Film Nior是上學(xué)時(shí)了解的概念

不過(guò)那時(shí)候沒(méi)有對(duì)它產(chǎn)生興趣 印象只停留在那本同名書(shū)籍的封皮上

那是bogart的照片 一個(gè)不怎么英俊的男人 但非常有魅力

特別是經(jīng)過(guò)光影雕琢 令他透出巨大的神秘感

2016年打完了幾場(chǎng)硬仗 開(kāi)始能說(shuō)服自己稍微休息一下

從阿鄭那里拿了本介紹好萊塢經(jīng)典時(shí)期電影的書(shū)

從秋天到冬天 看了很多那時(shí)的電影

我當(dāng)然會(huì)喜歡江湖俠侶、馬耳他之鷹、失落的周末之類的片子

卻也很難忘記這個(gè)故事 又說(shuō)不上它與我產(chǎn)生了怎樣的聯(lián)系

我會(huì)偶爾來(lái)這個(gè)頁(yè)面 看看bogart那糾結(jié)的臉 念幾遍那經(jīng)典的臺(tái)詞

鬼使神差的沉浸一下

最近 總在大腦不斷的超頻后 短暫的在一氧化碳過(guò)量中產(chǎn)生些許的缺氧感

既疲憊又感性 于是在恍惚中與bogart的角色產(chǎn)生了些許的共鳴

長(zhǎng)久沉浸在自己世界中的人 忽然因某個(gè)人 某個(gè)事件 被鮮活的喚醒

不論是悲傷、竊喜、孤獨(dú)、失落、猜忌、想念……它們哪個(gè)在某一刻占了上風(fēng)

單是那短暫的又活過(guò)幾周的鮮活感 也的確是值得銘記的體會(huì)

“i was born when she kissed

I died when she left me.

I lived a few weeks while she loved me”

此刻想來(lái) 迸發(fā)出極端情緒的自己 或許也像是個(gè)需要被救贖的靈魂

要在強(qiáng)烈的波動(dòng)中確定一些什么 或許是需要 也或是被需要

而本著大道至簡(jiǎn)的原則出發(fā) 跳出那些戲劇性建構(gòu)的手段

由衷希望那些莫名其妙說(shuō)的話 那些無(wú)序的咆哮 能變成理性的溝通

因?yàn)樯罱K究并不是電影 時(shí)間也并不會(huì)治愈一切

There might be a handful of grammatical mistakes but it's too late for me to care...

The Farewell

I genuinely loved watching this film; the experience of which, without any exaggeration, is unprecedented for me in quite some time. It is not the typical Film Noir that is mostly centred around lies, traps and intricate storylines - I'd go so far as to say that this one isn't a "film noir" at all, because it's about love and defeat that only "happen to" entangle with a straightforward murder case. The thing is, regardless of the murder case, I knew that this love story is doomed to fail if Dix keeps being unaware of the damage that he causes. Either he'd change and learn to stop being violent altogether (which is way too ideal in real life but apparently it's good enough for a 90 mins film of the 50s judging by the ones I've watched - how immensely hilarious and entertaining); or he keeps acting in his brutal ways until Laurel's had enough and leave.

I'm almost glad that the writer didn't go with the "she changes him for the better" plot. A proper demonstration of how violent men can also be "charming and tender" sometimes when they are "in a good mood" (and vice versa) is extremely lacking in the 50s films, therefore, the way that the creators chose to approach this issue is delightfully refreshing. Moreover, the tolerating attitude that all the characters adopted towards Dix's relentless behaviour (just because he's a creator of some sort!!! and not even a good one) was very distressing to witness: Brub reinforces that Dix "is a good guy" while Sylvia thinks a creator has the excuse of being "temperamental"; Lochner suspect Dix as he should, but it's only associated with the murder case (in other words: he only cares about if he's the murderer or not; even he knows how much of a brute Dix is, the well-being of Laurel after her alleged marriage is out of the question). And Mel Lippman straight up told Laurel that Dix is a talented "dynamite" that Laurel should accept and tolerate ("I'd willingly do it again for another 20 years" while later on quit being Dix's agent, 打臉吧就 lol) Their attempts at mitigating the seriousness of Dix's ruthless behaviour really made Laurel helpless in the situation - there is no one for her.

Of course, this film isn't about "anti-domestic violence" or warning young ladies not to rush into love (and I'm sure the creators didn't have "an abuser" in mind when they create Dix's character) but the ending partially shattered the belief (that was held by all the characters) that Dix's relentless behaviour is OKAY. I am particularly fond of the near-ending climax where Dix NEARLY KILLED Laurel (The violent tendencies of Christian Grey in 50 Shades is NOTHING comparing to THIS) - Dix's not someone who can be helped or saved by anyone else, and he's going to need another good few years to change for the better to be love-deserving. I did feel a bit sorry for Dix in the end, but he should probably quit his whining about how "I died when she left me" (what a beautiful foreshadowing line *applauses*) because he pushed her away (by nearly strangled her, lol). Being charming and creative won't cut it when he's such a quick-to-anger brute. I'm genuinely glad that at least Laurel's no longer intimidated and got out of it in the end.

On a side note: the guy, though 10x times more charming, reminded me so much of my first ex. Sometimes, this is what the so-called "artistic temperament" is really like when it's stripped off of the Hollywood happily-ever-after cliché. People that aren't working their ways to change their violent tendencies are not deserving of love (esp. by someone so tender and kind as Laurel); and being emotional and creator-like aren't adequate excuses for hurting people.

鮑嘉之所以是二十世紀(jì)最偉大的演員之一，在于他擅長(zhǎng)表現(xiàn)人物外表與內(nèi)心之間極大的反差。在這部電影里，鮑嘉扮演的主人公斯蒂爾也是這樣一位內(nèi)外反差極大地角色。一方面他在面對(duì)幾個(gè)小之前還在一起但突然被殺害的死者照片時(shí)，表現(xiàn)出驚人的冷漠甚至冷酷無(wú)情。另一方面又悄悄在路邊買(mǎi)鮮花叫人送給死者的家屬以示悼念。一方面因遭身邊人反復(fù)懷疑而遷怒打傷路人，另一方面又寄錢(qián)給人家表示道歉。但在對(duì)待真愛(ài)上，斯蒂爾是完全發(fā)自內(nèi)心由內(nèi)向往外毫無(wú)掩飾的，就像《簡(jiǎn)愛(ài)》中的愛(ài)，那是不附帶任何條件的真愛(ài)，就像《傲慢與偏見(jiàn)》中的愛(ài)，就是討厭有附帶條件的愛(ài)，超越一切只專注在對(duì)方這具體的人的愛(ài)才是真愛(ài)！假如格雷真的愛(ài)斯蒂爾，那么斯蒂爾身邊多年的好友兼經(jīng)紀(jì)人在臨近尾聲所說(shuō)的“愛(ài)他，就要包容他的優(yōu)缺點(diǎn)包容他的一切”已經(jīng)足夠了。假如她真愛(ài)他，就應(yīng)該稍微留意一下斯蒂爾多年的老部下，即那位辦案警察而不是警長(zhǎng)對(duì)斯蒂爾的信任。友人、老部下都能信任，而在激情中的女人卻不信任，只能說(shuō)明這種愛(ài)不夠真切！不夠純粹！不夠義無(wú)反顧！影片的最后，鮑嘉再次展現(xiàn)了他特有的表現(xiàn)人物內(nèi)外反差的天賦，在自己全身心投入的女人面前得不到真愛(ài)的那一刻，他壓制住了內(nèi)心中遠(yuǎn)大于兇殺案中被懷疑的痛苦、憤怒，除了稍許失落便即刻恢復(fù)了一貫的表面冷漠，悄悄地離去，不帶走一絲云彩！