博士對(duì)世界末日和人類毀滅和地下生活的向往使他看起來是最不理性的一個(gè)人;可是,世界末日的到來卻不僅僅來自于這兩個(gè)人的沖動(dòng)和科學(xué)技術(shù),也不僅僅來自于美國(guó)人民的民主制度所造成的無可挽回的核攻擊計(jì)劃,而是還要加上會(huì)被自動(dòng)觸發(fā)的蘇聯(lián)人的“末日武器”。如果將世界濃縮為冷戰(zhàn)時(shí)期的兩個(gè)超級(jí)大國(guó),那么人類的毀滅竟然是人類自己導(dǎo)致的,也就是說,自殺,這一永遠(yuǎn)被定義為瘋狂的舉動(dòng)的動(dòng)機(jī),竟然是大多數(shù)人的不瘋狂、大多數(shù)人的理性。
綜合三部影片看,理性到了窮途末路的地步:理性首先無法為人類自覺地選擇,而強(qiáng)制地灌輸理性則是不理性的;另一方面,大多數(shù)人的理性甚至有可能導(dǎo)致世界末日,而非烏托邦。三部影片的拍攝年代距今已有三十年,今天的我們重提理性的話題,但有時(shí)間和精力去思考理性的人已經(jīng)變少了。在這個(gè)連思想都是可以被消費(fèi)的時(shí)代,人類能夠從財(cái)富的汪洋之中探出頭來,靜心凝望頭頂?shù)男强詹⒕次分畣幔?/div>
一,人類命運(yùn)史上最承重的兩封書信
1962年10月27日,美利堅(jiān)合眾國(guó)史上最帥的總統(tǒng)肯尼迪,也就是那個(gè)與弟弟共享全球最性感風(fēng)中女郎夢(mèng)露,后來被開花彈打爆頭蓋骨的帥哥,向蘇修分子赫魯曉夫發(fā)出了一封接受他10月26日星期五"提議"的信:
“親愛的主席先生:
我非常仔細(xì)地閱讀了您1962年10月26日的來信,對(duì)您表示愿意迅速謀求一個(gè)解決辦法的聲明表示歡迎。然而,需要做好的第一件事是,在聯(lián)合國(guó)的有效安排下,停止在古巴進(jìn)攻性導(dǎo)彈基地上施工,并使古巴一切可供進(jìn) 攻之用的武器系統(tǒng)都無法使用。 ……
但是讓我強(qiáng)調(diào)一下,其首要的因素還是要在有效的國(guó)際保證之下,停止在古巴的導(dǎo)彈基地上的工作,使這一威脅繼續(xù)存在下去,或者使這些問題同歐洲和世界安全的一些廣泛?jiǎn)栴}聯(lián)系起來而拖延這一有關(guān)古巴問題的討論,肯定將會(huì)加劇古巴危機(jī)并嚴(yán)重危害世界和平。因此,我希望我們能按照此信和您1962年10月28日的信件中提出的辦法迅速取得一致意見。
約翰·肯尼迪”
在此之前,10月24日,美國(guó)陳兵從佛羅里達(dá)到波多黎各的弧形海域,68個(gè)空軍支隊(duì),8艘航母,90艘軍艦參與 了封鎖古巴海峽。更嚴(yán)重的是,美蘇兩國(guó)在全球的軍事基地都進(jìn)入警戒狀態(tài),核彈頭上弦,核大戰(zhàn)一觸即發(fā)。
在熱核戰(zhàn)面前,隕石撞擊,兩次世界大戰(zhàn),颶風(fēng)野火海嘯黑死病,都只是小兒科,因?yàn)楫?dāng)前全球儲(chǔ)存的核武庫足夠把地球毀滅幾十遍以上。
10月28日,星期六。莫斯科電臺(tái)廣播了赫魯曉夫的回信。
信中說:
“我非常理解您以及美國(guó)人民對(duì)于您所稱為進(jìn)攻性武器所感到的憂慮,這的確是一種可怕的武器。您和我都了解,這是一種什么性質(zhì)的武器。為了盡快地消除這一危及和平事業(yè)的沖突,為了給渴望和平的各國(guó)人民以保證,蘇聯(lián)政府除了此前已下達(dá)的在武器的建筑工地停止施工的命令外,現(xiàn)又下達(dá)新命令拆除您所稱為進(jìn)攻性的武器,并將它們包裝運(yùn)回蘇聯(lián)?!?/p>
這就是著名的古巴導(dǎo)彈危機(jī)。
所幸關(guān)鍵時(shí)刻,肯尼迪和赫魯曉夫都選擇了審慎與克制。
主不可怒而興師,將不可慍而致戰(zhàn),好在當(dāng)年美國(guó)的總統(tǒng)不是小布什同志。
如果說人類在其億萬年漫長(zhǎng)的歷史,有哪一次無限接近過毀滅的話,誰都無法否認(rèn)這是人類史上的第一次,而人類卻無法擔(dān)保什么時(shí)候就會(huì)發(fā)生第二次。
二,紅色警戒
也是在1962年,為了拍攝一部核威懾影片認(rèn)真學(xué)習(xí)了三四年的庫布里克忽然讀到經(jīng)濟(jì)學(xué)家托馬斯·謝林在《原子科學(xué)家通訊》上發(fā)表的一篇《紅色警戒》評(píng)論文章,當(dāng)即聯(lián)絡(luò)原作者彼得·喬治并以3500美元購買下了該書電影改編權(quán)。
2005年,托馬斯·謝林,因廣涉運(yùn)籌學(xué)、外交學(xué)、國(guó)家安全、核戰(zhàn)略、軍備控制理論,以其博弈理論(game theory)增加了我們對(duì)于沖突與合作的理解而獲諾貝爾經(jīng)濟(jì)學(xué)獎(jiǎng)。
他當(dāng)年在《原子科學(xué)家通訊》的那篇評(píng)論,指《紅色警戒》是一篇絕好的偶然核大戰(zhàn)案例,核威懾的邏輯是建立在“對(duì)等摧毀保證”上的非邏輯思維上,令任何一方都不敢輕舉妄動(dòng)。
但問題出在啟動(dòng)核大戰(zhàn)的按紐掌握在人手上,任何人,都不可能完全不受情感邏輯或者意外事件干涉,從而讓核戰(zhàn)爭(zhēng)意外啟動(dòng),基于此原因,核威脅理論又開始向分散下放指揮權(quán)發(fā)展,這讓諸如戰(zhàn)區(qū)的空軍司令都有機(jī)會(huì)發(fā)動(dòng)核戰(zhàn)爭(zhēng)。
遭受攻擊的一方,為避免被先發(fā)制人打擊失去還手能力,就有必要啟動(dòng)一套自動(dòng)還擊系統(tǒng),也就是說如果本方受到核攻擊,一組電腦程序自動(dòng)發(fā)出攻擊指令,啟動(dòng)毀滅性核攻擊。
這套系統(tǒng),就是影片《奇愛博士》里蘇聯(lián)使用的DOOMSDAY MACHINE,當(dāng)系統(tǒng)檢測(cè)到相當(dāng)劑量的核輻射判定己方被攻擊時(shí),就指令發(fā)射全部核彈頭飽和攻擊,摧毀整個(gè)世界。
而《紅色警戒》的原作者彼得喬治,從此深陷核戰(zhàn)恐懼癥中不能自拔,終于在1966年6月1日飲彈自殺。
三,中導(dǎo)條約
你別以為這些都只是電影和書中的情節(jié),政治和軍事哪有這么荒誕不經(jīng)?
舉個(gè)栗子,特朗普,就問你服是不服!
繼2002年退出《反導(dǎo)條約》山姆大叔在全球各地大肆布置反導(dǎo)系統(tǒng)后,2019年8月3日,美國(guó)又在非典型政客雞冠頭大統(tǒng)領(lǐng)帶領(lǐng)下,撕毀了1987年由里根和戈?duì)柊蛦谭蚝炇鸬摹吨袑?dǎo)條約》,從而讓射程在500-5500公里的中遠(yuǎn)程導(dǎo)彈研制和生產(chǎn)不再受到任何限制。
世界將再一次陷入軍備競(jìng)賽,上一次是海軍的航母潛艇競(jìng)賽,這一次,除了核力量的裝備競(jìng)賽,還有中子武器,激光武器,基因武器,太空武器。
人類向自我毀滅又成功邁出了一大步。
在武器裝備的競(jìng)賽上,自有人類歷史以來,世界各國(guó)就一直深陷囚徒困境,事實(shí)上,沒有哪一個(gè)時(shí)代人類曾走出過這個(gè)困境。
四,庫布里克
斯坦利庫布里克并不是以導(dǎo)演職業(yè)出道,他初期的職業(yè)是記者,但對(duì)于電影的熱愛讓他成為了著名的地下電影創(chuàng)作者,并揚(yáng)名好萊塢。
他的作品不多,加一起大概也不超過20部,但他的每一部作品卻都禁得起觀眾和時(shí)間的檢驗(yàn),這一點(diǎn)連光影國(guó)師老謀子也是做不到的。
不重復(fù)自己,這是觀眾看庫布里克的電影第一感受。他的電影樣式不一,風(fēng)格多變,有史詩商業(yè)片《斯巴達(dá)克斯》,人物志《巴里林登》,問題青年族群《發(fā)條橙》,科幻片《2001,太空漫游》,越戰(zhàn)片《全金屬外殼》,黑色荒誕劇《奇愛博士》。但所有的影片都有一個(gè)共同的地方,就是充滿了哲學(xué)遐思。
如果說庫布里克的電影,有什么一直在遵循的個(gè)人風(fēng)格,那就是哲理化。
他深深地關(guān)注人類的命運(yùn),在對(duì)人類的過去和現(xiàn)在觀察中,還預(yù)測(cè)著未來。雖然他不是“人類命運(yùn)共同體”一詞的發(fā)明者,但他卻絕對(duì)是最有力的鼓吹者。
他的最后一部影片是《AI》,可惜他并未能親自完成就因病去逝。斯皮伯爾格接手了他的遺愿,拍出了一部驚世駭俗的機(jī)器人消滅人類的電影。相信這也正是庫布里克的初衷,人類社會(huì)遲早被人工智能顛覆。
在他拍的電影中,《奇愛博士》并不是最好的作品,但卻是他對(duì)人類未來關(guān)切得最深的一部作品,對(duì)人類的未來比他創(chuàng)作的史上最佳科幻片《2001,太空漫游》揭示得更深。在特朗普撕毀《中導(dǎo)條約》后,他在《奇愛博士》里講的故事,正在一步一步向現(xiàn)實(shí)演變。
五,奇愛博士到底講了一個(gè)什么故事
這是一部只有三個(gè)場(chǎng)景七個(gè)主要人物的黑白電影,空軍基地和基地指揮官瑞皮將軍,B53戰(zhàn)略轟炸機(jī)和機(jī)長(zhǎng)昆少將,總統(tǒng)作戰(zhàn)室里的總統(tǒng),參聯(lián)會(huì)主席,蘇聯(lián)大使和核科學(xué)家。
但是這部場(chǎng)景和人物都不多的黑白影片卻不簡(jiǎn)單,"關(guān)于核戰(zhàn)略的所有東西,你都可以從《奇愛博士》中學(xué)到",美國(guó)科學(xué)家聯(lián)盟的太空戰(zhàn)略、國(guó)際安全及軍情分析大腕約翰·派克(John Pike)如是說 。
整個(gè)西方世界的領(lǐng)導(dǎo)人都相信蘇聯(lián)人已造出了能毀滅世界的終極武器并布置在北極某處,為了不被蘇聯(lián)先發(fā)制人使用核武摧毀己方,美國(guó)通過遍布全球的空軍基地保持了24小時(shí)不間斷有一個(gè)支隊(duì)的轟炸機(jī)攜帶著上億噸當(dāng)量的核彈頭在距離蘇聯(lián)境內(nèi)目標(biāo)兩小時(shí)航程的空域飛翔,一旦美國(guó)被攻擊,這些飛在天上的每架轟炸機(jī)就會(huì)向蘇聯(lián)傾瀉相當(dāng)于16倍二戰(zhàn)炸彈總和的核彈頭。
而為了防止蘇聯(lián)的斬首行動(dòng)令總統(tǒng)無法下達(dá)命令導(dǎo)致的指揮中斷,空軍基地司令被授權(quán)可以向飛在空中的轟炸機(jī)群下達(dá)啟動(dòng)Plan R的命令打擊報(bào)復(fù)蘇聯(lián)。
換句話說,就是全球任意一個(gè)美軍戰(zhàn)略轟炸機(jī)基地司令都有權(quán)啟動(dòng)與蘇聯(lián)toe to toe的核大戰(zhàn)。
而保證基地司令不會(huì)濫用這種職權(quán)的機(jī)制,就是參謀長(zhǎng)聯(lián)席會(huì)議主席對(duì)他們的忠誠度測(cè)試。
這個(gè)機(jī)制的漏洞就是萬一有人發(fā)神經(jīng)呢?
所以全人類的命運(yùn)可能只是系于某個(gè)基地司令的褲腰帶上。
這不就還真有人會(huì)發(fā)神經(jīng)!
皮森基地司令瑞皮將軍因?yàn)樾詿o能,懷疑是蘇聯(lián)特工在水里投毒而遷怒于共產(chǎn)主義,下令所轄轟炸機(jī)支隊(duì)執(zhí)行plan R。
為了讓他的命令得到有效執(zhí)行,他在確定go code后,關(guān)閉了基地并切斷了基地與外界的所有聯(lián)系,并在總統(tǒng)派遣的部隊(duì)攻進(jìn)基地時(shí)舉槍自盡,把只有自己知道的轟炸機(jī)群召回代碼一同帶進(jìn)了地獄。
當(dāng)他的攻擊行動(dòng)被通報(bào)到參聯(lián)會(huì)主席巴克將軍時(shí),這位軍方首腦不得不中斷了與女秘書行魚水之歡而回到總統(tǒng)作戰(zhàn)室匯報(bào)情況,臨走他告訴女秘書等我很快回來。
作戰(zhàn)室的會(huì)議,總統(tǒng)以下的三巨頭均缺席了,他的國(guó)務(wù)卿正在越南,國(guó)防部長(zhǎng)在老撾,副總統(tǒng)在墨西哥,來參會(huì)的,是他們的秘書。
決定世界生存的,并不是臺(tái)面上的人。
我們來看這個(gè)密室政治是如何進(jìn)行的。
參聯(lián)會(huì)主席壓下聲調(diào)通知總統(tǒng)他的下屬越權(quán)行為時(shí),壓抑不住心里的興奮,既然結(jié)果已無法逆轉(zhuǎn),他進(jìn)一步建議起飛更多的飛機(jī)攻擊蘇聯(lián)所有的核基地,一擊致命,徹底解決蘇聯(lián)威脅,但是他只能保證這樣的飽和攻擊也只可以解決蘇聯(lián)90%的核力量。
他說,美蘇導(dǎo)彈比是5:1,我們向他們的每個(gè)導(dǎo)彈基地發(fā)射3枚導(dǎo)彈,剩余的導(dǎo)彈打敗他們還綽綽有余。他一句話道出了各國(guó)瘋狂的軍備競(jìng)賽是多么的必要,伊朗,朝鮮為何砸鍋賣鐵也要研制核武的邏輯就正在這里了。
在軍方好戰(zhàn)鷹派眼里,美國(guó)的代價(jià)只是2000萬平民可能被蘇聯(lián)漏網(wǎng)的10%核力量消滅,這是一個(gè)可接受的平民傷亡。而如果不先發(fā)制人,這個(gè)損失可能是1億5千萬人口。
幸好總統(tǒng)是鴿派,他聲明他的國(guó)家不會(huì)是首先使用核武的一方??墒乾F(xiàn)實(shí)中加州牛仔小布什就公開宣布美國(guó)采取的是先發(fā)制人戰(zhàn)略,到目前為止,人類史上唯一使用過核武的一方也正是美國(guó)。
為了將人類從核戰(zhàn)邊緣拉回,敵對(duì)方的蘇聯(lián)大使也被邀請(qǐng)參加了這個(gè)絕密會(huì)議。
這大概是史上僅有的一次交戰(zhàn)國(guó)雙方一起參加一方的作戰(zhàn)會(huì)議了。
大使給總統(tǒng)和作戰(zhàn)室的政要帶來了兩個(gè)信息。
一是蘇聯(lián)的終極武器是doomsday,這是一套機(jī)器控制的系統(tǒng),當(dāng)檢測(cè)到相當(dāng)劑量的核輻射系統(tǒng)判定蘇聯(lián)正在遭受核攻擊時(shí),這套系統(tǒng)會(huì)自動(dòng)發(fā)出攻擊指令,能夠毀滅地球的核裝置會(huì)自動(dòng)啟動(dòng),氯化鈷G炸彈,它爆炸后的核輻射半衰期是93年。也就是說,地球表面一切生物消失后,93年內(nèi)不會(huì)再產(chǎn)生任何新的生物。
二是蘇聯(lián)總書記正在喝酒,而且他已經(jīng)喝醉了。
這第一個(gè)信息令在場(chǎng)所有人都慌了,剛剛滔滔不絕大講一擊致命的參聯(lián)會(huì)主席也無法保持淡定,他的可接受犧牲2000萬平民來打贏戰(zhàn)爭(zhēng)的理論,說到底是別人的生命,當(dāng)輪到自己也得賠上性命時(shí),他表現(xiàn)出的求生欲卻是最強(qiáng)烈的。
首先他是不相信有這樣的騷操作,然后奇愛博士證實(shí)了這個(gè)騷操作不但可以有,還相當(dāng)簡(jiǎn)單容易制作。這個(gè)末日機(jī)器的遏制理論是讓對(duì)方產(chǎn)生害怕進(jìn)攻心理的藝術(shù),所以必須排除人的因素,因此該裝置的啟動(dòng)完全交于機(jī)器,并且是不可逆的。
但是奇愛博士也提出了置疑,末日機(jī)器的設(shè)計(jì)思想是必須讓對(duì)方知道這個(gè)機(jī)器的存在,蘇聯(lián)怎么可能對(duì)此保密,除非是根本就還未造出這樣的機(jī)器。
大使給了他可信的回答:總理希望在下周一黨代會(huì)上宣布,他是一個(gè)喜歡制造意外驚喜的人。
驚喜和意外,你永遠(yuǎn)不知道哪一個(gè)會(huì)先來。
這一下輪到作戰(zhàn)室的政要們驚慌了,政客和將軍們?cè)僖矝]有了鴿派鷹派之分,所有的人都在焦慮如何避免末日機(jī)器被觸發(fā)。
轟炸機(jī)群聯(lián)系不上,撤回命令無法傳達(dá)。現(xiàn)在敵對(duì)的兩方首腦必須合作了,美國(guó)總統(tǒng)請(qǐng)求蘇聯(lián)總理在轟炸機(jī)群進(jìn)入對(duì)方雷達(dá)時(shí)悉落擊落。
他提供了自家轟炸機(jī)的數(shù)量,航線,一國(guó)首腦向敵國(guó)首腦出賣自家軍事情報(bào)以協(xié)作打掉自家轟炸機(jī)群,這大概又是史上絕無僅有的一次了。
千鈞一發(fā)之際,基地司令的副官解出了死鬼司令設(shè)置的通訊代碼OPE,向機(jī)群發(fā)出了撤回指令。
看見大屏幕上回撤的機(jī)群,作戰(zhàn)室的高官們都長(zhǎng)吁了一口氣,相互擁抱慶祝。“死神剛剛從我們頭頂掠過”,眼含熱淚的鷹派巴克將軍抑制不住的激動(dòng),“我提議大家一起向主禱告”。
然并卵,有一架由昆少將指揮的轟炸機(jī),由于被蘇聯(lián)導(dǎo)彈擊傷,無線電失靈沒收到指令,繼續(xù)向蘇聯(lián)境內(nèi)飛去。
這是一個(gè)由不同膚色,不同種族,不同信仰的人員組成的機(jī)組,但他們卻都有最好的飛行素養(yǎng),在他們的高超技術(shù)和無間協(xié)作下,受損的轟炸機(jī)通過低空飛行躲過了蘇聯(lián)雷達(dá)搜尋,成功抵達(dá)目標(biāo)上空。
看起來上帝還是不忍就這樣滅了人類,投彈時(shí)核彈頭卡殼了。
but man proposes, god disposes.
盡職盡責(zé)的昆少將,手工修復(fù)了投射系統(tǒng),騎著核彈頭沖向了大地。
蘑菇云騰起的那一刻,全球各地相繼騰起了一模一樣的云層。那是一層半衰期為93年的氯化鈷G輻射云。
作戰(zhàn)室現(xiàn)在的主角已變成了奇愛博士,主持美國(guó)核武研發(fā)的布蘭德公司武器研發(fā)主任,他現(xiàn)在提議在深礦井保存人類精英。
為保存人類,井下生活將是一個(gè)男人配十個(gè)女人,這令在場(chǎng)的男人全都雙眼發(fā)光。
而半身不遂乘坐輪椅的核武專家,奇愛博士,也奇跡般地從輪椅上站了起來,他情不自禁地喊了聲:mein Führer. I can walk.
召回機(jī)群的代碼,OPE, of purity essence. 精華之液!就是基地司令挑起核戰(zhàn)爭(zhēng)的原因。
影片對(duì)此進(jìn)行了無數(shù)次暗示,片頭的空中加油,瑞皮向上翹起的雪茄,昆少將騎在胯下的核彈頭,甚至是相關(guān)人物的姓名,Jack Ripper, Major Kong, Buck, 都全充滿雄性氣息或性暗示。
原來對(duì)交配權(quán)的爭(zhēng)奪,才是人類一切爭(zhēng)斗的起源。
庫布里克把題材如此凝重的電影拍成了黑色幽默,很多地方看似荒誕不經(jīng),而世界恰恰就是這樣荒誕不經(jīng)地在運(yùn)行。
神經(jīng)病和酒鬼抓住人類未來的睪丸,明天和意外,誰都不知道哪一個(gè)會(huì)先來。
庫布里克,很善于玩轉(zhuǎn)黑色幽默。
電影《光榮之路》中,法國(guó)陸軍將軍下達(dá)了一個(gè)士兵們根本無法完成的任務(wù),當(dāng)任務(wù)失敗,士兵撤退時(shí),這位將軍痛下黑手,準(zhǔn)備讓沒有吃到德國(guó)槍子兒的士兵,嘗嘗法國(guó)的槍子兒。
《全金屬外殼》里,士兵小丑頭上寫著“天生殺手”,胸前別著“和平印章”的行為藝術(shù)裝扮,是庫布里克對(duì)美國(guó)越戰(zhàn)赤裸而無情的諷刺。
這兩部電影中,處處可見黑色幽默。而真正讓庫布里克成為黑色幽默大師的,是《奇愛博士》。
這部被稱為庫布里克“未來三部曲”之一的電影,表達(dá)了庫布里克對(duì)人類未來的基本看法:人類的未來就是沒有未來 。
1964年,電影上映,冷戰(zhàn)還未結(jié)束,庫布里克送去了一份禮物,在此之前還從未有人敢如此戲弄戰(zhàn)爭(zhēng)。
一、
美蘇兩大陣營(yíng)冷戰(zhàn)時(shí)期,美國(guó)空軍基地的一位空軍將軍突然下達(dá)命令,啟動(dòng)R計(jì)劃,34架攜帶數(shù)千萬噸核彈的飛機(jī)進(jìn)攻蘇聯(lián)。(相當(dāng)于整個(gè)二戰(zhàn)期間核彈量的11倍)
這意味將爆發(fā)一場(chǎng)核戰(zhàn)爭(zhēng)。
這位瑞皮將軍,是私自下達(dá)命令的,并切斷了和華盛頓總部的一切通訊設(shè)備,事前他沒有報(bào)告他的上級(jí)圖吉德森將軍,更沒有經(jīng)過總統(tǒng)的簽字。
他瘋了嗎?為什么這么做呢。
原來這位看著強(qiáng)悍高大,嘴里喜歡叼著雪茄的將軍,性生活有問題,所以他不能征服女人,就要用炮彈征服世界,推行極端的種族主義。
他這一點(diǎn)倒是很像那位發(fā)動(dòng)第二次世界大戰(zhàn)的元首希特勒,
于是乎,瑞皮將軍因?yàn)樽约旱碾[疾,把冷戰(zhàn)變成熱戰(zhàn),第三次世界大戰(zhàn)一觸即發(fā)。
二、
得知這一消息的圖吉德森將軍,并沒有顯示出生氣和驚訝,因?yàn)榇藭r(shí)他還在跟他的女秘書打情罵俏。
等他在作戰(zhàn)室平淡的把這一信息告訴總統(tǒng)梅爾金時(shí),總統(tǒng)慌了。而他依然像個(gè)沒事人一樣若無其事,甚至還接到女秘書打來的一通抱怨電話,在核武器準(zhǔn)備進(jìn)攻蘇聯(lián)的時(shí)候,他還在安撫女友的情緒,許諾將來一定將她扶正。
同時(shí),也可以看出,圖吉德森將軍是一個(gè)好戰(zhàn)分子。對(duì)于阻止這一行動(dòng),他向總統(tǒng)表示無計(jì)可施。對(duì)于先發(fā)制人,進(jìn)攻蘇聯(lián),他倒是激情四射。
三、
當(dāng)梅爾金總統(tǒng)電話告知蘇聯(lián)總理時(shí),這位總理喝的醉醺醺的,像個(gè)女人一樣喋喋不休的鬧情緒。
此時(shí),蘇聯(lián)大使透漏一個(gè)驚天秘聞:只要蘇聯(lián)遭到進(jìn)攻,會(huì)立即啟動(dòng)“世界末日機(jī)器”,可以毀滅地球上所有生物和人類。
作為美國(guó)戰(zhàn)略顧問的奇愛博士,這種機(jī)器是電腦程序設(shè)定好的,一旦有人想關(guān)閉它,它就會(huì)自動(dòng)爆炸。
這位奇愛博士本來就是德國(guó)人,曾經(jīng)為納粹服務(wù),二戰(zhàn)后移民美國(guó)。雖然改名換姓,依然遏制不住心中的法西斯情節(jié),身殘志堅(jiān)的致力于摧毀這個(gè)世界。
核彈在蘇聯(lián)基地爆炸后,奇愛博士提出了一項(xiàng)“人類精英計(jì)劃“:從數(shù)十億人口選中幾十萬人藏于深埋地下的礦井中,等到百年后,核污染散去,才重返陸上。
這位坐著輪椅的奇愛博士,每次說到激動(dòng)點(diǎn)的時(shí)候,他總會(huì)脫口而出,大喊“我的元首”。更為滑稽的是,他的右臂會(huì)不受控制的自動(dòng)行“納粹禮”。
當(dāng)奇愛博士提到“人類精英計(jì)劃”中的男女比例是1:10時(shí),在場(chǎng)的男士們沸騰了,因?yàn)檫@將意味著人類將取消“一夫一妻制”,連蘇聯(lián)大使都稱贊這是好主意。而最興奮的莫過于圖吉德森將軍,他聽的兩眼發(fā)光,也許他和女秘書之間的秘密情史終于可以正大光明的進(jìn)行了。
四、
一場(chǎng)毀滅人類的核武器大戰(zhàn)爆發(fā),而并沒有人真正關(guān)心。
整個(gè)統(tǒng)治世界的男人們,不是吃著口香糖想女人,就是想著如何盡快行動(dòng),如何盡快占領(lǐng)地下礦井,好在下一輪的兩大陣營(yíng)的對(duì)立面中占據(jù)優(yōu)勢(shì)。
最后,奇愛博士,再次想出一個(gè)絕妙計(jì)劃的時(shí)候,殘疾的雙腿竟然奇跡般的站起來了,這是是一個(gè)巨大的隱喻:意味著納粹重生。
其實(shí)奇愛博士、瑞皮將軍、圖吉德森將軍,他們是三位一體的,他們是戰(zhàn)爭(zhēng)的設(shè)計(jì)者、發(fā)起者、受益者。世界是他們的,而游戲規(guī)則從未變過。
撕下文明的外衣,庫布里克表示,人類的未來就是沒有未來。
喜歡,請(qǐng)關(guān)注 “時(shí)空記1994” ,不定期更新影評(píng)、書評(píng)、樂評(píng)。
一架和五角大樓失去聯(lián)系的B52轟炸機(jī)孤獨(dú)地承載著毀滅世界的任務(wù)。
一路昂揚(yáng)地飛過身下美麗的高山大河,平原深谷,飛過歐洲大陸,飛向蘇聯(lián)……
配樂是一段在原聲帶里被命名為《炸彈快跑》(Bomb Run)的無歌詞男聲哼唱。
無歌詞哼唱用得是地方的話,能起到插曲和配樂沒有的奇效。
《奇愛博士》里這一段就很動(dòng)人,記憶里只有《一個(gè)和八個(gè)》開頭日出時(shí)候的那段可以比。
以下是對(duì)這段配樂出處的考證過程。
1.關(guān)于《奇愛博士》里一段配樂的問題
《奇愛博士》里面用得很多的一段,最早出現(xiàn)是在10分左右,B52轟炸機(jī)向基地確認(rèn)了用核武器襲擊蘇聯(lián)的R計(jì)劃的時(shí)候。
音樂是軍號(hào)伴著鼓點(diǎn),調(diào)子很好聽,很振奮。像在給出征的戰(zhàn)士鼓勁兒似的。
最早聽到它是在一首joan baez歌<Johnny I hardly knew ye>,演唱年代不祥,大致在五十到七十年代之間。歌詞是以一個(gè)傷兵妻子的口吻寫的,是反戰(zhàn)的。因?yàn)檎{(diào)子很明快上口,我一聽之下覺得應(yīng)該是很有名的歌,但搜索歌詞,卻發(fā)現(xiàn)歌詞居然沒有統(tǒng)一的版本,和joan baez相關(guān)的網(wǎng)頁也不多。這可能說明這首歌早就有了,且有很多人翻唱過。后查到歌詞節(jié)選改編自愛爾蘭詩人Padraic Colum(1881-1972)1922年編選的一本愛爾蘭詩集里的一首詩,是沒有留下作者的民歌。民歌里出現(xiàn)的地點(diǎn)Athy也是一個(gè)愛爾蘭地名。
那這段音樂是不是專門為這首詩譜的曲?還是它本來是一段軍樂,后來有人取反諷之意,改成了反戰(zhàn)的民謠?
繼聽過joan baez的版本后,又在一個(gè)月之內(nèi)聽到過兩次這個(gè)調(diào)子。一是在Sex and the City里,主角Carrie和人閑聊的時(shí)候說到和戰(zhàn)爭(zhēng)有關(guān)的話題,Carrie表示她對(duì)此有所了解,就哼了一小句。
二是看電視頻道換到某臺(tái)在演《女子特警隊(duì)》,隊(duì)員們受訓(xùn)時(shí)給她們放投影的軍事教學(xué)片,那個(gè)好像是國(guó)外軍隊(duì)演習(xí)的場(chǎng)面配的也是這段音樂。
據(jù)此我覺得它最初是一段軍樂的可能性比較大,那它是哪一國(guó)的軍樂,從什么時(shí)候開始有的呢?
2.糊涂了
其實(shí)有了dr. strangelove這么有名的片子答案是不難找的
算是部分答案吧:
The score for the B-52 scenes is mostly made up of the melody of "Johnny, I Hardly Knew Ye", a traditional Irish anti-war song, which also provides the melody for the somewhat better-known (at least in the United States) American Civil War song "When Johnny Comes Marching Home Again". While the former tells the story of a soldier coming back from a war heavily mutilated and broken, with the last lines being "They're rolling out the guns again, but they'll never take my sons again", the latter describes the celebrations that will take place when the soldiers return from war: "The men will cheer and the boys will shout / The ladies they will all turn out / And we'll all feel gay / When Johnny comes marching home."
美國(guó)南北戰(zhàn)爭(zhēng)期間,一位愛爾蘭裔南方軍隊(duì)樂隊(duì)指揮Patrick S. Gilmore把一首抗議英格蘭征兵的愛爾蘭反戰(zhàn)民歌Johnny,I Hardly Knew ye(《強(qiáng)尼,我快認(rèn)不出你了》)改成了歡迎戰(zhàn)士凱旋的歌When Johnny Comes Marching Home(《當(dāng)強(qiáng)尼凱旋歸家時(shí)》)。
事實(shí)上,這首曲調(diào)上口的歌在戰(zhàn)時(shí)廣為流傳,南北方的軍民都在唱。
carrie是時(shí)尚女,她如果知道一首古老的愛爾蘭民歌是奇怪的,但她知道南北戰(zhàn)爭(zhēng)的歌并用它來表達(dá)對(duì)“戰(zhàn)爭(zhēng)“的了解,就很容易解釋了。
女子特警隊(duì)員看的教學(xué)片很有可能是關(guān)于美國(guó)的。
老庫的心思一向用得很狠,此處對(duì)待戰(zhàn)爭(zhēng)的兩層潛文本也算一例。
他這部片子里的戲謔、瘋狂和黑暗與johnny,i hardly knew ye是一致的。johnny這樣形似armless,boneless,chickenless egg的怪物,和核彈一樣,都是人類不斷進(jìn)步的必然產(chǎn)物,它們既是人性的,也是非人性的,既是原始野蠻的,也是現(xiàn)代文明的。它們的產(chǎn)生和侵蝕對(duì)于人類而言是不可避免的,而所有一切的終結(jié),就和dr.strangelove的結(jié)局一樣,是一場(chǎng)美麗的終極毀滅。
3.補(bǔ)上這兩首歌的歌詞
1).When johnny comes marching home again
This is generally credited to the Union Army bandmaster, Patrick S. Gilmore, who wrote it in 1863. It is similar to the Irish song Johnny I Hardly Knew Ye(a tale of a maimed soldier returning from war). Which version came first is debated.
When Johnny Comes Marching Home Again,
Hurrah! Hurrah!
We'll give him a hearty welcome then
Hurrah! Hurrah!
The men will cheer and the boys will shout
The ladies they will all turn out
And we'll all feel gay,
When Johnny comes marching home.
The old church bell will peal with joy
Hurrah! Hurrah!
To welcome home our darling boy
Hurrah! Hurrah!
The village lads and lassies say
With roses they will strew the way,
And we'll all feel gay
When Johnny comes marching home.
Get ready for the Jubilee,
Hurrah! Hurrah!
We'll give the hero three times three,
Hurrah! Hurrah!
The laurel wreath is ready now
To place upon his loyal brow
And we'll all feel gay
When Johnny comes marching home.
2).Johnny, I Hardly Knew Ye
By Anonymous
Padraic Colum (1881–1972). Anthology of Irish Verse. 1922.
WHILE going the road to sweet Athy,
Hurroo! hurroo!
While going the road to sweet Athy,
Hurroo! hurroo!
While going the road to sweet Athy,
A stick in my hand and a drop in my eye,
A doleful damsel I heard cry:
“Och, Johnny, I hardly knew ye!
“With drums and guns, and guns and drums,
The enemy nearly slew ye;
My darling dear, you look so queer,
Och, Johnny, I hardly knew ye!
“Where are your eyes that looked so mild?
Hurroo! hurroo!
Where are your eyes that looked so mild?
Hurroo! hurroo!
Where are your eyes that looked so mild,
When my poor heart you first beguiled?
Why did you run from me and the child?
Och, Johnny, I hardly knew ye!
With drums, etc.
“Where are the legs with which you run?
Hurroo! hurroo!
Where are thy legs with which you run?
Hurroo! hurroo!
Where are the legs with which you run
When first you went to carry a gun?
Indeed, your dancing days are done!
Och, Johnny, I hardly knew ye!
With drums, etc.
It grieved my heart to see you sail,
Hurroo! hurroo!
It grieved my heart to see you sail,
Hurroo! hurroo!
It grieved my heart to see you sail,
Though from my heart you took leg-bail;
Like a cod you’re doubled up head and tail,
Och, Johnny, I hardly knew ye!
With drums, etc.
“You haven’t an arm and you haven’t a leg,
Hurroo! hurroo!
You haven’t an arm and you haven’t a leg,
Hurroo! hurroo!
You haven’t an arm and you haven’t a leg,
You’re an eyeless, noseless, chickenless egg;
You’ll have to be put with a bowl to beg:
Och, Johnny, I hardly knew ye!
With drums, etc.
“I’m happy for to see you home,
Hurroo! hurroo!
I’m happy for to see you home,
Hurroo! hurroo!
I’m happy for to see you home,
All from the Island of Sulloon;
So low in flesh, so high in bone;
Och, Johnny, I hardly knew ye!
With drums, etc.
“But sad it is to see you so,
Hurroo! hurroo!
But sad it is to see you so,
Hurroo! hurroo!
But sad it is to see you so,
And to think of you now as an object of woe,
Your Peggy’ll still keep you on as her beau;
Och, Johnny, I hardly knew ye!
With drums and guns, and guns and drums,
The enemy nearly slew ye;
My darling dear, you look so queer,
Och, Johnny, I hardly knew ye.
3).Johnny I hardly knew ye(joan baez演唱版,附試譯)
Joan Baze常常以簡(jiǎn)單的配樂襯托她同樣簡(jiǎn)單卻在樸實(shí)中見動(dòng)人之處的聲音。她演繹的這首老歌,除了表示妻子堅(jiān)定信念的最后一節(jié)的伴唱,模擬軍樂隊(duì)的打鼓聲壓倒了其他所有隱約可辨的配樂。歌聲和鼓點(diǎn)相呼應(yīng),節(jié)奏感強(qiáng)烈得仿佛一首軍歌,而她歌唱的是這樣一個(gè)在戰(zhàn)爭(zhēng)中失去四肢和雙眼的士兵,驚悚、殘忍、痛苦和反諷纏繞在一起,直到最后妻子唱出自己的決心:再也不讓那些制造槍支的人奪走他們的孩子。
然而,那是她能決定的事嗎?對(duì)于那些人她又是什么呢?
也許,她只是平凡,渺小,普通,充滿著世界各個(gè)角落的墊在金字塔最底層的奴隸,而這個(gè)世界屬于奧林匹亞山上的少數(shù)神明,為了永遠(yuǎn)不能到達(dá)的“永恒”,讓他們主宰的藝術(shù)世界成為可能,艱難地活著的人類的痛苦不得不永續(xù)不熄。
戰(zhàn)爭(zhēng),永遠(yuǎn)睡在你我身邊,凡人不知道她什么時(shí)候醒來。
With your guns and drums
And drums and guns
Hurroo hurroo
With your guns and drums
And drums and guns
Hurroo hurroo
With your guns and drums
And drums and guns
The enemy nearly slew ye
My darling,dear,you look so queer
Johnny i hardly knew ye
帶著你的槍和鼓和鼓和槍
帶著你的槍和鼓和鼓和槍
帶著你的槍和鼓和鼓和槍
敵人差點(diǎn)殺了你
我心愛的,親愛的,你看起來這樣怪異
強(qiáng)尼,我差點(diǎn)認(rèn)不出你
Where are your legs that used to run
Hurroo hurroo
Where are your legs that used to run
Hurroo hurroo
Where are your legs that used to run
Before you left carrying a gun
I fear your dancing days are done
Johnny I hardly knew ye
你過去習(xí)慣奔跑的雙腿在哪里?
你過去習(xí)慣奔跑的雙腿在哪里?
你過去習(xí)慣奔跑的雙腿在哪里?
在你持槍離開前(習(xí)慣奔跑的雙腿)
我怕你跳舞的日子結(jié)束了
強(qiáng)尼,我差點(diǎn)認(rèn)不出你
Where are your eyes that were so mild
Hurroo hurroo
Where are your eyes that were so mild
Hurroo hurroo
Where are your eyes that were so mild
When my heart you did beguile
And why did ye run from me and the child
Johnny I hardly knew ye
你過去如此溫和的雙眼在哪里?
你過去如此溫和的雙眼在哪里?
你過去如此溫和的雙眼在哪里?
那時(shí)你讓我的心陶醉
可你為什么離開我和孩子
強(qiáng)尼,我差點(diǎn)認(rèn)不出你
Ye haven't an arm ye haven't a leg
Hurroo hurroo
Ye haven't an arm ye haven't a leg
Hurroo hurroo
Ye haven't an arm ye haven't a leg
Ye're an armless boneless chickenless egg
and ye'll have to be put with a bowl to beg
Johnny I hardly knew ye
你沒有胳臂,你沒有腿
你沒有胳臂,你沒有腿
你沒有胳臂,你沒有腿
你是一只沒有胳膊,沒有腿也沒有小雞的蛋
你不得不和一只碗放在一起去乞討
強(qiáng)尼,我差點(diǎn)認(rèn)不出你
They're rolling out the guns again
Hurroo hurroo
They're rolling out the guns again
Hurroo hurroo
They're rolling out the guns again
But they won't take back our sons again
No they never take back our sons again
Johnny I'm swearing to ye
他們又在大量制造槍支
他們又在大量制造槍支
他們又在大量制造槍支
但他們?cè)僖膊粫?huì)收回我們的兒子們
不,他們永遠(yuǎn)不會(huì)再次收回我們的兒子們
強(qiáng)尼,我向你發(fā)誓
附記:
庫布里克除了喜歡改編別人的小說,也喜歡用前人的音樂,尤其是古典音樂配現(xiàn)代的非人性的場(chǎng)景。經(jīng)典的比如《發(fā)條橙子》里的貝多芬,如《2001太空漫游》里的《查拉圖斯特拉如是說》和《藍(lán)色多瑙河》。有人說,在這部電影里聽《藍(lán)色多瑙河》,心里咒罵著庫布里克真是個(gè)天才,自己也快想發(fā)瘋了。
人性與非人性的探討也許是庫布里克最核心的關(guān)注點(diǎn)。
他的高明在于他沒有完全站在理性、文明、民主、自由的一方而對(duì)alex、jack、dr. strangelove這些現(xiàn)代畸形人完全持譴責(zé)批判的態(tài)度。這些人所呈現(xiàn)的非人性可能也是人性不可或缺的一部分,他的故事把他們與奉行現(xiàn)代社會(huì)框定的“善”之價(jià)值的人們共同呈現(xiàn)在一個(gè)個(gè)瘋狂的境遇下,讓觀眾自己思考。這就不難理解他為什么不喜歡《斯巴達(dá)克思》,恨不能把它從作品列表里刪除,因?yàn)樗贿叺梗恰叭诵浴钡?,太“人性”的了?/div>
6 ) 【轉(zhuǎn)】Almost Everything on "Dr. Strangelove" Was True
(PUBLISHED IN THE NEW YORKER, BY ERIC SCHLOSSER, ON JANUARY 23, 2014)
This month marks the fiftieth anniversary of Stanley Kubrick’s black comedy about nuclear weapons, “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.” Released on January 29, 1964, the film caused a good deal of controversy. Its plot suggested that a mentally deranged American general could order a nuclear attack on the Soviet Union, without consulting the President. One reviewer described the film as “dangerous … an evil thing about an evil thing.” Another compared it to Soviet propaganda. Although “Strangelove” was clearly a farce, with the comedian Peter Sellers playing three roles, it was criticized for being implausible. An expert at the Institute for Strategic Studies called the events in the film “impossible on a dozen counts.” A former Deputy Secretary of Defense dismissed the idea that someone could authorize the use of a nuclear weapon without the President’s approval: “Nothing, in fact, could be further from the truth.” (See a compendium of clips from the film.) When “Fail-Safe”—a Hollywood thriller with a similar plot, directed by Sidney Lumet—opened, later that year, it was criticized in much the same way. “The incidents in ‘Fail-Safe’ are deliberate lies!” General Curtis LeMay, the Air Force chief of staff, said. “Nothing like that could happen.” The first casualty of every war is the truth—and the Cold War was no exception to that dictum. Half a century after Kubrick’s mad general, Jack D. Ripper, launched a nuclear strike on the Soviets to defend the purity of “our precious bodily fluids” from Communist subversion, we now know that American officers did indeed have the ability to start a Third World War on their own. And despite the introduction of rigorous safeguards in the years since then, the risk of an accidental or unauthorized nuclear detonation hasn’t been completely eliminated.
The command and control of nuclear weapons has long been plagued by an “always/never” dilemma. The administrative and technological systems that are necessary to insure that nuclear weapons are always available for use in wartime may be quite different from those necessary to guarantee that such weapons can never be used, without proper authorization, in peacetime. During the nineteen-fifties and sixties, the “always” in American war planning was given far greater precedence than the “never.” Through two terms in office, beginning in 1953, President Dwight D. Eisenhower struggled with this dilemma. He wanted to retain Presidential control of nuclear weapons while defending America and its allies from attack. But, in a crisis, those two goals might prove contradictory, raising all sorts of difficult questions. What if Soviet bombers were en route to the United States but the President somehow couldn’t be reached? What if Soviet tanks were rolling into West Germany but a communications breakdown prevented NATO officers from contacting the White House? What if the President were killed during a surprise attack on Washington, D.C., along with the rest of the nation’s civilian leadership? Who would order a nuclear retaliation then?
With great reluctance, Eisenhower agreed to let American officers use their nuclear weapons, in an emergency, if there were no time or no means to contact the President. Air Force pilots were allowed to fire their nuclear anti-aircraft rockets to shoot down Soviet bombers heading toward the United States. And about half a dozen high-level American commanders were allowed to use far more powerful nuclear weapons, without contacting the White House first, when their forces were under attack and “the urgency of time and circumstances clearly does not permit a specific decision by the President, or other person empowered to act in his stead.” Eisenhower worried that providing that sort of authorization in advance could make it possible for someone to do “something foolish down the chain of command” and start an all-out nuclear war. But the alternative—allowing an attack on the United States to go unanswered or NATO forces to be overrun—seemed a lot worse. Aware that his decision might create public unease about who really controlled America’s nuclear arsenal, Eisenhower insisted that his delegation of Presidential authority be kept secret. At a meeting with the Joint Chiefs of Staff, he confessed to being “very fearful of having written papers on this matter.”
President John F. Kennedy was surprised to learn, just a few weeks after taking office, about this secret delegation of power. “A subordinate commander faced with a substantial military action,” Kennedy was told in a top-secret memo, “could start the thermonuclear holocaust on his own initiative if he could not reach you.” Kennedy and his national-security advisers were shocked not only by the wide latitude given to American officers but also by the loose custody of the roughly three thousand American nuclear weapons stored in Europe. Few of the weapons had locks on them. Anyone who got hold of them could detonate them. And there was little to prevent NATO officers from Turkey, Holland, Italy, Great Britain, and Germany from using them without the approval of the United States.
In December, 1960, fifteen members of Congress serving on the Joint Committee on Atomic Energy had toured NATO bases to investigate how American nuclear weapons were being deployed. They found that the weapons—some of them about a hundred times more powerful than the bomb that destroyed Hiroshima—were routinely guarded, transported, and handled by foreign military personnel. American control of the weapons was practically nonexistent. Harold Agnew, a Los Alamos physicist who accompanied the group, was especially concerned to see German pilots sitting in German planes that were decorated with Iron Crosses—and carrying American atomic bombs. Agnew, in his own words, “nearly wet his pants” when he realized that a lone American sentry with a rifle was all that prevented someone from taking off in one of those planes and bombing the Soviet Union.
* * *
The Kennedy Administration soon decided to put locking devices inside NATO’s nuclear weapons. The coded electromechanical switches, known as “permissive action links” (PALs), would be placed on the arming lines. The weapons would be inoperable without the proper code—and that code would be shared with NATO allies only when the White House was prepared to fight the Soviets. The American military didn’t like the idea of these coded switches, fearing that mechanical devices installed to improve weapon safety would diminish weapon reliability. A top-secret State Department memo summarized the view of the Joint Chiefs of Staff in 1961: “all is well with the atomic stockpile program and there is no need for any changes.”
After a crash program to develop the new control technology, during the mid-nineteen-sixties, permissive action links were finally placed inside most of the nuclear weapons deployed by NATO forces. But Kennedy’s directive applied only to the NATO arsenal. For years, the Air Force and the Navy blocked attempts to add coded switches to the weapons solely in their custody. During a national emergency, they argued, the consequences of not receiving the proper code from the White House might be disastrous. And locked weapons might play into the hands of Communist saboteurs. “The very existence of the lock capability,” a top Air Force general claimed, “would create a fail-disable potential for knowledgeable agents to ‘dud’ the entire Minuteman [missile] force.” The Joint Chiefs thought that strict military discipline was the best safeguard against an unauthorized nuclear strike. A two-man rule was instituted to make it more difficult for someone to use a nuclear weapon without permission. And a new screening program, the Human Reliability Program, was created to stop people with emotional, psychological, and substance-abuse problems from gaining access to nuclear weapons.
Despite public assurances that everything was fully under control, in the winter of 1964, while “Dr. Strangelove” was playing in theatres and being condemned as Soviet propaganda, there was nothing to prevent an American bomber crew or missile launch crew from using their weapons against the Soviets. Kubrick had researched the subject for years, consulted experts, and worked closely with a former R.A.F. pilot, Peter George, on the screenplay of the film. George’s novel about the risk of accidental nuclear war, “Red Alert,” was the source for most of “Strangelove” ’s plot. Unbeknownst to both Kubrick and George, a top official at the Department of Defense had already sent a copy of “Red Alert” to every member of the Pentagon’s Scientific Advisory Committee for Ballistic Missiles. At the Pentagon, the book was taken seriously as a cautionary tale about what might go wrong. Even Secretary of Defense Robert S. McNamara privately worried that an accident, a mistake, or a rogue American officer could start a nuclear war.
Coded switches to prevent the unauthorized use of nuclear weapons were finally added to the control systems of American missiles and bombers in the early nineteen-seventies. The Air Force was not pleased, and considered the new security measures to be an insult, a lack of confidence in its personnel. Although the Air Force now denies this claim, according to more than one source I contacted, the code necessary to launch a missile was set to be the same at every Minuteman site: 00000000.
* * *
The early permissive action links were rudimentary. Placed in NATO weapons during the nineteen-sixties and known as Category A PALs, the switches relied on a split four-digit code, with ten thousand possible combinations. If the United States went to war, two people would be necessary to unlock a nuclear weapon, each of them provided with half the code. Category A PALs were useful mainly to delay unauthorized use, to buy time after a weapon had been taken or to thwart an individual psychotic hoping to cause a large explosion. A skilled technician could open a stolen weapon and unlock it within a few hours. Today’s Category D PALs, installed in the Air Force’s hydrogen bombs, are more sophisticated. They require a six-digit code, with a million possible combinations, and have a limited-try feature that disables a weapon when the wrong code is repeatedly entered.
The Air Force’s land-based Minuteman III missiles and the Navy’s submarine-based Trident II missiles now require an eight-digit code—which is no longer 00000000—in order to be launched. The Minuteman crews receive the code via underground cables or an aboveground radio antenna. Sending the launch code to submarines deep underwater presents a greater challenge. Trident submarines contain two safes. One holds the keys necessary to launch a missile; the other holds the combination to the safe with the keys; and the combination to the safe holding the combination must be transmitted to the sub by very-low-frequency or extremely-low-frequency radio. In a pinch, if Washington, D.C., has been destroyed and the launch code doesn’t arrive, the sub’s crew can open the safes with a blowtorch.
The security measures now used to control America’s nuclear weapons are a vast improvement over those of 1964. But, like all human endeavors, they are inherently flawed. The Department of Defense’s Personnel Reliability Program is supposed to keep people with serious emotional or psychological issues away from nuclear weapons—and yet two of the nation’s top nuclear commanders were recently removed from their posts. Neither appears to be the sort of calm, stable person you want with a finger on the button. In fact, their misbehavior seems straight out of “Strangelove.”
Vice Admiral Tim Giardina, the second-highest-ranking officer at the U.S. Strategic Command—the organization responsible for all of America’s nuclear forces—-was investigated last summer for allegedly using counterfeit gambling chips at the Horseshoe Casino in Council Bluffs, Iowa. According to the Iowa Division of Criminal Investigation, “a significant monetary amount” of counterfeit chips was involved. Giardina was relieved of his command on October 3, 2013. A few days later, Major General Michael Carey, the Air Force commander in charge of America’s intercontinental ballistic missiles, was fired for conduct “unbecoming an officer and a gentleman.” According to a report by the Inspector General of the Air Force, Carey had consumed too much alcohol during an official trip to Russia, behaved rudely toward Russian officers, spent time with “suspect” young foreign women in Moscow, loudly discussed sensitive information in a public hotel lounge there, and drunkenly pleaded to get onstage and sing with a Beatles cover band at La Cantina, a Mexican restaurant near Red Square. Despite his requests, the band wouldn’t let Carey onstage to sing or to play the guitar.
While drinking beer in the executive lounge at Moscow’s Marriott Aurora during that visit, General Carey made an admission with serious public-policy implications. He off-handedly told a delegation of U.S. national-security officials that his missile-launch officers have the “worst morale in the Air Force.” Recent events suggest that may be true. In the spring of 2013, nineteen launch officers at Minot Air Force base in North Dakota were decertified for violating safety rules and poor discipline. In August, 2013, the entire missile wing at Malmstrom Air Force base in Montana failed its safety inspection. Last week, the Air Force revealed that thirty-four launch officers at Malmstrom had been decertified for cheating on proficiency exams—and that at least three launch officers are being investigated for illegal drug use. The findings of a report by the RAND Corporation, leaked to the A.P., were equally disturbing. The study found that the rates of spousal abuse and court martials among Air Force personnel with nuclear responsibilities are much higher than those among people with other jobs in the Air Force. “We don’t care if things go properly,” a launch officer told RAND. “We just don’t want to get in trouble.”
The most unlikely and absurd plot element in “Strangelove” is the existence of a Soviet “Doomsday Machine.” The device would trigger itself, automatically, if the Soviet Union were attacked with nuclear weapons. It was meant to be the ultimate deterrent, a threat to destroy the world in order to prevent an American nuclear strike. But the failure of the Soviets to tell the United States about the contraption defeats its purpose and, at the end of the film, inadvertently causes a nuclear Armageddon. “The whole point of the Doomsday Machine is lost,” Dr. Strangelove, the President’s science adviser, explains to the Soviet Ambassador, “if you keep it a secret!”
A decade after the release of “Strangelove,” the Soviet Union began work on the Perimeter system—-a network of sensors and computers that could allow junior military officials to launch missiles without oversight from the Soviet leadership. Perhaps nobody at the Kremlin had seen the film. Completed in 1985, the system was known as the Dead Hand. Once it was activated, Perimeter would order the launch of long-range missiles at the United States if it detected nuclear detonations on Soviet soil and Soviet leaders couldn’t be reached. Like the Doomsday Machine in “Strangelove,” Perimeter was kept secret from the United States; its existence was not revealed until years after the Cold War ended.
In retrospect, Kubrick’s black comedy provided a far more accurate description of the dangers inherent in nuclear command-and-control systems than the ones that the American people got from the White House, the Pentagon, and the mainstream media.
“This is absolute madness, Ambassador,” President Merkin Muffley says in the film, after being told about the Soviets’ automated retaliatory system. “Why should you build such a thing?” Fifty years later, that question remains unanswered, and “Strangelove” seems all the more brilliant, bleak, and terrifyingly on the mark.
___________________________________
AND THIS IS REALLY COOL:
Top secret documents released by the Pentagon:
http://www.newyorker.com/online/blogs/newsdesk/2014/01/primary-sources-permissive-action-links-and-the-threat-of-nuclear-war.html
沒看懂,好像有黑色幽默的地方在嘛就是覺得不好笑...科幻控可能會(huì)看懂?
液體的純潔
你可以毀滅世界,但不許在作戰(zhàn)室打架!這里是作戰(zhàn)室!
彼得塞勒斯和喬治斯科特都逗不過那個(gè)德州口音的機(jī)長(zhǎng)
黑色戰(zhàn)爭(zhēng)片,戰(zhàn)爭(zhēng)與男人,戰(zhàn)爭(zhēng)與性,導(dǎo)演描述得太隱晦太有魅力了。最后昆少將騎著導(dǎo)彈轟炸敵人陣地,實(shí)在太酷了,那是每個(gè)男 性的夢(mèng)想。
Mein Führer, I can walk!
關(guān)注冷戰(zhàn)史必看
第一次接觸庫布里克的片子,倍受打擊~~
這個(gè)譯名太囧了,看的好累中間還睡了,大腦都空白了。哦天
三大場(chǎng)景:機(jī)艙、作戰(zhàn)室、基地。過半場(chǎng)登場(chǎng)龍?zhí)啄衅鎼鄄┦俊rT氫彈的牛仔。向可口可樂公司要硬幣的英國(guó)紳士。
想想也是理所當(dāng)然,如果一場(chǎng)核爆為男人帶來的不是恐懼而是破處似的快感,他們當(dāng)然會(huì)從此開始大幹特幹呀……
7.0 最好的政治諷刺劇沒有之一。庫布里克用這部氟化水一般的電影玷污了戰(zhàn)爭(zhēng)機(jī)器們最純潔的體液。
正經(jīng)的喜劇,通篇的諷刺,瘋子的憂傷,好看得喪心病狂。
給庫爺跪了,不僅僅是起源的設(shè)想者,還是末日的預(yù)言者啊,他大概不是地球人。演博士的哥分飾三個(gè)角色,不僅讓觀眾來勁,他自己也一定爽得要命吧
庫布里克從來不讓人失望
94/100 你知道把整個(gè)時(shí)代的恐懼和幻想如此直觀的拍出來有多難嗎?
當(dāng)年此片竟然全面敗給窈窕淑女,奧斯卡這哪是中庸保守,根本就是腦殘。
Gentlemen, you can't fight in here! This is the War Room!
雖然是冷戰(zhàn)的時(shí)代背景,但達(dá)摩克利斯之劍高懸于人類頭頂?shù)氖聦?shí)遠(yuǎn)沒有改變。在漫長(zhǎng)的最后一分鐘營(yíng)救中,展現(xiàn)官僚的無能、人性的罪惡、和某種奇異的幽默感,在世界還未毀滅時(shí)他們已經(jīng)想著在新世界瓜分利益了(以人類之名),對(duì)俄國(guó)、英國(guó)、德國(guó)人都采取了典型化處理。極端的戲劇沖突展示深刻的當(dāng)代現(xiàn)實(shí)。
Dr. Strangelove比Dr. Strange更懂愛。