比阿莫多瓦少了太多东西

于是
2005-10-07 看过
很阿莫多瓦的开头,标准阿莫多瓦式的变性人物,但毕竟没有阿莫多瓦跌宕震撼的力量。

故事可以说是毫无故事可言,人物便是故事本身。但人物不演出,要我的想象力参与后期创作。

三个人在一起,分不开,性和爱,乃至共同接客。变性人是皮埃尔,也是史黛芬尼。在酒吧里认识了俄罗斯移民。同样,阿拉伯男妓和他们两个都相处甚好。没有史黛芬尼的时候,他们像一对兄弟或同学那样,玩耍拳击,语言不通。

他们这次相聚,是在史黛芬尼的老家。她的母亲快死了。母亲很平静地接受儿子(女儿)的这两个伴侣。平静的衰老,就是这部发故事的原貌和整体。

母亲在睡梦中死去。三人整理房间,史黛芬尼撕碎所有旧照片,藏在铁盒子里的、贴在破裂墙纸上的。

接着,三人重返巴黎。在火车上依偎而睡。他们一动不动,阳光在外面奔跑,渐渐追上他们的无动于衷,他们便显得很柔和地隐没在阳光中了。

我和朋友一起看的。看得有人退场。这种憋屈的、莫名其妙的、下意识地需要你探讨对方性心理的电影,恐怕真是让人失望的。有一些直接的性器官描写,我觉得还算不上惊世骇俗,只是很普通的一些镜头而已,至少,史黛芬尼是被基本上保护起来的。

对我而言,撞击点没有徘徊地停留在所谓孤独的感受上。3P又如何,不过是大家叠加孤独,既没有需要滔滔不绝阐释的个人想法、也没有可以说得出来的苦闷,一切都是那么平淡无奇,只是像阳光一样慢慢走、慢慢遇到阴云和风沙而无所留恋无所阻碍的继续走,走得几乎绝望。

童年。母亲。家乡。爱情。这些是孤独的落脚点。美其名曰“乡愁”,却只是无处可依。

所以,不要问我这个电影好看不好看。也许你可以问我些别的。


查资料。发现三点:

1,2005年和2004年都有电影叫做Wild Side。而之前却没有一部。另一部Wild Side是有中国人出演的。这部WIld Side的名字由来,经导演说,是因为Lou Reed。

http://www.wellspring.com/movies/text.html?page=interviews&movie_id=48

2,这部Wild Side有一个官方网站。

3,在IMDB,有一个不错的评价:给这个片子打了十分。要不是在IMDB这个人头不熟的地方,而是在诸如当当、99这样的网站里,我一定会认为是电影导演或演员自己写上去的。嘿嘿。

Muted & Marginal - a perfect and beautiful film, 23 March 2005

Author: Rod Evan from Amsterdam, Netherlands


Unfinished script? Badly lit? Underdeveloped characters? Designed to shock the bourgeoisie? About half the reviewers here seem to have missed the point with this film - but perhaps it's just a film you'll either love or hate. There are of course many people who simply are not comfortable watching anything which in any way portrays or explores homosexuality.

Not that you would class this as a gay film - but it is definitely one of the best queer films I have seen. Dealing with three characters on the margins of society, it has a no holds barred approach to its subject matter, that is neither glamorous nor judgmental. In contrast to most representations of homo/transexuality this was refreshing.

The sexuality/gender of the central character, Stephanie, was apparent from the first frames of the film. The triangular relationship between her and the two men is one built on sincere and simple respect and equality. There is no question in the film of her having to choose between the two. All three are equally compatible with each other and do not have the usual conventional jealousies and arguments.

The three characters' past and present lives are beautifully portrayed in a sort of collage. This demands some work from the audience to put the pieces together. And why not? There is nothing obscure or pretentious here. Just an honest look at what brought these three people together.

Visually the film ranks highly and is up there with Antonioni and Bresson. The concentration on the urban and rural landscapes and the details of the characters' physical actions say more about character development than any dialogue could do.

A milestone in new queer cinema. This film should receive a far wider distribution. But judging from others' comments perhaps the public are just not yet ready to understand the humility, beauty and sacrifice of in these characters' lives. A great film 10/10
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