實際上也是一個新型的社會流行的體現(xiàn):人們漸漸認識女權(quán)主義,一個時代里的新潮。我能理解媽媽,她智慧,但不想給兒子灌輸女權(quán)思想,overthinking有時會毒害一個人享受生活的能力,女權(quán)主義也有屬于它的虛偽。而且她也代表來自“舊時代”面對“新思想”的碰撞與磨合,不管接受與否,anything always changing! 20世紀的人們縱情玩樂,是對空虛的抵抗,但在party里只更顯得孤獨,過度依賴于外在刺激,用物質(zhì)填滿自己。這也是消費主義時代下的影響,個人對心靈空虛的找尋。感覺這個電影里值得探尋的還有很多,很棒的電影??!
(電影一半有感寫下這段感悟,在電影臨近結(jié)束時被劇中角色從口中說出,這種感覺好棒??!有種和作者有心靈的connection的感覺?。?/p>
二十世紀的女性,更多機會,自由,不確定性。到底什么shape我們?不知道!
I think I’m still finding something! Maybe love, maybe myself! Maybe the finding will through my whole life never been ended, just like the mom did! No matter what, I’m alive!
20世紀女人
這是一部給過去的獻禮。
整部電影都是在自述和敘述別人中進行,母親描述兒子,兒子描述朱莉……大量對白建立起旁觀者第三視野的感覺。
母親
母親作為房東,是聯(lián)系起整個故事的紐帶。母親的角色也是二十世紀末期大多數(shù)中年人的縮影。他們僥幸沒經(jīng)歷二戰(zhàn),但從貧困廢墟下成長,渴望開拓與前進,年輕時也曾追逐潮流,但面對自1960年代末開始盛行的反戰(zhàn)、同性、搖滾朋克這一系列新勢力力不從心,甚至大多數(shù)持抵制態(tài)度。1979年,母親55歲,年輕的她抽煙是為了追逐潮流,而當她面對兒子因為“dumb”/“stupid”不負責的把戲差點送命時,激烈的反對。兒子的理由是“follow others”,母親卻說你應該有自己的意識,知道什么是明智的。就像所有的家長一樣,他們對著鏡子只能看見成年的自己,卻看不見年歲的軌跡,他們用經(jīng)驗教訓孩子,卻忘了年輕時候自己一樣不負責。
這個開篇細小的矛盾其實已經(jīng)寫明了母親這個角色所具有的矛盾性:自身限于歲月的經(jīng)驗歷練,但內(nèi)心深處保有對新潮的追逐。
就像母親突然提議一起去酒吧玩,但杯盞過后,依然能冷靜的對威廉說,你要對你的吻負責,你不認真愛一個人為何要和她上床?
母親這個形象,比起生活中的大多數(shù)家長,是積極的。她努力去了解兒子,在Talking Heads和Black Flag里機械的搖頭晃腦,她知道對兒子擅自離家看演出最好的回應是說:下次再這樣,要提前告訴我,這樣我就不會多做晚飯了。很智慧的理由,不輕不重的責備,暗暗告誡兒子你不僅是個個人,也要對家庭負責。
除了內(nèi)在的矛盾,母親的外在形象也是矛盾的,孤僻寂寞但對人有信任。在時代背景(卡特發(fā)布信任危機講話)下,母親在片頭就會邀請救火的消防隊員來家吃飯,但在兒子的敘事中,母親是孤獨的,找不到愛的。因為她不溝通,不主動尋求需要。
最終母親沒有活到千禧年,但母親最終找到了伴侶陪她直至死去。像是上一代的人,最后妥協(xié),然而還是無法抑制時代的腳步。
Jamie,Abbie and Julie
這三個角色互相影響,混合成時代的縮影。Abbie是新一代的嬉皮士,穿闊腿褲與印著Lou Reed的襯衫,染著紅頭發(fā),看起來瀟灑,但內(nèi)心脆弱敏感。她相信女權(quán),會在飯桌上公然討論月經(jīng)。但她也相信婚姻與家庭,就算養(yǎng)的鳥也是一夫一妻。她聽搖滾,是男孩審美和性意識的啟蒙,代表了時代的前鋒,充滿希望但又迷茫。Julie是男孩的感情世界,雖然她不希望成為男孩的母親,但她某種意義上是這樣的存在。她教男孩抽煙,帶他真正意識到愛,性與青春。
除了時代縮影以外,Abbie與Julie的設定是很奇妙的存在。她們既因為母親的囑托,富有引領(lǐng)Jamie成長的責任,這使她們或多或少有了家長式的代入。另一方面,她們因為理解Jamie,也是他的一部分。所以當母親責問Abbie不應該教男孩女權(quán),母親發(fā)現(xiàn)Julie與男孩同眠的車內(nèi)對話時,其實是母親與作為男孩一部分的角色的對話。
Julie和Abbie的存在使兩個時代理解與交融。
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看這部片子,尤其是三個女主的設定,總是讓我想起《時時刻刻》。雖然《時時刻刻》是更加意識流,精神層面的世代交替,是這部電影無法比的。但是這部電影總有或多或少時時刻刻的影子,導演的構(gòu)圖野心也是很大,影片里涵蓋了阿甘正傳式的歷史插入,也有各種經(jīng)典曲調(diào)與名作截取。
影片有很多閃光的細節(jié),比如母親與男孩的關(guān)系,最喜歡一句臺詞,母親對Abbie說“You get to see him out in the world as a person. I never will.” 一句話講出了母親這個身份的限制與愛。但總體來講,影片過于瑣碎,還達不到時時刻刻這樣成功的等級。
一些臺詞:
Don't need a man to raise a man?
You never tell me what you are going to do. You just do it.
Sex is a commitment. Once you are there, you can't go back to holding hands.
Of all the misconceptions about love, the most powerful and persuasive is the belief that falling in love is love.
Women's sexuality, defined by men to benefit men, has been downgraded and perverted, repressed and channeled.
Next time, a dude tells you a sex story. You just have to agree with everything he says and acts like it's right. Even if it's not, because they don't wanna be contradicted. They just wanna to live in their fantasy land.
Whatever you think your life is going to be like, just know, it's not going to be anything like that.
You get to see him out in the world as a person. I never will.
So you think you know me better because you read that.
Pretty music is used to cover up how unfair and corrupt society is.
It's like they have got all these feelings. And they don't have any skills and they don't need any skills, because it's really interesting. What happens when your passion is bigger than the tools that you have to deal with it. It creates this energy. This rock. Is this great?
時代是所有人的時代,個人只是洪流里的微小構(gòu)成,這一刻,歐亞大陸的一邊在腥風血雨,我在另一邊吃穿住行悉如往常;可時代留在每個人身上的印記又太深刻了,沒有疫情的日子像是一場回不去的夢,戰(zhàn)爭的延宕與埋在鄰里的結(jié)盟危機也告誡著自己對出國與否的未來規(guī)劃要未雨綢繆,畢竟,時代是所有人的時代,是我無法因為悲劇會產(chǎn)生就可以任性逃走的時代。
12:49 "you know having your heart broken is a tremendous way to learn about the world."
13:02 “Do you think you‘re happy?Like...as happy as you thought you'd be when you were at my age.” ——"Seriously? you don't ask people question like that." ——"You're my mom." ——"Hahahah... Especially your mom. Look, wondering if you're happy is a great shortcut to just being depressed."
14:23 "Pretty music is used to hide how unfair and corrupt society is." ——"Ok,so they are not very good. And they know that, right?" ——"It's like that they got all the feelings. And they don't have any skill. And they don't want skill because it's interesting. What happens when your passion is bigger than the tools you have to deal with it? It creates this energy. This, this...this is rock. Isn't great?"
17:44 "I mean everyone is doing it." ——"So you just went along with it." ——"It looked fun." ——"That's just dumb. Why would you do something so stupid? Just following along?"
18:20 "You scared the hell out of me. Why did you hurt yourself like that?" ——"Why do you smoke yourself to death?" ——”Why are you fine being sad and alone?“
19:40 "I think history has been tough on men. I mean that they can't be what they were. And they can't figure out what's next." ——"What're we talking about?" ——”Men?" ——”I think history and men. I mean who're your heros nowadays? A brunch of privileged drug addicts?"
24:58 ”I think that Jamie's energy is very... unstable“ ——”Well, you're right. Then there's an energy crisis, maybe that plays into someway.“
36:26 "Of all the misconception of love, the most powerful and persuasive is the bielf that falling in love is love. Or at least one of the manifestion of love. Love is supposed to be a feeling that you feel. People say they're falling in love but they're not actually falling in love. It's a fake connection that you feel with someone. And marriage should never happen."少有人走的路
42:28 "You will get through this. You will do it. This is the really hard part. And then what happens is there is hard part and then it gets better, and then it gets hard again, but never mind. ”
47:32 "This is just my opinion. I think being strong is the most important quality. It's not being vulnerable. It's not being sensitive. It's not even...Honestly, it's not even being happy. It's about strength. And your durability against the other emotions."
48:27 “There are bunch of things, that I think my life would have been better if they were have been around when I was a teenager. So I'm hoping, that if you listen to them ,now, you will be happier and more realized person than I could ever hope to be.“
54:00 "My mother called it compartmentalization. Apparently, I do it a lot."
1:08:44 "How are you dealing with everything?” ——"Whatever you think your life going to be like, just konw, it's going to be anything like that."
1:24:04 I am gregarious and interested in others and I think intelligence. All I ask is to get to konw people and to have them interested in konwing me. I doubt whether I would marry again and live that close to another individual. But I remain invisible. Don't pretent for a minute, as you look at me that I am not as live as you are and I do not suffer from the category to which you are forcing me.
1:27:46 “There is a growing disrespect for government. The schools, the news media, and all the institutions. This is not a message of happiness or reassurance. But it is the truth and it is a warning. It is a crisis of confidence. What we can see in the crisis in the growing doubt of the meaning of our own lives and in the loss of unity and purpose for our nation. Too many of us now tend to worship, self indulgence and consumption. But we have discovered that owning things and consuming things does not satisfy our longing for meaning. We are always believe that we are a part of great movement, of humanity itself , involved for the sesearch for freedom. We are at a turning point of our history, the path leads to fragmentation and self-interest, down that road lies a mistaken idea of freedom. It is a certain route to failure.”1975.7.15 吉米卡特 信任危機演講
1:46:02 "Were you and dad ever in love?" ——"Sure... or maybe I was just I thought it is supposed to be in love. Or I was scared I'd never be in love. So I just pick the best solution at that time."
不得不說媽媽還挺酷的,上飛行學校,買IBM、Xerox、GM的股票,科技先鋒本鋒。
女主角劇中媽媽、女人角色的人生選擇、態(tài)度本身就非常棒。演員更是我喜歡的那種美。很喜歡這種可以接受自然衰老,不畏懼皺紋的強大女性。
我媽媽也是二十世紀女人。而我永遠只能看到作為母親的她,看不到作為女人的她。
How lucky Jimmy had such a cool mom!
即使她見過大風大浪,她并沒有世間一切的答案,她只是接受了很多事情沒有答案的現(xiàn)實;她不愿承認自己不開心,她不愿承認自己孤獨,是因為開心和陪伴固然好,但沒有的話,就也還好呀。有幾場戲的對話寫得不太好,大部分都很棒。喜歡A24的經(jīng)典片頭特效配在片中,有種特殊的疏離感。
這部外表清新獨立的文藝片,有著一顆火熱的內(nèi)心。它小巧的格局委婉的述說著兩男三女間的小情小愛和小愁小怨,它是時代變遷下不同年齡群體間關(guān)系沖突與變化的生動肖像,也是一首送給80年代女性的懷舊小情歌。
所有的光芒都向我涌來。
基本上是女主的電影。Gerwig和Fanning有點被type cast的感覺。
menstruation
比較失望,故事很散,有一些細節(jié)比較可愛但也連不起來。又是一部披著“女性電影”的外衣的電影,其實本質(zhì)還是一個男孩成長加母子關(guān)系修復的故事,大概這個話題真的很好賣吧。女權(quán)這個概念反復出現(xiàn),對電影里的角色意味著什么我不知道,大概它就像是晚餐的一道甜品吧。貝寧演得不錯。
片名無比宏大,但Mike Mills僅憑極小的故事格局就四兩撥千斤折射出了時代的洪荒感,而那種成長和生活中最難以捕捉的情緒也都在細膩筆觸下被生動地描繪了出來,真的讓我想起看Boyhood時那種被平凡中史詩感淹沒的感受。沒想到是頒獎季最愛的一部。
抽煙,跳舞,聚會,戀愛,爭吵,時間是溪,也是母親的手,漫過青春期那些短的沉默與長的無意義。在女性環(huán)繞下成長起來的男孩子,難免帶上些女性的特質(zhì),觀察世界的方式,或者與人群的交際,提出與思考的問題,都是母親與女孩子們賦予的贈禮。
生活本身就不可預測,這也是碎片式敘述的《二十世紀女人》最迷人的地方。還說不懂女人,或許看完這一部,你會發(fā)現(xiàn),你離這個神奇的物種更近了一步......
結(jié)局還算圓滿,可最后的旁白道盡了時代的遠去,還是讓這個故事變得傷感起來,故事里蘊藏著一些小幽默在其中,而且難得的是這些幽默既不裝也不做作,很自然的隨著對話流露出來,看著還是挺舒服的,不至于那么沉悶,可惜感觸不是太深。特別喜歡格蕾塔·葛韋格那個角色的人設,她自己也演得非常的出色。
美獨陳套孤僻少年vs美好女孩之feel-good小鎮(zhèn)成長故事的加強版(變成媽媽、女房客姐姐、床伴女孩之間)。延續(xù)《新手人生》剪接策略,大時代下的邊緣小人物,點綴貌似宏觀的時代指涉(70s末雷根上任前,基進喧嘩的晚響)。媽媽特別可愛,企圖新潮的老派衣著(?),Annette Bening。母子是唯二有旁白的。
可以說是非常 art fag 了
風格不錯,貝寧阿姨也確實演的好,鮮明的時代特征,但格局不大
變革的洪流朝你身上轟轟碾過,你的影子輕輕搖晃。未來會更好,因為時代進步了,因為你老了。
如此知性的電影,知性的劇作,知性的表演。人活著除了溫飽茍且瑣事外,還有精神靈魂。影片展示、探討的種種,離我們似乎很遠,又很近。是個小品,卻讓人思索。
所謂洪荒感正如William所說,那一連串看似空洞的物件照片被排列在一起,突然就讓人傷感起來,好像所有難以言明的失落都頃刻有了歸屬。普通的成長故事在已成歷史的年代中開場,波瀾不驚地向著早已寫好的結(jié)局演進了一步——Mike Mills在富文本層面上全面進化,人物豐滿得讓人失語。
被科普了一個名字,20世紀女人,劇本原創(chuàng)性毋庸置疑,旁白偶爾讓人想到《美國麗人》,全知視角加群戲的路子是個聰明的做法,只是最終做成了女權(quán)主義少年養(yǎng)成記,就像是擺了很多時代感的論據(jù),論文最終說了件流俗的事情,不如編劇的寫法聰明,有種眼高手低的感覺。