第7屆#法羅島電影節(jié)#主競(jìng)賽單元第1個(gè)放映日為大家?guī)?lái)《八月的鯨魚(yú)》，下面為大家?guī)?lái)前線(xiàn)慵懶閑人們恬靜淡雅的評(píng)價(jià)了！

夕顏：

老氣橫秋。

不是兔槽：

激情和真理，我們有此足矣。

Pincent：

浮生若夢(mèng)，人生理想住所之一。

貞潔烈女：

看哭了，演的太好了加上主題太貼我心了。

Her Majesty：

一個(gè)人老了，等待死亡就像等待八月的鯨魚(yú)。

零星無(wú)名：

春去冬來(lái)，我們終于在最后把回憶編成了童話(huà)。

曲有誤：

照片會(huì)褪色，故人不復(fù)見(jiàn)，有的只是一起攜手走下去。

果樹(shù)：

稍有懷疑全片的創(chuàng)作動(dòng)機(jī)，因?yàn)榭吹綆孜焕淆g女神的賣(mài)力，我只能感覺(jué)到尬，而非感動(dòng)。

麻雀：

老年的靜默時(shí)光，在存有對(duì)生活的尊重中，回憶過(guò)去與直面死亡的碎語(yǔ)在夏天的溫潤(rùn)里悄悄淌過(guò)。

曉風(fēng)與你殘?jiān)拢?/span>

老去的時(shí)光其實(shí)就跟這部影片一樣，平平淡淡、了無(wú)波瀾。不再用思考未來(lái)，只用同過(guò)去以及現(xiàn)在和解，磨去棱角和鋒芒，才發(fā)現(xiàn)擁有的只有彼此而已。只是，這樣的影片對(duì)于現(xiàn)階段的我們來(lái)說(shuō)，毫無(wú)意義也更無(wú)存在的價(jià)值。

我略知她一二：

星空流轉(zhuǎn)的念頭像水母的飄蕩，而我并不孤單，沒(méi)有你才孤單，水光彌漫在防腐的哀傷里，像鯨魚(yú)被淹沒(méi)一樣不作響，四季就是那四面白墻，寂寞是濃霧的暗光，空心磚在胸膛正中央發(fā)燙，那是彼此真空的地方。鯨魚(yú)失去海洋，我失去夢(mèng)里的心臟，要拿什么補(bǔ)償，都一樣被慢慢的蓋上，然后一起重返兒時(shí)的夢(mèng)鄉(xiāng)。

了卻煙硝：

本屆電影節(jié)觀看的第一部影片便是這樣一部情節(jié)平淡、直擊老年人生活的慢節(jié)奏電影，你不可否認(rèn)的是影片確實(shí)想反應(yīng)一些什么東西，但是還是過(guò)于古板和無(wú)聊了些。

主要情節(jié)就發(fā)生在這個(gè)海邊小屋的兩天的時(shí)間里，沒(méi)有什么太大的矛盾凸顯，就算有也只是爭(zhēng)執(zhí)幾句之后就和好的小拌嘴，對(duì)于看慣了節(jié)奏緊密的電影的我而言確實(shí)催眠了些，不過(guò)一眾老年演員“老驥伏櫪，志在千里”，依然貢獻(xiàn)出了精彩的演出。

有人吐槽“鯨魚(yú)”這個(gè)意象根本就沒(méi)出現(xiàn)，其實(shí)“鯨魚(yú)”哪里就一定是指“鯨魚(yú)”啊，我覺(jué)得，它指的更是電影中主人公們對(duì)美好生活的寄托吧。

#FIFF7#DAY1的主競(jìng)賽場(chǎng)刊評(píng)分稍后會(huì)在廣播中為大家釋出，請(qǐng)大家拭目以待了。

For any cinephile, thrills and veneration aplenty can be elicited from the sole banner“a movie starring Bette Davis and Lillian Gish”, to say nothing of THE WHALES OF AUGUST is both celluloid doyennes’ (quasi) swan song (Davis’ penultimate, and Lillian’s last film), plus in a lesser extent, it also features a fine Vincent Price in his twilight years and bookends veteran entertainer Ann Sothern’s six-decade long career (and surprisingly, it is she who is given an Oscar nomination for a rather prosaic impression, which only precipitates one’s reckoning it is a token validation of the film per se and her hitherto unheralded track record), lastly, it is the final theatrical feature of director Lindsay Anderson, the high priest of British New Wave.

It is only logical that THE WHALES OF AUGUST is an elegiac piece of work cogitating and reminiscing about time, mortality, past glory and reconciliation, two elderly widow sisters, Sarah (Gish) diligently attends to her blind, elder sister Libby (Davis) in theirseaward abode on Maine’s Cliff Island (In reality Gish was 93, 15-years senior of a 78-year-young Davis), while Libbyhas become ever so bitter and disagreeable to live with, Sarah is tempted to slough off the heavy burden and sell their house, encouraged by their common lifelong friend Tisha (Sothern), but after a visit from and sequentially a dinner with Nicholas Maranov (Price, still a handsome specimen of chivalry and proprieties, impeccably leaves a trace of hurt that otherwise, is beautifully hidden underneath his inscrutable facade), an old-money Russian expatriate who is forced to find a new lodging by his landlady’s sudden departure, the next morning, Sarah finds a new take on her and her sister’s status quo.

The sibling spat is endearingly a riff onWHAT EVER HAPPENED TO BABY JANE? 25 years earlier, but here, there is no vendetta in their history, only two sisters, living their autumn days, one is comparatively agile, buoyant, has learnt to be philosophical towards loss and oblivion, but also adheres to the carpe diem motto, whereas the other is deviled by her unsighted affliction and senility, trying very hard to be the devil’s advocate just to upheld her fragile dignity. It surely arouses strong pathos to see these two legends carry their lines strenuously and retain their poise with discernible effort (especially Ms. Davis for her stroke-impaired articulation and gaunt physiognomy), as if they also realize this is the curtain call, Gish takes her time sedately and handles every movement in minute nicety, in contrast to Davis' unvanquished spirit, who still aspires to hold court whenever the camera is on her, these two performances are sterling précis of their equally distinguished but radically disparate lasting screen images. But in the end of the day, it is Gish’s ingrain benevolence and cordial affection purveys us the ammunition of admiration and wistful nostalgia in this case.

From its daguerreotype-tinged opening to its repurposed finish, Anderson’s paean to dotage and all its trimmings is a rare bird belongs to a type of cinema endeavor neither beautifies or sentimentalizes its raw-nerve-touching subject matter, for all its banal simplicity and understated emotion, THE WHALES OF AUGUST is a miraculous entity even just for its own existence.

referential points: Anderson’s THIS SPORTING LIFE (1963, 8.2/10); Peter Masterson’s THE TRIP TO BOUNTIFUL (1985, 6.9/10); Robert Aldrich’s WHAT EVER HAPPENED TO BABY JANE? (1962, 8.2/10).

豆瓣上的圖片完全成為了我看這部電影的一大原因，看看奶奶紅色的毛衣配上黃色的波點(diǎn)裙，另一位奶奶銀白的頭發(fā)，在閃耀的藍(lán)色大海襯托下，真的非常美好，漂亮。

紅色的毛衣與黃色的連衣裙

閃耀的大海

它似乎有點(diǎn)慢，敘事非常平緩，故事背景一點(diǎn)不花，就在海邊一座房子附近打轉(zhuǎn)，還有作為一個(gè)意向我們從未看到過(guò)的鯨魚(yú)與picture window（不知道中文翻譯過(guò)來(lái)是啥），鋪述了老年倆姐妹之間的生活。白發(fā)奶奶的形象塑造非常真實(shí)豐滿(mǎn)，shes a buzz killer，有點(diǎn)煩人，小小的惡毒，同時(shí)又非常沒(méi)有安全感。劇本完美地搭建出前因后果，但場(chǎng)景又只在這幢房子附近。當(dāng)我覺(jué)得它慢的時(shí)候，也許這是現(xiàn)在劇情類(lèi)型的片子時(shí)常會(huì)讓人感到的，它讓我想到，也許這類(lèi)電影的存在就是為了提醒我，電影，本身也可以是用來(lái)慢慢進(jìn)行敘事的。不一定要宏大的背景，偉大的主題，不需要超級(jí)英雄，給過(guò)度娛樂(lè)的我們帶來(lái)新的刺激，它的目的就是講一個(gè)故事。

影片結(jié)束兩位奶奶站在海邊

沒(méi)有看演員表的時(shí)候，我還不知道原來(lái)兩位奶奶都是非常了不起的演員（聽(tīng)白發(fā)奶奶的聲音有點(diǎn)耳熟看了之后才知道原來(lái)是彗星美人的女主角）

beautiful view

beautiful view

beautiful view