原來真的愛一個(gè)人，不是非得和她在一起。
 

    以前看完《ONLY YOU》，寫過一篇不完整的影評日志。想討論當(dāng)愛情挑戰(zhàn)忠貞的時(shí)候，應(yīng)當(dāng)作何選擇。一方面由于保存不當(dāng)，另一方面是沒有找到答案，所以沒發(fā)完全。但是今天這部《愛的困惑》給了我答案，讓我領(lǐng)略到了愛情的高級境界。
 

    這又是一部關(guān)于鋼琴家的故事。可能也只有鋼琴家能那么無私，不物質(zhì)現(xiàn)實(shí)，為愛犧牲。
 

    這部電影的英文名是Besieged，也譯為《圍城》或《血色戀情》。

 

    故事講述的是一個(gè)偉大的男人和一個(gè)困惑的女人的凄美又無終的戀情。女主角是一個(gè)非洲人，丈夫因?yàn)檎卧蛉氇z，她只身來到羅馬，住在一個(gè)鋼琴家的房子里，負(fù)責(zé)打掃照顧起居。男主角是一個(gè)不為公眾演出的鋼琴家，清高而孤獨(dú)。

 

    這段驚人戀情的發(fā)展脈絡(luò)是：男主角默默地喜歡，用盡心思制造浪漫，用音樂動(dòng)人。瘋狂的告白，可以給她一切，卻得知女主角有愛著的伴侶，而且這位情敵身陷牢獄之災(zāi)，她唯一的期盼就是丈夫回到她的懷抱。后來，女主角突然驚喜地得知丈夫?qū)⒈会尫呕丶?。其?shí)是男主角變賣了家中所有的古董珍寶，甚至比自己生命還珍貴的鋼琴，傾家蕩產(chǎn)只是為了賄賂監(jiān)獄，換去女主角丈夫的自由和兩人的重聚。
 

 

    這部電影沒有結(jié)局。女主角陷入了愛的困惑，需要在她彼此相愛，歷盡甘苦的丈夫和為了她傾盡所有，而她也傾心愛慕的鋼琴家中做出選擇。但是我相信，愛至深到無私的境界的鋼琴家也真心地希望女主角能和所愛的人相守在一起，幸福到老。他要的，只是奉獻(xiàn)全部默默祝福和守護(hù)她的幸福。

 

 
    影片中的鋼琴曲非常優(yōu)美動(dòng)人，而且導(dǎo)演對于情欲糾纏的委婉表達(dá)也恰到好處。推薦喜歡這種題材的朋友欣賞。
 

  

    這部電影真的讓我思考了很多。有人覺得這多少是對一種盲目而無結(jié)果的單戀的嘲笑，但是我覺得它確實(shí)教會(huì)了我一些東西，我認(rèn)同的東西：

 

    原來真的愛一個(gè)人，不是非得和他在一起。千方百計(jì)地讓他愛上自己，甚至拆散他的家庭，改寫他的人生。自私的愛情是低級的，愛情的無私才是高尚的境界。

 

    如果我愛一個(gè)人，而她也愛著一個(gè)人，那就默默地堅(jiān)持這份愛，也守護(hù)支持著她的愛，因?yàn)槲抑?，愛一個(gè)人的幸福，這份幸福，我也希望她能擁有。

 

 
    我會(huì)在今后的生活，愛情中向這個(gè)境界努力：

 

    默默的喜歡，然后瘋狂的告白，最后讓她愛她真正愛著的人。

 

 

大一的電影音樂鑒賞課上放映的電影。
不點(diǎn)名的課，下午兩點(diǎn)鐘，正是犯困的時(shí)候。
剛剛放完鋼琴師，老師說，接下來這部里面也有一個(gè)鋼琴家，但他和戰(zhàn)爭中頑強(qiáng)活下來的猶太鋼琴師不一樣。
不怎么期待，但是電影開始了 教室里面只有風(fēng)扇在轉(zhuǎn)。

明亮的非洲的金色，棕色，深綠色。
土著老人在樹下唱著古老的歌 苦難的屬于非洲的歌
簡練的開頭：丈夫在教書，丈夫被抓了，妻子很傷心，妻子無能為力
然后就是妻子在鋼琴師家里幫傭的情景

自由干燥的非洲之風(fēng)很快感染了長期居住在潮濕陰冷的閣樓里面的鋼琴師。他懷著藝術(shù)家獨(dú)有的敏感、柔情、浪漫，深深愛上了這個(gè)在樓梯小間里面獨(dú)自唱歌跳舞轉(zhuǎn)圈的女人。他為她彈奏鋼琴，他為她送上玫瑰，他在她出門后偷偷躲在窗簾后面看著她。屏幕上出現(xiàn)的是窗外明亮、炎熱的街道上那個(gè)穿著長裙的非洲女人，還有窗后那個(gè)打著領(lǐng)結(jié)、面色蒼白的柔弱的白種男人。

他們是兩個(gè)世界的人。白人和黑人。教養(yǎng)和放養(yǎng)。歐洲宮廷式的瑰麗的鋼琴和非洲女人拿著大勺大快朵頤木瓜的樣子。
他們不一樣，但是鋼琴家認(rèn)為，這并不阻礙他的愛，他們的愛。
然而當(dāng)女人告訴他，她還有一個(gè)在獄中的丈夫時(shí)，鋼琴家崩潰了。

愛她，就要放開她。
這絕不是物欲橫流的靡靡世界中很輕浮的一個(gè)所謂誓言，而是因?yàn)樯袷サ膼鄱冻龅淖畲蟮拇鷥r(jià)。

鋼琴家賣了他的古董。
賣了珍藏的油畫。
甚至，賣了鋼琴。

賣鋼琴前他開了一次演奏會(huì)。前來觀摩的是他教授鋼琴的學(xué)生。
開始彈奏時(shí)，下面鴉雀無聲。
漸漸的，大家四處去找尋樂子。嬉笑，打鬧
鋼琴家忘我地彈奏著，最后，老宅里面只有他一個(gè)人在聆聽自己的彈奏。就像是他愛著她的犧牲，只有自己才能夠明白。
所以他不彈奏了。他也融入了玩耍的孩子們中。
對于一個(gè)戀愛的人來說，理想、事業(yè)、物質(zhì)，算得了什么？

于是，人們把他的鋼琴從窗口吊了出去。
他不再是一個(gè)鋼琴家，他是一個(gè)純粹的愛她的男人。
為了一個(gè)她愛的男人，四處奔波，傾家蕩產(chǎn)。

終于，他把女人的丈夫從監(jiān)獄中解救了出來。
丈夫即將來到歐洲的前一天晚上，他把寫著愛情的卡片放到了她的床頭。
本來這部影片就應(yīng)該這樣結(jié)束的，故事就應(yīng)該這樣結(jié)束的。
現(xiàn)實(shí)生活中，多的是這種有緣卻又無可奈何錯(cuò)過的例子。

但是貝托魯奇就是貝托魯奇。

女人被感動(dòng)了。盡管愛著監(jiān)獄中的丈夫，盡管念著貧窮、苦難的故鄉(xiāng)，但是女人被這個(gè)已經(jīng)沒有錢、沒有職業(yè)、只有愛情的男人感動(dòng)了，被這個(gè)異鄉(xiāng)人和異鄉(xiāng)打動(dòng)了。
她把卡片送回到男人的床頭。然后躺在他的身邊。
觀眾們唏噓，為什么你的感動(dòng)來到得這么晚？
為什么愛情即使沒有土壤也要滋長卻又往往無可奈何地湮滅？

影片的最后，來自非洲的丈夫在樓下按門鈴。
男人和女人在床上。
一個(gè)外來的文明在叩打著歐洲的大門。
一個(gè)人在愛情外面叩打著大門
A member is knocking at the door of the love.

愛的圍困，BESIEGED，女人沒有選擇。

       電影并不像名字那樣血腥，很長的一段時(shí)間也并未能找到愛的影子，雖然導(dǎo)演將女主角的笑容拍的很美，將男主角跑出鋼琴房給了女主角一個(gè)熱烈的擁抱，用慢鏡頭詮釋的很炙熱。。。但是還是不得不說，這樣的愛情太遙遠(yuǎn)，就像反復(fù)被拒絕后，癱倒的男主角不得不淡淡的說“對不起，我不知道你已婚”

    愛情沒什么道理，當(dāng)空寂的房間只有兩個(gè)人，無論是黑與白，平窮與富有都變得無關(guān)緊要，如果將片子倒敘，恐怕是最無趣的電影之一了。如果最后一個(gè)鏡頭并非裸體獻(xiàn)身，而只是從門縫中放入感謝卡片，恐怕會(huì)好很多；至少當(dāng)女主角退還戒指的一刻，我還是挺感動(dòng)的，既然給不了他想象中的愛，還是早些拒絕為妙！

    我好喜歡這樣的房子，圓形走廊，藏著好多秘密，上海也有，只可惜很多都不開放，而且現(xiàn)在都裝了防盜門，很難愧疚。不過還是喜歡這樣奮不顧身的愛情，很感動(dòng)

    “Il n’y a pas d’amour, il n’y a que des preuves d’amour” is a line from Jean Cocteau in Robert Besson’s movie Les Dames du Bois de Boulogne. As Bernardo Bertolucci mentions earlier in his interview, Besieged is not a movie that simply tells the audience what love is but a story that shows the proofs of love. Bertolucci elaborately designs the proofs by constructing the distance and difference of the two characters. Then through the music and sound effects, he creates a beautiful interaction between their oppositions. Finally in the spectator’s gaze, we see the proofs of love gradually emerging from the changes of communication between the two protagonists.
             The communication between Shandurai and Mr.Kinsky begins with “no dialogue” in Mr.Kinsky’s enclosed Roman Villa which is located in the center of Rome. It is a luxurious and antiquated house that features a four-storey spiral staircase and a dumb-waiter (locates in Shandurai’s room) which moves between Shandurai’s room and Kinsky’s on the top floor, allowing surprising objects to travel from him to her. The two characters live at different parts of the house. The talented British pianist who is often glancing through the banisters, trying to understand Shandurai’s life, lives on the top floor. Meanwhile, Shandurai, his African steward, lodger, and secret love, who is frequently drawn upwards by his music through the series of stairs resides on the first floor. With this “mise en scene” arrangement, the dumb-waiter and staircase become the crucial objects in Kinsky and Shandurai’s relationship.
             Because of the silent obsession, using the dumb-waiter is the best way for Kinsky to express himself to Shandurai. First it is a piece of staff sheet with a question mark in the middle; then, it is the beautiful orchid and finally the ring. Without any conversation, the dumb-waiter not only transfers the objects but also carries Kinsky’s doubts, disquiets, and love in almost a claustrophobic perspective. However, Shandurai is not grateful for what he has done and cannot understand him. This one-sided giving later becomes a huge misunderstanding in their communication.
            The first conversation between Mr.Kinsky and Shandurai happens on the staircase. Mr.Kinsky is waiting for Shandurai in the dark outside his room. When she comes in, he only turns on the light without calling her name. Then she comes back in the middle of the hallway. The camera moves vertically up to the top of the staircase and gives a medium shot of Mr.Kinsky. He looks down and says “thank you” with his awkward gestures in an anxious tone. “It was…it was the most kind…I…I mean… It was very thoughtful of you to mend the hem of my trousers.” Following the eyeline match, Shandurai stands in the shadow and looks up. “It’s part of my work Mr.Kinsky.” She says calmly. Then the camera goes back to the top, he says “Well...thank you all the same…Good night.” Again, the camera moves down to Shandurai. “ Good night.” She says. This is the first time in the movie when Mr. Kinsky talks to Shandurai. The dialogue seems simple but it involves many pauses and short silences. What makes this sequence significant is the background-the staircase. Along with the camera movements, the staircase constructs a sense of distance between Mr. Kinsky and Shandurai. It emotionally and geographically insinuates Mr.Kinsky and Shandurai’s social backgrounds: The higher powerful European country on the top and the lower colonial African country on the ground. In between is the endless spiral staircase.
             In general, both of the staircase and the dumb-waiter play a static character in the movie. It is the barrier of Mr.Kinsky and Shandurai’s communication. However, it is also the one that witnesses and bears the weight of love.
             From Shandurai’s perspective, Bertolucci emphasizes the obstacle of Kinsky and Shandurai’s communication by depicting her two dream scenes. Shandurai’s first dream occurs at the very beginning of the movie. Tracking shots and crane shots give us a bird view of the beautiful African landscapes. Then quickly we have the film tableau of a wizened African grio singing the old tales under a huge baobab tree. After that, the grio’s singing becomes the overall backgrounds and the jump cuts bring us to a typical colonial African city. We see soldiers and propagandas of the new national founder. Finally we are brought to Shandurai’s life. Through Shandurai’s eyes, we have a chance to observe the living and political condition of the people in her hometown. At the same time, Bertolucci also places the spectators in a particular position to witness Shandurai’s fear, anger and anxieties when the jeeps take away her husband. However, when she shouts at them, we cannot hear her voice but the African grio’s singing. Bertolucci constructs two different dimensions in the same timeline. The African grio is telling a story in African dialect. Instead of explaining in words, Bertolucci shows what happens to Shandurai. Thus at the moment when the jeeps disappear in the dust, we see the old grio coming to us. With the same facial expression as before, he is still singing. In fact, he is the magic storyteller who delivers a story about Africa, and the retrospect of Shandurai’s unfortunate life.
             The African grio continues his story in Shandurai’s second dream. However, something has changed. Different form the original naked appearance, the grio is wearing a proper white suit and an orange tie. In the background, Shandurai is ripping all of the dictator’s posters off. Bertolucci utilizes a fast motion editing to accentuate her angers and uncontrollable emotions. Then Shandurai suddenly stops when she sees Kinsy’s face on the poster. This political allusion highlights the western manipulation in Africa and how Shandurai struggles in between. The cultural and emotional barrier transfers to the political dictatorship that causes the tragedy of Shandurai’s family. At the moment she tears down that poster, Mr.Kinsy’s face is split into pieces. The final sequence of Africa’s landscape is a recapture of Shandurai’s first dream that brings back the Africa theme. Landscape is the essential visualization and representation of a country. Dreaming of the landscape shows Shandurai’s longing for Africa and her desire for the sense of belonging. Unconsciously embedded in Shandurai’s mind, the two dreams are the crucial elements that indicate her own judgments and beliefs of her African identity. This identity also makes it more difficult for her to communicate with Mr.Kinsky as well as to accept his love because Shandurai’s self-consciousness does not give her any chance to enter Kinsky’s world.
            Music also reflects the barriers and obstacles in Kinsky and Shandurai’s communication. Bertolucci states: “In Besieged there is this struggle between African music and Western classic music, which is of course the confrontation of two different cultures, but it is also the way of communicating or the way not being able to communicate”. In the movie, there are not many “words” between the two characters but music. Thus music eventually becomes the main intermedium and expectation to pass the messages and thoughts from one to another. The movie starts with the traditional African music performed by a half-naked African groi. Then we have the scene that Mr.Kinsky plays Mozart’s Fantasy in D minor while Shandurai is dusting his antique collections. The huge contrast between the two different music genres is also the manifestation of two different cultures of the characters. When Mr.Kinsky plays the piano, he is actually performing the piece for Shandurai because he is aware that she is behind him or she is somewhere in the house. He wants her to become his only audience. He also imagines and believes that she can understand his perspectives through his music, and more importantly, his love. However, for Shandurai, Kinsky’s music is something dry and obscure. It is something that does not belong to her. This misunderstanding leads to the explosion of their emotions. When Kinsky expresses his love through his music, Shandurai shouts, “I don’t understand!” She shouts, “Why? I don’t understand this and I don’t understand your music!” Suddenly, the music stops and all of Kinsky’s expectations are destroyed.
           However, things start to change at this point. Rather than simply expressing his feeling to Shandurai, Kinsky begins learning about Shandurai as a person and respects her culture in a really precise way. He goes to the African church and studies the totally different music forms. Later on, he develops the African style elements into his own composition. This change is significant because their differences that assimilate within the culture of Rome in a way unites Kinsky and Shandurai. Influenced by Shandurai, as Kinsky composes his concerto, he also constructs his proofs of love. First there are the short chords and he starts playing for Shandurai when she is hoovering. From Kinsky’s view, we find a distinctive beauty that is lively and powerful from Shandurai’s profile: her hair, eyebrows, and her dark skin. Every movement of Shandurai inspires Kinsky’s minds and senses. As he observes Shandurai, the progressions of the melody flow into his mind, just like fires and waterfalls. At the same time, we discover Shandurai’s response from her facial expression. This is really the epic moment of the movie because it is the fist time our two characters start to understand each other and are actually communicating with each other. In addition, a sense of resonance and harmony slowly builds up between the two characters. Bertolucci suggests “She is the muse and he’s inspired by her, and because he wouldn’t dare put his hand on her, his sexual desire goes into the music and he starts giving shape and form to the music and it’s the moment where he seduces her for real.” Indeed, Shandurai smiles. The color of her pupils becomes soft and gentle. Her body dances along with the rhythm of the music. Through music, Shandurai hears Mr.Kinsky’s love. There is no need for more words and illustrations because in this particular moment, Shandurai sees both of the passion and sorrow of Kinsky’s soul. For Kinsky, at the same time, Shandurai is the goddess who gives his music life and makes him understand what the sound of love is.
            Beyond Kinsky’s music, the change of communication is also subtly constructed in silence. Back to the beginning of this movie, along with the presence of the question mark sheet, the pink orchid, the ring that are carried by the dumb-waiter, things start to gradually disappear: the sculptures, the paintings, the tapestries, the furniture, the carpet…When Shandurai was astonished with all the disappearances, She exclaims “Oh! The bookcase!” and Mr. Kinsky does not reply anything. However Shandurai is aware of his sacrifice. The envelope, the disappeared statue that she discovered in the antique store, and finally her witness of the transportation of the grand piano… All of these clues pass her a silent secret: Kinsky is ready to give away everything in order to bring her husband back to her. In this way, the communications finally transforms into the proofs of Mr. Kinsky’s love. By collecting these proofs, Shandurai’s attitudes towards Kinsky have changed. From rejection to acceptation, Shandurai struggles in her experience of her obscure feelings to Mr.Kinsky. Yet at the moment she knows that her husband is alive and is coming to her, Shandurai cries and screams his name: “Mr.Kinsky…Mr. Kinsky!!” At the sunset of Rome, she sees the truth: The truth of love. In the end, with all of her passion and gratitude, Shandurai writes down her silent secret: “Mr. Kinsky, I love you.”
            Love, is probably the most paradoxical and mysterious existence in the universe. Everyone believes in love. However, love is not easy to be portrayed, and it is complicated to give the evidence that illustrates what love really is. “Il n’y a pas d’amour, il n’y a que des preuves d’amour.” (There is no love. There are only proofs of love.) It is such a sorrowful and striking line that depicts the impression of love. Bertolucci says, “ If I happen to say ‘I love you,’ but the other person says, “Yeah.” Well, it’s easy to say ‘I love you,’ it’s more difficult to give proof, proofs of love, Right? Besieged is all about that.” Later he adds, “I had this idea that came naturally out of the story. The only way of being really happy is making happy the people you love. ” Bertolucci makes such a concise statement of love. He presents us an extraordinarily beautiful love story simply based on giving and sacrifice. However, Besieged is also the most exquisite piece of love because Bertolucci creates different ways of communication between the two characters. It combines varying elements from different temporal planes. Every element is a proof. By following these proofs, we finally capture the smile on Kinsky’s face in his empty house. He is satisfied and content just like a baby who receives the most precious candy, and we know the candy is her, Shandurai.







Works Cited:
1. Movie : Bernardo Bertolucci. L'Assedio (Besieged)
2. Book: Bernardo Bertolucci Interviews, Ed Fabien S. Gerard, T. Jefferson Kline, University Press of Mississippi 2000
3. Articles: Lesley Chow. Besieged: http://archive.sensesofcinema.com/contents/cteq/05/36/besieged.html
                      Francis Akpata. Besieged:http://www.talkingpix.co.uk/ReviewsBeseiged.html
 

為了dt去看，看后良久無言
kinsky這個(gè)角色其實(shí)是個(gè)很單純又帶著一些獨(dú)特氣質(zhì)的人，沒有前奏沒有預(yù)告就開始宣誓自己的愛還要跟人結(jié)婚。他既然說了“我愛你我愿意為你做一切”，那么他就是會(huì)為你做一切。女主在聽了他瘋狂的告白以及“愿意做一切”之后，沒有解釋自己已經(jīng)結(jié)婚了不能之類的，而是直接怒吼一句“那你幫我丈夫弄出來?！编牛乙彩遣荒芾斫?，居然真的直接提要求。那位鋼琴家一句“抱歉我不知道你已婚”之后再?zèng)]說其他，而是默默開始一件件賣東西?？粗褬琴u的空空蕩蕩，又想罵他傻又心疼，不過最后賣鋼琴我不能忍！你是個(gè)鋼琴家你賣了鋼琴??？那是你忠實(shí)的好伙伴?。阍谡f啥?。┒髟鐝哪玫降谝环菽涿藕涂吹綎|西變賣就想到是kinsky做的一切，但是她也沒有去阻止呢ˉ\_(ツ)_/ˉ
有一幕，女主跟kinsky說自己丈夫來了以后可不可以和她一起睡樓下，沒有了鋼琴的鋼琴家側(cè)臥著有些結(jié)巴的說“當(dāng)…當(dāng)然?！比缓笞约号艿叫』▓@里踢球，女主在旁邊說自己的丈夫很勇敢是個(gè)good man，鋼琴家踢球不語。自己偉大的奉獻(xiàn)換來今日想必也早已預(yù)見了吧？然而真到了這一刻鋼琴家果真還是感到了難受，再偉大的愛還是會(huì)摻上一絲嫉妒的味道
最后女主思來想去感受到了love兩人赤裸躺著，門外是女主的good man在按門鈴，二人迎來不知如何面對的尷尬處境
這種尷尬體現(xiàn)在…女主的出軌和男主把女主丈夫弄出來到底是對是錯(cuò)的問題上…或許他原本把女主丈夫弄出來的目的是為了看女主高興，而此刻愛上了他的女主反而陷入兩難了，懵逼的是按門鈴的good man，啥都沒做不知咋的就被帶了綠帽子……
愛這個(gè)東西真是復(fù)雜，稍有變化就全盤皆變，涉及到三個(gè)人就必定有大于等于一個(gè)人會(huì)受到傷害
最后說一句，dt在這部電影里，是真的美啊，彈鋼琴的dt，真好看啊，這樣的鋼琴家，給我一個(gè)吧