风流债

《别来敲门》是文德思最新的作品。刚刚为收到了《丰饶的土地》在暗爽，几个月后就已经看到大师又出手了。那天在讨论大师的效率时最终的结论还是好莱坞有速度！影片的开头就显示出大师的手笔，色彩、镜头、质感都在展示着导演的把握力。一个牛仔的意外出走不但让我想到了《德洲巴黎》更让我确信这位一直在表达背离，孤寂德导演内心对一个时代的怀念。没有原因的逃脱显然是在营造一个悬念而另一个线索－－那个带着母亲骨灰的女孩则是一种并行下的情绪转场，在交替进行故事的同时时间被不需要转场的跳跃着。朋友在开场近40分钟时候的疑问似乎很合理，这样的凌乱，错综和略带沉闷的进行是不是真的出自我们熟悉的《柏林苍穹下》，《德洲巴黎》的文德思。是的，《别来敲门》带来的冲击除了色彩上的惊艳和镜头的考究似乎没有之前的那种深沉和情绪。取而代之的是叙事上的流畅，好莱坞似的情节，当年的那个独自行走的天使和男人变成了更为苍老但却混乱，焦躁的牛仔。心理的挣扎变成了现实与内心的对抗，我个人感觉这样的处理使人物变得普通也丧失了挖掘的空间。不过熟悉的镜头，场景甚至音乐还是让我坚信这是－－－文德思！
 
      是的，当我们确信自己判断的同时，文德思也不再继续他的捉迷藏的游戏。一个儿子的出现使牛仔的出逃变的具有意义，同时也给了他再上路的理由。而那个神秘人物的感觉也无非是《百万英镑打酒店》那个侦探的再版，不同的是梅而吉布森换成了1900，那份高大变成了一份诡异。为了让牛仔更纯粹的回归到导演怀旧的梦境中，他的坐骑似乎也更符合他那颗不愿改变的心境。路上的迷失来自于不断出现的外界的诱惑，但是这样的境遇与导演极力想表现的绝望和毅然的出逃似乎力度上存在着弱化，但是也是再情理之中的。接下来的小镇似乎真的是一个时代下隐蔽的乌托邦，除了那面灰色天空中的美国国旗我们几乎可以忽略时间、背景和纷繁的社会，简单生活既是梦想又是现实。之后的故事虽然带着几分迷幻和理想化的处理，但是我的感觉是理想化的构建。父子的和解源于一个神秘妹妹最后的感言，但这与当年《德洲巴黎》那短甚至收录再电影原声中的沉静表白似乎相差太远，前面的铺垫和照应不足给最后的升华代来的空间上的限制和这段本身就不算感人的感言导致的结果是全篇极力想表达的亲情呼唤牛仔的重生失去了力度和可信度。加上最后一个好莱坞标准的大结局也使一向睿智的文德思丧失了自己的冷静和态度。
 
      电影中的音乐又一次的展示了导演对音乐的标准，相比几个小时前才一起体会的《外出》。文德思显然是高出不止一筹的。不仅仅是音乐本身的质量，关键是文德思对音乐的使用是几乎不留痕迹的，与《外出》中明显的音乐营造和回归基调相比《别来敲门》的音乐不但是融入电影的更是镶嵌在电影中的。而自从《柏林苍穹下》对色彩的黑白回归，文德思似乎越来越在色彩上给我们愉悦，如画般的风景和场景不只一次的告诉我电影是镜头的艺术。不过好莱坞似的情节似乎使一个沉思中的老者不得不用行动和语言在倾诉自己的问题，表达的直白失去的是空间和力量。而为了表达的表达使故事与电影都变得不分轻重，好莱坞的流畅与欧洲电影的深邃似乎也并没有很好融合。
 
      终场了，我的感觉：大炮打蚊子！

Three cliches dominate the plot of the movie. One, the runaway. By this time in Wenders's career we are used to his fascination with clean breaks from a former existence by his heroes or heroines ("The Angst of the Goal-Keeper", "Paris Texas", "Bagdad Cafe", and yes, even "Wings of Desire", where Bruno Ganz staged the breakaway galore, from Angel to Man). But the danger, of course, is one is prone to losing fresh ideas about spinning the story.

Two, the man-hunt, as the prime activity suited for the landscape of the American West. From Ford's "Searchers", to Sergio Leone's spaghetti westerns, to ironic spins on the motif, Coens' "Raising Arizona" and Lynch's "Wild at Heart", the manhunt is getting as tired as the horses that labor underneath the gallant mission. In fact, the idea gets so old, that using it by an arthous film director sounds almost bold.

Three, the great American myth, the reconciliation between Father and Son, from alienation and anger (mutual), to peace and--- resignation. I talked about this in other reviews so I'll let it drop. Suffice it to say that, by this point, breathless under three mountainous cliches, I need some serious visual action to get me excited.

And visual is what we get. Wenders's own still photography, on exhibition in Shanghai two years ago, strongly echoes the paintings of Edward Hopper, but he has never been so passionately open about his adoration of the great painter: the surreal juxtaposition of bright light and pitchy shade, the color contrast that almost always involves blue, and the so, so curious feeling of characters found in a "suspended existence"; suspended, that is, in time ans space. Wenders has the same practised eyes for the total darkness that is right next to blinding sunlight, and the interesting possibilities with a lone light-bulb at the windy, late-night street corner, or how to make the rails look forlorn after the resounding and trembling under a passing train. Howard's evening by the bonfire, with a cargo truck roars across the overpass bridge near by, provides hwo a quick, dynamic tribute to a still painter can be done.

No wonder, for Wenders is such a very visual person. The Rio Grande bus station has to be fitted with a beautiful hall whose misty air is penetrated by slanty shafts of light, which reminds one of the renowned photo of NY City's Central Station in 1920s; and the bench at the station has to be of a beautful, calm stoutness. Obsessively visual, this German is. Quirky, too. Like the digression between Jessica Lange and Tim Roth on "three kinds of potatoes, served with eggs" (home fries, hash brown, and red spuds, complete with a figurative description). Or, remember the scene the guy Howard sess through the bus window, emerging out of no where, in full grey-suited golfer's paraphalia and singing, "God's in the kitchen, God's on the wall?", while the soundtrack bursts into dissonance? You wonder, what is THAT for? Then you realize Wenders is just having fun with his Great West fetish, and his broader fascination with American Grotesquerie, like the 3rd-rate casino mirrored in the pool of water in its vast, empty parking lot. But his take on American landscape is neither cloy nor "raw", but achieves a strangely pristine quality that I don't see anywhere else: austere, but not drab (as in David Mamet); nostalgic, but not sentimental (as in Sergio Leone).

At his worst, Wenders is merely picturesque, not lyrical. Sadly here it is. That's why all the tricks in the bag, including the Hopper-ish town, the excellent compostions, frame after frame, and cinematographic gimmicks like the restless circular panning around the couch in the street corner where Howard finds peace, come to a unity that doesn't quite add up to the lyrical beauty that we expect from the better of Wenders's movies.

Oh, the acting: if you are a Jessica Lange fan, stay home with "Blue Sky" and "Postman Always Rings Twice", for she fails the plausibility test here. Lange, usually a great actress, here looks totally staged and cannot do anything spontaneous, while the actor who plays her son seems like a young Hun who just falls off a pony, full of excessive drama and over-reaction. Wenders films always demand a bit of make-believe, but this one turns make-believe to Hollywood triteness.

I remember the final shot of this movie, obviously chosen for the visual pun on the road sign: "Divide - 1; Wisdom - 52". Indeed. I hope the promised one full year for Wenders will give something wiser. In the mean time, I can't bring myself to give low mark to a movie so faithfully builds a Hopper-esque town, so I would still recommend it for its stunning visuals.

　　在永远的alienation中，每份情感都是那样的宝贵，轻易的丢失，拼命的找回。生活从某点开始乱了，想回到那点，找回那份单纯，终究不能实现。因此现代人更需要一个家。

就像大多数公路电影和西部片一样，一部看起来沉闷，缓慢而且很有可能从头到尾都没有起伏得电影。看这个片子的时候脑子里到处跑的都是《德克萨斯.巴黎》和《破碎之花》，谢天谢地没有他们沉闷。

一个吃喝嫖赌无恶不作的老牛仔演员，风光不再，也没有家庭。从片场逃回20多年没见的母亲家里，晚上出去玩第二天被警察送回来，妈妈也只是淡淡的一句“昨晚玩得是否尽兴？”他自己也兴奋得说“玩得开心极了”。

然后在知道自己竟然有个孩子的时候，忐忑不安的开着老爸的汽车千里寻亲。

不知道自己想要什么，一个人呆着的时候不知道该做什么。

儿子不认自己，一个抱着骨灰坛的跟踪他的女孩意外的是他另一个女儿。找到了他想要得，他仍然不知道怎么对待。只能悄然消失。

然后被侦探带回来，听女儿说道别的话，把车子留给儿子，喜宴老爸式的背过身去潇洒的挥手，也算皆大欢喜。

有一种人就是这样，他优秀，迷人，但做的事让所有的人都伤心，可以轻易的离开，再平静的出现。让你不得不无可奈何的原谅他。恨他，想念他，寻找他，到最后明白他谁都不属于，只能平静的送他上路。

我们叫这样的人为浪子。

他坐在被儿子扔出窗外的沙发上一个下午加一夜，想着所有的事情，半夜有一只狼狗陪着他，原来他也是一只独狼。

因为看到Tim roth才买的电影，戏份和表演都很少，老了的他看着有些发福却还是那样典型英国式的迷人。依然是我爱的《落水狗》《低俗小说》《1900》里的男人。

那个女孩杰萨拉·波莉看着很眼熟，原来演过《活死人黎明》，差点跟《小鱼》里的凯特.布兰切特，长的真是天使般的脸了。

这片子演员都长的真不错，音乐也乡村爵士的好听得很。

老师上节课讲了《别来敲门》，我没来听，也错过了。以前看过这个片子，印象不是很深了。于是又看了一遍。

这种不花哨的影片，就象《风吹稻浪》一样，没有人点拨一下，很容易就会觉得片子“一般”。但是如果带着沉静下来的心，重看的话，就知道为什么这部作品会从那么多西部片中脱颖而出。老师说看了文德斯在这电影中几场戏的拍法，就知道什么叫真正的大师。我深以为然。

很久没有看电影了，就从文德斯开始吧。

这是文德斯的最后一部电影，色彩明艳。老导演好像越是在自己的迟暮之年，越是喜欢拍一些明快的电影。
节奏是偏慢的，但和西部空旷的背景很搭调，松散的框架，至少我一点都不感觉闷。配乐是亮点，无论在荒野中，还是在城市中，都慵懒地契合得恰到好处。
很多细节虽然换了场景，还是不经意地透出文德斯的气息，颠沛流离的剧组房车，城市小酒吧里的后摇男歌手……还是会令人想到 柏林苍穹下。


故事很简单，Tim Roth的角色，我以为会对剧情有很大推动，前半部分，他的出场总是腔调很浓，最后，却是个彻头彻尾的龙套。
Howard 坐在沙发上，360度拍摄的那一段，怎么看怎么像支MV……
有个镜头蛮喜欢：Howard 与女友说，想有个家了，女友对他在一个有落地窗的健身房前发飙，透明落地窗的背后，象征性地，是一个在骑车，一个在跑步的两个健身者，Howard与女友，也无所顾忌地在窗前落泪，黯然。
城市有时就是这样，让你无处隐藏，情感有时很难找到一个安全的地方宣泄，处处有旁观的眼睛。但也只是旁观的眼睛，因为，无论窗前的你多么崩溃，窗后的人只是看着，并继续他们自己的脚步，走路，蹬车。没有陌生人来真正在乎你，所以，乐得放得开……