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1 ) [Film Review] Black Robe (1991) 7.3/10
Riding on the coattail of DANCES WITH WOLVES’ triumph, added by Beresford’s own DRIVING MISS DAISY (1989) Oscar coup, BLACK ROBE, based on Brian Moore’s novel about a Jesuit’s resolution of proselytizing Christianity among local Indians in the 17th century Canada, is green-lit as a Canada-Australia co-production and studiously shot entirely on inhospitable locations.
Father LaForgue (Bluteau), aka, the titular Black Robe, and his young non-Jesuit assistant Daniel (Young), are escorted by a cohort of Algonquin Indians (who have been ostensibly converted to Christianity), to traverse 1500 miles to look for a Catholic mission in a Huron village. En route, the group will fall in with several other Indian tribes, some are suspiciously non-violent, others are blatantly hostile. While LaForgue is flustered by Daniel’s copulation with Annuka (Holt, what a youthful exotica!), the sultry daughter of Chomina (Schellenberg), the Algonquin leading guide who is well versed in English, the Algonquins begin to question their mission, fanned by a Mantagnais shaman proclaiming that Black Robe is the embodiment of the Devil.
In mid-stream, the Algonquin backpedals on their promise and leaves LaForgue in the lurch, only a guilt-driven Chomina later returns with his family and a tailing Daniel, but they are ambushed and tortured by the ferocious Iroquois (the barbarian act among rivaling tribes is a searing condemnation of savage among uncivilized beings), only LaForgue, Daniel, Annuka and Chomina manages to escape during a snowy night (honey trap is a straightforward, foolproof ploy regardless of any societal context).
The last stretch of their journey is punctuated by Chomina’s succumbing to his severe wound, and it is his clairvoyant vision of the place where he dies, of which he constantly dreams, that bears witness to Beresford and Moore’s contestation of religious freedom, a foisted Christianity can not displace Chomina’s inveterate belief that has been deeply dispersed through generations of his people and indoctrinated for all their lives, such is attested by a numinous manifestation during Chomina’s last gasp.
Chomina’s last prophesy is that the Black Robe must finish his quest alone, so when Father LaForgue finally reaches his destination, he must brave himself for the rigors and disease prevailing over the Huron village, and devotes his remaining life to his evangelical mission, ironically, the ending caption sheds a light on the upshot of the proselytized Huron tribe, which doesn’t bode well, one might be intrigued to ask, what does that to do with their altered religion?
A scrawny Lothaire Bluteau cuts his teeth into this demanding leading role and ekes out a touching devoutness precariously nigh on obsession. August Schellenberg, a Mohawk descent, also strikes a chord in his personification of fortitude, sensibility and a magic fruit borne out of wishful-thinking civilization. All in all, Bruce Beresford’s BLACK ROBE is a grand epic toning down the unsavory side of westernized colonization, and lets a humane spirit take the wheel in the choppy flux of a religious journey.
referential entries: Beresford’s TENDER MERCIES (1983, 8.2/10); Roland Joffé’s THE MISSION (1986, 5.0/10), Kevin Costner’s DANCES WITH WOLVES (1990, 8.1/10).
2 ) 脆弱的宗教信仰，文明的必須發(fā)展史。
很沉重的一部片子，值得推薦。也發(fā)現(xiàn)越來(lái)越喜歡歷史題材的東西了，因?yàn)樗鼈儠?huì)給你一個(gè)生動(dòng)的再現(xiàn)，讓你去重新審視整個(gè)歷史發(fā)展的過(guò)程，并審視當(dāng)今社會(huì)的問(wèn)題。了解歷史更是了解我們自己，如果我們生在那個(gè)年代，把你自己放進(jìn)那個(gè)場(chǎng)景，你的感受肯定又不一樣了。
3 ) 一部電影佳作：我的感動(dòng)和遺憾！
《黑袍》，我在二十多年前就欣賞過(guò)這部電影的中文配音版本，那還是遙遠(yuǎn)的錄像帶時(shí)期，這部由加拿大和澳大利亞合作攝制于1991年的影片表現(xiàn)一位篤定、堅(jiān)強(qiáng)和意志非凡的法國(guó)傳教士遠(yuǎn)赴北美印第安人聚居區(qū)向原住民傳播基督信仰的故事，至今想來(lái)，仍然令人回味、感動(dòng)！影片用一連串記實(shí)般的壯麗畫(huà)卷講述了這個(gè)傳奇故事，帶給觀眾十七世紀(jì)北美荒蠻地區(qū)印地安人的生活狀況、文化特點(diǎn)及部族之間的和諧、沖突，延展影片所包含的厚重內(nèi)涵和深刻主題，并且真誠(chéng)探討了西方人與印地安人之間的相互關(guān)系現(xiàn)狀、文化宗教矛盾并且最終走向短暫融合，雖然被某些評(píng)論人士指責(zé)裹挾白人對(duì)有色人種進(jìn)行同化壓制的中心思想，但從廣義角度客觀評(píng)價(jià)，是一部倡導(dǎo)善良人性和種族仁愛(ài)的優(yōu)秀佳作，值得關(guān)注收藏。需要一提的是，本片以其優(yōu)美、宏大的攝影構(gòu)圖畫(huà)面及出色富有張力的編導(dǎo)、表演水平獲得1991年度加拿大電影金像獎(jiǎng)六項(xiàng)大獎(jiǎng)，刷新該國(guó)電影票房記錄，并入選美國(guó)《時(shí)代》雜志1991年度世界十大佳片行列。
影片根據(jù)社會(huì)文學(xué)家布萊恩·摩爾的暢銷(xiāo)小說(shuō)《黑袍》改編，曾以《為黛茜小姐開(kāi)車(chē)》而獲得1989年度奧斯卡最佳影片的澳大利亞裔導(dǎo)演布魯斯·貝爾斯福德執(zhí)導(dǎo)， 加拿大電影金像獎(jiǎng)影帝羅泰爾·布魯特出演主人公拉弗格神父，他曾經(jīng)在《蒙特利爾的耶穌》中奉獻(xiàn)精湛演技和令人信服的宗教氣質(zhì)，此番飾演一位意志堅(jiān)定的年輕神父。在連串如詩(shī)如畫(huà)的凄美鏡頭中，拉弗格身披黑色教袍與蒙昧未化的印第安部族人結(jié)伴同行，從格格不入到漸漸為友，他們足跡穿越加拿大魁北克地區(qū)人跡罕至的冰天雪地、大湖荒原，與嚴(yán)寒、狂風(fēng)、饑餓、部族沖突糾纏不已，歷盡苦難考驗(yàn)艱辛磨煉，甚至遭遇毆打拘禁迫害，身處生命危險(xiǎn)死亡威脅，他的內(nèi)心信仰虔誠(chéng)不移，即使面臨酋長(zhǎng)赴死、隨從離去即將孤身上路的窘迫危機(jī)，他轉(zhuǎn)身出發(fā)前依然從容自語(yǔ)：“上帝給予我們的，就如同生存和死亡，這對(duì)于誰(shuí)，都一樣公平！”
電影《黑袍》在拉弗格終于抵達(dá)休倫村接替死去的前任神父為村民進(jìn)行受洗儀式中結(jié)束，畫(huà)面于屋外凜冽寒風(fēng)席卷漫天飛雪中定格，伴隨著低聲祈禱和悠揚(yáng)壯闊的圣詠合唱......
由于影片內(nèi)容少有商業(yè)色彩，難獲觀眾喜愛(ài)，即使是一部嚴(yán)謹(jǐn)優(yōu)秀作品，也難覓傳播介質(zhì)，不能不說(shuō)是一件憾事，由此可見(jiàn)，過(guò)于商品化的資本市場(chǎng)，終究無(wú)法兼顧雅俗共賞、藝眾俱佳——但實(shí)際上，商業(yè)與藝術(shù)從來(lái)都能夠彼此融合，互為補(bǔ)充，這樣的電影作品才更加具有非凡魅力和獨(dú)特價(jià)值！
4 ) great movie~great story
The whole movie is full of cultural conflicts. French people were rich, civilized, while the local Indians were very original. Those two group of people held two extremely different type of cultures, which makes it very difficult for them to live and work together. We can see the French and Indians were regarding "the other" in many aspect. For instance, the French called the Indians "wild woods people", while the Indians thought all the things those white people said is meaningless, and they do not admit their religion, too, by calling the young Jesuit " Black Robe" instead of "Father". We can also see the cultural gap from the attitude of the Chomina (the leader of the travel group) towards the fact that his young daughter were falling in love with Daniel, the young assistance of LaForgue. Chomina said to his daughter that Daniel is ugly and can't be provided to her, which shows local Indians do not see those colonist the same as themselves.
The biggest reason, why this movie were regarded as one of the most successful movie of that year, is that this movie shows every characters as real human beings but a non-emotional hero. When two cultures hit each other, many unexplained facts were happening, such as "culture change", "culture loss", "acculturation". In the film, when LaForgue traveled on the river, he "shitted" in the river with his whole buttocks exposed outside, and all the other people were staring and laughing about him. This can be seen as a "culture change", kind of changing the culture style to adjust the environment. The young assistance Daniel is one of the most important role in the whole story. After he was falling in love with Chomina's beautiful daughter, Sandrine Holt, he started doubting his own faith by living for god. Eventually, he dumped LaForgue on a dangerous island and then ran after the travel group. This can be seen as a "culture loss". At the end of the movie, LaForgue got the final destination, a Huron village, he successfully convince those local villagers to believe god and give up wars and killings. This can be seen as an aspect of "acculturation". All of these phenomenon are presented very naturally through the movie.
"Colonization" and "Globalization" are two similar words in many aspect, like the movie shows us. they all contains lots of cultural conflicts and "culture change", "culture loss", "acculturation", but the difference is that Colonization is more like trying to remove a culture with another one. The process is violent, and the purpose is always greedy, while "Globalization" is more like trying to find a balance between two different culture. In that balance, people from both two culture backgrounds will show their respect to each other. Although, they might have different life style and religions, they can still work, study and living together, properly and comfortably.
hmmm， 我覺(jué)得對(duì)某些人很有教育意義。。當(dāng)然他們應(yīng)該看不出來(lái)其中的教育意義。。。
法國(guó)神父在加拿大印第安人地區(qū)早期的苦難傳教史，開(kāi)場(chǎng)就借其他人之口渲染了面對(duì)土著傳教的風(fēng)險(xiǎn)，但男主這一路在隨從小哥和印第安部落的陪護(hù)下前往目的地的劇情實(shí)際并沒(méi)有什么內(nèi)容——他眼見(jiàn)隨從與印第安妹子造愛(ài)時(shí)浴火分身自我懲罰，但他過(guò)往的情欲經(jīng)歷在電影里只是簡(jiǎn)單虛寫(xiě)，從頭到尾你看不到這個(gè)角色之所以虔信的動(dòng)機(jī)和過(guò)程；之后又經(jīng)歷了印第安人短暫的拋棄，路上他與印第安人文化和習(xí)俗的差異倒是我覺(jué)得最有趣的地方；隨即一行人被更野蠻的印第安部落俘獲，男主承受貝殼割肉的酷刑是他虔信的集中表達(dá)，可縱觀全片，男主的虔信并不足以成為收尾部分的部落皈依之理由，尤其本片結(jié)尾部分收束的特別快。本片以受害者視角，呈現(xiàn)了歐洲殖民史早期狀態(tài)，似乎再給自己后來(lái)清繳印第安人的行為找理由。結(jié)合北美蠻荒風(fēng)光拍了些很美的鏡頭，何家蓓挺美
他們歸依了天主，但是天主管轄不到那個(gè)地方。
為了印第安人歷史而看的電影 誤解和歧視實(shí)在是太多 何家蓓真的很驚艷
Canadian Study上看得......
Winner of Canada Film Festival, including Best Picture, Best Director, Best Actor - 1992
很灰暗的一部電影。不同的文化之間有太多的誤解，本就令人唏噓。而更讓我失望的是，神父經(jīng)歷了這么多，到最后還堅(jiān)信著自己的宗教能夠拯救這些土著人。就好像那個(gè)在村莊里呆了二十年的老神父，他還是沒(méi)能與這些土著人相互理解。那一個(gè)片段我只覺(jué)得悲哀。而結(jié)尾的那一行字，追隨基督教的土著部落，最后被他們的敵人抹殺。多可笑多悲涼的結(jié)局。
殖民和文化消滅。保護(hù)文化多樣性和種族和解，民族平等，其實(shí)是歷代統(tǒng)治者消滅異己的借口。
那女人好動(dòng)心~~~男主沒(méi)胡子的時(shí)候很帥 還8錯(cuò) 風(fēng)景優(yōu)美 節(jié)奏不緊不慢 演員表演也不錯(cuò)
有點(diǎn)反思的意思，為什么一定要?jiǎng)e人接受你們的神？極美的魁北克；信仰的力量。
本來(lái)就喜歡看帶有宗教色彩的電影，聽(tīng)說(shuō)這部電影拍的非常的寫(xiě)實(shí)，整部片子看下來(lái)，的確感覺(jué)很現(xiàn)實(shí)主義，有些印第安人的殘酷性表現(xiàn)的非常讓人心寒。還有主角的那種徘徊，無(wú)奈和迷茫也很真實(shí)。下面就是要去看看黑死病，比較一下基督教在中世紀(jì)歐洲和新世界的區(qū)別
影片覆蓋的話(huà)題十分豐富，引人思考：兩種文明的交流與沖突，基督教的傳播，人生與信仰的實(shí)踐，萬(wàn)物有靈論，青年男女的熱戀，生與死的抉擇，安大略湖的壯美風(fēng)光。電影深沉而厚重，畫(huà)面開(kāi)闊又豐富，可惜歐美現(xiàn)在流行各種批判性理論，再難看到這種好片了，傷心。
歐美導(dǎo)演如果不知道如何正常表現(xiàn)亞裔女性的美，不妨參考一下這里面的何佳蓓...
不打算重看了，雖然睡過(guò)去一半，至少老師要講的了解了，可是老師到底講了什么…… 一部沒(méi)達(dá)到目的帶著原著作者強(qiáng)烈印記的電影？
張紀(jì)中是怎么發(fā)現(xiàn)這張專(zhuān)輯里的OST適用于他的天龍(⊙o⊙)
本片改編自布萊恩摩爾的暢銷(xiāo)小說(shuō)，布萊恩根據(jù)耶穌會(huì)所記載有關(guān)傳教士在法蘭西區(qū)的早期活動(dòng)，撰寫(xiě)成拉佛格神父的傳奇故事，并謹(jǐn)慎地將一段著名的歷史戲劇化，從中能一窺早期北美的歷史。
這電影很難不讓人想起馬丁西科塞斯的《沉默》啊…但這電影的構(gòu)圖非常美，一點(diǎn)不遜于那些以畫(huà)面著稱(chēng)的大師們。
原作者Brian Moore受到了耶穌會(huì)士Noel Chabanel (1613-1649)殉道的啟發(fā)，寫(xiě)下了這個(gè)故事。影片中主要表現(xiàn)神父Laforgue前往休倫人領(lǐng)地傳教，有一隊(duì)阿爾岡昆人同意護(hù)送，還有一位法國(guó)年輕人Daniel也作為神父的陪同隨行。一路兇險(xiǎn)。這些印第安人必然不認(rèn)可神父的教導(dǎo)，阿爾岡昆人甚至曾丟下了“黑袍”。但后來(lái)，他們一群人被易洛魁人圍攻，死的死死的傷，“他們是動(dòng)物啊，他們不是人”。最后的逃脫，神父Laforgue終于走到了目的地，休倫人的村莊。最后一幕，那些休倫人問(wèn)神父：Do you love us？神父沉思良久回答：Yes.
法國(guó)古典繪畫(huà)式照明披拂在主教和督主身上，而生存在廣袤北境的原始部落則享用著冷峻的自然主義用光，光一方面作為神圣的象征話(huà)語(yǔ)，受光與否意味著上帝與理性的光輝是否耀照，另一方面以文明-野蠻的空間對(duì)照而掘出文本深層的殖民主義色彩。而視點(diǎn)或者視點(diǎn)權(quán)的差異分配，比如主導(dǎo)視點(diǎn)的不斷打斷，觀看與被觀看的多次對(duì)調(diào)以至于視點(diǎn)迷亂，讓傳教士福音行為以非神圣化的形式進(jìn)行，從而削弱殖民主義的傲慢，化解當(dāng)代觀眾的置疑與拒斥，建立起主體的認(rèn)同。對(duì)于印第安人的夢(mèng)的展現(xiàn)，是一段黑白的極度風(fēng)格化的蒙太奇，夢(mèng)境一一被現(xiàn)實(shí)驗(yàn)證，帶有濃郁的超驗(yàn)色彩，這為原住民進(jìn)行神話(huà)般的賦魅，強(qiáng)化著印第安文化的正面表述。殖民歷史的精密改寫(xiě)，多重目光的縫合，這些敘事策略調(diào)和著殖民話(huà)語(yǔ)與反殖民話(huà)語(yǔ)，而這正是對(duì)當(dāng)下加拿大多元文化歷史與現(xiàn)實(shí)的焦慮反映。
So touching, so sad, there could be so much debate and so much humanities.