認(rèn)識(shí)電影

8.9

[美] 路易斯·賈內(nèi)梯 [瑞典] 英格瑪·伯格曼 [日] 黑澤明 等供圖 / 2007 / 世界圖書出版公司

第十章 意識(shí)形態(tài)

坎普趣味(Camp sensibility)尤其和男同性戀文化有關(guān)盡管并非該文化所獨(dú)有。異戀女星如梅·蕙絲、女丑星卡露·柏奈( Carol Burnett）和貝蒂·米德勒( Bette Midler)都有這個(gè)層面。它也不是所有同性戀的特質(zhì),如愛森斯坦、茂瑙、讓·維果( Jean Vigo)和喬治庫(kù)克都是同性戀,但他們的電影可一點(diǎn)不“坎普”。(嗯,也許庫(kù)克的《女人們》算吧!)阿莫多瓦則是個(gè)中翹楚,他的喜劇如《斗牛士》( Matador)、《崩潰邊緣的女人》和《關(guān)于我母親的一切》都富含“坎普”趣味。

坎普電影最喜歡用喜趣嘲諷常在片中放些古怪、大膽的角色,比如邪典(cult)影片《洛基恐怖秀》中的角色,坎普喜用過度藝術(shù)化、人工化的處理,媚俗、華麗——比如頂著大筐香蕉在《高朋滿座》中跳舞的卡門·米蘭達(dá)，她的舞也是坎大師柏士比·伯克利所編。

坎普也用了很多舞臺(tái)隱喻:扮演角色、愛搶戲的表演和人生如戲的比喻,比如索妮亞·布拉格在《蜘蛛女之吻》中所的受折磨女主角。此外,華麗俗氣的布景和服裝(品味粗鄙的)也是坎普趣味，坎普高舉某些女星為“小眾迷“偶像,尤其是瓊·克勞馥和拉特納演的花哨女人電影,原本嚴(yán)肅的角色被她們弄得匠氣十足,并且都是受苦的犧牲者角色吃盡苦頭卻又生存下來,重要的是她們除了吃苦,還都穿著設(shè)計(jì)師的華服住在奢華的大廈中。

美琪，西班牙大師展，8分。

1，艷麗海報(bào)風(fēng)的片頭獨(dú)具一格，抓人眼球，貫穿全片的對(duì)色彩的運(yùn)用極具奢華之能事，從服裝到美術(shù)上內(nèi)景的搭建到夏布里埃的《西班牙》，熱情如火。

2，將《荒漠怪客》的臺(tái)詞原封不動(dòng)地演繹，也算是對(duì)這部炫麗彩色老電影的致敬（顏色對(duì)于阿爾莫多瓦幾乎是圣經(jīng)了）

3，我最稱贊的是此作近乎戲劇結(jié)構(gòu)的劇本，天衣無縫的轉(zhuǎn)場(chǎng)，細(xì)膩沖突的人物性格和事件，將所有角色（即便有些神經(jīng)質(zhì)也是影片所需）刻畫得絲絲入扣，這樣原創(chuàng)的故事值得所有青年導(dǎo)演學(xué)習(xí)。對(duì)于電影制作過程（配音，模型等），在電影開場(chǎng)階段也做了不少展示。

4，音樂（從古典的移植到流行的演唱），也頗讓人印象深刻。

5，喜劇讓人捧腹，但當(dāng)眼淚流下，你會(huì)理解生活原貌的悲喜同體。我最喜歡的一幕來自：佩帕為扔情人的皮箱，兩次從艾文的電話亭經(jīng)過，緣分留給他們的只剩漸行漸遠(yuǎn)的背影，和無法挽留的平行，他們本意為了相愛而結(jié)合（女人的癡情，和男人一夜風(fēng)流后的無情），但這樣的錯(cuò)過意味著上帝不再給你和解的權(quán)利。如果這是生活與愛情殘酷的真相，觀看這一幕的我們還真的可以一笑而過讓往事隨風(fēng)嗎？

6，奧妙洗衣粉，最好的廣告原來是阿爾莫多瓦拍的。

幫睡眠襪找的資源，進(jìn)了迅雷之后又幾十種字幕可供選擇，但有些字幕跟聲畫對(duì)不上。

有的時(shí)候還滿震驚的，因?yàn)檎业馁Y源標(biāo)題就是西語(yǔ)一時(shí)間我都不知道自己在看什么電影，問了睡眠襪然后我就知道了原來我又在看西班牙花襯衫胖子拍的電影。

問了名字之后對(duì)于電影劇情容易接受了一些。不然的話我一開始是沒法接受這些電影里的女的都這么瘋瘋癲癲的。剛看到上映年份竟然是我小學(xué)英語(yǔ)老師的出生年份。

看得還蠻震驚的，我?guī)е环N獵奇的眼光在看（如果有侮辱到是我的不對(duì)），首先是是女主的朋友在多次想向女主傾訴自己的難處而女主不理她的時(shí)候想去跳樓引起女主注意，還有女主情夫的前妻化的妝，很神奇，眼睫毛竟然是直接畫在眼皮上的，不知道這是劇情設(shè)定說她是精神病所以大家都不在意，還是說你在西班牙打扮成什么樣都沒關(guān)系。我不能理解的原因可能是因?yàn)槲也粔蜷_放，我比較東方人的內(nèi)斂（東方人：請(qǐng)不要碰瓷。），如果我有難事，我想讓我朋友聽聽，而她如果不在意或者自己也自顧不暇，我會(huì)二話不說馬上閉嘴然后離開，所以女主的朋友非要女主聽聽自己的trouble，并且女主顧不上管她她就要跳樓引起注意這個(gè)讓我很震驚，但我會(huì)尊重這個(gè)的。而且當(dāng)女主終于來聽她的訴求的時(shí)候，她首先是非常輕松地講自己美妙的性經(jīng)歷，這里我也很震驚，我以為你要講的事情應(yīng)該是火燒眉毛非常緊急的， 沒想到要講這么多相比之下無關(guān)緊要的事吧。不過女主也沒有不耐煩的樣子，好像這也是很重要的，還是說她了解她朋友，我也不知道。雖然我不理解但我尊重這個(gè)。

其次是女主，她看起來好像有躁郁癥，動(dòng)不動(dòng)就發(fā)怒，可能是因?yàn)閼言辛怂云獠缓脝幔汛矄螣?，把電話扔出窗外，把她情夫的明信片和照片撕毀。還有她情夫的前妻，拿著一把槍，威脅別人。真的好神奇。

而且里面的關(guān)系也挺混亂的。我一個(gè)字都不想相信情夫說的，電影一開始他就在沾花惹草，對(duì)各種女人，真的是各種女人，各大洲的各人種的， 說一句尬死人的情話，然后女人們就迷得神魂顛倒。所以情夫可憐巴巴地跟女主說話的時(shí)候我也絲毫不心疼他。我覺得他們很搞笑的就是，事先電聯(lián)工作不做好，非要到住處去找人，一旦那人不在又像后面有鬼在追一樣的趕緊離開，到底他嗎的有什么好急的，好不容易都來這了，根本就是低效率……反正男女主互相找對(duì)方結(jié)果每次都擦肩而過看得我急死了，這個(gè)是不是叫皇帝不急太監(jiān)急。而且女主懷著她情夫的孩子還跟情夫的兒子接吻，這可以說是小媽文學(xué)嗎，可是小媽肚子里懷著你的親弟弟。而且情夫兒子真的很喜歡亂搞，明明有未婚妻，還跟女主朋友搞上。已經(jīng)顯露他爸愛沾花捻草的性格了。

整個(gè)電影里面的顏色和布置都很花哨。女主家的陽(yáng)臺(tái)，我看到地上有一個(gè)皮球，我以為是幼兒園，我以為她在拍畫報(bào)或什么之類的，布景好像很小，很虛假，給我一種《圣山》的感覺，好像那種小孩子游樂園。顏色很天真無邪又很劣質(zhì)，是一種不加克制的極度使用。還有角色穿的衣服和妝容，外國(guó)人就是比較敢穿吧，估計(jì)真的是穿什么都沒人說你，可能那個(gè)環(huán)境就是對(duì)穿著打扮很放松很自由的。還有女演員們的眼影，各種顏色的都有，尤其是女主情夫的兒子的未婚妻，我看她的眼影好像是外圍一圈棕黃色（比棕黃色淡一點(diǎn)），然后里面是紫色，還有漸變，蠻好看的。

Author: Coconuttree666, a Chinese student who wants to be a serendipper in film studies and capture a kaleidoscope of colors in each frame

崩潰邊緣的女人 (1988)

7.8

1988 / 西班牙 / 劇情 喜劇 / 佩德羅·阿莫多瓦 / 卡門·毛拉 安東尼奧·班德拉斯

The 1988 movie Women on the Verge of a Nervous Breakdown movie, directed by Pedro Almodóvar Caballero, is described in the academia as highly stylized with the “colorful characters, vertiginous plotlines and rich intergeneric allusions” (Acevedo-Mu?oz, 2006, p. 173). Just as West (2013) stated, Almodóvar is among those filmmakers who insert personal experiences as motives and features within their films. Although tons of critics have discussed the film Women on the Verge of a Nervous Breakdown, I intend to specifically underline two idiosyncratic attributes of it in this film blog, namely the color and the references to Hitchcock’s work, within the biographical context of Pedro Almodóvar.

To start with, as the artistic director Antxón Gómez observes, “Pedro works with a very definite range of colors. He has trouble working with white, for example. He always says, ‘I don’t understand black and white.’” According to Oliva (2009), the recognizable use of color constitutes a dominant trademark in Almodóvar’s movies, frequently acting in concert with a neo-baroque aesthetic style that is prominent in Hispanic culture. From my point of view, the most astonishing aesthetical achievement in this film should boil down to the various outfit of the leading actress, Pepa Marcos cast by Carmen Maura (see the screenshots below).

In terms of semiology, the color can function as a signifier, which will denote deeper significance namely the signified, the process of which helps us to deconstruct the film as an aggregation of signs. In the first several scenes featuring Pepa, she is wearing a gray suit, which signifies professional and formal; yet after she feels extremely disappointed at her relationship with Iván, the frequent show-up of the color red could manifest that Pepa is the woman “on the verge of a nervous breakdown”, except for once she chooses to wear a blue suit pairing with a white shirt with black polka dots when she needs to be the adult for solving Candela (Maria Barranco)’s problems when seeing the feminist lawyer, where blue delivers a sense of calmness and intellect here (it can be somehow interestingly confusing with the same color constructing different meaning-making —— Candela, the character who represents irrationality and obtrusion, also wears a blue outfit when she shows up in the film for the first time). Furthermore, it is demonstrated by Oliva (2009) that the distinctive understandings of colors of Almodóvar might be triggered by his mother, Francisca Caballero, who made many cameos in his films before her death in 1999; as “bookish” as he could be, Almodóvar shows a sense of sensitivity through repeatedly claiming that his unlimited passion of narrative in the form of colorful visual compositions comes from his mother ——

As he said in a speech: “I like to think that my passion for color is not merely a function of the baroque style of my characters, but that it is also my mother’s answer to so many years of mourning, in which black was the dominant color. I was her extravagant reaction to the stultifying and excessive tradition of La Mancha (where Almodóvar grows up —— from the author)”.

…

“My mother was the territory where everything happened. I learned boldness from her, and something more: the need for certain doses of fiction so that reality can be better digested, better narrated, better lived… It was not a question of complacently accepting things, but of perfecting reality by adding a little bit of fiction.”

According to Zurian (2013) that when Almodóvar was eight, his family moved to Orellana la Vieja, a village with few traces of modernity, where he received the primary education under the religious supervision; at 17 he came to Madrid but never enrolled in the Official Film School since it ceased giving classes and gradually closed, then Almodóvar became an assistant in Telefónica, the national telephone company. Albeit lack systematic cinematic studies, he seems to be capable of expressing himself without any established rules; in the universe of narrative and film, his family, especially his mother seemingly leads him to a bigger illusionary world full of vivid colors that are conveying complicated connotations.

Moreover, it seems to have become a consensus in the sphere of film critics that Hitchcock should count as the primary textbook of Almodóvar, aesthetically and industrially; you can still tell new traces of the presence of Hitchcock in the form of appropriation in Almodóvar’s movies after accomplishing global success (Acevedo-Mu?oz, 2007; Kercher, 2013).

Brill (1988) contended that many characters in Hitchcock’s films are victims of the inevitable and fatal traps of their past; conversely, Acevedo-Mu?oz (2007) specifically argues that Almodóvar’s approaches are based partly on the unstable genre as a metaphor for national identity through direct quotations of Hitchcock’s oeuvre, but as a therapy to damage the social diseases from cultural and religious repression in Franco’s Spain.

For instance, at the end of Women on the verge, Pepa ultimately reach some emotional firmness when facing Lucía, the crazy mother, who also actively asks to be taken back to the mental hospital after the failed attempt to kill her ex-husband, which is allegorical of the nation’s process of recovery; therefore, Almodóvar determined to establish stability and positivity out of the melodrama’s natural chaos by making the women exactly be “on the verge” of insaneness, just as the title reads. To sum up, he is trying to pass the positive message that the national trauma could be cured ultimately, or at least offset by presenting that the negativity can be, “paradoxically, a redeeming force”, as Almodóvar himself mentioned in an interview: “I don’t want to let even the memory of Francoism exist in my films”.

(Word count: 942)

References

Acevedo-Mu?oz, E. R. (2007). Melo-Thriller: Hitchcock, Genre, and Nationalism in Pedro Almodóvar's Women on the Verge of a Nervous Breakdown. In D. Boyd & R. Barton (Eds.), After Hitchcock: Influence, Imitation, and Intertextuality (pp. 173-194). Texas: University of Texas Press.

Allinson, M. (2001). A Spanish Labyrinth: The Films of Pedro Almodóvar. London: I.B.Tauris.

Brill, L. (1988). The Hitchcock Romance: Love and Irony in Hitchcock's Films. Princeton: Princeton University Press.

Kercher, D. (2013). Almodóvar and Hitchcock: A Sorcerer’s Apprenticeship. In M. D’Lugo & K. M. Vernon (Eds.), A companion to Pedro Almodóvar (pp. 59-88). Chichester: Blackwell Publishing.

Oliva, I. (2009). Inside Almodóvar. In B. Epps & D. Kakoudaki (Eds.), All about Almodóvar: a passion for cinema (pp. 389-445). London: University of Minnesota Press.

Townson, N. (1988). The Spanish Labyrinth. New Statesman & Society, 1, 40.

West, D. (2013). A companion to Pedro Almodóvar. Choice, 51(4), 644.

Zurian, F. A. (2013). Creative beginnings in Almodóvar’s work. In M. D’Lugo & K. M. Vernon (Eds.), A companion to Pedro Almodóvar (pp. 39-59). Chichester: Blackwell Publishing.

Con Franco ha muerto en 1975, el ambiente cultura en Espa?a cambia muchísimo y tiene lugar lo que se llama la movida. La movida fue una auténtica revolución en el panorama cultural, especialmente en el mundo de la música y el cine. Esta película es una comedia muy divertida y todo está contado de una forma tan exagerado. Además, refleja muy bien cómo fueron los a?os 80 de la movida. Es una película maravillosa que vale la pena ver.