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故事的主角是一個沉默的獨行殺手（Isaach De Bankolé 飾），他永遠只點兩杯咖啡，在無聊的時候練習太極，不為任何誘惑所動。某日，他接受一項神秘的任務，隨后啟程前往西班牙馬德里。在這里他必須和一個又一個聯(lián)系人作單線聯(lián)系，而聯(lián)系的憑證便是紅色或綠色的火柴盒。這些聯(lián)系人中，有謹小慎微但熱愛音樂的中年男子（路伊斯·托沙 Luis Tosar 飾），有打扮出眾鐘愛電影的白衣女子（蒂爾達·斯維頓 Tilda Swinton 飾），有醉心波希米亞文化的老人（約翰·赫特 John Hurt 飾），更有沉迷分子學的神秘東方女性（工藤夕貴 飾）。按照他們的指引，殺手一步步逼近了他的目標……
長篇影評
1 ) the limits of control
Suspicion.
Hitchcock.
Are you interested in films, by any chance?
I like really old films
You can really see what the world looked like...
... thirty, fifty, a hundred years ago
You know the clothes, the telephones, the trains...
... the way people smoked cigarettes...
... the little details of life
The best films are like dreams
You’re never sure you’ve really had
I have this image in my head
of a room full of sand
And a bird flies towards me, and dips its wing into the sand
And I honestly have no idea...
... whether this image came from a dream, or a film
Sometimes I like it in films when people just sit there,
Not saying anything
Have you seen “the lady from Shanghai,”
Orson Welles?
That one makes no sense
Rita Hayworth as a blonde
I think it’s the only film she’s ever a blonde in
It’s like a game, deception, glamour...
...a shootout with shattered mirrors
She dies in the end
Do you like Schubert, by any chance?
I love him
He died when he was thirty one years old
Something like that
2 ) 我不想談讓人頭大的隱喻有多深刻
“當我來到無法渡過的河流，
我感到再也沒人能指導我如何前進了——蘭波”
看賈木許的《控制的極限》。一部西班牙風光片+偽犯罪+偽懸疑+偽情色片，你把它當作任何一種類型片來看都會覺得索然無味。
我不想談讓人頭大的隱喻有多深刻，使命與劇情一樣毫無意義，只有那些閑扯才是生命的本質(zhì)，那些音樂、電影、科學、波西米亞、致幻劑……
我感到再也沒人能指導我如何前進了——蘭波”
看賈木許的《控制的極限》。一部西班牙風光片+偽犯罪+偽懸疑+偽情色片，你把它當作任何一種類型片來看都會覺得索然無味。
我不想談讓人頭大的隱喻有多深刻，使命與劇情一樣毫無意義，只有那些閑扯才是生命的本質(zhì)，那些音樂、電影、科學、波西米亞、致幻劑……
3 ) FILM OF THE WEEK (AND INTERVIEW
? TRIBECA '09 PODCAST: Damien Chazelle | Main | TRIBECA '09 REVIEWS: Here and There, Seven Minutes in Heaven ?
May 1, 2009
http://daily.greencine.com/archives/007443.html#more
FILM OF THE WEEK (AND INTERVIEW): The Limits of Control
Jim Jarmusch, THE LIMITS OF CONTROL Who knew that a Jim Jarmusch film could be the most divisive of the year thus far? I'm not ready to address The Limits of Control and all the knee-jerk, unconstructive naysayings I've read that don't actually engage with what the film is or how it does (or doesn't) work, at least until I see it a second time, since I was too mesmerized by the experience to take many notes. In lieu of that, I present to you the extended version of an interview I did with Jarmusch for IFC.com, the first part of which can be found here.
GREENCINE DAILY: Wong Kar-Wai once told me that when working with cinematographer Christopher Doyle, they share a largely unspoken, instinctual shorthand with one another. Was your relationship with Doyle similar?
JIM JARMUSCH: We were more the opposite, man. We talked and talked and talked incessantly. When I was preparing, he would come to New York for a week and a half at a time, maybe three times. We spent every day together for eight hours, just talking about the film, not about the film, about things we saw on the street, about photographs Chris had taken, looking at unrelated things, and listening to music. I've known Chris quite a long time, 12 or 15 years. I love just talking to him about anything. He's very quick, so sometimes he'll say things to me, philosophical things we're discussing that I don't understand what his point is, and then a few days later when I'm not with him, I'll be thinking it over and be like, "Oh! I see what he meant." I don't know if I'm just slow, or if his ideas are hard to enter sometimes.
Isaach De Bankolé, THE LIMITS OF CONTROL Speaking of music, I'm a big Boris fan, who is all over the soundtrack. I read that you had already planned to fill the film with this conceptual Japanese noise-rock while still sketching it out. What's your process of matching image to music?
When I'm writing or trying to think up an idea for a film, I hone in on music that seems to open up my imagination for that particular world in my head. That happens very early over and over, like Neil Young for Dead Man, or [for Ghost Dog,] RZA's beats and instrumental tracks on the B-sides of vinyl Wu-Tang stuff I was collecting. Or Mulatu Astatge in Broken Flowers was inspiring me, and I was like, "How the hell do I get Ethiopian music in a film about a guy in the suburbs?" So then it led me to have Jeffrey Wright's character be of Ethiopian origin. In this case, it was Boris and Sunn 0))), and that electric feedback-y soundscape stuff they make that I love so much. Those things came very early, while I was even just writing the 25-page treatment—well, it was more like a prose short story that we started from. So they were sort of in a little boat I was in, going down the river. I had them inspiring me. Then I got Earth in the movie and a lot of great stuff. I love the Black Angels, but I only used a little instrumental piece at the end of their song, "You on the Run." Anyway, those things were there very early, but the music always leads me. That's always happened.
Tilda Swinton, on the set of THE LIMITS OF CONTROLI stay abreast of new music by geeking out on music blogs, but how do you find all this cool music? Do you still go to a lot of record stores, or do friends keep you tuned in to new artists?
I'm not a Web guy because I don't have a computer, although I often ask people to look stuff up for me. I don't know, it's sort of a general antenna because I love music. You know, there are music stores that in the past I depended on a lot, like Final Vinyl, that used to be great to order things anywhere in the world that were in print, or what's his name, that little shop on Bowery just south of 8th street. Damn, I love that guy. He's always been really cool. There's Other Music, and in New Paltz, there's Rhino Records that is really run unlike any kind of Rhino chain—the guy there, Rick, is amazing. Those record stores are important, but they've been less so for me recently, maybe because I haven't stopped in very much. I always read the British music press, and I try to listen to what underground radio exists, or college-type radio. I'm just always scanning, and I've always been that way, like, music, music, music. I love to get playlists off of [Jersey City's] WFMU or WVKR in Poughkeepsie—Vassar has a good radio station. WFUV has a good morning show in New York, and there's some underground hip-hop shows on WKCR, the Columbia station. There's the beautiful Sunday morning country shows that I listen to, classic country.
I love radio, and I love finding things randomly. Like, I don't have TiVO for TV because I keep thinking, "Well, then I'll just program everything and I won't scan," and scanning is when you find things you weren't expecting. Not that TV isn't, for the most part, a big wasteland of garbage. But you do learn things if you scan around, more than if you have a programmed idea of what you're going to watch. I don't watch that much TV. I watch Turner Classic Movies, science shows and Antiques Roadshow, you know this one? I love Antiques Roadshow. I have this thing I always imagine. Okay, they think suddenly, they have some vase and it's worth $8,000, you know? I always equate it to: what kind of a used car could they buy with it? [Jarmusch makes a sad horn noise] "You can buy a 1986 Honda Civic!" I don't know why I do that... I'm going off in stupid places.
Bill Murray, surrogate Dick Cheney No, I appreciate it. Now, I know why Bill Murray is so great in your films, but what's so great about working with him? In the press notes for this film, you mentioned that you two liked to "talk around the character."
Yeah, we like to talk about it in the past. What's really fascinating about Bill is that, since I've known him, his procedure is always evolving. When I first worked with him in Coffee and Cigarettes, he wanted to pretty much improvise everything, and he didn't want to talk about it or rehearse it. Then with Broken Flowers, no rehearsing, no specifics, but we would take long, long walks for hours at a time, and talk about things that eventually affected our idea of that character. I thought he would improvise a lot, and he said, "I want to stick close to the script." Then in this film, he said, "I want to rehearse, and I want to do the dialogue as written. I don't want to add anything." So that was even a different step. He's just an interesting work in progress. I'm always a little surprised, like, "How does he want to approach it this time?"
That's fun, and I learn a lot from Bill about a lot of things, especially human nature. His capacity to observe and feel what people are feeling, even strangers, is uncanny. I've seen him numerous times run out of his way to help somebody try to get something out of the trunk of their car, or help with their luggage at the airport, or in a restaurant, talk to someone he doesn't even know that looks sort of down. He'll go over and respond to that: "Hey, the world hasn't ended yet, what's going on?" Amazing. He's really observant with compassion, so I love to just hang out with Bill and see how he's going to react to what we encounter in the world. I learn more from that, maybe, than anything specifically about acting, preparing or filmmaking, because it's all intertwined in the end. I really liked having him play somebody with not an ounce of humor this time, which might be frustrating for people's expectations. I don't know, that's not my problem. I choose the actors I want for the best collaboration to create something, and I really liked him being nasty and condescending. Every fucking school principal or authority figure I've ever had in my life has always, at some point, said, "You just don't understand how the world really works." Hearing Bill's character say those lines for me, I don't know. I certainly heard that a lot in my life.
The Limits of Control opens today in New York and Los Angeles, then expands to more cities beginning May 8. For more information, visit the official website.
May 1, 2009
http://daily.greencine.com/archives/007443.html#more
FILM OF THE WEEK (AND INTERVIEW): The Limits of Control
Jim Jarmusch, THE LIMITS OF CONTROL Who knew that a Jim Jarmusch film could be the most divisive of the year thus far? I'm not ready to address The Limits of Control and all the knee-jerk, unconstructive naysayings I've read that don't actually engage with what the film is or how it does (or doesn't) work, at least until I see it a second time, since I was too mesmerized by the experience to take many notes. In lieu of that, I present to you the extended version of an interview I did with Jarmusch for IFC.com, the first part of which can be found here.
GREENCINE DAILY: Wong Kar-Wai once told me that when working with cinematographer Christopher Doyle, they share a largely unspoken, instinctual shorthand with one another. Was your relationship with Doyle similar?
JIM JARMUSCH: We were more the opposite, man. We talked and talked and talked incessantly. When I was preparing, he would come to New York for a week and a half at a time, maybe three times. We spent every day together for eight hours, just talking about the film, not about the film, about things we saw on the street, about photographs Chris had taken, looking at unrelated things, and listening to music. I've known Chris quite a long time, 12 or 15 years. I love just talking to him about anything. He's very quick, so sometimes he'll say things to me, philosophical things we're discussing that I don't understand what his point is, and then a few days later when I'm not with him, I'll be thinking it over and be like, "Oh! I see what he meant." I don't know if I'm just slow, or if his ideas are hard to enter sometimes.
Isaach De Bankolé, THE LIMITS OF CONTROL Speaking of music, I'm a big Boris fan, who is all over the soundtrack. I read that you had already planned to fill the film with this conceptual Japanese noise-rock while still sketching it out. What's your process of matching image to music?
When I'm writing or trying to think up an idea for a film, I hone in on music that seems to open up my imagination for that particular world in my head. That happens very early over and over, like Neil Young for Dead Man, or [for Ghost Dog,] RZA's beats and instrumental tracks on the B-sides of vinyl Wu-Tang stuff I was collecting. Or Mulatu Astatge in Broken Flowers was inspiring me, and I was like, "How the hell do I get Ethiopian music in a film about a guy in the suburbs?" So then it led me to have Jeffrey Wright's character be of Ethiopian origin. In this case, it was Boris and Sunn 0))), and that electric feedback-y soundscape stuff they make that I love so much. Those things came very early, while I was even just writing the 25-page treatment—well, it was more like a prose short story that we started from. So they were sort of in a little boat I was in, going down the river. I had them inspiring me. Then I got Earth in the movie and a lot of great stuff. I love the Black Angels, but I only used a little instrumental piece at the end of their song, "You on the Run." Anyway, those things were there very early, but the music always leads me. That's always happened.
Tilda Swinton, on the set of THE LIMITS OF CONTROLI stay abreast of new music by geeking out on music blogs, but how do you find all this cool music? Do you still go to a lot of record stores, or do friends keep you tuned in to new artists?
I'm not a Web guy because I don't have a computer, although I often ask people to look stuff up for me. I don't know, it's sort of a general antenna because I love music. You know, there are music stores that in the past I depended on a lot, like Final Vinyl, that used to be great to order things anywhere in the world that were in print, or what's his name, that little shop on Bowery just south of 8th street. Damn, I love that guy. He's always been really cool. There's Other Music, and in New Paltz, there's Rhino Records that is really run unlike any kind of Rhino chain—the guy there, Rick, is amazing. Those record stores are important, but they've been less so for me recently, maybe because I haven't stopped in very much. I always read the British music press, and I try to listen to what underground radio exists, or college-type radio. I'm just always scanning, and I've always been that way, like, music, music, music. I love to get playlists off of [Jersey City's] WFMU or WVKR in Poughkeepsie—Vassar has a good radio station. WFUV has a good morning show in New York, and there's some underground hip-hop shows on WKCR, the Columbia station. There's the beautiful Sunday morning country shows that I listen to, classic country.
I love radio, and I love finding things randomly. Like, I don't have TiVO for TV because I keep thinking, "Well, then I'll just program everything and I won't scan," and scanning is when you find things you weren't expecting. Not that TV isn't, for the most part, a big wasteland of garbage. But you do learn things if you scan around, more than if you have a programmed idea of what you're going to watch. I don't watch that much TV. I watch Turner Classic Movies, science shows and Antiques Roadshow, you know this one? I love Antiques Roadshow. I have this thing I always imagine. Okay, they think suddenly, they have some vase and it's worth $8,000, you know? I always equate it to: what kind of a used car could they buy with it? [Jarmusch makes a sad horn noise] "You can buy a 1986 Honda Civic!" I don't know why I do that... I'm going off in stupid places.
Bill Murray, surrogate Dick Cheney No, I appreciate it. Now, I know why Bill Murray is so great in your films, but what's so great about working with him? In the press notes for this film, you mentioned that you two liked to "talk around the character."
Yeah, we like to talk about it in the past. What's really fascinating about Bill is that, since I've known him, his procedure is always evolving. When I first worked with him in Coffee and Cigarettes, he wanted to pretty much improvise everything, and he didn't want to talk about it or rehearse it. Then with Broken Flowers, no rehearsing, no specifics, but we would take long, long walks for hours at a time, and talk about things that eventually affected our idea of that character. I thought he would improvise a lot, and he said, "I want to stick close to the script." Then in this film, he said, "I want to rehearse, and I want to do the dialogue as written. I don't want to add anything." So that was even a different step. He's just an interesting work in progress. I'm always a little surprised, like, "How does he want to approach it this time?"
That's fun, and I learn a lot from Bill about a lot of things, especially human nature. His capacity to observe and feel what people are feeling, even strangers, is uncanny. I've seen him numerous times run out of his way to help somebody try to get something out of the trunk of their car, or help with their luggage at the airport, or in a restaurant, talk to someone he doesn't even know that looks sort of down. He'll go over and respond to that: "Hey, the world hasn't ended yet, what's going on?" Amazing. He's really observant with compassion, so I love to just hang out with Bill and see how he's going to react to what we encounter in the world. I learn more from that, maybe, than anything specifically about acting, preparing or filmmaking, because it's all intertwined in the end. I really liked having him play somebody with not an ounce of humor this time, which might be frustrating for people's expectations. I don't know, that's not my problem. I choose the actors I want for the best collaboration to create something, and I really liked him being nasty and condescending. Every fucking school principal or authority figure I've ever had in my life has always, at some point, said, "You just don't understand how the world really works." Hearing Bill's character say those lines for me, I don't know. I certainly heard that a lot in my life.
The Limits of Control opens today in New York and Los Angeles, then expands to more cities beginning May 8. For more information, visit the official website.
4 ) 不是玩過頭了
而是還沒玩夠。整個電影很簡單，講的就是藝術與現(xiàn)實的對抗。在最后藝術居然如此輕巧地戰(zhàn)勝了現(xiàn)實，既不符合實際，也顯得過于樂觀。略顯做作的是，賈木許過于死板地讓每個與主角見面的線人在見到主角之后都要說一段與藝術有關的話，這些段落一兩次尚可，越到后面越感覺別扭，有沒話找話的感覺。不禁讓人疑問，賈木許憑什么認為在這樣的情境下將話題猛地轉(zhuǎn)換到藝術并開始自說自話是很自然的呢？當然，也許他就是為了做得不自然。 然而，主角觀看彈吉他跳舞唱歌的橋段仍然值得回味。而在最后，主角在與現(xiàn)實的角力中獲勝之后，再回到藝術館，這才可以真正悠閑地觀看一幅白布做成的藝術品。這樣的場景雖然過于樂觀，但也確實讓人欣慰。
5 ) 不是虛望，便是虛無
這是一部反現(xiàn)代化的電影。黑人主人公崇尚東方的太極，不喜歡用手機，用吉他弦作為兇器，永遠住在破舊的老房子里，火柴盒是他和同伴聯(lián)絡的媒介。最后，主人公殺死了那個自詡控制了世界的冰冷而森嚴的大人物，似乎宣告了反抗力量依然存在，以及對現(xiàn)代化的質(zhì)疑。
音樂，電影，科學，和幻覺分段出現(xiàn)，被描述成一種與這個世界更本質(zhì)的聯(lián)系。主人公在漫長的蓄力，以期待最后一擊。
這是一個類似于放棄理解真實世界的可能性，并尋求虛無的想象力統(tǒng)治世界的過程。所有的對話是電影的中心，多次出現(xiàn)了被布包住的畫，生命是塵土，而世界是不可知的。只有想象力才能自我拯救。
最后，認為能控制世界固然是一種很愚蠢的思路，但認為能夠奪回這種控制權同樣的簡單粗暴，哪怕有虛無主義做武器。
從完全控制到無可控制，現(xiàn)代化只是一個犧牲品，再一次證明了我們的無知。
被虛無主義征服了的現(xiàn)代化，就是后現(xiàn)代。
音樂，電影，科學，和幻覺分段出現(xiàn)，被描述成一種與這個世界更本質(zhì)的聯(lián)系。主人公在漫長的蓄力，以期待最后一擊。
這是一個類似于放棄理解真實世界的可能性，并尋求虛無的想象力統(tǒng)治世界的過程。所有的對話是電影的中心，多次出現(xiàn)了被布包住的畫，生命是塵土，而世界是不可知的。只有想象力才能自我拯救。
最后，認為能控制世界固然是一種很愚蠢的思路，但認為能夠奪回這種控制權同樣的簡單粗暴，哪怕有虛無主義做武器。
從完全控制到無可控制，現(xiàn)代化只是一個犧牲品，再一次證明了我們的無知。
被虛無主義征服了的現(xiàn)代化，就是后現(xiàn)代。
6 ) 控制的極限便是控制內(nèi)心
一個殺手，或許根本不是殺手的一個人的一次內(nèi)心凈化之旅。音樂，電影，性欲，科學，藥品都是誘惑，而現(xiàn)實是丑惡的，最后“殺手”運用“imagination”殺死了作為“現(xiàn)實” 的黑幫老大。
看過ghost dog 的人能更加理解這個電影，從很長時間起，jarmusch開始關注內(nèi)心，ghost dog和現(xiàn)在說的‘控制的極限’都表達他對東方哲學的一種理解，即物質(zhì)是虛幻的，完成內(nèi)心的修煉就可以改變整個世界，殺手完成了內(nèi)心的修煉，脫下工作服換上輕松的運動裝完成涅槃。
所謂控制的極限，控制的極限便是控制內(nèi)心。
看過ghost dog 的人能更加理解這個電影，從很長時間起，jarmusch開始關注內(nèi)心，ghost dog和現(xiàn)在說的‘控制的極限’都表達他對東方哲學的一種理解，即物質(zhì)是虛幻的，完成內(nèi)心的修煉就可以改變整個世界，殺手完成了內(nèi)心的修煉，脫下工作服換上輕松的運動裝完成涅槃。
所謂控制的極限，控制的極限便是控制內(nèi)心。
And I suppose you believe that by eliminating me, you will eliminate control over some fucking artificial reality. 不是謀殺的殺手，用琴弦誅殺號稱音樂與電影等藝術為毒藥的“政客”？用綠色的火柴和雙份濃縮咖啡來表達極簡而繁復的鏡頭語言。
我覺得副題可以叫做 文藝青年意淫記 現(xiàn)實中的主角肯定是一白人、以為自己很文藝，老去798看畫，迷戀中國功夫?qū)崉t手無縛雞之力，未婚愛看毛片，憤青，生活很不規(guī)律，不會說西班牙語，沒吃過紙，其實覺得咖啡很難喝但是每天都強迫自己喝以顯示品味。。。總之和電影反著理解就行了 哈哈
保持沉默 抬高鼻孔 拒絕槍炮手機 堅持太極 堅持兩杯咖啡 一杯品味另一杯來消滅交際 如此修煉必能突破極限 享受生命的虛無輕佻！
吃太多紙鼻孔會變大
Spectacular! He knew how to control the pace and he knew when to push the limit。。。冷艷從容
我睡著了
如果老賈能將片子的節(jié)奏X4，那么會有更多的人挑大拇哥，不過對于失眠，夜間思考動物們來說，這片兒絕了~
“自認為比別人都大的家伙一定要去墓地，在那里他將懂得什么是真實的世界！”……賈木許說此舞入影純屬巧合。通過與女舞者聊天得知，她專門表演一種太極式的弗拉門戈，全是手部的慢動作，叫做貝特涅拉斯，由于歷史厄運等緣故，算是弗拉門戈音樂家們的某種禁忌，所以都不太愛去表演。此舞多以死亡和愛情悲劇為主題，導演請她為控制的極限創(chuàng)作一段，幾周后……就是大家在片中見到的。
殺手是從自己鼻孔里潛入堡壘刺殺比爾默瑞的……
眼睛女的乳房不對稱
賈木許是不是相當喜歡拍這樣多語言的電影？一個漫畫感十足的黑人，兩杯等待的咖啡，一些戴墨鏡的家伙，紅綠火柴盒的信息傳遞，以及一個注定要被意念誅殺的Bill Murray， BM在僵尸之地中客串的也不錯。紅綠火柴盒其實就跟黑客帝國里的那倆藥丸一樣。這電影給我的感覺相當神棍。
很多做作 有趣 周而復始的片段。"你會講西班牙語嗎?" "兩杯espresso 分兩杯裝" 國家藝術博物館。。。。講不出好壞，但是我看的很開心。而且最令人驚喜的是，男主的神游的時候我也莫名的在神游，所以所有干澀沉默的片段我都直接跳過了。。。
賈木許的殺手片，跟大伙的都不一樣。西部片死人已閱，差個武士片鬼狗
這是賈木許向科波拉的《沒有青春的青春》回應的作品么？莊子學說？除了后搖的音樂和杜可風完美的風光片攝影，整部電影皆是虛妄，我也像殺手一樣控制住了自我的極限~
3.5/5。裝逼的極限。殺手鼻孔君是《鬼狗殺手》的配角，面癱，練氣功，喜吃紙，很可能是陽痿。
不知所云，但卻居然很舒服。整體情緒和結構，被控制得如一首處處沖突密集而不發(fā)軔的Ambient Doom。算是賈木許在展現(xiàn)自己的太極修煉。
殺手咖啡喝了一路,紙條也吃了一路.,聽了一路藝術講座.
多么好看的一部賈木許電影啊，我簡直快要暈厥了！對于迷戀賈木許的淫來說，這簡直太好懂太直白了，沉浸在自身幻想中的騷逼，都直接去謀殺某種現(xiàn)實了，囧。但片子整個就是好看啊好看！
正合口味
沉悶