【涉及影片劇情，謹慎閱讀】 雖然不是很懂搖滾，但非常喜歡這張來自Ike & Tina Turner《Dynamite! 》的專輯封面。

《與愛何干》講述的就是這對樂隊夫婦的故事，準確地說，是蒂娜·特納的覺醒史。 如果你不認識蒂娜·特納，那我借用一段話來粗略地評價一下她的地位：“如果你以為流行音樂的巔峰就是瑪麗亞·凱利或惠特尼·休斯頓，那便會終生遺恨錯過了一個真正站在頂端的名字—蒂娜特納。對全球眾多搖滾愛好者來說，她才是全盛時期的歌后，她才是統(tǒng)治舞臺的“咆哮母獅”！只要站在臺上，她就從不疲憊、從不衰老，有的只是最High、最好的音樂！不論是站在事業(yè)的峰巔，還是陷入人生的低谷；不論是傷痕斑斑，還是負債累累，她永遠都準備著十萬火力：Take you higher！”如果給蒂娜列一張成績單，那實在不知道要寫多久。8次獲格萊美音樂獎、肯尼迪藝術(shù)中心為她頒布代表美國藝術(shù)家最高成就的終身成就獎、進入格萊美名人堂...... 然而這些對于金燦燦的成就對于蒂娜來說只是標簽而已，因為她想要追求的更多是那個更強大更通透的自己。而在一步步變得強大與通透的路上，苦難總是如影隨形?？嚯y仿佛是每一個偉大藝術(shù)家最寶貴的東西。從太宰治到海子，從徐渭到梵高，從柯本到查斯特...似乎天賦異稟的藝術(shù)家們都經(jīng)歷過精神上的困局。而對于蒂娜來說，她的苦難陰云在她的人生初期就已經(jīng)開始籠罩。 因為過早地被父母拋棄給年邁的外婆，孤獨是她童年的主題。影片最開頭，她在教堂里和大家一起排練合唱，因為自由地發(fā)揮音域特色和發(fā)聲技巧，被指揮訓斥，哪怕最后被揪著辮子趕出教堂的一段小路上還在自由地歌唱著。那個時候我就知道，這個小姑娘的未來注定是特別的，她自由的性格和堅定的意志注定了她的未來哪怕坎坷也能靠著不屈的靈魂挺過去。當她走到家門口，發(fā)現(xiàn)媽媽帶著姐姐離開了，只剩下外婆在家里等著她時，她第一次感到了生命的不公。 16歲時她去都市投奔母親和姐姐，一次俱樂部的娛樂活動讓她遇見了那個影響她一生的男人——艾克·特納，他在舞臺上唱歌，用他那富有男人磁性的聲音。她被這個男人的才華打動。這是幸運也是厄運。她主動接過傳過來的麥克風，走上舞臺，第一次在大家面前真正自由地展現(xiàn)自己的歌喉。而艾克也震驚了，他驚訝于這個小女孩身體里蘊含的強大的力量，她用聲的特別和舞臺上的氣場，她用麥克風控制了一切，氛圍、樂隊和每位觀眾的情緒。 既會寫歌有精通樂器的艾克在認識蒂娜之前就已躋身搖滾名人堂這一次偶然認識之后，曾是“留守兒童”命運的蒂娜感受到了自己身體內(nèi)的靈魂鮮活了起來。她意識到唱歌的快樂。作為黑人和印第安人的混血兒，蒂娜的聲音生來就比同種族的人還要有張力。聲音的張力對于一個歌手來說再重要不過了，有張力聲音才能下到幽暗混沌的低處、上到遼闊深遠的高處。而一個大乘歌手除了聲音要有張力，音色也同樣重要，因為音色是否有故事感、有想象空間是嗓音能否傳情的決定性因素。蒂娜的聲音是極有傳情力的。她極具天賦的嗓音說服了艾克讓她加入自己的樂隊，艾克開始投入捧紅這個未來之星的事業(yè)當中，兩年后，蒂娜與這個改變她命運的“靈魂伴侶”結(jié)婚，新婚的二人趁勢組成了自己的樂隊——“艾克與蒂娜”樂隊，似乎未來只剩下甜蜜的希望。隨著蒂娜在音樂道路上的愈發(fā)順暢，《proud mary》、《a fool in love》等經(jīng)典歌曲讓蒂娜正在被世界所知，蒂娜也很懂得借力而為，用動感有力的舞蹈讓自己的表演更富共情力和藝術(shù)感。蒂娜強烈的個人風格和強勁實力正在讓蒂娜一步步邁向神位。然而，此后的16年的真實生活里，現(xiàn)實呈現(xiàn)的卻和歌曲所傳達的截然相反。蒂娜在生活中看到的是無盡的黑暗。音樂創(chuàng)造力愈發(fā)倒退的艾克眼看著自己正不一步步落后于這個被眼前自己一手培養(yǎng)的女人。他遙控著她，用感情去壓制她，他強迫蒂娜超負荷工作；他開始向興奮劑尋求慰藉，也開始通過欺凌蒂娜來獲取滿足感。他無情地把自己的拳頭砸向一個脆弱的女人，這個女人曾經(jīng)是如此信任和依賴他，以至于她無法想象自己離開這個愛恨交織的男人該如何生活。在采訪時的假裝出來的笑容背后，隱藏著生活中無數(shù)次的獨自飲痛；在舞臺上光鮮服裝和精致妝容之下，又隱藏了多少塊屈服于淫威的淤青。 遍體鱗傷的她無數(shù)次逃離這個已經(jīng)不能稱之為家的地方，但無數(shù)次被艾克強行擄回身邊。她不是人，她是工具，是生財?shù)墓ぞ?、是泄欲的工具、是教養(yǎng)孩子的工具。無奈苦悶之下，她拜訪了曾經(jīng)一位要好的朋友，在好友的感染下，她開始篤信佛教，以此尋找內(nèi)心的安寧。 大概也是信仰的力量，蒂娜最終還是決然地割舍了這16年的時光，在離婚法庭上，蒂娜留給了艾克一切，錢財、版權(quán)和不動產(chǎn)，而她只需要保留她的名字。這是她唯一的訴求。她成功了，她離開了他，再也不用受這段有名無實的婚姻的束縛。盡管她一無所有、滿是傷痕，但明天終于真正屬于自己。 與艾克離婚后，蒂娜開始從之前的R&B風向自己真正喜歡的搖滾風轉(zhuǎn)型，這時的她已經(jīng)44歲了。羅杰·戴維斯很好奇她的轉(zhuǎn)型，她說：“我相信一切皆有可能，我花了很長時間逃離艾克，最后成功了，所以這次我也準備好了。”確實如她所言，她做到了，她實現(xiàn)了完美的蛻變，不光是音樂風格，還有她自己的人格的充盈，她真正實現(xiàn)了孩提時在教堂里渴望的那種自由的快感。自由地歌唱，自由地選擇自己的偏好。不光控制氛圍、樂隊和每一個觀眾的情緒，而真正地控制自己，一切都由自己主宰。 1987年到1988年，蒂娜在25個國家進行了共230場的環(huán)球巡演，吸引了近400萬觀眾，這也讓她成為全球演唱會最賣座的獨唱女星。1993年，這部電影的主題曲《I Don’t Wanna Fight》使蒂娜再次贏得了格萊美。

“我希望在場的女孩們跟我一起唱這句： what’s love got to do with it！ 我希望你們能唱出態(tài)度， 我要告訴你們， 什么才是我們的態(tài)度！”

A torch-bearer for striking out on her own from a protracted abusive relationship and a legitimate, slam-bang black artiste reaches her crescendo at a mature age when most singers are over the hill, Tina Turner is an inspirational figure against sexism, agism and racism long before the woke era. Together, Brian Gibson’s 1993 biopic, and Dan Lindsay and T.J. Martin’s latest documentary make for complementing accompaniments to each other, spelling out Tina’s extraordinary life in details.

WHAT’S LOVE GOT TO DO WITH IT stars Bassett as Tina and Fishburne and Ike, her ex-husband and helpmate as the half of Ike & Tina Turner. The film predominantly re-enacts their turbulent, violence-infused marital life and ends with a rousing note on Tina’s comeback success with the titular song. It is a dramatized version of the facts (according to Tina herself), and if the singing segments are excised, the remnant of the movie amounts to a hapless wife’s desperate and eventually successful attempt to get out of the clutches of her husband, who habitually whales at her at the drop of a hat, sometimes even rapes her afterwards.

This may be tainted by presentism, but there is something iffy to demonize Ike as an out-and-out villain and shoehorn Tina as an abject victim of domestic and sexual abuse, since she is much more than that, the psychological reasons behind the fact that she chooses to stay with Ike for 16 years are much more complex than they appear to be, and Gibson’s film has no interest to probe into that fecund soil, Tina’s devotion to Buddhism is tokenized with one repeated mantra alone. Only in TINA, we suss that they can be psyched out in relation of her piteous upbringing (parents fighting constantly and then both leaving, left her behind), feeling unwanted and hankering for love, Tina makes a promise to Ike that she will never abandon him (Ike’s deep-seated insecurity is another untapped territory in the fictional feature) when they transition from mentor-and-protégée to a romantically linked couple. It is a mistake in hindsight, but one must give Ike his credit in molding a wide-eyed country girl Anna Mae Bullock into Tina Turner, the raging dynamo on stage with a heavy, raspy but immensely powerful timbre.

WHAT’S LOVE… knows what appeals its audience most and makes a meal of it, factual fidelity gives way to tweaking here and there, like the bane which haunts the biopic genre, intentional simplification sours one’s appreciation. And if Gibson’s tactless direction isn’t worth much ovation, it is Bassett and Fishburne’s electrifying performances that truly matter, they are both nominated for an Oscar. For Fishburne, his Ike is like a tyrant without charisma, his musical talent is dwarfed by his outward meanness, it is a tricky, categorically objectionable role, yet, in Fishburne’s able hands, Ike isn’t merely a menacing-look monster (although the script makes him one), there is scant spark in his eyes, especially in the fictional confrontation scene where he pulls out his pistol, trying to earn an upper hand over the now liberated Tina, Fishburne has that stunning, almost transfixed look when he realizes that his browbeating pettiness can no longer intimidate Tina, Ike is licked, reduced to a pathetic fool, and that look alone makes him a human again, however remotely.

Bassett, lip-syncing and imitating Tina’s stage flourishes like nobody’s business, has that wondrous flair of a real trouper, barring looking dubious to portray a 16-year-old Tina in the beginning, she is a phenomenon. Her version of Tina is a steelier, more angular ball of fire, and you know she will fight back, look how sinewy Bassett is! When that moment comes, you cheer for her but also pain to see how sadomasochistic their relation turns. If she doesn’t leave, the vicious circle will destroy her. The mere fact that both her and Fishburne are still waiting for that elusive second Oscar nomination can only reveal how Hollywood has failed them.

TINA, the documentary, divided into 5 parts, has a more comprehensive examination of her life and is thoroughly pleasing, even uplifting when she finally rises above all the hurdles like a lotus, confident, resilient and blossoming, leaving her checkered past behind and letting go all the terror, rancor and regret, that is the story everyone should rave about. That said, it sounds a tad insincere for celebrities who claim to write their memoir as a cleansing therapy to bid adieu to those painful experiences, the truth is more likely, if that shit can sell, why not make some lucre out of it?

Interviewees are limited to a few true insiders, although no one can refuse Oprah waxing lyrical about Tina. The footage of Tina belting out her signature songs has that infectiously raw affection and bears out why Tina is a born superstar on stage, she pulls out all her emotion into her songs, energizes them without restraint, and where does her endless energy comes from? It also controverts the conception that she owes Ike for her career, because she can shine whenever and wherever, give that woman a stage, she is the queen, indomitable, irresistible and utterly genuine.

referential entries: Asif Kapadia’s AMY (2015, 8.3/10); Rupert Goold's JUDY (2019, 6.9/10); Bryan Singer, Dexter Fletcher’s BOHEMIAN RHAPSODY (2018, 7.5/10).

Title: What's Love Got to Do with It

Year: 1993

Country: USA

Language: English

Genre: Biography, Drama, Music

Director: Brian Gibson

Screenwriter: Kate Lanier

based on the book “I, TURNER” by Tina Turner and Kurt Loder

Music: Stanley Clarke

Cinematography: Jamie Anderson

Editing: Stuart H. Pappé

Cast:

Angela Bassett

Laurence Fishburne

Vanessa Bell Calloway

Jenifer Lewis

Chi McBride

Phyllis Yvonne Stickney

Khandi Alexander

Penny Johnson Jerald

Pamala Tyson

James Reyne

RaéVen Kelly

Virginia Capers

Cora Lee Day

Barry Shabaka Henley

Rob LeBelle

Rating: 7.3/10

Title: Tina

Year: 2021

Country: USA, UK

Language: English

Genre: Documentary, Biography

Directors: Dan Lindsay, T.J. Martin

Music: Danny Bensi, Saunder Jurriaans

Cinematography: Dimitri Karakatsansis, Megan Stacey

Editing:Taryn Gould Carter Gunn, T.J. Martin

Cast:

Tina Turner

Katori Hall

Oprah Winfrey

Angela Bassett

Rating: 7.6/10