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天堂孤影

喜劇片芬蘭1986

主演:馬蒂·佩龍帕  卡蒂·奧廷寧  薩卡里·庫斯曼嫩  

導(dǎo)演:阿基·考里斯馬基

播放地址

 劇照

天堂孤影 劇照 NO.1天堂孤影 劇照 NO.2天堂孤影 劇照 NO.3天堂孤影 劇照 NO.4天堂孤影 劇照 NO.5天堂孤影 劇照 NO.6天堂孤影 劇照 NO.13天堂孤影 劇照 NO.14天堂孤影 劇照 NO.15天堂孤影 劇照 NO.16天堂孤影 劇照 NO.17天堂孤影 劇照 NO.18天堂孤影 劇照 NO.19天堂孤影 劇照 NO.20
更新時(shí)間:2024-04-11 16:51

詳細(xì)劇情

環(huán)衛(wèi)公司垃圾車駕駛員尼卡德(Matti Pellonp?? 飾)的老同事計(jì)劃籌資組建自己的環(huán)衛(wèi)公司,邀請(qǐng)尼卡德技術(shù)入股,但老同事不久急病突發(fā)身亡,尼卡德的生活重回一潭死水狀態(tài)。尼卡德心有不甘借酒滋事,在被拘留的時(shí)候結(jié)識(shí)日后的同事米卡拉。米卡拉偶而會(huì)不識(shí)趣的妨礙尼卡德暗地追求超市售貨員伊羅娜(Kati Outinen 飾),但他仍是尼卡德最可依賴的朋友。伊羅娜為報(bào)復(fù)超市經(jīng)理偷走了錢盒,尼卡德幫助她找到服裝店的新工作,服裝店經(jīng)理夾到尼卡德與伊羅娜的關(guān)系中間,但尼卡德最終奪回了自己的愛人。   本片獲1987年芬蘭電影尤西獎(jiǎng)最佳影片獎(jiǎng)。是導(dǎo)演郭立斯馬基(Aki Kaurism?ki)無產(chǎn)階級(jí)三部曲的第一部。

 長(zhǎng)篇影評(píng)

 1 ) My Questions on Shadows in Paradise

Actually this is one of my assignments from my foreign teacher who recommended us to watch and ponder on the film. I use plain language to share some of my thoughts here with you and hope you guys will enjoy it!

Feel free to comment!

Questions:
        How to understand the characters in the movie Shadows in Paradise?
        What does the ship which is going off at the end of the movie symbolize?

Possible Answers:
        After watching the film first time, I felt it a comedy with happy ending. However, when I watch the film a second time, I feel depressed, and I have a totally different feeling from the first time. I regard it as an ideal dream of the working class rather than a simple comedy of the workers. This film reminds me of The Flies, which we’ve read last semester. Both of the film and the article are talking about the stories of the same class, the lower working class, which has nothing glamorous but unique. As we all know, paradise represents a bright and joyful image, so how come there are some shadows in paradise? This is the question occurred to me when I first read the title of the movie. Trying to understand the film and the theme, I approach to the understanding of the characters first.
        In the movie, there are two main characters and four other characters. I’d like to divide them into different groups according to the different criteria for the sake of better understanding of the characters.

                 Attitudes towards Life

1.Positive: Make a change
2.Negative: Stay in comfort zone

        According to the attitudes towards life, I categorize the characters into two groups: make a change and stay in comfort zone.
    What I’m most impressed by this movie is that the characters’ desire to make a change. Firstly, the coworker of Nikander, who had a dream to travel around the world with his wife, wanted to run a company by himself. He was fed up with the current job for twenty-five years and he was longing for change. He was so positive towards life, but he worked too hard and prepared a lot for his dream. He even died when he was working. This makes me think of those events in nowadays society, which are the premature deaths of the elites in society. As we all know, if we want to gain something, we have to pay the price sooner or later. However, those premature dead people are working too hard to stand. Although they are positive towards life and willing to make a change, they overwork to make up the lost. Their attitudes towards life should be appreciated, but their method of wealth accumulation should not be complimented. As Confucius has said, enough is as good as a feast. We should be satisfied when we have enough sources. This is probably a correct method of making a change.
        Secondly, the main character, Nikander, is also a member of the positive group. He was willing to be a foreman when his coworker suggested him to be and he learned English after work in order to improve himself. He kept on trying, kept on making a change even he was only a garbage collector, a blue-collar worker. Even though he hadn’t a decent job, he kept everything of his life in order: he went to work on time every day, cooked dinner for himself, and folded his clothes tidily. In my opinion, arranging one’s daily life in order itself is a kind of positive act. The others may have held him in contempt, but the most important thing is that he never looks down upon himself and he is always positive towards life.
        Last but not the least, the partner of Nikander, a jobless person who was arrested in the jail before, was positive as well. He was willing to work and wanted to make a change in his life. He began changing from getting a job, helping Nikander, visiting Nikander when he was crossed in love and taking care of Nikander when he was in the hospital. They were trying to make a change in their life and struggling in the working class.
        In this movie, the characters, though in the inferior status and lower working class, I think are optimistic towards life except Liona’s attitude was controversial.
        Liona went through a lot but she seldom took action to make a change in the previous half of the movie. When she was fired for no reason, she chose to steal the money box and avoid the reality. She requested Nikander to drive her out of the town. In my viewpoint, if she really wanted to make a change, she should use some practical and legal methods rather than this illegal and negative means. Because she must know the result that she would stand accused of theft by the police after she returned home. That is to say, she must know this act will not work and all these would be in vain at the start of her plan. So what’s the point doing this if she really wanted a change in life? She could have appealed to law or the Labour Union for getting a reasonable reply of her unemployment. But she didn’t. From this aspect, she seemed to be negative towards life because she just tried to avoid the cruel reality.
        However, taking her act at another thought, she was still trying even when she was sure to fail. She attempted to make a change and get hold of her own life, though the method she adopted didn’t work. Thus we may interpret this act as a positive attitude of her deep heart from this aspect. What’s more, she was still positive towards life when she chose to leave with Nikanda in the end. This was also an act that she tried to make a change in her life. Probably getting on the ship with Nikander was a signal of revolution.
        To sum up, Liona had both of the positive and negative attitudes towards life which made her attitude controversial. Above all is how I understand the characters from the perspectives of attitudes towards life.

                 Social Status

          1.Upper Class
          2.Lower Class
        
        This movie is mainly talking about the life in the lower working class. The major characters are just like the representative of the lower class in society. They don’t have decent job or well-paid salary, let alone the high-class network in society. They looked more serious and sober. Liona, was the most typical characters of the lower class. She seldom showed a smile on her face, probably because there was nothing worth smiling about in the life of lower class. We know the life of the lower class from her. She was fired the third time for no reason; she turned to steal for revenge because she was unemployed; she had to live in Nikander’s house for accommodation; she had to find a job with the help of men; she had to eat hamburger besides the road rather than have dinner in the restaurant. Those people in lower class had something in common with her.: they haven’t got steady jobs and networks to help.
        Like Liona, Nikander was also a typical character in the lower class. He was looked down upon by the waiter in the restaurant and the manager of the shop because his dress and job. Through their life, we know the life of lower class is full of bitterness and prejudice. This environment is like the shadows existing in society. Anything glamorous doesn’t belong to them. We’re usually attracted by the paradise, the halo of upper class; however, after watching the film, I know that we can’t overlook the shadows, the dark side of society.
        Unlike the lower class, the people in the upper class enjoyed the well-paid salary, stable job and the better quality of service. The manager of the clothes shop could be categorized into this group. He could offer Liona a job; he could have dinner in the restaurant and never bother whether there was a seat or not. The people in upper class enjoy the privileges and live a more comfortable life than those in lower class.
        This is how I understand the characters from the perspective of different social status.

               Attitudes towards Love

         1.Confused
         2.Persistent

        The love story served as a main thread through the whole movie. To understand their attitudes towards love is of great importance. Liona was confused about love when she was in the crossway to make a decision between the manager and Nikander. These two alternatives represented bread and love, the permanent topic in our reality. She was so confused that she didn’t know which to choose. Bread or love, that is a question. Liona first was a realistic lady when she chose the manager, the bread in life. Because she knew she could not live without a job and money. I quite agreed with her first decision. After all, life is cruel. However, she finally looked into her deep heart and found out the real answer, the true love in human. She chose to believe in the power of love so she took an act to leave with Nikander in the end. This is her final decision and attitude towards love.
        Concerning love, Nikander was everything that Liona wasn’t. He was persistent, faithful and loyal to love. He let Liona live in his house for shelter; he gave the money back to the manager of supermarket for Liona; he never gave up Liona even when she had another man. His persistence towards love won Liona’s heart eventually.
        This is how I understand the characters from the perspective of attitudes towards love.


        After analyzing the characters in the movie, I have a better understanding of the theme. The ship also which is going off at the end of the movie makes me think a lot. I have to say the director of the film is a genius because he leaves enough space for the audience to ponder and reflect after watching it, especially the ending part, a marvelous job.
        When the ship was sailing out in the end, the audience may think where were they going? How was the future life of them? These are the questions I think about. I believe many other people may think alike.
        On the surface, the ship with Liona and Nikander on it symbolizes the happy ending of the couple. They finally got together and went for the honeymoon. They took an act and made a change in their life regardless of reality. They may probably have a romantic cruise or a fantastic journey. However, is life really so simple? Does their destination really exist? This ending makes me think of the happy endings of the fairy tales. As we all know, the endings of the fairy tales are like this: from now on, the prince and princess live a happy life forever. Nothing more is described about their future marriage life. But we can guess their life full of pressure and trivial daily troubles. They are the noble so they must be under the pressure of royalty and public. What’s more, they have to deal with those daily necessities let which they seldom concern about before marriage. They have to face to the reality after all. Can they live a happy life forever? That ending just can cheat those children who have never taste the bitterness of the life.
        Similarly, Nikander and Liona are like the prince and princess, who have to face to the reality and have to struggle in the shadows of society after their cruise. Life is never so simple that we can find a place without troubles and tensions. The ship at the end of the movie is like our life, which is dynamic and full of uncertainties. Nikander and Liona wish to be happy and out of pressure from work and society. The ship which was sailing away, like floating up to the paradise, can symbolize the hope of a new life, the paradise in their heart. In their minds, the ship will lead them to the paradise, where they can be away from the shadows in society; nevertheless, that place doesn’t exist. Wherever we are, whoever we are, we still have to tackle those troubles in life. The lyrics of the song at the end of the film “l(fā)ife itself is painful” also tell us the essence of life lies more in its bitterness than in sweetness.
        We don’t know what’s going on in their life, but their future is open to our predictions.
        Maybe they will live an undramatic life in the future and everything will like the same as usual when they are back. Liona may be busy with finding a new job; meanwhile, Nikander may do the routine garbage-man work everyday. Although their life is full of dull work and uneasy things, they might still feel very happy and satisfied in deep heart. As we all know, the definition of happiness varies from person to person. Happiness to them may mean the satisfying feeling in their heart rather than wealth and reputation.
        Who knows maybe they will live a dramatic life? Nikander and Liona may find some commercial opportunities during their journey and they might run their own business in the future. Very soon, they may gain a huge amount of money and climb up to the upper class.
        What’s more, maybe they live in a much more miserable life than before. Liona may probably lose the job and have to struggle in job searching when they are back. Society is competitive and tough. If there is no vacancy for her, she won’t probably earn a living. The same case may also happen to Nikander. He is only a blue collar in the lower class and he might be fired someday for no reason like Liona. Then their life will be a mess and miserable.
        The ship gives me a lot of imaginations and these are the three possibilities I can think of about their future.
        Back to the ship, it will lead us to far shore, but we will never know where is our destination and when will we be there. Our life experience is like the ship, sailing in the endless ocean, fighting with the storms, waiting to get to another shore without clear destination. Like Lin Yutang said before, life is like a dream. Everything is changing on the way, but the most important thing is that Nikander and Liona have found out the things that worth cherishing in their life, which is love.
        In a nutshell, the ship symbolizes our life, which is full of ups and downs, and filled with uncertainties. What’s more, the happy ending of the main characters is just a dream and the place where they leave for is the paradise in their hearts, which doesn’t exist.

 2 ) 無產(chǎn)愛情

無產(chǎn)階級(jí)三部曲第一部,阿基的電影里少有的以愛情為主線的并且在冰冷過后給人浪漫的故事。

影片開始依舊是大量鏡頭展現(xiàn)男主垃圾車司機(jī)尼卡德日常的工作流程和工作環(huán)境,讓人一目了然角色的身份和階級(jí)。隨后尼卡德的同事計(jì)劃籌資組建自己的環(huán)衛(wèi)公司,邀請(qǐng)尼卡德技術(shù)入股,但當(dāng)兩人一拍即合后這位同事卻突然生病去世了。阿基總是在電影中加入大量突發(fā)的意外事故來改變角色命運(yùn)和故事走向。比如突然的搶劫,突然的自殺,突然的病故等等。面對(duì)同事的死亡和計(jì)劃的泡湯,心煩意亂的尼卡德在酒吧里鬧事,結(jié)果被拘留了。在被拘留的時(shí)候他結(jié)識(shí)了無業(yè)游民米卡拉。于是他介紹米卡拉成為了自己的同事。同時(shí)尼卡德認(rèn)識(shí)了超市收銀員伊羅娜。他與伊羅娜墜入愛河,隨后伊羅娜被超市經(jīng)理辭退,她為了報(bào)復(fù)偷走了超市錢箱。結(jié)果被抓進(jìn)了警局,尼卡德暗地幫她把錢箱歸還到了超市辦公室。伊羅娜出來后找了一份服裝店導(dǎo)購的工作,尼卡德開著垃圾車來看她時(shí)遭到了服裝店經(jīng)理的嫌棄。兩人的工作環(huán)境中凸顯的階級(jí)隔閡讓他們的感情出現(xiàn)了裂痕。但最終雙方都發(fā)現(xiàn)了離不開對(duì)方,攜手踏上了駛向遠(yuǎn)方的郵輪。

阿基在此片里對(duì)階級(jí)的探討是很明顯的。尤其當(dāng)尼卡德與伊羅娜進(jìn)入高檔餐廳被拒絕,而服裝店經(jīng)理帶著伊羅娜暢通無阻的進(jìn)入高檔餐廳的對(duì)比段落相當(dāng)諷刺。超市經(jīng)理開除伊羅娜是因?yàn)橄肓舫雎毼唤o自己畢業(yè)的女兒。包括伊羅娜與尼卡德產(chǎn)生裂痕的原因都充滿了身份認(rèn)同和階級(jí)矛盾。但最終阿基還是柔軟了一把,回歸自己的階級(jí),回歸舒適的愛情。

 3 ) 北歐色彩&駛向社會(huì)主義蘇聯(lián)的船

色彩很北歐 冷 藍(lán)色和黃色的色調(diào)

老舊的房間和舊電器 營(yíng)造出一種很無產(chǎn)階級(jí)的氣氛

最后駛向愛沙尼亞塔林(當(dāng)時(shí)還屬于蘇聯(lián))的船,上面還有大大的鐮刀錘子標(biāo)記,似乎帶著某種政治寓意——在資本主義的芬蘭工人階級(jí)生活在水深火熱之中,駛向社會(huì)主義的蘇聯(lián)就是駛向天堂呀~~~

如果是在冷戰(zhàn)結(jié)束蘇聯(lián)解體之后再拍的這部片子,或許就完全是另一種意味了吧。。。

 4 ) 大師之路

所謂的大師,往往是具有獨(dú)特的、風(fēng)格化的特點(diǎn),希區(qū)柯克的懸疑,卓別林的肥褲子大頭鞋小胡子,成龍的精巧武打喜劇,周星馳的無厘頭等就是很好的例子。這就像相聲演員,經(jīng)過多年反復(fù)的精心培養(yǎng),在觀眾心目中塑造出條件反射一般的喜感一樣,一種題材,拍的久了,成為了標(biāo)簽,想起來某類型影片就想起來某人,大師塑造也就成功了。這是電影大師的成功之路。

芬蘭電影大師阿基·考里斯馬基,影片關(guān)注的是社會(huì)底層小人物,或車間工人,或垃圾清運(yùn)工,或裁縫,或保安,極少的對(duì)白,冷淡的表情,年齡大約三十左右的未婚大齡青年,安分守己的努力工作,休閑也就是噴云吐霧的吸根煙,或者喝一杯。機(jī)器大多架在三腳架上拍,偶爾用點(diǎn)軌道、高位搖臂,手持極少,鏡頭舒緩,后期剪輯不是那種凌厲的快鏡頭短鏡頭,營(yíng)造平淡普通悠長(zhǎng)的感覺,注重演員在冷漠面容下表情細(xì)微的刻畫,眼神,嘴角,以及肢體語言的細(xì)微表達(dá),多用半身及特寫鏡頭。色彩豐富,在冷基調(diào)上常使用一點(diǎn)大紅來代表溫暖和希望。場(chǎng)景多是舊廠房、簡(jiǎn)陋的家、小酒館等,設(shè)備陳舊,紋理斑駁,質(zhì)感細(xì)膩耐看。音樂從歌詞到曲調(diào),極好的烘托了氣氛。整個(gè)片子文藝范十足,思想上大量使用留白,給觀眾留出思考的空間,并引導(dǎo)觀眾對(duì)生活反思。

在這部天堂孤影中,男主角是個(gè)垃圾工,偶遇女主,兩人相愛。女主對(duì)未來擔(dān)憂,離開了男主。男主下定決心找到女主破鏡重圓。女主傍上了一個(gè)小老板,于是猶豫了,是過一種更好的物質(zhì)生活,還是嫁給一個(gè)貧窮但更愛自己的垃圾工?結(jié)尾二人坐船駛向遠(yuǎn)方,雖然大風(fēng)吹起層層疊疊的浪花,大船一往直前,應(yīng)該是寓意著有一個(gè)幸福的未來吧。

我印象很深的地方有四處:

一.女主穿著大紅衣服的幾個(gè)鏡頭,很有味道。

二.工友說“我要開公司,掙錢帶老婆旅游,我都說了很多年了,我不想死在垃圾車上”。結(jié)果是猝死在垃圾車邊,帶老婆出國(guó)旅游的愿望沒有達(dá)成。人生往往就是如此。呵呵,想干啥現(xiàn)在就抓緊干吧,時(shí)不我待啊。

三.男主堅(jiān)持學(xué)外語,不管他最后是否能用上,只要努力,就會(huì)有收獲,就會(huì)有更美好的明天,因?yàn)槟亲C明了你有一種叫“努力”的美好品格。

四.導(dǎo)演總是把商業(yè)片必須的激烈打斗場(chǎng)面給忽略掉。男主踢破門沖進(jìn)去,鏡頭靜止,下一個(gè)鏡頭就是在警察局里了。薄暮之光的保安為了狗跟人打架,壞蛋放下啤酒出門,然后是壞蛋回來喝啤酒,下一個(gè)鏡頭是鼻青臉腫的保安在路邊走,浮云世事餐廳打架,女主走出畫面右邊,然后回來把奪下的刀放下,火柴廠女工坐在椅子上聽音樂,等著父母被毒死,向地上看一眼然后出門等,我們雖然沒看到打斗或死亡倒地的畫面,但是腦補(bǔ)完成了,不走尋常路,反而更有味道。

阿基的大師塑造成功了,因?yàn)樗蛔饕环N風(fēng)格。我們的張藝謀,塑造了文藝范風(fēng)格,后來嘗試各種類型的片子,雖然依然不錯(cuò),但是對(duì)他大師標(biāo)簽的定位卻是不利。馮小剛也是這樣,喜劇大師這些年著重拍懷舊文藝片,對(duì)喜劇大師的名號(hào)也是一種削弱。或許,他們能塑造一種多姿多彩的藝術(shù)風(fēng)格,但這種十項(xiàng)全能型的大師,那是宗師,是巨匠,是極難成型的。祝他們成功!

 5 ) 阿基是個(gè)好同志

在看了十幾部阿基·考里斯馬基的電影后,終于又看了這個(gè)。 幾點(diǎn)想法,


1、導(dǎo)演的風(fēng)格在這早期作品里就已經(jīng)很成熟了,此后一直就沒有變化,已然程式化。就那么三招兩式,但一直擺弄的很好。

2、他的通俗化的極簡(jiǎn)主義效果很好,演員的動(dòng)作稀少,表情木納,話語短促,但由于劇情的通俗性,觀眾很樂意參與其中,幫助去完成電影的言外之意。冷幽默和音樂的使用,又很好調(diào)節(jié)放松了觀眾的情緒,使電影不至于枯燥。 不至于像看他的老師,苦行僧布萊松的電影那樣神經(jīng)繃緊。



3、芬蘭應(yīng)該是一個(gè)北歐發(fā)達(dá)國(guó)家。多數(shù)中國(guó)人應(yīng)該都是通過諾基亞知道這么個(gè)國(guó)家的。考里斯馬基對(duì)本國(guó)的發(fā)達(dá)視而不見,而是偏執(zhí)地將鏡頭對(duì)準(zhǔn)下層命如浮萍的卑微人群,破敗寓所,街區(qū)暴力。讓我這個(gè)發(fā)展中國(guó)家的觀眾,看的時(shí)候有些暗自得意,甚至有了(可恥的)滿足感。



4、他的電影里,演員們總是在吞云吐霧。以前,這對(duì)我是一個(gè)要命的誘惑,一看他的電影,就忍不住要抽煙;現(xiàn)在,這些鏡頭引起了我生理上的抗拒——原來我已經(jīng)有四個(gè)月沒抽煙了。

 6 ) 你知我有多孤單?

看考里斯馬基的電影總是有趣的。

特別偏愛的演員老是那幾位,這部的A角是另外一部里的B角,隨便一個(gè)路人看著都眼熟。還有以墻掛照片露臉的方式客串紀(jì)念(《沒有過去的男人》,馬蒂·佩龍帕),簡(jiǎn)直就像找茬兒和連連看游戲,觀眾屢玩不爽。加上他的影像環(huán)境停留在充滿復(fù)古色彩的80年代,時(shí)間的變幻與幾位演員的輪番登場(chǎng)給我造成混淆,所以曾在某一刻(《勒阿弗爾》中主角的妻子,扮演者卡蒂·奧廷寧出場(chǎng)時(shí)),我感嘆道,天啊,她竟然這樣老了!

卡蒂·奧廷寧,《天堂孤影》

你也會(huì)不自主的將這些演員曾經(jīng)詮釋的各個(gè)角色相互代入,比如《升空號(hào)》中的獄友正是《天堂孤影》里勇敢奪愛的男主角,當(dāng)他說自己犯下兇殺罪時(shí),你就會(huì)覺得他必定是情殺無疑;當(dāng)《薄暮之光》的保安小哥(詹·海帝安飾)出現(xiàn)在相隔10多年的《希望的另一面》中時(shí),你便會(huì)想啊,這么多年過去了,不知他與那個(gè)默默愛他的餐車女孩生活的如何?

詹·海帝安(右),《薄暮之光》

相似而模糊的角色設(shè)置與固定的演員班底,在為阿基電影營(yíng)造流暢延續(xù)感的同時(shí),也成為隱藏其中的特殊彩蛋。所以,不要再說誰誰誰是熟臉了,既然影像記錄他們的體態(tài)面容正在阿基呈現(xiàn)出變與不變的空間容量之中,那么就把這當(dāng)作是他們真實(shí)的人物串場(chǎng)吧。

充斥著高昂歌聲的赫爾辛基,永遠(yuǎn)干凈與蕭瑟并存的街道,不變的電車與餐館,門口揣著手抽悶煙的男男女女,萬般苦澀,往日時(shí)光。數(shù)十年如一部,被從不超過90分鐘時(shí)長(zhǎng)的影像盡收到底。

作為阿基考里斯馬基“無產(chǎn)階級(jí)三部曲”第一部的《天堂孤影》,便是由上文提到,與他合作最多的男女演員(馬蒂·佩龍帕與卡蒂·奧廷寧)共同主演的電影。

馬蒂·佩龍帕,《天堂孤影》

熟悉考里斯馬基的影迷都知道,他的電影主題永遠(yuǎn)是“孤獨(dú)與希望”。

開場(chǎng)十分鐘,被朋友拉伙一起創(chuàng)業(yè)的男主角,經(jīng)歷了驚喜與意外的幾度波折。轉(zhuǎn)機(jī)總是趕不上危機(jī),還沒說幾句話,他那壯志躊躇的老朋友,作為未來好生活的希望象征,就那樣死在了垃圾車下。

相比較而言,阿基的前期作品似乎更冷、更狠、更加直接。人物的苦澀和反應(yīng)的主動(dòng)性更大一些,影片同情的眼光則更淡,暖意也沒有那么突出,甚至都不曾出現(xiàn),這一點(diǎn)體現(xiàn)在《火柴廠女工》里尤為明顯。

卡蒂·奧廷寧,《火柴廠女工》

似乎還沒有走到被社會(huì)無情踐踏后,于愛情中求得棲息之所的那一步,《天堂孤影》中的男女主角,就是那么純粹地、一見鐘情地,談了場(chǎng)真實(shí)無比的戀愛。也是從這一部起,我們開始看到愛情,是如何在底層人民無奈掙扎的生活當(dāng)中產(chǎn)生波瀾的。

對(duì)于男主角,哪怕我只是個(gè)垃圾工,我沒錢,我性子悶,一旦愛上了,我就要對(duì)你好。有情敵,我也要堅(jiān)強(qiáng)。你走了,我還是愛你,生活殘酷,卻有希望,因?yàn)槲也幌嘈拍隳敲礇]有良心??粗?,我正好好學(xué)習(xí)英語呢,最后我總能帶著牛氣與自信,讓你跟我走;

對(duì)于女主角,一言不合就被辭退的操蛋日子真是過夠了,生活的窘境讓我看不到愛情的光。不是非你不可,我在猶豫、觀察和試探著呢。我愛上了你,可我不甘心。我跟別人好了,我終于進(jìn)來高級(jí)餐廳吃飯了。知道嗎,我記得跟你來過這里,但是那次沒位子。跟不喜歡的人在一起,你知道我有多孤單?愛真讓人傷腦筋,但我不能違背自己的心;

而朋友呢?他知曉一切。

善解人意的朋友兼工作伙伴

高福利政策下的芬蘭讓你衣食無憂,不必凍死街頭,不必餓壞肚子,但你仍舊是孤獨(dú)的。你的孤獨(dú)和無助沒人管,你受到的冷漠與輕視無人過問;別人騙了你,你安慰自己這沒什么;愛人離開了,你也只能放著狠話,你何不現(xiàn)在立刻就走?

引發(fā)孤獨(dú)異化的冷漠危機(jī),是阿基電影故事中的大敵。它可能是《希望的另一面》中的移民局,《升空號(hào)》和《薄暮之光》里的小法院,也會(huì)是火柴廠女工那雙無情的父母……在《天堂孤影》中,女主角供職的超市就是一臺(tái)冷酷機(jī)器, 它將女主角推入愛情熱浪,也用地位和階級(jí)的思想,滲透給她對(duì)于愛的躊躇不定。

“你何不現(xiàn)在就走?”

與此同時(shí),學(xué)習(xí)英文的男主角還沒有放棄努力。

錄音機(jī)里發(fā)問:“And it's a lot of fun too, to be in love. Do you think so? ”

他急忙按下暫停鍵,一字一句的錄下回答:我對(duì)這個(gè)話題相當(dāng)熟悉。

還有面對(duì)女友的突然變卦,他不甚關(guān)心原因,只是目不轉(zhuǎn)睛的說完狠話,接受了一個(gè)離別的吻,沒表情的帶上墨鏡。朋友問他病了嗎,回答,是的。我們還去收垃圾嗎?不去??粗@一幕幕的我,有點(diǎn)想笑,又很想哭。

你帶給我的只有悲傷和痛苦/但那沒關(guān)系/我能裝作無所謂/我不會(huì)告訴別人/如果你現(xiàn)在離開我/我將心碎/但不會(huì)表露出來/……

女主角那一次匆匆離開,右手拎著全部家當(dāng),左手則拿著一個(gè)收音機(jī)。阿基電影中,無數(shù)次出現(xiàn)了唱片機(jī)、車載音響、收音機(jī),最熱烈的地方永遠(yuǎn)是有樂隊(duì)演奏的酒吧。人們靜靜地聽著,喝著酒,內(nèi)心深處暗流涌動(dòng),表面卻只有煙霧繚繞。沉默寡言,擅長(zhǎng)冷眼旁觀的北歐人?。⌒乃级荚诟杪暲?,愛恨從不愿說出口,那種沖動(dòng)與無畏,單純與浪漫,傷感和純情,全歸給阿基一手的音樂好品味上了。

從垃圾車?yán)飺斐鰜硪粡埑?/div>

啥都沒有也沒關(guān)系,還有音樂唱出我心聲,總能把丟了的愛找(奪)回來;要我一輩子干垃圾行當(dāng)我自然是毫無怨言,但我不能給冰冷機(jī)器打工,要我死在硬邦邦的車輪之下,這才是我最不能接受的人生——既是阿基影像中,樂觀、樸實(shí)、忠誠(chéng)又浪漫,倔強(qiáng)而勤奮、一意孤行、說一不二、眼里不揉沙子的芬蘭人。

誰都有資格追求愛情。哪怕是個(gè)垃圾工,也可以拼盡全力向往更好的生活;愛情是平等的,哪怕是在這不甚公平和充滿壓迫的社會(huì)。

最后,《天堂孤影》以阿基的特有方式迅速扭轉(zhuǎn)。

甩了服裝店老板,他是誰?不認(rèn)識(shí)。

男女主角一下子硬氣了起來,拋下一切,“私奔”前往塔林。值得注意的是,這種臨時(shí)起意式的冒險(xiǎn)和逃離,在其后面作品中逐漸形成風(fēng)格。

這樣看來,“無產(chǎn)階級(jí)三部曲”是可以被戲稱為“逃離三部曲”的。而且,相比較《升空號(hào)》的坐著船駛向未知,以及《火柴廠女工》更為絕望的悲劇結(jié)局,《天堂孤影》中的“跟我一起去塔林吧”浪漫大膽,讓人對(duì)愛情和未來都充滿向往。棲息在孤獨(dú)中的兩人,終于可以擺脫生活暗影了。

即便是在高福利的芬蘭,也會(huì)有很多不完美、不如意的事情發(fā)生,也會(huì)有寄居社會(huì)邊緣的可憐人存在,也會(huì)有人受傷流淚,也會(huì)有人需要關(guān)心和關(guān)愛,需要尊重。阿基考里斯馬基用這一種不變的視角給予他們同情,用在影像中創(chuàng)造美好而平等愛情的方式為他們的希望建造夢(mèng)巢。電影里的happy ending未必都能順利實(shí)現(xiàn),但這份愿望也能算作另一面的希望,不是嗎?

請(qǐng)記住,孤獨(dú)是常態(tài),而愛能帶來薄暮之光。

http://music.163.com/song/4197204/?userid=552420741

- END -


 短評(píng)

“我什么都不需要。我是尼卡德,以前是屠夫,現(xiàn)在收垃圾,牙齒和胃都不好,肝也不行了?!笔绽哪腥嗣看我姷叫膼鄣呐硕家獛б皇?,要有多愛,才能回答的這么卑微。不許諾未來,全然交代過去和現(xiàn)在,情話無聊又動(dòng)人。

4分鐘前
  • 疼疼(電動(dòng)版
  • 推薦

“我是來帶你走的,蜜月旅行總不能一個(gè)人去”,真他媽的浪漫。他們未來或許仍逃離不了痛苦,但上船的時(shí)刻他們無比幸福

7分鐘前
  • SundanceKid??
  • 推薦

考里斯馬基總是很有趣:)

12分鐘前
  • 聞人林
  • 還行

太喜歡了,是那種拿出手機(jī)備忘錄記筆記的喜歡,對(duì)無產(chǎn)階級(jí)的孤獨(dú)感刻畫沒有流于俗套,而是非常地冷峻和輕巧。

15分鐘前
  • 皮格馬利翁
  • 力薦

順著作品年表開始看阿基,有點(diǎn)理解為什么仁科喜歡這個(gè)導(dǎo)演,確實(shí)很戳文藝青年的點(diǎn)。

17分鐘前
  • 子夜吳歌
  • 還行

友情 愛情

22分鐘前
  • 還行

把時(shí)間打亂,《火柴廠女工》重生后變得冷酷無情厭倦男人,碰上了另一個(gè)時(shí)空男版的自己垃圾車男工,兩人結(jié)婚后去了《勒阿弗爾》,過了平淡幸福的幾十年,幫助了一個(gè)黑人小男孩,happy ending。這是阿基的電影宇宙。

26分鐘前
  • 判官
  • 推薦

開場(chǎng)的赫爾辛基收垃圾佬太酷了,“沒有極限”,“可信賴的垃圾處理,始于 1986 ”。不過這部電影和賈木許那部片子的名字,未免太像了吧。而且我明明沒看過——怎么一直念叨要坐一趟去塔林的游輪呢?

27分鐘前
  • 木衛(wèi)二
  • 推薦

垃圾處理從86年開始,問我想要什么沒意義,你帶給我的只有傷和痛,佛羅里達(dá)只有芬蘭人和唐老鴨,你能養(yǎng)活我倆么小土豆。。阿基典型的風(fēng)格

29分鐘前
  • 琧婯
  • 推薦

哎呀,壞壞的可耐的阿基大叔阿基大嬸啊……

31分鐘前
  • iceman
  • 力薦

愛考利斯馬基就是愛一種肥皂劇 演員、臺(tái)詞、調(diào)調(diào) 一萬年不變你也不煩

34分鐘前
  • 皮革業(yè)
  • 推薦

8/10。清垃圾箱時(shí)撿到一張唱片,卑微的苦中作樂也能點(diǎn)燃希望;喜歡男女主角初次相遇那段,她的大紅衣服在冰冷的環(huán)境色調(diào)里格外熱烈,主動(dòng)要求幫他扎傷口,兩人的臉脹得偏紅;餐廳門衛(wèi)、服裝店老板借口阻攔進(jìn)入,飽受打擊的底層仍不把悲傷掛表情上接受憐憫,頂多獨(dú)自醉一場(chǎng),緘默是他們爭(zhēng)取尊嚴(yán)的方式。

39分鐘前
  • 火娃
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“無產(chǎn)階級(jí)三部曲”第一部。聽了張大磊的推薦來看,還真是相當(dāng)動(dòng)人。考里斯馬基的體系太強(qiáng)大,以至于他的這種高度限制的表演方式(絕對(duì)可以順到德萊葉-小津-布列松的體系里,反而不是塔蒂-羅伊安德森-蘇雷曼這個(gè)體系……)與其實(shí)有些離奇的情節(jié)在體系里非常自洽。對(duì)孤獨(dú)感的刻畫真是入木三分(別忘了這片其實(shí)是個(gè)風(fēng)格獨(dú)特的情節(jié)劇啊,差點(diǎn)還走向黑色電影)。開頭垃圾車的段落真是漂亮(一瞬間穿到肯洛奇-達(dá)內(nèi)那兒)。剪輯風(fēng)格干脆利落,居然都不留氣口……

43分鐘前
  • 胤祥
  • 推薦

曾經(jīng)不想讓別人知道自己的男友是個(gè)收垃圾的工人,如今,與男友一同坐在垃圾車?yán)?,臉上卻閃爍著充滿幸福的笑容。愛情是無產(chǎn)階級(jí)僅剩的驕傲?!韭?lián)合國(guó)教科文組織】 芬蘭影史十五佳NO.14

46分鐘前
  • 有心打擾
  • 還行

不知是否有人會(huì)像我一樣認(rèn)為此片和北野武那部奇妙地互文。芬蘭初夏,陰郁的海...

47分鐘前
  • 雞塔
  • 力薦

老鼠與人類的基因差別只有15%左右,沙發(fā)土豆肥皂劇和考利馬斯基的區(qū)別也差不多,不過前者樂于展示張牙舞爪或面目扭曲,而后者則把那些淺薄完全摒棄,冷的徹骨也熱的灼心。

51分鐘前
  • 托尼·王大拿
  • 推薦

和《升空號(hào)》其實(shí)差不多,甚至是最后也同樣是以坐船離開圓滿收尾。依然是無產(chǎn)階級(jí)的愛情故事,但可能是三部曲中我最不喜歡的一部了。3.5

55分鐘前
  • 方槍槍
  • 還行

匆匆看了后半段,結(jié)尾覺得很浪漫

58分鐘前
  • Sandrelli
  • 力薦

最后依然是上了一艘大船,那紅色的鐮刀錘子,航向蘇維埃的塔林。年輕時(shí)代的卡蒂·奧廷寧,稍微折騰一下也沒那么丑了。

1小時(shí)前
  • 巴伐利亞酒神
  • 推薦

我居然好喜歡阿基早年的這部!愛是人最后的尊嚴(yán)。男人自語道:“我從很多個(gè)角度考慮過愛情,比如傷害和不完美也是一種樂趣,而身處其中的人卻都很嚴(yán)肅?!苯Y(jié)尾的歌,如同詠嘆調(diào),情感直白:“抬起頭,我的愛人。你看那燈火通明的公園,我的心在思念你,在這里孤單地跳動(dòng)。請(qǐng)快些吧,快回家吧。人生啊,如此短暫??旎貋恚憬o了我一切。但愛人啊,盡管我這樣請(qǐng)求。我知道這都是徒勞的,盡管我思念你,日日夜夜。不要迎向我,因?yàn)槟阋仓?,生活只?huì)帶給我們痛苦。別匆匆回到我身邊,這里的陰影會(huì)把你淹沒。別匆忙,看這美麗的世界。在這里,看不見淚水?!?/p>

1小時(shí)前
  • 夜第七章
  • 力薦

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