转载一则影评 Buñuel

朝霞不出门
2009-12-13 看过
        The master of surrealistic cinema, Luis Buñuel, changed his approach to the bourgeoisie after "Tristana", and his last three films are all comic and prevail through a mixture of pure surrealism, extreme irony and the one consistent theme of Buñuel's auteurship- hatred of the ruling classes.
   超现实主义电影大师,路易斯•布努埃尔,在“Tristana”之后改变了他对中产阶级的方式,他的最后三部电影都是喜剧的,带劝说性质的,通过一些纯超现实主义的、极端的讽刺和他一贯的主题的混合,那就是他对统治阶级独具特色的仇恨。
  "Le Fantôme de la Liberté" is perhaps Buñuel's least accessible work since his first two films, "Un Chien Andalou" and "L' Age d' Or". It is a thematic continuation of "Le Charme Discret de la Bourgeoisie", where the seven protagonists just couldn't finish, or even start, a meal. This is a strong metaphor for Buñuel's view that the bourgeoisie is a dying class, and that not even a violent revolution is needed to remove the bourgeoisie from power and wealth. They are perfectly capable of doing so themselves, through their indulgence in pathetic etiquette and decaying sense of morality. "Le Fantôme" is not funnier than "Le Charme", but it is harder to understand, and this is exactly what Buñuel and Carrière wanted after the success of "Le Charme" at the previous Academy Awards.
   布努埃尔的观点是一个很强烈的隐喻,中产阶级是一个正在死亡的阶级,而且连剥夺中产阶级的权利和财富的暴力革命都不需要。他们理想化地成为他们自己,通过沉溺在可悲的礼仪以及对道德已经腐朽的感官。
  In "Le Fantôme", not even the characters are consistent throughout the film. This film is like a relay, where one member of the ruling class passes the stick to the next, and never comes back to the vision of the audience. They just leave, like Buñuel wanted them to, perhaps, but in this film is an important factor because it confirms Buñuel's non-human view of the people of this class. His was a collective hatred, and this film reflects his collective view of the bourgeoisie. The film contains absurd, surreal incidents, like priests playing cards while smoking and drinking, parents reacting to postcards of famous buildings given their daughter by a stranger as they were obscene and a writer killing tens of people from his sniping-position at the roof of a building. The writer is found not guilty, and the continuing mix-up of characters, two actors competing for one role makes for a very confusing narrative. Or maybe the "story" is just a mockery of traditional storytelling in film. Resnais and Robbe-Grillet made "Last Year in Marienbad" just to prove that telling stories is a bourgeois thing and not necessary for modernist or revolutionary cinema.
   在《自由的幻影》中,甚至连人物都不是持续的。这部电影就像接力赛,在其中,统治阶级中的一个成员将棒传递给下一个,从不出现观众的影像。观众都留下来了,像布努埃尔期望的那样,因为在电影中有一个很重要的因素,即是强调布努埃尔的“non-human view of the people of this class non-human view of the people of this class”。他是集体仇恨,这部电影就表达了他对中产阶级的集体观点。这部电影包含了荒谬的、超现实主义的情节,像牧师们打牌同时抽烟喝酒,父母对陌生男人给女儿的著名建筑的明信片的反应,他们认为那是亵渎的,一个作家从楼层高出射杀了数十人。作家最后却无罪,然后就是继续的人物混杂……雷乃的《去年在马里昂巴德》仅是想证明,讲故事是一件中产阶级的事,对于现代主义者或者革命电影来说并不需要。
  This film is actually based on a painting by Francisco José de Goya called "El Tres de Mayo" (The three in Mayo), and "Le Fantôme" starts with a short episode of how Buñuel depicts the incidents during the Napoleon Wars. But it's the theme of Goya's painting that Buñuel is concerned with, and this film is more than a mockery of the bourgeoisie, it is also an attack on communist doctrine which all over the world only seems to take from the people what is was supposed to give to the people: Freedom, and also an attack on leftist defeatism. The glorification of the defeat is perhaps the modern Left's biggest problem, which only leads to a move away from power. "Down with freedom!", Buñuel's revolutionaries shout- and the firing squads start firing at the dying revolutionaries.
   这部电影可以说是中产阶级的笑柄,但同时也是对共产主义口号的攻击,全世界看上去都在从人民手里夺走那原本想要给人民的东西:自由。同时也是对左翼的失败主义的攻击。对失败的赞美也许是现代左翼的最大问题,那只能导致权力的丧失。“打到自由!”,布努埃尔的革命叫嚣着,狂热的团体开始向腐朽的革命开火了。
  by Audun Bråten (braugen@hotmail.com) from Oslo, Norway
  
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