大卫·科波菲尔的个人史

David随着社会身份的变化得到好几个名字，davy baby，trotwood，daisy，davidson，但没有一个人愿意呼唤他的真名，连他自己都吐槽说，我爱人们给我起名。本我和超我的抗争就在名字这得到了巨大的体现。 小时候就喜欢和保姆一起，a face of wax和a face of durch cheese, 其中的厉害只能自行体会。多么生动而又真实啊。那些大象一样的活塞，红日一般的眼睛，谁又能无时无刻闪过这样的灵感并记录下来，藏在随身携带的古董盒子？那些声称自己是作家的人，多少能体会到这样的快乐和艰辛？

算不上影评，表达看法。

牛逼的点在于这部电影勇敢的摒弃了一个千年历史概念：人种。

这部电影里没有"人种"这个概念。

人就是人，每个人是每个人。

你是谁是谁是他是她是她是谁是谁就是谁。

演员就就以自己的角色表演、讲故事，讲属于ta自己角色的故事。

大咖很多，都以自己的专业素养当好了自己的角色，讲好了自己的故事。

表演好多地方很夸张，但这是全片整体的格调，定位就是这样的类型。

冷笑点超多，绝大多数还是会“过一会儿会笑一下”。

冷笑话也是笑话哈哈哈。

故事讲的很流畅。

场景画面很精美。

配乐音效很合格。

卡斯很好很喜欢。

这样的电影还不算好电影吗？

......

想到了【云图】。

云图也试图挑战人种的概念，把黑人变白人，西方变东方，技术流用化妆。

这部对于人种的概念就不只是挑战了：人种？什么鬼？莫名其妙！

大卫小时候曾寄养在米考伯家，一个的有趣的人物，每天各种人来家里要债，因欠债还进了监狱。放出来后装成教授到学校招摇撞骗讨工作，后又流落街头。善良的大卫一直是同情米考伯的，为他辩护说他人畜无害，看到米考伯被揭穿不得不离开时，即使知道米考伯想多骗点路费也主动给他。

喜欢米考伯大概是因为真实，人对真实的东西时很敏感的。觉得生活中这样的小人物很多，自己又何曾不是这样的，偶尔撒点小谎，骗点小钱，但人畜无害，在身出困境时依然不忘幽默自嘲，被问到你们流落街头了吗时，回答时我们目前主要生存于户外，这样的小人物，有点像科恩兄弟的谋杀绿脚趾里的主角酷哥，懒散随意无所谓的态度应对所有的情况。用简单生活应对一切牛鬼蛇神。

A one-two punch of two feature films from Scottish satirist Armando Iannucci, THE DEATH OF STALIN is an irreverent satire of the power struggle between the party leader Nikita Khrushchev (Buscemi) and the chief of the People's Commissariat for Internal Affairs (NKVD), Lavrentiy Beria (Beale) in the aftermath of Stalin’s demise in 1953, mustering an Anglophone ensemble to play Russians and retaining each player’s distinctive accent, TDoS is openly ahistorical and scramble a hodgepodge of historical events to show up USSR Communist party’s treacherous political intrigues and draconian executions, with mockery as its ballast, after all the film’s source is a French graphic novel rather than any orthodox biography.

THE PERSONAL HISTORY OF DAVID COPPERFIELD, on the other hand, is Iannucci’s revisionist take on the famous novel and its Victorian milieu, corralling a colorblind cast and enlivening the palette even when our hero is in his absolute rock-bottom, its uncharacteristic comical tone and striking brightness are anything but Dickensian.

Mordant wits and biting repartees are Iannucci’s forte, and in TDoS, they are aplenty, the whole Politburo is made up of the targets of ridicule and contempt: Tambor’s deputy chairman Georgy Malenkov is a tinpot dunderhead; Beria, a sadistic wheeler-dealer who are prone to hectoring; Khrushchev has that particular political acumen, and cunningly adept in conniving and conspiring; Palin’s Foreign Minister Vyacheslav Molotov is a party maximalist, but barely has any say-so in the game. As for Stalin’s two heirs, Svetlana (Riseborough) is at the end of her tether, and the plastered Vasily (Friend), a lost cause liable to nonsensical babbling, they are not veritable successors of their father’s legacy.

The movie is irrefutably offensive to the people of USSR by omitting any humane traits of the erstwhile powers that be, portraying the whole polity of communism and collectivism as a laughing stock, it only betrays Iannucci and co.’s nationalistic mean-spiritedness of squeezing every inch of laughter out of harrowing events to entertain their core audience, and they can easily get off the hook by claiming artistic licenses, those events were factual what they have done is to coax them together to represent an occidental, pejorative outlook on Western democracy’s old adversary.

That said, Both Beale and Buscemi are fantastic thespians, their at-loggerheads political gamesmanship is immensely gratifying to watch, Beale acts like a savage porcupine, those quills are bristling with venom and cruelty whereas Buscemi has a weasel-like disarming facade, but he can be equally ruthless in a pinch. Also Issacs’ Marshal Georgy Zhukov enters the feeding frenzy late but he has that panache to impress, not least with his umpteen bedazzling decorations.

Iannucci shows his shortcoming in scenes of action, the Moscow massacre sequences are rather sloppily wrought, and his control of an ensemble piece isn’t exactly can be called fluid or artistic, especially when things pan out in a fanatic commotion, audience may feel being manhandled just to keep up with the ongoing mess.

Things are ameliorated in TPHoDC, for one thing, the fabulous period art production is a remedy for sore eyes, and young David’s (Patel) misadventure is often offset by the quirkiness of supporting characters, like Capaldi’s buoyant Mr. Micawber, or Laurie’s certifiable Mr. Dick. Everything is arranged in a fairy-tale fashion, like the dainty boat house or the liberating kite-flying expansiveness, tragedy is merely a plot devise, it crops up and vanishes in the next breath.

Patel has grown up to a more competent leading man stature, he can be credibly romantic and sensibly virtuous, his David holds on his own against a kaleidoscope of scene stealers, my preference is a delectably sinister Whishaw as Uriah Heep, whose slapping bouts with Swinton’s auntie Betsy is a humdinger of cartoonish delight.

David’s to-be-a-gentleman-cum-author rite of passage could be written off as a stiff and insular idée fixe, but Iannucci and Blackwell’s script updates it with a more universally appealing, like his irrational infatuation and final realization of who is a more suitable match of matrimony, the whimsical and ladylike Dora Spenlow (Clark, who also moonlights as David’s mother Clara), or Agnes Wickfield (Eleazar), the unassuming but courageous daughter of Mr. Wickfield (Wong), a tippled lawyer.

Collectively, TPHoDC reaches a much happier coda than the novel with David’s extended family grows and settles down with a big hearty smile, the “personal” in the title indicates Iannucci’s own predilection for finding a different color in existent materials, if TDoS is a tad off-color in its taste, TPHoDC, conversely, is a glowing tonic that re-introduces a timeworn classic.

referential entries: Iannucci’s IN THE LOOP (2009, 7.1/10); Garth Davis’ LION (2016, 7.1/10).

Title: The Death of Stalin

Year: 2017

Country: UK, France, Belgium, Canada, USA

Language: English

Genre: Comedy, Drama, History

Director: Armando Iannucci

Writers: Armando Iannucci, David Schneider, Ian Martin, Fabien Nury

based on the comic book by Fabien Nury and Thierry Robin

Music: Christopher Willis

Cinematography: Zac Nicholson

Editing: Peter Lambert

Cast:

Simon Russell Beale

Steve Buscemi

Jeffrey Tambor

Andrea Riseborough

Jason Isaacs

Michael Palin

Olga Kurylenko

Rupert Friend

Paul Chahidi

Dermot Crowley

Paul Whitehouse

Adrain McLoughlin

Paddy Considine

Nicholas Woodeson

Diana Quick

Jonathan Aris

Roger Ashton-Griffiths

Rating: 6.3/10

Title: The Personal History of David Copperfield

Year: 2019

Country: UK, USA

Language: English

Genre: Comedy, Drama

Director: Armando Iannucci

Screenwriters: Armando Iannucci, Simon Blackwell

based on the novel by Charles Dickens

Music: Christopher Willis

Cinematography: Zac Nicholson

Editing: Peter Lambert, Mick Audsley

Cast:

Dev Patel

Tilda Swinton

Hugh Laurie

Ben Whishaw

Peter Capaldi

Morfydd Clark

Daisy May Cooper

Aneurin Barnard

Rosalind Eleazar

Benedict Wong

Jairaj Varsani

Gwendoline Christie

Darren Boyd

Aimée Kelly

Anthony Welsh

Bronagh Gallagher

Anna Maxwell Martin

Paul Whitehouse

Nikki Amuka-Bird

Victor McGuire

Peter Singh

Sophie McShera

Matthew Cottle

Rating: 7.3/10

狄更斯的5段式工整小说改编电影，整体笑点很多，剧情紧凑

Part1 小时候被后爸欺负， 被扔到瓶子工厂上班

Part2 被一个骗子收留

Part3 被Aunt收留

Part4 爱上Dora

Part5 与真爱走到一起

PS：看的UK上映的生肉，以下是词汇整理

好看的striking

女高音soprano

一家之主 man of the house

记下来pur down

穷困up in the air

winter castle

a captive

有时候认为，写作能力能靠训练得来，但看完觉得，天生的观察家和文字玩家才是作家的先机。

David随着社会身份的变化得到好几个名字，davy baby，trotwood，daisy，davidson，但没有一个人愿意呼唤他的真名，连他自己都吐槽说，我爱人们给我起名。本我和超我的抗争就在名字这得到了巨大的体现。

小时候就喜欢和保姆一起，a face of wax和a face of durch cheese, 其中的厉害只能自行体会。多么生动而又真实啊。那些大象一样的活塞，红日一般的眼睛，谁又能无时无刻闪过这样的灵感并记录下来，藏在随身携带的古董盒子？那些声称自己是作家的人，多少能体会到这样的快乐和艰辛？

虽然是理想化的形象，但还是愿意去相信这样一个故事。再工整再做作，也不过是艺术的升华。

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