少了些詩意和深刻的氛圍，幾個片段依舊延續(xù)了流動的影象風(fēng)格。

嗯，天使縱身一躍，鏡頭飛向一個個工業(yè)制造工具里滿目倦怠的現(xiàn)代人，耳語響起；把盔甲賣掉下注。下場藝術(shù)館內(nèi)面對展品，扭曲的時空和現(xiàn)實的交疊，不禁想起蒙克的圖。結(jié)尾水上船只流動的風(fēng)格，人該何去何從呢？是要滿懷希望，還是繼續(xù)壓抑著上路嗎？

兩個天使的性格實際上非常迥異，而這一部跟拉大這種差距，還加入了另兩位角色。如果說上一步是對真善美和愛與存在意義的追問的話，那這部可以說是對成長罪惡和救贖的解答。

呃服裝也值得品味。從一開始的大衣到睡衣到便裝到仿佛流浪者，而后西裝。我仿佛看到了赫爾左格筆下的卡斯帕（忘記了）

依舊很愛，困了。

柏林啊…柏林。

很喜歡影片一開始的鏡頭。天使在云端，底下是二十世紀柏林三十年光陰變遷如浮光幻影奔流而去。我們對時間無能為力，我們無法改變?nèi)魏问虑?，無法選擇時代，也許無法選擇命運，我們只能體驗。

而天使們是靜觀者。他看到黑白的印象，“素描”；依稀記得康德在第三批判里寫，素描較之油畫更美，因為素描只包含優(yōu)美的結(jié)構(gòu)，卻不包含感官的刺激，即色彩；感官的——人間的，彩色的。天使的世界沒有色彩，所以得與彼岸相連。而天使是此岸與彼岸間的Beobachter, “Boter”, 懸置其中，不屬于此岸，或許同樣不屬于彼岸；而如果拋開宗教的視角，就同時讓人想到了“審美靜觀狀態(tài)”。

《柏林蒼穹下》里，Damiel走入人間，得到了愛和幸福；這部電影里，Cassiel不再滿足于Beobachten，跌到人間，卻是一片孤獨和迷茫。

為什么？如果做純粹個人的解讀：Damiel選擇成為人時，他已懷抱著愛的信念；但Cassiel，孤獨的天使，他來尋求的是體驗。而人類的世界如此短暫、紛雜、瑣碎，他沒有信念，只能扎進陸離幻影。

我們受困于時間…我們可以決定什么嗎？生命的意義是什么？大部分人被涌流裹挾，無暇反思，一生仿佛輕飄飄逐水而逝，直到生命的盡頭回望此生。“死亡是沉重的”。死亡給予生命重量。

I had read about this movie in a book, got interested in it and researched it on line, but that's when I found out that there’s ZERO resources with this movie in it ,not even on YOUTUBE, but luckly a guy uploaded it online on baidu without any chinese captions; Lucky me.

Now, I think the movie IS fairly great, and I want to discuss two pieces of the storyline which reminded me of some classic literature stuff which seemed to symbolize something from my point of view.First,I want to talk about that GUN;It seemed to be ''simply one of the BILLIONS of the movie props they act with'' but the more I thought about it the more suspicious this ''innocent prop'' seemed to be. Let me explain: The first time it appeared in this movie was when a teenager wanted to use it to shoot his stepdad, right? But remember that even if your stepdad IS every bit as tyrannical as he is but he is still your stepdad, AKA your father in law.Thus making it KINSLAYING, which is something that will end you up in Dante's hell.''By the way'' and later Cassiel took away that very gun as his ''first good deed'' but later on he used that same gun to rob a store. (And get himself a fake passport.)

Now, there is a famous theme in the Greek Mythology, Harmonia's necklace, with Harmonia, the daughter of Aphrodite and Ares marrying a greek hero Cadmus, and Aphrodite's LEGAL husband,Hephaestus forges her a necklace with a curse on it as his wedding gift. well__Harmonia and Cadmus were turned to snakes,Jocasta hanged herself，Eriphyle got killed by her own son__ I wonder what will happen if that pre-mentioned gun got passed on to SOMEONE ELSE__

Also,Thomas C.Foster once said that all stories are basically the same.So let me just say that I completely agree with him; some stories ARE the same if you strip them deep down into the bones. Nineteen Eighty Four and Harry Potter and The Deathly Hallows do share a few of the MAIN themes, and Diary of A Wimpy Kid also got ripoffed for about five to six times. So let's face it:THE REASON WHY FEW GOOD BOOKS EXIST TODAY IS BASICALLY BECAUSE OF HOW MOST OF US CAN'T EVEN FIND OUR OWN WAY OF STORYTELLING, OUR STORIES KEEP BUMPING INTO EACH OTHER! (Sorry, I have gone too far about how every story shares a parallel to other stories.)

So which story may we find after we got rid of the location of this movie, the minor characters, the minor themes and stuff like that? Faust. Let me explain. Faust, as we all know, is about a guy who treaded his soul to a devil, Mephistopheles, in exchange for some sort of youth stuff. He later fell in love with a girl named Gretchen, but since he treaded his soul to the devil she died in jail. Then in the end of the book he got saved by god for some reason. While in Far Away, So Near___Well, I still am struggling to find out about what does Emit Flesti symbolize in the movie but HE tricked Cassiel into drinking brandy (Even though I don’t understand about how Cassiel had been living for BILLIONS of years without knowing what a brandy is__) and HE’S the one who keeps hurting him even after how Raphaella keeps begging him to let Cassiel go__Anyways, both stories have one guy (specifically a man of god.) getting tricked into leading some sort of corrupt life ,(Cassiel actually started BEGGING in order to buy wine, how ridiculous.) and then stuffs happen in order for them to redeem themselves in order for them to go to heaven, even though part of Faust’s redemption might have something to do with his last word__which they(at least Cassiel did) usually grasp at. Then in the end the go to heaven. Also, the beginning of Faust starts when Mephistopheles makes a deal with god about how he will win Faust over, and god’s like “I don’t care what you do to him since a true christian will always come around one way or another.” While in Far Away, So Near Raphaella seldom reproaches Flesti for misleading Cassiel, while god just watches over everyone and the only thing we know is that god exits in the movie. So I guess that’s something both stories have in common. Also when Faust finally died in Faust among the bunch of angels who greeted him was Gretchen. While in Far Away, So Close__

Well, of course Raphaella didn’t do any wrong stuff enough to get her to be a member of the “repenting ladies” crowd but this is one thing both of the stories have in common.

But one thing they do NOT have in common is that Faust WAS tired with his current situation,(He was old, tired, and had to spend his days burying himself with books at the time.) while even though Cassiel did save that girl HIS downfall has something to do with his own STUPIDITY; first of all he couldn’t even recognize the same guy who stole his armor and nearly ended him up in jail,(Also he was tricked into gambling by the same guy and thought that gambling IS just some sort of fun maths game) he got drunk in a bus station causing a random woman to slap him in the face, then he tried to redeem himself by doing stuff like__Pouring drinks for__a bunch of__GAMBLERS (he’s a waiter at the time)__And he lack the ability to separate the nice people from the BAD guys, and then he’s basically playing the scapegoat without knowing it from start to finish__At least Peter Falk has the ability to sense the presence of angels while Cassiel lacks the ability to separate angels from FALLEN angels.

But despite Cassiel’s flaws, at least he IS kind and loyal to his friends, and he does have the ability to mark his OWN salvation. And I do like the ending of the film; since despite the fact that they shot Cassiel in the end at LEAST he’s not officially K.O. yet. And I don’t expect every films to end with a “ And They All Lived Happily Ever After”, try imagine Orwell’s 1984 with a happy ending, then we will say,”oooh, it’s just a Disney film with R rated content’s.” OK, that’s it, the end.

P.S: I know that you’re not supposed to judge a person by how he looks but__

咫尺天涯，1993年，德國電影，導(dǎo)演維姆·文德斯。

咫尺天涯，這是我看過的第三部文德斯的電影。幾部電影看下來的感覺，就是電影畫面實在是優(yōu)美的不像話，每一部電影都可以詳細推敲，每一次觀看都會有不同的感受和觸動。電影中常常出現(xiàn)詩意且閑散的表達，人們總是不停的嘟囔，有的在抱怨生活，也有的是在思考生活的本質(zhì)。從我有限的文德斯觀影感來看，感覺總是電影的前半部分優(yōu)雅、閑散，后半部分開始集中敘事。觀眾的情緒被積攢已久，終于隨著色彩、劇情的快速變動得到表達。

電影中印象最深刻的點

一是戈爾巴喬夫的出演。這部電影是戈爾巴喬夫的電影首秀，出演的內(nèi)容也是自己演自己，從而開啟了數(shù)十年如一日的演戲生涯。他或許是世界上戲路最窄的演員，沒有之一。

二是娜塔莎·金斯基是真的美啊，片中天使的角色就像是量身定做，仿佛天使就該如此這般，哪怕是黑白片也擋不住的美。

三是電影中開頭和結(jié)尾的長鏡頭，簡直和柏林蒼穹下一脈相傳，場景宏大又富含哲思。

四是電影里面的臺詞。無論是天使之間的對話，還是每個人的嘮叨，都充滿了想法，充滿了對生活的思考。我看了之后表示：好想照著這一段拍一段啊，臺詞真是寫的太好了。

一點自己的想法

這部電影對我來說，印象最深刻的依舊是詩意的表達和散文化的影像。一方面，說是詩，是因為它的思想相當(dāng)深刻，可以做出多種不一樣的理解；另一方面，當(dāng)影像變得散文化，就會覺得整個電影沒有重點，觀影者難免會覺得沉悶、無趣。

從故事上說，這部電影是柏林蒼穹下的續(xù)篇，依舊保持著天使的視角和色彩的切換。這部電影依舊摻雜了對歷史的自省、對現(xiàn)實生活的反應(yīng)、對人存在的思考、對政治的獨白。比如影片中，用納粹的膠帶，點燃盜版影片，運走武器等劇情，都是對歷史和現(xiàn)實的反應(yīng)。

一如柏林蒼穹下，這部電影展現(xiàn)了東西德合并后的混亂場景，毒品與色情影片并存，混亂與秩序共生，每個人都在思考生活的意義。

（以下內(nèi)容涉及劇透，請放心觀看。）

在達米爾來到人間之后，他的好友卡西爾依舊在柏林四處徘徊，聆聽著每一位人的心事。時間過去好幾年，達米爾也有了自己的孩子，卡西爾依舊在人間流浪，卻慢慢的開始變得關(guān)注起人類。

卡西爾是個善良的人，為了救意外墜樓的小女孩，卡西爾來到了人間，他的世界開始變得有了色彩?？ㄎ鳡柨梢院妥约旱呐笥压策M晚餐，也可以去酒吧喝的爛醉。

剛成為人的他，被墮落天使騙走了自己的盔甲，并被墮落天使處處針對，生活過得十分不如意。如果說達米爾追求愛情，體驗到了生活的甜，卡西爾就是追求善良，生活卻讓他遍體鱗傷。

在歌手的鼓勵下，卡西爾決定要做個好人，不能渾渾噩噩。就這樣，他成為了一個美國人的助手。這位美國人也在尋找自己的親妹妹。

后來，在卡西爾的幫助下，美國人和自己的妹妹重聚——原來就是自己救下的女孩的母親。美國人也在卡西爾的幫助下，擺脫了涉黑產(chǎn)業(yè)。但是，代價卻是卡西爾的生命。

卡西爾的善良帶著他來到了人間，他卻在人間嘗盡世間冷暖，歷盡千帆后，依舊對這個世界充滿著善意，最后和自己、和自己的朋友、和生活和解，完成了對自己、對大家的救贖，也才真正明白，生命的重量。

2022.8.12，百麗宮電影展，廣州天盈廣場，還和瓜西出來逛了一下。

相似的手法，不同的創(chuàng)作背景，誕生了兩部截然相反的作品。這次的觀影不止一點失望，比看《柏林蒼穹下》還要難受，這次我都不能用沒在大熒幕看的理由安慰自己。除了開頭的，接近2個半小時片場的影片，剩下的內(nèi)動都像是由同名角色飾演的故事拼湊而成，又冗長又乏味，節(jié)奏是斷層的，角色在里面的行為沒有動機，前后找不到邏輯，卡爾好多行為我都沒辦法理解，哪怕我是提前看了簡介才進去的。故事里的人物像是被強行串聯(lián)，最后匯成一起，從小失散的兄妹，搶匪天使，馬戲團一伙，最后居然還能一起呆在船上，是夠離譜的。

角色莫名的英語德語混講，正如電影像是歐洲文藝片中塞進了違和的好萊塢喜劇和動作元素，也好似威廉達福的角色，違和得不知道是天使還是凡人，處處搗亂，最后結(jié)局吊威亞救人犧牲，就像是梅姨的死，沒有氛圍的鋪墊，犧牲時內(nèi)心毫無波瀾，死后到時由念了一大段對白。

想了想，兩部作品更大的區(qū)別，是天使的戲份被削減后，天使這個角色意義不明了，原本討論天使的內(nèi)心掙扎少了，取而代之的是在一旁碎碎念，天使像是被簡單概念化成角落里的隱形人，沒了前作為愛決心落入凡塵的靈魂?？赐晡ㄒ挥涀。€是娜塔莎金斯基，她的美再次觸動我的心靈，她的聲音撫慰著我的靈魂，讓我還能坐在座位上，沒有和隔壁大哥一樣跑了。