1 ) 一些亂七八糟的想法
看了電影,也看了很多評(píng)論,從政治的角度看,水可載舟亦能覆舟,從行為上看,體現(xiàn)了個(gè)體與整體的矛盾沖突。離開整體,個(gè)體有無(wú)價(jià)值?從何體現(xiàn)?表面上馬修斯為羅馬而戰(zhàn),實(shí)則他只為自己的信仰,但他卻因?yàn)槟赣H的壓力一步步的妥協(xié),但不能說(shuō)對(duì)母親的妥協(xié)不是他的選擇,或許這也是他信仰的一部分,正是因?yàn)槊艿膬?nèi)心和不堅(jiān)定,注定之后的悲劇。
2 ) 「Quotes」
「The main blaze of it is past, but a samll thing would make it flame again.」
「Every gash was an enemy's grave.」
「Before him he carries noise, and behind him he leaves tears. Death, that dark spirit, in his nervy arm doth lie. Which, being advanced, declines, and then men die.」
「Would you have me false to my nature? Rather say I play the man I am.
↓
I have a heart as little apt as yours, but yet a brain that leads my use of anger to better vantage.」
「You common cry of curs! Whose breath I hate as reeks of the rotten fens, whose loves I prize as the dead carcasses of unburied men that do corrupt my air. I... banish... you! And here remain with your uncertainty. Let every feeble rumor shake your hearts. Your enemies, with nodding of their caps, fan you into despair. Have the power still to banish your defenders, till at length your ignorance, which finds not till it feels, making but reservation of yourselves, still your own foes deliver you as most abated captives to some nation that won you without blows. Despising, for you, the city... thus... I turn my back. There is a world... elsewhere.」
「I would the gods had nothing else to do but to confirm my curses!」
「Our virtues lie in the interpretation of the time. One fire drives out one fire... one nail, one nail. Rights by rights falter, strengths by strengths do fail.」
「Should we be silent and not speak, our raiment and state of bodies would betray what life we have led since thy exile. Think with thyself. How more unfortunate than all living women are we come hither, since that thy sight, which should make our eyes flow with joy, hearts dance with comforts... constrains them weep and shake with fear and sorrow... making the mother, wife, and child to see the son, the husband and the father tearing his country's bowels out. And we must find an evident calamity, though we had our wish, which side should win. For either thou must, as a foreign recreant, be led with manacles through our streets, or else, triumphantly, tread on thy country's ruin, and bear the palm for having bravely shed thy wife and children's blood. For myself... son... I purpose not to wait on fortune till these wars determine. If I cannot persuade thee rather to show a noble grace to both parts than seek the end to one, thou shalt no sooner march to assault thy country than to tread on thy mother's womb... that brought thee to this world. 」
3 ) 一體兩面
因?yàn)榭戳硕渡膭?chǎng)版,才找來(lái)看拉叔的電影版。電影版很新奇地設(shè)定在了現(xiàn)代,但人物說(shuō)的還是莎翁的臺(tái)詞。但這并不是兩者之間最大的區(qū)別。
我以為,兩個(gè)版本一體兩面,強(qiáng)調(diào)了這個(gè)故事的不同側(cè)面。
抖森的Coriolanus實(shí)在太惹人喜愛,觀影時(shí)完全沉浸在對(duì)他的遭遇的同情中,因此特別反感那群被私心熏天的護(hù)民官三言兩語(yǔ)就撩撥得群情激蕩的普通民眾。這也是因?yàn)樵敿?xì)刻畫了Coriolanus被流放出城時(shí)遭受的侮辱,以及對(duì)幾個(gè)民眾頭頭的特寫。想說(shuō)莎翁400年前就反思了全民民主容易被操縱也是rio?!?br>拉叔版的Coriolanus因?yàn)樘^(guò)兇狠,無(wú)限放大了寇流蘭本身性格的缺點(diǎn):剛愎自用,情商為負(fù)又驕傲到飛起。出城受辱的部分全部刪沒了,相對(duì)應(yīng)的重點(diǎn)也不再是劇場(chǎng)版的“民主是狗屁”。此外,Aufidius沒有劇場(chǎng)版演得好,撐不起Coriolanus死敵的地位。
兩個(gè)版本相同的地方是,Coriolanus的母親都是超級(jí)超級(jí)惹人厭啊,說(shuō)他死在了母親手里真是一點(diǎn)也不夸張!兩個(gè)版本的Coriolanus妻子都毫無(wú)存在感,劇場(chǎng)版的略勝一籌完全是因?yàn)楹投渡膎個(gè)吻……
4 ) 被放逐的孤魂:科里納蘭納斯
看完拉爾夫?費(fèi)因斯執(zhí)導(dǎo)的電影《科里奧蘭納斯》,感覺古希臘悲劇又復(fù)活了,上豆瓣后才知道這是莎士比亞的同名戲劇,難怪里面臺(tái)詞充滿著維多利亞時(shí)代的華麗鋪陳。借機(jī)拜讀了莎翁的《科里奧蘭納斯》,劇中要告訴人們的是:
最致命的打擊,是信仰變成欺騙;
最了解你的人,是你最大的敵人;
最高貴的靈魂,眾人須把它毀滅。
影片彌漫著尼采哲學(xué)氣質(zhì),不知是不是我的審美與我的知識(shí)背景有關(guān)??吹今R歇斯作戰(zhàn)時(shí)我想到了巴頓,這分明是尼采對(duì)戰(zhàn)爭(zhēng)的熱切贊美;我不知道尼采有沒有讀莎士比亞的《科里奧蘭納斯》。
無(wú)論在精神上還是身份上,卡厄斯?馬歇斯都是天生的貴族,他確實(shí)是整個(gè)精英文化的純粹代表,他擁有一切高貴人的品格,他是那么桀驁不馴同時(shí)忠誠(chéng)耿直;他對(duì)群氓的蔑視,是在站在宗教圣徒式道德批判上的,同時(shí)也站在貴族精英政治立場(chǎng)上的發(fā)自內(nèi)心的鄙視烏合之眾。他對(duì)神靈的敬畏、對(duì)統(tǒng)治秩序的守護(hù)以及對(duì)戰(zhàn)爭(zhēng)的瘋狂,侵染著斯巴達(dá)人的尚武精神。古希臘人渴望戰(zhàn)斗、鄙視群眾、呼喚理性的精神,在馬歇斯身上得到完美體現(xiàn),馬歇斯似乎就是尼采所熱情呼喚的“超人”,他的精力如大海般充沛,他鄙視大眾,對(duì)真正的強(qiáng)大的敵人反而發(fā)出由衷的贊嘆,他按照自己的意志行事,不受人牽制,按照自我的判斷來(lái)實(shí)現(xiàn)自己。
卡厄斯?馬歇斯也許歷史上的“反動(dòng)分子”,因?yàn)樗c當(dāng)今民主價(jià)值觀格格不入,對(duì)于獲得“多數(shù)人”同意的民主制度不過(guò)是要控制選民情緒,極盡諂媚討好之能事,事實(shí)上,一旦攫取權(quán)勢(shì)就會(huì)“棄群眾于不顧”,因?yàn)閺囊婚_始就只需要利用群眾高亢情緒,而不是利用正義來(lái)實(shí)現(xiàn)權(quán)力,馬歇斯或許深知這一點(diǎn),他堅(jiān)定的選擇貴族保守統(tǒng)治,不愿意同流合污。這其中充滿了對(duì)現(xiàn)代政治的嘲諷和揭露,一群搖擺不定、是非不分的人群會(huì)不會(huì)把“民主政治”變成無(wú)惡不作的“暴民政治”?打著“人民”旗號(hào)的革命,實(shí)際上只是幾個(gè)野心家的無(wú)恥勾當(dāng),這在無(wú)論哪一國(guó)歷史不是一幕幕的上演嗎?
因而影片充滿著無(wú)可救藥的“文化傷感主義”,潔身自好的人們注定要受到污垢,一心為國(guó)效忠的軍人理所當(dāng)然不容于世,堅(jiān)守高貴的操守會(huì)被認(rèn)為是“驕傲的,不合群的”,是人群必須要鏟除的“毒瘤”。
一個(gè)清高的英雄史詩(shī)還不足以構(gòu)成我喜歡的理由,我之所以說(shuō)本片是“希臘悲劇精神的復(fù)活”,是因?yàn)椤犊评飱W蘭納斯》似乎抓住了希臘語(yǔ)境里非常重要的兩個(gè)私密:“戀母情結(jié)”和“同性戀”,二者在希臘文化中代表世界上最高貴、最純凈的情感,因?yàn)樗麄兌际翘焐?、無(wú)欲的,是生命意志的體現(xiàn)。
在莎劇中這兩種古老的情結(jié)已經(jīng)變得異常微妙,變成了純粹文化意義上的追思。馬歇斯愛他的妻子,但是妻子只是“靜默的好人兒”,兒女柔情不過(guò)是他男人世界里的小小點(diǎn)綴,也不能對(duì)他施加影響;而他的母親則有這種能力,馬歇斯違心的競(jìng)選執(zhí)政官,并最終放棄怨恨,都是對(duì)母親意志的屈服,骨子里深刻“俄底浦斯情結(jié)”讓他的命運(yùn)充滿悲劇性。而在精神世界里真正平視馬歇斯的只是奧菲狄烏斯,他們惺惺相惜,他們戰(zhàn)斗時(shí),充滿仇恨和殺戮,絕不手下留情;他們合作時(shí),彼此欣賞和接納;他們都是世間罕有的一流人物,也正因?yàn)槿绱?,他們的?zhēng)斗超越了狹隘的民族斗爭(zhēng),而變成兩個(gè)英雄光明磊落的斗爭(zhēng)。影片的最后,奧菲狄烏斯將馬歇斯攬?jiān)趹牙?,溫柔的像情人擁抱一樣,而這阻止不了他憤怒的匕首捅向馬歇斯的胸口,在他死在自己的懷里的一剎那,奧菲狄烏斯無(wú)比沉痛的親吻馬歇斯的面頰???????。
馬歇斯悲劇在于他不肯向世俗低頭,他的死是自我選擇的,他不會(huì)死在羅馬而死在了安息城,因?yàn)榱_馬遺棄了他,他也背叛了羅馬,安息城卻是他戰(zhàn)斗過(guò)的地方;他不屑于死在一場(chǎng)瑣小的戰(zhàn)爭(zhēng)中,他要死于他佩服的奧菲狄烏斯之手。
他用他的死證明他的戰(zhàn)斗和不屈???????
5 ) Coriolanus (2011)
故事講述Martius是一個(gè)戰(zhàn)爭(zhēng)英雄,回國(guó)之後自然出將入相。
可惜天生的驕傲令他無(wú)法得到人民唾棄,加上小人唆擺,終於使他被放逐於羅馬之外。
離棄妻兒、母親、好友,投身敵人陣營(yíng),反攻羅馬。
復(fù)仇行動(dòng)當(dāng)然節(jié)節(jié)勝利,羅馬為了自保,派了不少說(shuō)客……
雖說(shuō)締結(jié)和平條約,但最後都悲劇收?qǐng)觥?br>
這部電影宣傳極小,只會(huì)無(wú)意之間看見一兩張海報(bào)而已,卻是難得一見的好電影。
把莎士比亞原著搬上舞臺(tái)不是一天兩天的事了,有的忠於原著,有的面目全非。
這一部?jī)烧呒嫒。压糯适掳岬浆F(xiàn)代,但對(duì)白卻忠於原著(感謝字幕翻得合宜)。
的確是不容易的嘗試,但佛地魔Ralph Fiennes處理得十分好。片長(zhǎng)兩小時(shí),每一刻都令人移不開目光,時(shí)時(shí)刻刻惟恐遺漏了一個(gè)鏡頭。場(chǎng)景使所有人身份高下立見,城內(nèi)外兩副景象凸出被放逐的蒼涼。
電影穿插了不少新聞片段,時(shí)時(shí)刻刻都有羅馬居民的投入感。
推擠、混亂、暴動(dòng)的場(chǎng)面真實(shí)有力,伴隨而來(lái)的衝突力量爆發(fā)而出。
拍得好之外,演員都好。
飾演兩大英雄的,分別是Ralph Fiennes和Gerard Butler,演技自然無(wú)庸置疑,
放逐者到達(dá)敵人跟前投誠(chéng)一幕,明知結(jié)果,仍叫人緊張萬(wàn)分。
主角好,配角更好。
演好友Menenius的Brian Cox,嚴(yán)肅認(rèn)真又風(fēng)趣幽默。
在人民的厭惡聲中仍支持朋友,好友叛國(guó)使他身心俱疲,最後走上毀滅的道路。
演母親Volumnia的Vanessa Redgrave更好!
她追求光榮,甚至推動(dòng)兒子追求光榮。
為了站上頂峰,要求兒子扭曲本性。
Vanessa Redgrave的不擇手段,換來(lái)觀眾一致的激賞。
6 ) Egregious
Adapting a plaly as complex as Coriolanus requires wise counsel, apparently something Fiennes lacked. 本作release時(shí)即有人點(diǎn)出一些問(wèn)題,核心問(wèn)題是缺乏對(duì)于劇本的解讀,鏈接如下。
//www.nytimes.com/2012/01/22/magazine/revisiting-shakespeares-coriolanus.html
除此之外,還有幾個(gè)比較嚴(yán)重的consequences.
1. The irreconcilible conflict between city-state political logic and the modern day perception of politics
Gone are the days when a military man is seen fit to reign. Aye, yes, Caesar fought and Caesar reigned, but the modern politics no longer accomodates a warrior king. Gone are the days of the city-state political logic. Today we view war as increasingly unnecessary because our political reality is better aided with international cooperation and negotiation, as oppose to the ancient Rome reality, which still required a militarist approach to its rule. To convince an audience that a man be nominated consul based on his military achievement - in a modern setting - at best elicits confusion (no, throwing a black dude into the scene does not assuage the mild discomfort that this state reminds one of a militarist Italy, whose most recent manifestation occurred a little over 70 years ago when it was headed by an army man - ave maria).
2. Against the Volsci
這場(chǎng)仗打得跟反恐精英一樣。To be fair, at the beginning the Volsci mainly raided the Roman commoners and did not engage in proper warfare with Rome. But one's perception of the war Coriolanus leads, in this picture, is at best an anti-terrorist gig, which is a conscious choice made by Fiennes, which is doubly confusing as in where he wishes this all might go, especially if we ponder the complex facts of anti-terrorism. Bottom line: this perception is not something we as an audience need to understand the play (indeed distracting).
3. What maketh Coriolanus
Hiddleston did a far better job than Fiennes in that he knows what it is about. Coriolanus is noble, and Shakespeare did not allow us to sympathize with Coriolanus for no good reason. Unfortuately Fiennes only managed to deliver a garden-variety-military-manish (read: raging simple-headedly) Coriolanus without convincing us his deserved nobility. Notably, pride is not necessarily rage, and to that extent Hiddleston’s interpretation of Coriolanus allows for much room for Coriolanus’ many great qualities to play out. Why, one amuses herself to think it, of course Coriolanus is human and has his fair share of flaws, but without bringing forth his goodness in proper manner the story is immediately dead.
Not Putin, no. That man isn't Coriolanus. Big mistake, big.
4. Poor coiffure (if any)
Men have less choices when it comes to straight-guy fashion, far less when it comes to hairdo. But of course one can avoide the simple mistake of bringing back an Italian militaristic bald guy.
"Democracy is beautiful in theory; in practice it is a fallacy. You in America will see that some day." - Mussolini
But perhaps, after reading a quote or two from Mussolini, one might as well say that Fiennes has outdone us all by capturing what Coriolanus is really about!
特地看了下原著,做好充分的心理準(zhǔn)備,但現(xiàn)代背景配上原著臺(tái)詞還是很別扭啊,觀眾頻頻笑場(chǎng)...過(guò)于追求舞臺(tái)戲劇張力,有點(diǎn)弄巧反拙了,畢竟不是每個(gè)觀眾都是莎士比亞迷...不過(guò)作為導(dǎo)演處女作,運(yùn)鏡和演繹還是很驚艷的
電影本身四星。莎士比亞增色,再添一星。Ralph Fiennes is a better director than I had imagined him to be. 而且他來(lái)Q&A時(shí)多么誠(chéng)懇謙遜可愛啊,加分加分。
太不愧對(duì)莎劇改編這幾個(gè)字了。。。只是RF滿頭血嘶吼著的時(shí)候總會(huì)穿越到伏地魔 = =
這樣都能改的出來(lái),有點(diǎn)意思。
想知道伏地魔為啥那樣恨霍格沃茲么?快去看本片吧!想跟人說(shuō)你英語(yǔ)很牛掰么?看了本片再說(shuō)吧!
My name...is Caius Martius Colour-your-anus
這也算故事新編吧,架空的東西真心不喜歡
不懂古羅馬體制和歷史的人肯定沒法理解本片的神髓。費(fèi)恩斯竟然可以將莎翁的金句和古羅馬的傳奇無(wú)縫移植到當(dāng)今的年代,除了將忠貞背叛、英雄相惜的耳熟故事娓娓道來(lái),更探求著千百年來(lái)政治體制里民主與專制的兩難抉擇??墒亲畲騽?dòng)我的,是那天生高貴藐視萬(wàn)物的姿態(tài)與神情。麻雀怎會(huì)懂得鷹隼的心扉?
臺(tái)詞和主題照搬莎士比亞,演員的舞臺(tái)范也很討人歡喜,但現(xiàn)代戰(zhàn)爭(zhēng)背景的設(shè)置仿佛架空了真實(shí)感,使這個(gè)故事變成了空中樓閣,仿佛一件遙遠(yuǎn)的事情。資金的限制也不見了莎士比亞原著中大量的動(dòng)作戲份,我們只看到了角色身上的傷疤和內(nèi)心掙扎,好在演員的功力經(jīng)得起鏡頭大特寫的考驗(yàn)?!铩铩铩?/p>
伏地魔與斯巴達(dá)的戰(zhàn)爭(zhēng),結(jié)尾還真是有點(diǎn)基情啊...拉爾夫費(fèi)因斯自導(dǎo)自演,臺(tái)詞采用莎翁原對(duì)白,雖然新奇,但還是有點(diǎn)別扭~
一個(gè)高人生活在屁民中的悲劇。至于表現(xiàn)的形式(莎翁作品劇場(chǎng)形式搬上銀幕),也許可稱為是創(chuàng)新,但至少本人感到水土不服。
邊做字幕邊擼。。這片子簡(jiǎn)直就是二二的個(gè)人秀啊!而且各種賣腐橋段,我完全正經(jīng)不起來(lái)。。
改編和表演不錯(cuò),Logan的劇本也靠譜,可惜在兩點(diǎn):背景放在現(xiàn)代反而略顯突兀,這本身是個(gè)太羅馬的故事;Gerard Butler。多少好演員,勞德您為啥就偏選了個(gè)他……根本帶不起戲來(lái)啊,演技和范叔也根本不在同一個(gè)水平線上,嚴(yán)重削弱了Coriolanus/Aufidius之間的氣場(chǎng),太遺憾。
有點(diǎn)虛
能有此般對(duì)白演繹,你們還在乎個(gè)屁的劇情和穿越?
兩族之間的戰(zhàn)爭(zhēng)戲碼精彩過(guò)癮,也符合原著中的大量戰(zhàn)爭(zhēng)戲設(shè)定,政治戲碼被喻以現(xiàn)代意義,更使電影拔高了一個(gè)層次。費(fèi)恩斯的表演依舊是那種內(nèi)斂的張狂,不羈時(shí)讓人不忍叫好。此外幾位配角譬如其母瓦妮莎·雷德格瑞夫也極有力量。電影區(qū)區(qū)1千萬(wàn)成本,獨(dú)立又不乏普世精神,實(shí)在難能可貴。
大腦在歌劇式的臺(tái)詞和真實(shí)的環(huán)境中來(lái)回切換,縱有完美的演員陣容,也甚感遺憾,若能設(shè)定回羅馬時(shí)代,本片勘稱男人電影中的精品.
典型的悲劇英雄 有時(shí)候新瓶裝老酒的意思是新奇美觀且歷久彌香
莎翁好好看,改編也有想法
這種套用莎翁的形式接受起來(lái)完全沒問(wèn)題,不過(guò)還是會(huì)有架空的感覺,特別是關(guān)鍵段落那些字正腔圓的臺(tái)詞、過(guò)度舞臺(tái)化的表演,和敘事部分常規(guī)化的表現(xiàn)形式,出現(xiàn)一定的落差感。還好幾個(gè)主要演員的表演在其中找到了某種聯(lián)系,不會(huì)過(guò)于失控。