攝影機(jī)在空曠的西部大地上一掃而過(guò)，緊接著鏡頭滑落在一張過(guò)曬、孤絕的臉上。一個(gè)從遠(yuǎn)景切換到臉部的大特寫(xiě)鏡頭，意在揭示此地并不是真正的空曠，而是被一個(gè)近在咫尺的亡命之徒占據(jù)著。

在電影的開(kāi)篇，賽爾喬·萊翁內(nèi)就為《黃金三鏢客》貫徹了一個(gè)鏡頭準(zhǔn)則：眼見(jiàn)不一定為實(shí)，內(nèi)容的呈現(xiàn)受制于畫(huà)面的邊框。在影片中的一些重要時(shí)刻，鏡頭以外、人物看不見(jiàn)的地方，為萊翁內(nèi)提供了創(chuàng)作的自由，他的鏡頭也成為我們獲得意外發(fā)現(xiàn)的入口，而這些意外往往不能以常理度之。

例如有一次，人們沒(méi)有一開(kāi)始就注意到聯(lián)邦軍隊(duì)的巨大營(yíng)地，而是在一次偶然間發(fā)現(xiàn)了它。還有一次在墓地里，一個(gè)本該在一英里之外就能被發(fā)現(xiàn)的人，卻顯得像是憑空出現(xiàn)的。男人們走在大街上，視野全然，但是周?chē)鷧s沒(méi)有人擊中他們，或許是因?yàn)閮蓳苋瞬⒉辉谕粋€(gè)畫(huà)面里。

萊翁內(nèi)不關(guān)心實(shí)際如何或是華而不實(shí)的東西，他致力于以個(gè)人化的藝術(shù)風(fēng)格變廢為寶，在陳詞濫調(diào)的西部片廢墟上建造他的偉大電影?！痘囊按箸S客》（1964）和《黃昏雙鏢客》（1965）上映不久以后，在1967年底，本片在美國(guó)上映，觀眾知道他們會(huì)喜歡它，但是他們知道為什么嗎？

我是坐在東方劇院包廂的前排看完本片的，其寬銀幕是觀看萊翁內(nèi)作品的理想選擇。記得我反應(yīng)激烈，彼時(shí)我不過(guò)是個(gè)剛成為影評(píng)人不到一年的菜鳥(niǎo)，尚不具有跟隨本心而非審慎的智慧?；仡櫸业呐f評(píng)，我意識(shí)到我在描述一部四星電影，卻只給它打了三星，或許因?yàn)樗且徊俊巴ㄐ姆凼轿鞑科?，所以不能成為藝術(shù)。

但它確實(shí)是藝術(shù)，是萊翁內(nèi)運(yùn)用想象力將其描繪在寬銀幕上的藝術(shù)，它是如此的生動(dòng)，以至于我們忽略了它只是一部小成本制作的事實(shí)——克林特·伊斯特伍德當(dāng)時(shí)是好萊塢的棄子；預(yù)算限制造成的一系列錯(cuò)誤（大鏢客的預(yù)算只有200000美元）；沒(méi)有太多的對(duì)話，因?yàn)橐砸粜?lái)代替配音更節(jié)約成本。甚至還有為了讓影片看起來(lái)更美國(guó)化的無(wú)用嘗試。我從評(píng)論家格倫·埃里克森那里得知，萊翁內(nèi)在大鏢客時(shí)期被稱(chēng)作“鮑伯·羅伯森”，作曲家恩尼奧·莫里康內(nèi)被稱(chēng)作“丹·薩維奧”，他那孤獨(dú)、傷感的配樂(lè)是影片不可或缺的部分。甚至伊斯特伍德的角色，那個(gè)著名的“無(wú)名客”，也是宣發(fā)的產(chǎn)物。實(shí)際上，他在第一部電影中的名字是喬，第二部是“曼科”，第三部則是“布蘭迪”。

或許是它的異域風(fēng)味，尤其是像《黃金三鏢客》這樣氣質(zhì)獨(dú)特的杰作，使得“通心粉式西部片”區(qū)別于傳統(tǒng)的西部。與套路的好萊塢模式不同，這些片子里的演員都是西班牙附近地區(qū)的人——這些人必須經(jīng)過(guò)長(zhǎng)時(shí)間的暴曬。想象一下，一個(gè)無(wú)腿的乞丐用胳膊把自己推進(jìn)酒吧，并大喊：“給我來(lái)杯威士忌！”

約翰·福特在莫紐門(mén)特谷地制作了無(wú)數(shù)偉大的電影，那個(gè)地方就是他的靈感源泉。但是萊翁內(nèi)電影中危機(jī)四伏的西班牙風(fēng)貌卻給人以新鮮感，帶著一絲怪異。在此之前，我們從未見(jiàn)過(guò)這些沙漠。約翰·韋恩也從未去過(guò)那里。萊翁內(nèi)的故事是一種高于現(xiàn)實(shí)的夢(mèng)想，一切都比生活更宏大、更激進(jìn)、更殘酷、更戲劇化。

萊翁內(nèi)的故事更多的是以畫(huà)面而非文字來(lái)敘述。來(lái)看看墓地里那場(chǎng)精彩的對(duì)峙戲。據(jù)說(shuō)一筆財(cái)寶被埋在某個(gè)墳?zāi)估铮齻€(gè)人聚集于此，都想得到它。三位演員分別是克林特·伊斯特伍德（好），李·范·克里夫（壞），埃里·瓦拉赫（丑）【譯注：《黃金三鏢客》英文名直譯過(guò)來(lái)即為《好·壞·丑》】。每個(gè)人都用槍指著另一個(gè)人，誰(shuí)都不敢輕舉妄動(dòng)，否則一損俱損。除非其中兩人聯(lián)合起來(lái)對(duì)付第三個(gè)人，并在后者開(kāi)槍前打死他。但是聯(lián)合哪兩個(gè)，誰(shuí)又是剩下那個(gè)？

萊翁內(nèi)著重刻畫(huà)了這一非理性的場(chǎng)景，從細(xì)節(jié)入手，先是長(zhǎng)鏡頭，緊接著是諸如槍支、臉、眼睛、大量汗水以及蒼蠅的特寫(xiě)。他似乎在考驗(yàn)自己，就是為了看看他能將這種懸念維持多久?；蛘哒f(shuō)它算是懸念嗎？它或許完全是一種風(fēng)格化的嘗試，由導(dǎo)演蓄意為之，意在聚焦于它本身。如果你能品出其中戲仿之魄力，那么你就能理解萊翁內(nèi)的表達(dá)方式。這不是一個(gè)故事，而是一次對(duì)技巧的頌揚(yáng)。

第一次跟萊翁內(nèi)合作時(shí)，伊斯特伍德34歲，如今他已經(jīng)是此中權(quán)威。一個(gè)事實(shí)是，他出身電視劇演員，曾經(jīng)擔(dān)綱主演了《皮鞭》。那時(shí)候，一個(gè)普通電影觀眾的想法是，不值得花錢(qián)去電影院觀看能在電視上免費(fèi)看到的演員。伊斯特伍德戰(zhàn)勝了厄運(yùn)，但不是任何人都能做到的——也不是和任何導(dǎo)演都能做到的。談及與萊翁內(nèi)的合作，他的解釋是他想做電影，而好萊塢將他拒之門(mén)外。

事實(shí)如此，但是伊斯特伍德本人也成為一位重要的導(dǎo)演，甚至他肯定也感覺(jué)到萊翁內(nèi)不僅僅是一個(gè)普通的意大利通俗片導(dǎo)演，還是一個(gè)充滿激情的人。萊翁內(nèi)和伊斯特伍德一起創(chuàng)造出來(lái)的“無(wú)名客”，其分量不單單超越了某個(gè)電視明星，也超越了某個(gè)電影明星——一個(gè)從不需要解釋?zhuān)瑔螁螒{他的靴子、手指和眼睛就足以填滿整個(gè)屏幕的人。

我懷疑伊斯特伍德的對(duì)白是否有埃里·瓦拉赫（飾圖科）的十分之一?！盁o(wú)名客”從不說(shuō)話；圖科則滔滔不絕。圖科的表現(xiàn)是瓦拉赫一次創(chuàng)造性的發(fā)揮，他極力避免讓角色陷入荒謬的境地，轉(zhuǎn)而使之顯得絕望而恐懼。當(dāng)他扮起丑角時(shí)，我們感到此舉是他有意為之，而非本性如此。作為一位有著長(zhǎng)期舞臺(tái)表演經(jīng)驗(yàn)的老戲骨，瓦拉赫認(rèn)真對(duì)待這個(gè)“低檔”角色并發(fā)掘出其背后的深度。

“天使眼”李·范·克里夫出生于新澤西，參演過(guò)53部電影以及無(wú)數(shù)電視節(jié)目，其中許多都是西部片（他的電影成名作是《正午》，片中他飾演幫派的一員）。影片中他那瞇縫的雙眼，流露出一種瘋狂的癡迷。

此三人都在尋覓內(nèi)戰(zhàn)中失落的黃金，其藏匿信息分散在三人之間（一個(gè)只知道墓地而不知道墓碑名字，另一個(gè)只知道墓碑名字而不知道墓地）。所以他們?cè)谡业綁災(zāi)怪皶?huì)相安無(wú)事，但是接下來(lái)則很可能是一場(chǎng)互相殘殺。

在其180分鐘的修復(fù)版中，情節(jié)并不復(fù)雜，但是這并不是說(shuō)萊翁內(nèi)缺少構(gòu)思。它有涉及多人的室外槍?xiě)?zhàn)戲。有串通好的騙局，伊斯特伍德將瓦拉赫飾演的通緝犯上交以賺取賞金，在后者快要被絞死的千鈞一發(fā)之際，伊斯特伍德用他精湛的槍法擊斷了繩子。有一組宏偉的沙漠鏡頭，期間伊斯特伍德將瓦拉赫一個(gè)人拋棄在沙漠中，然后瓦拉赫又對(duì)伊斯特伍德做了同樣的事情，太陽(yáng)像《貪婪》里的一個(gè)場(chǎng)景那樣燃燒著。還有一輛失控的幽靈貨車(chē)，里面裝滿了死人。

此外，令人驚喜的是影片有一組極具野心的內(nèi)戰(zhàn)鏡頭，堪稱(chēng)戲中戲，以一位聯(lián)邦軍的中尉（阿爾多·久弗瑞飾）為著眼點(diǎn)，帶起整個(gè)戰(zhàn)爭(zhēng)場(chǎng)面的刻畫(huà)，此人關(guān)于自己的酗酒頗有一番說(shuō)辭：戰(zhàn)斗前不喝酒的指揮官不是好指揮官，喝酒贏得勝利。他的臨終遺言則是：“你能讓我多活一會(huì)兒?jiǎn)?？我想?tīng)到好消息?！?/p>

賽爾喬·萊翁內(nèi)（1929-1989）是一位頗有遠(yuǎn)見(jiàn)和雄心的導(dǎo)演，雖則他也善于經(jīng)營(yíng)自己，正如他一手創(chuàng)造了“通心粉式西部片”。格倫·埃里克森寫(xiě)了關(guān)于三部曲的文章（載于www.DVDtalk.com），提到萊翁內(nèi)喜歡夸大自己的履歷，比如他宣稱(chēng)自己是羅伯特·奧爾德里奇《天火焚城錄》（1962）一片的助理導(dǎo)演，而事實(shí)上他只呆了一天即被解雇。萊翁內(nèi)在1961年制作了一部已遭遺忘的羅馬帝國(guó)史詩(shī)片，同年緊接著又根據(jù)黑澤明的《用心棒》翻拍了《荒野大鏢客》，如此看來(lái)格斯·范·桑特對(duì)《驚魂記》的逐幀翻拍（《98驚魂記》）早有先例。

作為一位雄心勃勃的導(dǎo)演，萊翁內(nèi)拍出了兩部無(wú)可置疑的杰作——《西部往事》（1968）和《美國(guó)往事》（1984）。在其生涯暮年，好萊塢因擔(dān)心他的影片過(guò)長(zhǎng)，竟犯罪般地將《美國(guó)往事》從227分鐘刪減到139分鐘。《黃金三鏢客》也被刪減了19分鐘。不過(guò)所幸他的未刪減版影片都以DVD的形式保存了下來(lái)，而時(shí)間證明了他有多么出色。

原文：

A vast empty Western landscape. The camera pans across it. Then the shot slides onto a sunburned, desperate face. The long shot has become a closeup without a cut, revealing that the landscape was not empty but occupied by a desperado very close to us.

In these opening frames, Sergio Leone established a rule that he follows throughout "The Good, the Bad and the Ugly." The rule is that the ability to see is limited by the sides of the frame. At important moments in the film, what the camera cannot see, the characters cannot see, and that gives Leone the freedom to surprise us with entrances that cannot be explained by the practical geography of his shots.

There is a moment, for example, when men do not notice a vast encampment of the Union Army until they stumble upon it. And a moment in a cemetery when a man materializes out of thin air even though he should have been visible for a mile. And the way men walk down a street in full view and nobody is able to shoot them, maybe because they are not in the same frame with them.

Leone cares not at all about the practical or the plausible, and builds his great film on the rubbish of Western movie cliches, using style to elevate dreck into art. When the movie opened in America in late 1967, not long after its predecessors "A Fistful of Dollars" (1964) and "For a Few Dollars More" (1965), audiences knew they liked it, but did they know why?

I saw it sitting in the front row of the balcony of the Oriental Theatre, whose vast wide screen was ideal for Leone's operatic compositions. I responded strongly, but had been a movie critic less than a year, and did not always have the wisdom to value instinct over prudence. Looking up my old review, I see I described a four-star movie but only gave it three stars, perhaps because it was a "spaghetti Western" and so could not be art.

But art it is, summoned out of the imagination of Leone and painted on the wide screen so vividly that we forget what marginal productions these films were--that Clint Eastwood was a Hollywood reject, that budgetary restraints ($200,000 for "Fistful") caused gaping continuity errors, that there wasn't a lot of dialogue because it was easier to shoot silent and fill the soundtrack with music and effects. There was even a pathetic attempt to make the films seem more American; I learn from the critic Glenn Erickson that Leone was credited as "Bob Robertson" in the early prints of "Fistful," and composer Ennio Morricone, whose lonely, mournful scores are inseparable from the films, was "Dan Savio." Even Eastwood's character, the famous Man With No Name, was an invention of the publicists; he was called Joe in the first movie, Manco in the second, and Blondie in the third.

Perhaps it is the subtly foreign flavor of the spaghetti trilogy, and especially the masterpiece "The Good, the Bad and the Ugly," that suggests the films come from a different universe than traditional Westerns. Instead of tame Hollywood extras from central casting, we get locals who must have been hired near the Spanish locations--men who look long-weathered by work and the sun. Consider the legless beggar who uses his arms to propel himself into a saloon, shouting, "Hand me down a whiskey!"

John Ford made Monument Valley the home turf of his Western characters, and he made great films there, but there is something new and strange about Leone's menacing Spanish vistas. We haven't seen these deserts before. John Wayne has never been here. Leone's stories are a heightened dream in which everything is bigger, starker, more brutal, more dramatic, than life.

Leone tells the story more with pictures than words. Examine the masterful scene in the cemetery. A fortune in gold is said to be buried in one of the graves, and three men have assembled, all hoping to get it. The actors are Clint Eastwood (the Good), Lee Van Cleef (the Bad), and Eli Wallach (the Ugly). Each man points a pistol at the other. If one shoots, they all shoot, and all die. Unless two decide to shoot the third man before he can shoot either one of them. But which two, and which third?

Leone draws this scene out beyond all reason, beginning in long shot and working in to closeups of firearms, faces, eyes, and lots of sweat and flies. He seems to be testing himself, to see how long he can maintain the suspense. Or is it even suspense, really? It may be entirely an exercise in style, a deliberate manipulation by the director, intended to draw attention to itself. If you savor the boldness with which Leone flirts with parody, you understand his method. This is not a story, but a celebration of bold gestures.

Eastwood, 34 when he first worked with Leone, already carried unquestioned authority. Much is made of the fact that he came from television, that he starred in "Rawhide," that in those days it was thought that a movie audience wouldn't pay to see an actor it could watch for free. Eastwood overcame that jinx, but not any actor could have done it--and not with any director. He says he took the roles with Leone because he wanted to make movies and Hollywood wouldn't hire him.

Yes, but Eastwood himself was to become an important director, and even then he must have sensed in Leone not just another purveyor of the Italian sword-and-sandal epics, but a man with passion. Together, Leone and Eastwood made The Man With No Name not simply bigger than a television star, but bigger than a movie star--a man who never needed to explain himself, a man whose boots and fingers and eyes were deemed important enough to fill the whole screen.

I wonder if Eastwood's character has a tenth as much dialogue as Tuco, the Eli Wallach character. The Man With No Name never talks; Tuco never stops. This is one of Wallach's inspired performances, as he sidesteps his character's potential to seem ridiculous, and makes him a desperate, frightened presence. When he makes a clown of himself, we sense it is Tuco's strategy, not his personality. Trained in the Method, a stage veteran, Wallach took this low-rent role seriously and made something evocative out of it.

Lee Van Cleef, as Angel Eyes, was New Jersey-born, already a veteran of 53 films and countless TV shows, many of them Westerns (his first movie credit was "High Noon," where he played a member of the gang). In a movie with a lot of narrowed eyes, he has the narrowest, and they gleam with insane obsession.

All three men are after the fortune in Civil War gold, and the secret of its location is parceled out among them (one knows the cemetery but not the grave, the other knows the name on the tombstone but not the cemetery). So they know that they will remain alive until the grave is found, and then it is likely that each of them will try to kill the others.

In a film that runs 180 minutes in its current restored version, that is not enough plot, but Leone has no shortage of other ideas. There is the opening shootout, involving unrelated characters. There is the con game in which Wallach plays a wanted man, Eastwood turns him in for the reward, and then Eastwood waits until he is about to be hanged and severs the rope with a well-aimed shot. There is the magnificent desert sequence, after Eastwood abandons Wallach in the desert, and then Wallach does the same to Eastwood, and the sun burns down like a scene from "Greed." There is the haunting runaway wagon, filled with dead and dying men.

And, surprisingly, there is an ambitious Civil War sequence, almost a film within a film, featuring a touching performance by Aldo Giuffre as a captain in the Union Army who explains his alcoholism simply: the commander who has the most booze to get his troops drunk before battle is the one who wins. His dying line: "Can you help me live a little more? I expect good news."

Sergio Leone (1929-1989) was a director of boundless vision and ambition, who invented himself almost as he invented the spaghetti Western. Erickson, whose useful essay on the trilogy is at www.DVDtalk.com, notes that Leone hyped his own career "by claiming to be the assistant director on Robert Aldrich's Italian production of 'Sodom and Gomorrah' (1962), even though he was fired after only a day." Leone made a forgotten Roman Empire epic in 1961, and then based "A Fistful of Dollars" so closely on Akira Kurosawa's samurai film "Yojimbo" that perhaps Gus Van Sant's shot-by-shot remake of "Psycho" (1998) was not the first time the technique was tried.

A man with no little ideas, Leone made two other unquestioned masterpieces, "Once Upon a Time in the West" (1968) and "Once Upon a Time in America" (1984). By the end of his career, Hollywood was suspicious of films with long running times, and criminally chopped "America" from 227 minutes to a sometimes incomprehensible 139. Nineteen minutes were cut from the first release of "The Good, the Bad and the Ugly." But uncut versions of all of his films are available on DVD, and gradually it becomes clear how good he really was.

微信公眾號(hào)：肅評(píng)

9分，一連看完了盛名已久的"荒野三部曲"。相比前兩部作品而言，這部《黃金三鏢客》無(wú)疑是萊昂內(nèi)的集大成之作，也是最優(yōu)秀和最為人所知的。

電影的劇情設(shè)計(jì)上十分工整和內(nèi)容也相當(dāng)豐富。長(zhǎng)達(dá)3個(gè)小時(shí)的時(shí)長(zhǎng)給了影片相當(dāng)充足的時(shí)間來(lái)豐富敘事。緩慢的敘事節(jié)奏，娓娓道來(lái)的人物關(guān)系和頗為寫(xiě)意的環(huán)境攝影。逐漸勾畫(huà)出一幅別樣的西部世界的圖景。影片開(kāi)頭先交代人物，三個(gè)主要人物依次登場(chǎng)，分別用一段戲來(lái)展現(xiàn)人物，初步介紹人物的同時(shí)，為接下來(lái)三者的各種交集作出鋪墊，預(yù)示著一段錯(cuò)綜復(fù)雜的故事的來(lái)臨。三個(gè)人物代表影片的三條敘事線，雖然中間有些相交和分離，但是大體上是隨著情節(jié)的發(fā)展，逐漸交匯成二條，最后三個(gè)主要人物相遇，敘事線也合并成為一條，并引導(dǎo)向最終的結(jié)局。三個(gè)主要人物的行為邏輯十分清晰，人物塑造上更是脫離了臉譜化。在用字幕粗暴地對(duì)人物進(jìn)行了"惡人，好人，丑人"的標(biāo)記之后，又通過(guò)情節(jié)進(jìn)行了更深入的刻畫(huà)。

惡人在北方戰(zhàn)俘營(yíng)中種種惡劣行跡，丑人與他哥哥在醫(yī)療所的相遇還有對(duì)于好人豐富的細(xì)節(jié)展現(xiàn)。這些都十分有助于加強(qiáng)人物的真實(shí)感和厚重感，能夠使人更加信服和加深印象。劇情上各種轉(zhuǎn)折不斷，人物間的勾心斗角也是頻頻出現(xiàn)，基本上都較為合理和順暢，沒(méi)有太大的硬傷出現(xiàn)。

影片將南北戰(zhàn)爭(zhēng)巧妙地融入到了故事之中，成為了影片最重要的歷史背景。聯(lián)系起影片上映的六十年代，美國(guó)正處于越戰(zhàn)的泥潭之中，國(guó)內(nèi)社會(huì)動(dòng)蕩，各種思潮和運(yùn)動(dòng)不斷出現(xiàn)，搖滾樂(lè)的興盛，嬉皮士文化的出現(xiàn)和反戰(zhàn)思潮的流行。萊昂內(nèi)在影片中所描繪的南北戰(zhàn)爭(zhēng)，強(qiáng)調(diào)對(duì)戰(zhàn)爭(zhēng)殘酷性和荒誕性的刻畫(huà)，無(wú)疑是受到了當(dāng)時(shí)反戰(zhàn)思潮的影響，亦或是借此來(lái)表達(dá)對(duì)彼時(shí)美國(guó)社會(huì)的一種反思和憂慮。當(dāng)然，影片還暗示了美國(guó)西進(jìn)運(yùn)動(dòng)以來(lái)拓荒時(shí)代的結(jié)束。南北戰(zhàn)爭(zhēng)的背后是北方先進(jìn)的工業(yè)文明對(duì)南部傳統(tǒng)農(nóng)奴制經(jīng)濟(jì)的沖擊與顛覆，而林肯所代表的北方資本家的勝利也就預(yù)示著一個(gè)嶄新時(shí)代的來(lái)臨。這點(diǎn)早在萊昂內(nèi)的第二部《黃昏雙鏢客》中就已經(jīng)有所體現(xiàn)，火車(chē)的出現(xiàn)就是對(duì)原始的西部世界最大的沖擊。西部牛仔本來(lái)就是存在于特定時(shí)期的產(chǎn)物，只出現(xiàn)在缺乏法律約束和經(jīng)濟(jì)蕭條的荒涼之地。但這些必要條件都會(huì)隨著現(xiàn)代文明的來(lái)臨而逐漸消弭，那么依附于這些環(huán)境而存在的牛仔們也必然會(huì)隨之消失。牛仔們會(huì)成為歷史，而他們所創(chuàng)造的輝煌會(huì)成為時(shí)代的挽歌。

在這部影片中，萊昂內(nèi)延續(xù)了他在前兩部中一以貫之的強(qiáng)烈風(fēng)格，并且經(jīng)過(guò)前兩部的鍛煉，將其在這部電影中表現(xiàn)得更為突出和完美。這點(diǎn)在影片有兩段戲表現(xiàn)得極為明顯。第一場(chǎng)是在丑人初次來(lái)到墓地，鏡頭一開(kāi)始對(duì)著地面，然后隨著人物的起身鏡頭上搖并且拉遠(yuǎn)，呈現(xiàn)出遠(yuǎn)處密布的墳?zāi)咕跋?，配?lè)也隨之響起。之后，隨著人物的移動(dòng)，鏡頭不斷水平橫移，并且逐漸加快，直至背景完全模糊，配樂(lè)的節(jié)奏和響度也于畫(huà)面相呼應(yīng),極具沖擊力和表現(xiàn)力，十分震撼。

開(kāi)闊的墓地

橫移鏡頭

第二場(chǎng)戲，就是影片結(jié)尾那段堪稱(chēng)教科書(shū)式的三人對(duì)峙。那段對(duì)峙長(zhǎng)達(dá)數(shù)分鐘，并沒(méi)有一句臺(tái)詞出現(xiàn)，完全憑借剪輯和配樂(lè)來(lái)營(yíng)造緊張感。先是用多個(gè)位置的遠(yuǎn)景來(lái)拍攝人物，再用一個(gè)大遠(yuǎn)景來(lái)呈現(xiàn)人物的位置關(guān)系，之后便是在靜止位置中，通過(guò)剪輯對(duì)三個(gè)人物的不斷表現(xiàn)，隨著時(shí)間的推移，先是用中景呈現(xiàn)人物，再是近景，再是臉部特寫(xiě)，最后是雙眼的大特寫(xiě)，中間穿插著手部的特寫(xiě)和過(guò)肩鏡頭。景別不斷縮小，剪輯的速度也不斷加快，再配以莫里康內(nèi)天才般的配樂(lè)，緊張感得以持續(xù)疊加，并最終得到釋放，張力十足。

遠(yuǎn)景

中景

近景

臉部特寫(xiě)

雙眼大特寫(xiě)

論及史詩(shī)，人們普遍認(rèn)為是那些鴻篇巨制，不外乎大場(chǎng)面，大制作和宏大敘事，但實(shí)則遠(yuǎn)不止于此。私以為，這些因素固然重要，但也不絕不應(yīng)就局限于此。一段完整的故事，立體豐富的人物和扣人心弦的情節(jié)等，這些才是能夠真正串聯(lián)其這樣因素，并且將之組合成一部?jī)?yōu)秀電影的關(guān)鍵點(diǎn)。基于以上敘述，個(gè)人感覺(jué)這樣一部具備強(qiáng)烈導(dǎo)演風(fēng)格和作者表達(dá)，完成度頗高，又有著深刻內(nèi)涵的電影，堪稱(chēng)為一部"西部史詩(shī)"。

最近三天看完了《黃金三鏢客》《荒野大鏢客》《黃昏雙鏢客》"美刀三部曲".當(dāng)然,看的順序是312,沒(méi)辦法,誰(shuí)讓最后一部名氣最大呢. 看完之后,驚呼過(guò)癮,這么酣暢流離的電影是好久沒(méi)有見(jiàn)到了,現(xiàn)在那些都愛(ài)裝深沉,不愛(ài)好好的講故事,看的我是經(jīng)常分神睡去.三部片子看下來(lái),有了很多的想法,總結(jié)一番. 1演員克林特伊斯特伍德真帥,最初認(rèn)識(shí)他的時(shí)候,還覺(jué)得他是一個(gè)挺有型的老頭而已.看了這三部電影,我被他迷住了,那個(gè)眼神,那個(gè)嘴角,那個(gè)微笑, 叼著個(gè)雪茄,真他媽的型男.還有那個(gè)墨西哥方格的斗篷,真是帥氣.還別說(shuō),瞇著眼睛一笑,跟貝克漢姆還是挺像的.當(dāng)然了,按照輩分來(lái),小貝要叫他大叔了. 不過(guò),都是一個(gè)帥哥系統(tǒng)的. 第二三部里面的里夫.三角眼睛,一看就知道是個(gè)陰鷙的人,當(dāng)好人的時(shí)候是個(gè)心機(jī)很重的人;當(dāng)壞人的時(shí)候,就是個(gè)心機(jī)更重的人了.不茍言笑,咪咪眼睛就放了電.而且,穿起衣服來(lái)時(shí)一絲不茍,衣服是整整齊齊,配件是妥妥當(dāng)當(dāng),那像是個(gè)刀口舔血的人,明明是個(gè)富家子弟呀.讓這個(gè)任務(wù)別有了一番滋味. 那個(gè)ugly是個(gè)丑角.但是表?yè)P(yáng)同樣不遑多讓.雖然不會(huì)讓人覺(jué)得他有多大的魅力,可是他的喜感,卻總是讓人一遍遍的回放看他,不由得喜歡上他.最后一場(chǎng)決戰(zhàn),別人都是瞇眼睛,就他反而把眼睛睜得大大的.笑死我了. 2配樂(lè).最好的是第二部,克林特策馬的那一段,口哨聲一響起,我也想策馬揚(yáng)鞭,離開(kāi)城市森林,到一馬平川的荒野去奔向遙遠(yuǎn)的天際線.猛然間,我也有了飆車(chē)的沖動(dòng),血液一下子熱了起來(lái).馬達(dá)的轟鳴聲,就是現(xiàn)代社會(huì)的馬匹的嘶鳴吧.看來(lái),不論人們?cè)趺催M(jìn)化,雄性荷爾蒙都是不會(huì)改變的. 每到?jīng)Q戰(zhàn)的時(shí)候,音樂(lè)也會(huì)想起,烘托了氣氛.頗有雄壯的感覺(jué),而且很輕松,沒(méi)有讓人踹不過(guò)氣.這就很好的放松了畫(huà)面緊張帶來(lái)的壓迫感,相得益彰.不愧是大師. 3劇情.從題目也能看出來(lái).三部是一部比一部的鏢客多,時(shí)間也是越來(lái)越多.當(dāng)然了,劇情的層次也是越來(lái)越厚重.第一二部應(yīng)該說(shuō)差別還不是很大,從名字上就能看出來(lái).一個(gè)是"為了幾塊錢(qián)",另一個(gè)是"多為了幾塊錢(qián)".都是正義俠士鋤奸的故事.到了第三部,就一下子變了.改成了對(duì)寶藏的尋找.一下子就突破了好與壞,正義邪惡之間的區(qū)別.雖然有個(gè)人的名字是"bad"可是其實(shí)也談不上邪惡,最多是比較狠.這讓第三部的可看性一下子上來(lái)了.因?yàn)槟茏屓梭w會(huì)的東西多了.其中幫助南方軍隊(duì)炸橋的那一段尤其讓人感動(dòng).深刻的批判了戰(zhàn)爭(zhēng)的荒謬性.在算是娛樂(lè)片中加上這種元素,一下子擴(kuò)展了這部片子的內(nèi)涵,讓人大呼痛快之余還可以深深思考. 雖然第三部是集大成之作,看上去也更過(guò)癮.但我還是對(duì)于前兩部那種一人一槍一馬那種獨(dú)行俠的設(shè)定更偏愛(ài).為什么呢,這和我國(guó)古代的勞動(dòng)人民深深的陶醉在一個(gè)有一個(gè)的清官戲的道理是一樣的.雖然有了修腳刀,可是有了駁殼槍,不就是更安全了么.沒(méi)有正義與法治,我們只有寄希望于超于制度的純粹正義化身的存在了.雖然我知道這根本是無(wú)政府的不理性想法,可是你讓我跟誰(shuí)理性呢? 4決戰(zhàn).看這些電影很大程度上就是為了最后的決戰(zhàn).因?yàn)橐徊勘纫徊繀⑴c人數(shù)的增多,看上去也是越來(lái)越爽.到了第三部三p,我簡(jiǎn)直難以控制內(nèi)心的澎湃之情.也想拿一把槍上去跟他們pk.這三部片的決戰(zhàn)都有一個(gè)特點(diǎn),就是醞釀久出招快.就是把時(shí)間用在了前戲上,到了真正發(fā)射才一下.當(dāng)然了,這在床笫之間當(dāng)然是不好的,但是拍成電影就好看得很.第三部的三p決戰(zhàn),醞釀了七分鐘.從三個(gè)人的穿著配置眼神動(dòng)作無(wú)不捕捉到.而且鏡頭的切換時(shí)加速的,氣氛就慢慢的熱了起來(lái).淡了槍響的一下,高潮戛然而止.爽.一點(diǎn)不拖泥帶水,藕斷絲連.這個(gè)就很像日本的劍俠片,雖然那個(gè)不能一刀斃命,像這樣一下子解決戰(zhàn)斗.但是在動(dòng)的之前,都是會(huì)有靜的醞釀.而且,拔槍也跟拔刀有的一拼.都是一瞬間的高潮,讓人回味.也有點(diǎn)事古龍筆下的決斗. 相較之下,武俠片功夫片往往就一味求快,雖然很爽.但是對(duì)于氣氛的烘托不夠,是讓眼睛high而已.有點(diǎn)像美式恐怖和日式恐怖的區(qū)別. 5總結(jié).這三部片子是任何人都不應(yīng)該錯(cuò)過(guò)的,尤其是雄性激素分泌正常的男性所不應(yīng)該錯(cuò)過(guò)的. 以上 版權(quán)聲明：轉(zhuǎn)載時(shí)請(qǐng)以超鏈接形式標(biāo)明文章原始出處和作者信息及本聲明 http://tin1016.blogbus.com/logs/40952138.html