2018.5.16于仙二

寫在前面：看完有點(diǎn)激動(dòng)，因?yàn)榭吹搅艘恍斗糯蟆返挠白印?/p>

鏡頭語(yǔ)言

公路片，總少不了一些路上的景象。

而這部片子里這樣的鏡頭一方面節(jié)奏很慢，很有耐心地瀏覽，帶著一種晃晃悠悠的詩(shī)意；

另一方面，又有一種搖滾樂(lè)的頹喪、不羈又有點(diǎn)逍遙的氣質(zhì)。

可能是人物性格帶來(lái)的影響，也可能是由于整體氛圍的營(yíng)造，整部片子的鏡頭顯示出一種憂郁、詩(shī)意的特點(diǎn)。這也奠定了整部影片的風(fēng)格基調(diào)。

記者溫特

他總是在路上——總是在用他的拍立得拍照——總是在尋找自己存在的證據(jù)。

這個(gè)狀態(tài)就和《放大》中的男主攝影師托馬斯很像了，拿著一個(gè)相機(jī)到處轉(zhuǎn)轉(zhuǎn)拍拍。

他們都無(wú)生氣、無(wú)目標(biāo)、無(wú)希望。

他們都對(duì)性有著依賴而又不屑的矛盾態(tài)度。

如果說(shuō)不同的話，托馬斯通過(guò)拍照試圖尋找真相和幻想之間的邊界，而溫特則是試圖通過(guò)照片抓住現(xiàn)實(shí)、抓住真實(shí)、抓住自己存在的證據(jù)。

托馬斯總是一個(gè)人，他更加孤獨(dú)，更加肆意，輕視一切。（我時(shí)常能將自己的狀態(tài)和托馬斯的聯(lián)系在一起，那是一種更慣常的人的處境。）

而溫特更加詩(shī)意、憂郁，更重要的是他還有一個(gè)愛(ài)麗絲。愛(ài)麗絲不是一個(gè)天使，甚至是個(gè)有缺陷的小魔鬼，但是是她讓溫特感受到了生命的真實(shí)存在。

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溫特試圖用拍照來(lái)捕捉真實(shí)，證明存在，

但是他也意識(shí)到，照片永遠(yuǎn)也抓不住現(xiàn)實(shí)?；蛘哒f(shuō)他無(wú)法通過(guò)照片來(lái)證明自己的存在。

他一開(kāi)始是拒絕用文字記錄的。

我想，可能是因?yàn)樵捳Z(yǔ)或者文字太過(guò)脆弱，即使努力客觀還是帶著太強(qiáng)烈的個(gè)人色彩。所以并不可靠，溫特也并不相信它。

所以他選擇了一種似乎“完全客觀”的形式——拍照。

相似的，巴贊認(rèn)為并相信，最大程度上將人的主觀因素排除在外的電影機(jī)械所形成的電影影像與現(xiàn)實(shí)客體的關(guān)系是趨近相同的、同一的，可以通過(guò)電影攝影機(jī)的原理將現(xiàn)實(shí)客體逼真地還原出來(lái)。

但是其實(shí)這也并不是準(zhǔn)確的。首先因?yàn)槿藢?duì)客觀時(shí)空的了解是在不斷擴(kuò)大中的，是不穩(wěn)定的；其次，攝影機(jī)是人操控的，不可能擺脫人的影響，本身就不是客觀中性的；另外，我們的攝影機(jī)本來(lái)就無(wú)法達(dá)到完全的還原性和摹本性。

所以溫特后來(lái)又回到了文字記錄。

這一方面是他已經(jīng)發(fā)現(xiàn)了自己的存在，更重要的是他樂(lè)意開(kāi)始承認(rèn)、表達(dá)自己的存在。

這是溫特對(duì)電視的看法。

這也是他對(duì)于這種現(xiàn)代文明的看法。

在美國(guó)的游覽，在現(xiàn)代大都市紐約的穿行，給他帶來(lái)的是愈加的迷茫和消沉——Lost.

后來(lái)他在德國(guó)的鄉(xiāng)村找到了證明，大概這也反映了作者的一個(gè)態(tài)度。

《放大》中的托馬斯和這里的溫特對(duì)性的態(tài)度都是非常復(fù)雜的。

一方面，他們依賴著性。這種依賴并不是由于男女情感，而是出于自我存在證明的需要。這讓我想到了斯特林堡《父親》中，上尉和他的妻子羅拉的對(duì)話。

“上尉 我在你身邊長(zhǎng)大，像敬仰一種智力更高的人一樣敬仰你，像個(gè)不懂事的孩子一樣聽(tīng)你指教。

羅拉 ……每當(dāng)你的感情一變而以情人的面目出現(xiàn)在我面前的時(shí)候，我就感到羞恥；我在你擁抱時(shí)感到愉快，接著就引起良心的責(zé)備，似乎我的血液也感到恥辱。母親變成了情婦，真是可怕！”

愛(ài)麗絲問(wèn)過(guò)溫特：“你能不和別人睡覺(jué)嗎？”

上尉和溫特都同樣地、奇異地處在對(duì)女性的極度需求中，雖然這需求的原因可能是不一樣的。

另一方面，他們也都對(duì)性持著旁觀的冷峻態(tài)度，并不把它與情感作任何聯(lián)系。而他們所希望從中得到的大概永遠(yuǎn)也不會(huì)如愿。

愛(ài)麗絲

在愛(ài)麗絲拍這張溫特的照片前，溫特的所有照片中都是沒(méi)有人而只有客觀景象的。他也一直在這些客觀景象中尋找真實(shí)。

但是他直到看到了這張愛(ài)麗絲給溫特拍的大頭照后，才“看到了自己”。

愛(ài)麗絲并不是一個(gè)抱著救贖目的的小天使，甚至都不算一個(gè)乖順的小姑娘。

她調(diào)皮甚至頑劣，習(xí)慣率性直言。

但是同時(shí)，她也是一個(gè)被長(zhǎng)久忽視、生活顛沛流離的小姑娘。

兩個(gè)都被社會(huì)拋棄的人，在彼此的“折磨”和陪伴中，竟然都對(duì)對(duì)方產(chǎn)生了依賴，都從對(duì)自我的不認(rèn)同逐漸轉(zhuǎn)向了對(duì)自身存在的認(rèn)可。

下面是一些兩人相處的可愛(ài)片段。

跟安東尼奧尼相比，文德斯還是善良的。他讓兩個(gè)Lost的人相互存在，相互證明。

雖然我們不知道在他們分開(kāi)后，回歸到原本的生活中之后，今后的道路將會(huì)如何，但還是有著希望的。

而在《放大》中，則是完全孤獨(dú)地和眾人一起全部淪陷在了虛幻的想象中。

      Winter，你的名字叫寒冬；Alice，你的名字叫旅行。
    31歲的德國(guó)記者溫特（winter）橫穿美國(guó)，要為德國(guó)的讀者寫下美利堅(jiān)風(fēng)情。西方世界里的1970年代，正是歐洲客重新認(rèn)識(shí)紐約客的時(shí)期，他們熱烈擁抱美國(guó)式的自由與財(cái)富，卻深深迷失在美國(guó)式的大眾文化中而倍感失落。當(dāng)溫特橫穿美國(guó)抵達(dá)世界中心紐約后，他猛然發(fā)現(xiàn)喪失了寫作能力，境遇猶如其名字：深寒、孤寂、冷漠。顯然，這是導(dǎo)演文德斯最為摯愛(ài)的銀幕英雄形象（正如文德斯的德文Wenders發(fā)音其實(shí)就是winter），這位現(xiàn)代騎士在從歐洲到美國(guó)的角色切換中陷入了精神危機(jī)：找不到個(gè)體存在的意義，找不到真實(shí)，于是難以與人進(jìn)行心靈的溝通，甚至無(wú)法寫作。
    溫特能做的，只是每時(shí)每刻都在拍攝。他使用立等可取的寶麗來(lái)相機(jī)，咔嚓一聲，相片應(yīng)聲而出，膠片上慢慢顯出風(fēng)景。只有在這一刻，溫特才能從影像上抓到一絲令人生疑的真實(shí)感。因?yàn)榕臄z，他只字未寫，為此付出的代價(jià)就是不得不懷揣著三百美元回德國(guó)。就這樣，溫特在機(jī)場(chǎng)的旋轉(zhuǎn)門里邂逅了愛(ài)麗絲，也邂逅了旅行。
    大叔帶一個(gè)小蘿莉旅行，但卻并非現(xiàn)在流行的蘿莉控大叔、大叔控蘿莉的流氓故事，也不是《殺手萊昂》這類成人和孩童共謀的現(xiàn)代童話，甚至也不是《中央車站》里一老一少對(duì)信仰的尋根寓言。我只想說(shuō)他們一起踏上未知的旅程，因?yàn)槲粗?，所以真?shí)。從紐約到阿姆斯特丹，從荷蘭到德國(guó)，遭遇“真實(shí)感”危機(jī)的溫特尚未意識(shí)到這次旅程其本身是最為真實(shí)的，而這一切都將由愛(ài)麗絲的漫游徐徐展開(kāi)。
先說(shuō)說(shuō)他們的漫游。
    上上個(gè)世紀(jì)，“愛(ài)麗絲”曾經(jīng)懵懵懂懂的漫游了夢(mèng)境和鏡中世界，這次她同樣懵懵懂懂的在城市間穿梭，從未料到會(huì)挽救一個(gè)大叔的心靈。起初，溫特帶著愛(ài)麗絲有清晰的意圖：他只是替她母親代為照看愛(ài)麗絲，當(dāng)母親失約后，他又試圖將她帶到外婆家。因?yàn)檫@個(gè)“具體目的”的存在，溫特與愛(ài)麗絲之間并未建立起真實(shí)的溝通，愛(ài)麗絲是溫特的活累贅。為了擺脫她，溫特甚至一度把愛(ài)麗絲交給當(dāng)?shù)鼐?。然而，這一切從愛(ài)麗絲偷偷跑出警局并重返溫特的手心后發(fā)生了改變。溫特慢慢意識(shí)到，他帶著愛(ài)麗絲尋找家并不重要，重要的是他們?cè)谝黄鹇眯羞@件事情。旅行中，愛(ài)麗絲不停的釋放孩童最為本真的喜怒哀樂(lè)。她會(huì)直白的說(shuō)“我餓了”、“我渴了”，也會(huì)生氣的說(shuō)“你就是想甩掉我”，還會(huì)一本正經(jīng)如同逃亡的囚犯那般告訴溫特“我從警局里逃走了，那兒的飯真難吃！”。毫無(wú)遮掩的情感表達(dá)，讓溫特越來(lái)越敞開(kāi)內(nèi)心的孤獨(dú)，并意識(shí)到自己存在的真實(shí)性。
    片中最深刻揭露溫特這種變化的，是他為愛(ài)麗絲瞎編的一個(gè)故事：從前有個(gè)小男孩跟媽媽去森林散步，媽媽休息了，小男孩一個(gè)人沿著小溪奔跑，看到橋上有個(gè)騎士。騎士消失在他的視野，他追呀追，卻來(lái)到一個(gè)車來(lái)車往的高速路。于是小男孩坐上卡車，滿心歡喜，來(lái)到海邊，并再次想起了母親。
    故事未完，愛(ài)麗絲已經(jīng)睡著，溫特卻淺淺的笑了。因?yàn)檫@故事可謂本片的詩(shī)意再現(xiàn)。騎士，是德國(guó)浪漫派文學(xué)和藝術(shù)中最為典型的意象，是美與真的化身，也是真實(shí)性的象征。小男孩從德國(guó)的舊傳統(tǒng)追索到現(xiàn)代文明中的高速路，他迷失了騎士，卻乘上了卡車；他走出森林，卻駛?cè)牍?。舊的象征消失，新的象征誕生，那就是乘車旅行。小男孩是溫特也是愛(ài)麗絲。如同后來(lái)愛(ài)麗絲為溫特拍了一張相片，溫特粗糲有質(zhì)感的頭像卻和愛(ài)麗絲的頭像疊映在一起，這都說(shuō)明他們?cè)诼沃邢嗷ビ∽C了彼此的存在。
    再說(shuō)說(shuō)漫游的意義。
    愛(ài)麗絲的漫游得到的或許只是長(zhǎng)大后美好的童年回憶，卻不經(jīng)意間重建了溫特個(gè)體存在的意義。在旅行中，溫特始終沒(méi)有放下寶麗來(lái)相機(jī)，因?yàn)閿z影寄托著他慘淡的真實(shí)感。文德斯在他著名的攝影詩(shī)集《once》中寫道：“攝影是一種走入時(shí)間的動(dòng)作，從中撕扯出一些什么，然后以另外一種持久的形式定格?！睂汒悂?lái)相機(jī)的特殊性在于沒(méi)有底片，所以每一張相片都是獨(dú)一無(wú)二的，也無(wú)法復(fù)制。因此，溫特好比用拍攝來(lái)給時(shí)間標(biāo)上刻度，以證明他是真實(shí)的。由于寶麗來(lái)的相片從拍攝到顯影需要等一會(huì)，這段等待對(duì)溫特來(lái)說(shuō)無(wú)比漫長(zhǎng)，因?yàn)樗却牟皇窍嗥?，而是真?shí)感。
    但這種真實(shí)感是脆弱的。當(dāng)溫特和愛(ài)麗絲終于找到和相片上一模一樣的外婆家的房子時(shí)，溫特起初興奮的大叫“太不可思議了”！仿佛相片復(fù)活一般。但愛(ài)麗絲隨即宣布外婆早就搬走了，于是，相片的真實(shí)性轟然坍塌。溫特于是意識(shí)到他仍然需要寫作、必須寫作，單憑相片無(wú)法獲取真實(shí)性。觀眾注意到，從影片的中間開(kāi)始，溫特漸漸拿起了筆，記錄我們猜得到或猜不到的點(diǎn)點(diǎn)滴滴。這恰是他與愛(ài)麗絲的旅行所賦予的。于是，愛(ài)麗絲仿佛成為他的寶麗來(lái)“相片”，用她的童真和“成熟”，在旅行中慢慢的將真實(shí)呈現(xiàn)出來(lái)，并由此重建了溫特的意義世界。最后，溫特不僅終于找回了失落的意義，也恢復(fù)了寫作的能力。片尾，溫特在本片中第一遭把相機(jī)對(duì)準(zhǔn)一位母子而不再只是風(fēng)景。Winter的寒潮退去，他透過(guò)愛(ài)麗絲看到了春天。
    作為文德斯的一部早期影像，這部電影還沒(méi)有成為他招牌式的公路片。溫特和愛(ài)麗絲先后乘坐了飛機(jī)、火車、轎車、大巴、高架鐵路、游艇、輪渡；他們駐足于各類旅館、冰淇淋店、餐館（有個(gè)餐館還在播放中文歌）、警局；他們走過(guò)城市、郊區(qū)、村鎮(zhèn)的拐角。旅行越來(lái)越夢(mèng)幻，尤其是全世界獨(dú)一無(wú)二的吊在空中的高架鐵路，讓人仿佛跨入了童話的神奇世界。其實(shí)，他們身在哪里并不重要，只要他們始終在路上。僅僅從這一點(diǎn)，我們已經(jīng)看出了《德州巴黎》的憂郁味道。
    “愛(ài)麗絲”已經(jīng)成為漫游的代名詞了，在19世紀(jì)的英國(guó)，愛(ài)麗絲曾經(jīng)漫游仙境和鏡中世界。兩百年來(lái)，愛(ài)麗絲的旅行恍若每一個(gè)經(jīng)歷過(guò)童年的孩子的步履，包括我。我的第一盤英文磁帶就是《愛(ài)麗絲夢(mèng)游仙境》，而蒂姆伯頓的最新翻拍也將在明年登場(chǎng)，2000后們有福了。不過(guò)，就文德斯而言，這不是童話，而是一個(gè)黑白膠片上漸漸顯出的現(xiàn)代性事實(shí)。是的，電影描述了愛(ài)麗絲的旅行，其實(shí)更是溫特的旅行，但歸根到底是文德斯的旅行。


刊于《看電影》2010年某期“天地街66號(hào)”

找不到自我認(rèn)同，感受不到與現(xiàn)實(shí)的聯(lián)系，駕著車不停地看不停地拍，拍下無(wú)數(shù)照片在影像與現(xiàn)實(shí)中焦慮地比較，跟自己絮絮叨叨聆聽(tīng)自我，跟自認(rèn)為可以溝通的人絮絮叨叨傾訴自我，跟其余一切世間隔絕開(kāi)來(lái)。努力找努力想，想抓到存在的實(shí)感，找到意義，卻始終如同夾在按下Polaroid的快門與影像呈現(xiàn)出來(lái)之間的那個(gè)灰蒙蒙的空隙里，什么也沒(méi)有。

不得不接手的蘿莉似乎阻礙了一切，必須盡快找到可以安置她的地方才能繼續(xù)去尋找自己的答案。在不斷尋找蘿莉的祖母失敗之后越發(fā)焦慮?！澳阋詾槲蚁矚g跟一個(gè)小姑娘四處亂轉(zhuǎn)嗎，我有很多事情要做?！?“你有什么事情要做，不過(guò)是在紙上不停寫寫畫(huà)畫(huà)！” 簡(jiǎn)單直接地道破無(wú)意義，你想找存在的實(shí)感，卻用盲目的追尋和思索將自己和這份實(shí)感隔絕開(kāi)了。一個(gè)死循環(huán)。

直到被仍在警局的蘿莉又一次跑回身邊來(lái)，理由只是簡(jiǎn)單粗暴的“警察局的東西太難吃了”，終于開(kāi)懷笑了。蘿莉拿出了祖母家的照片，讓人覺(jué)得按圖索驥總算是比較容易了。可惜當(dāng)現(xiàn)實(shí)和照片吻合的時(shí)候，答案依舊是錯(cuò)的。方向徹底消失了，目的也終于被丟棄了：“我們不如去游泳吧”。終于，永遠(yuǎn)在索求什么的嘈雜沒(méi)有了，漫無(wú)目的的旅途開(kāi)始。而尋找反而接近了尾聲。

其實(shí)最后我不確定男主到底怎樣make了decision，是否還會(huì)隔三差五wondering，大概還是會(huì)的吧，不過(guò)至少，暫時(shí)，感覺(jué)到了一點(diǎn)實(shí)感了吧。

以上，結(jié)果還是只關(guān)于自己的各種過(guò)度代入外加些腦補(bǔ)的喃喃自語(yǔ)。

參考了IMDB跟豆瓣上許多資料寫出來(lái)的....大大們不妨看看
Alice in the Cities Movie Review

From the title of the film, it seems that Alice is the main focus of the plot but in fact the film is about a man's search for one's lost self in a strange and alienating environment. Alice plays however a key role in the man's self-realization during their journey across New York and Amsterdam. The American society at the time was indeed a strange place even to people who were born and raised in it due to many historical, political and cultural events that happened around the time era. To get lost in a world of chaos is a terrible thing because it makes you become lonely, unable to see and communicate and most importantly unable to get a sense of realism and existence.

The Plot

As a road movie, the plot of this film quite simple and straightforward. Philip Phil Winter, a West-German journalist, has to write an article about America. He drives across California and writes nothing except he takes photos of random things. His publisher in New York is not pleased and Winter decides to return to Munich. At the airport he is told that all available flights are cancelled and in the same situation are a German woman named Lisa and her daughter Alice. They decide to wait and take a flight next afternoon to Amsterdam and go from there. Meanwhile, Winter goes to see his friend Angela and reveals his troubles of work. Despite Winter's unspoken intention to stay, Angela refuses to lay with him.

After staying for the night at Lisa and Alice's hotel room, Winter awakes only to find out that Lisa is gone to take care of her distressed boyfriend, leaving Alice with him. Following Lisa's plan, Winter and Alice fly to Amsterdam to wait for her there but she is late for the appointment. As a result, they start journeying across Amsterdam in hope of finding Alice's grandmother. During their search, Winter and Alice develop a complicated relationship in which Winter feels both burdened by and attached to Alice.

Feeling no longer concerned, Winter drops Alice off at a police station and goes to attend a rock concert only to return and picks her up again. Luckily, Alice discovers the address of her grandmother while in the police station and they decide to try their luck only to find out that Alice's grandmother does not live there anymore.

At this point a police officer approaches Winter and tells him of Lisa's whereabouts. Alice needs to take a train to Munich to her mother and she asks Winter to accompany her. The film ends with them riding the train back to Munich.
The Search for the Lost Self
As an European Winter arrives in America only to come to realize that The America he sees is a chaotic, alienating and maddening place, contrary to early immigrant tales, in which America is a land of freedom, opportunities and fortune. He loses his grip of reality and understanding; He sees things but knows not how to interpret; He listens to radio and watches TV only to become aggravated by the numbing commercials and news stories; He doubts his ability to write and resorts to photography as a better way to better capture the reality.

Even then, he is highly skeptical as he says to Angela "Waiting for a picture to develop, I often feel strangely ill at ease. I could hardly compare the finished picture with reality." It is apparent that all of Winter's symptoms are not strange to Winter as he tells Angela "...I lost touch with the world." and Angela replies "You did that long ago. You don't have to travel across America for that. You lose touch when you lose your sense of identity." This refers to the identity loss most German felt when the former Germany was divided between Capitalist and Communist rules. Seeing the America so different from what was expected resembles the shock Winter must have felt when the old Germany was molded into another model of Capitalism or Communism. The result: lost in understanding and interpretation.
Sometimes being lonely and isolated from the real world does not lead to the urge to socialize and look for company or sympathy. Sometimes you just isolate yourself even more and become even much lonelier. "Loneliness has followed me my whole life...I am God's lonely man." says Travis Bickle in the movie "Taxi Driver". He and Winter have much in common; Both are lost in the America in the 70s and both meet a girl that help them unleash their anxiety. Luckily for Winter, during his time spent with Alice, though he often times feels annoyed and burdened by her presence and requests, he pulls himself back from an objective observer of this whole absurdity to a human being that actually cares and feels. After he goes back for her at the police station, he finally realizes it is not the search but the time he spends with Alice that matters to him.

During the later part of the film, Winter is seen picking up his pen and notebook again and scribbling. The bed-time story he tells Alice reveals his transformation. A little boy(Winter himself) runs off from mother (everything he is similar with) to chase a horseman (a German knight - a symbol of virtue and truth that Winter is cultured in) on a modern highway (America). The horseman disappears but a truck driver comes along (Alice) and the boy journeys happily with her until they reach the seashore at which moment the boy thinks of his mother again (regains his lost self).
Therefore, it is difficult to say the connection between Winter and Alice is anything similar to romantic love or attachment. It is different from "Leon" where Leon and Mathilda both love each other for the other's loss and things they can provide. Alice to Winter is more of a beacon that shows him way to reality while Winter to Alice is no more than a father-like figure to depend on in absence of her mother, just like the woman from the beach says "You(Winter) act like you really were her father."

America in the 70s

The reason why Winter feels so clueless, alienated and strange about the America society is a result of various events that took place around that time era. The war against Vietnam drew to a close with the US sacrificing the lives of many young men and a substantial amount of money but earning hardly a victory of a seemingly doubtful cause. In spite of Nixon's effort, crime rate increased. With the enactment of the Immigration Act of 1965, previously European-favored immigration policies were altered and in came a influx of people from Third World. at the same time, the Feminist movement was pushing the government for more legal equalities and privileges. Sex was on the loose and homosexuality was also voicing for its interests.
The Apollo program had only started to prove capitalism's superiority before Nixon shook his hand with Chairman Mao in 1972.
All of these events created an aura of illusion, distrust and pessimism in the air of the 70s US. These element were often seen in the screenplays at the time such as "Taxi Driver", "Dog day Afternoon", "The Deer Hunter" and etc. Many people were confused and some refused to follow like the Hippies. Others, like Winter and Travis, simply became lost, alienated, isolated and mad. Fortunately for Winter, he regains his lost self with the help from Alice and homecoming but Travis' way out on the other end is not quite peaceful. Either way, the distressful and depressant vibe of the 70s US is always a mirror that can reflect the newer eras ahead of us, in which computer science, biotechnology and information-network are advancing exponentially. There will be thousands of people just like Winter, Sonny and Travis repeating the same old histories.