科特·柯本：烦恼的蒙太奇

导演真的很聪明，用蒙太奇这个词躲避问题。因为整个片子没有观点也没有看法，只是（筛选过的）信息的堆砌而已，从头看到尾，我只记住了Cobain美丽的脸和日记里歪扭扭的字。
不诚恳的观众看完之后可以顺势感动一番，感动于这个帅哥经历的悲惨，然后对他的死亡视而不见。最后，骂一骂他老婆，这次感动就告一段落，洗漱睡觉。
可是我很疑惑啊。关于他的作品，他的生活，他的爱情，他的责任，和他为什么一枪崩开自己的脑袋。录像里的他好像很快乐啊，那他在痛苦什么？他在躲避什么？他在害怕什么？他在愤怒什么？他的死是为了什么？
他眼里的世界，毫无疑问和别人是不同的。理解他是那么难，但是这不影响一群人，比如我，像中毒一样想去理解他。所以我们听他的作品，看他的照片，打听他的小道消息，同别人谈论他，找他的日记，下载他的纪录片。
我愿意看到别人用不同方式去理解他，但不是这一种方式。多么美丽的脸，多么经典和俗套的故事，一切的戏剧性都在这里，一个拥有美貌、才华和痛苦的人一夜成名，爱上一个不该爱的人，好像还戴了绿帽子，然后咻咻咻，死掉了，留给世人永远的叹息。
片子就这样侮辱了一个死去的、不能为自己辩解的人，其实他活着的时候就没法为自己辩解。导演就像拍金庸的于正，用自己能理解的方式去诠释自己不能理解的东西，有一定受众。区别是于正有很多人骂。
对于Courtney到底有没有出轨，最后都没有一个解释。这个时候适时出现的Where Did You Sleep Last Night把我恶心到了顶点：这一刻Cobain的同情，他的善良，他的痛苦，他的迷茫，他的愤怒，统统被无视，只剩下一个关于放荡老婆和绿帽男的八卦。

       看了评论褒贬不一，而且反差很大。
       我想，也许是因为Cobain厌恶媒体。但纪录片多多少少也是一种媒体，有主观性，且导演明显做出了很多渲染。这两者产生本质上的分歧，因此有粉极其厌恶导演的渲染手法。于我而言，我不想谈论记不纪实，但我特爱导演的手法，实在入心，表现自己情绪之余还留给人判断的空间。
       以前看过太多膜拜Cobain的文章和粉丝，已经是神级单位了，因此其实对于他的作品一直缺乏仔细留意。这片偏偏是冲着生活奔去的，而且还注重感受，里面的动画，配乐重新编配是花了心思去制作，前后的内容也是根据感情的逻辑贯穿电影。你能看到的是一个人如何成长，如何步入心理阴影，如何寻找出口，又如何因为某种情感缺失导致堕落，甚至喜怒无常。但就是由于如此明确才会导致外界更多的争议，甚至被批得一文不值。
       但至少，我看到了非神级的观点了，Cobain马上变得立体了。忽然我非常妒忌他，因为他是个天才，但又害怕成为这种天才，因为他的天才有一部分来自于感情的缺失，缺乏成熟的思考。因此，他有清澈的眼眸，但却颓败的眼神。
      写完，我又继续去听那张以为已经听腻的Nevermind了，它又有了光彩。

媒体稿，原载于Flux Magazine

http://www.fluxmagazine.com/montage-of-heck-film/

Despite it having been 21 years since his death, the topic of Nirvana’s front man Kurt Cobain has never lost its appeal.When talking about 1990s popular culture, he can’t be ignored and, even now, people are reminded of him whenever an artist dies young.

Last year, one of this generation’s most influential singers, Lana Del Rey, cited Kurt Cobain as her hero, and, in relation to this, stated “I wish I was dead already”. Although Cobain never lacked media attention, both before and after his death, many questions about his life remain unanswered.

Brett Morgen endeavours to answer some of the most intriguing of these questions in his new film Cobain: Montage of Heck. This is the first biopic of Cobain’s life made with full permission from the Cobain family. Morgen has access to never-seen-before home movies, behind the scenes footage of Nirvana’s performances and Cobain’s personal archive of art and tape recordings. He gives us Cobain in unprecedented detail: growing up from an angelic and sensitive little boy to a rebellious teenager, and then a world-famous rock star, heroin addict, loving father and suicidally depressed patient. However, instead of presenting a more human Kurt Cobain, Morgen’s materials accentuate the image we already have.

Part of Morgen’s difficulty lies in Cobain himself. Any biopic of a man who died at 27 will struggle to find evidence of depth and maturity; to add to this, even in his adult years, Cobain did not approach life in a grown-up way. Throughout, it is clear Cobain desperately needed love and attention. But his stepmother’s stories of his adolescence, including mentions of sibling bullying show how he acted in ways that made it hard for his family to accept him. In the latter half of the film, he is shown as a loving father but he is immature and struggles to look after his daughter while battling his heroine addiction. The film is problematic in that it presents Cobain’s inability to fulfill his adult responsibilities as part of his charm, rather than a personal failure, that he is a victim of his celebrity status, and any responsibility – including to care for his daughter – not his own.

Compared to a traditional documentary, Cobain: Montage of Heck is technically innovative. Animation is used to demonstrate the important moments of Cobain’s life: his unsuccessful first effort to have sex, his failed first suicide attempt as a teenager, the time he hid in his rented apartment, writing the music that later came to define the band. The best use of animation is when his doodles and hand-written notes are brought to life. Although all of Nirvana’s hits are played in the film, and footage of live performances are combined flawlessly with animations produced from his notebooks, Cobain’s music is unfortunately not explored further. Perhaps the biggest unanswered question–the source of his unusual musical talent–is barely mentioned, and the inspirations of his most successful songs are not discussed.

The interviews in Cobain: Montage of Heck are revealing in one sense and not revealing in another. Cobain’s mother Wendy O’Connor and his wife Courtney Love talk at length about his childhood and relationships. However, their accounts feel somehow like performances, and lack credibility, not telling us everything of their relationship with Cobain. However, there are some interviewees who do give more, but in their silences. For example, during his interview, Cobain’s father Donald Cobain looks sad and repressed. Sitting on the sofa, he sinks into near total silence and tries to hold back his tears. It is the most touching moment in the film and a pattern that holds in general: the women in Cobain’s life are prominent but exhibitionist, the men either missing or closed and silent. Cobain himself struggles to voice his emotions; he alone finds his voice in music.

If you are intrigued by Cobain as a spokesman of youth, a fighter against the boredom of reality and a musical genius longing to be understood, Kurt Cobain: Montage of Heck provides everything you might want, from his birth certificate to his first footprint. This documentary doesn’t complicate our image of Cobain; it simply emphasises it, giving us little further detail into his mind and life than what’s on the surface. People expecting to get a better understanding of this everlastingly popular icon might be left unsatisfied.

【要是换做四五年前，我可能是抱着愤青的浪漫情怀一路哭到尾】

小王子柯本，萌到你想吃掉他，简直可爱到不行。然而这一切童年的美丽光环，被父母的离婚全全瓦解掉。王子在家的地位一落千丈。超级能量的小柯本渴望大量大量关爱的同时，又把父母的离异怪在了自己身上。家庭的破裂和一出生就带有的性格奠定了整个柯本式悲剧。

我相信好多人之所以迷柯本，一部分原因也是他和科尼特的爱情故事。硬要用什么词来形容他们的爱情，真实最为恰当。是，当然也可以被贴上摇滚畸形疯狂等等标签。

被影片所感动，是导演的真实再现，以柯本的视觉，以他挚友的视角，以他前女友的视角，以他最爱的妻子的视觉。

喜欢导演把他的日记以动画配音乐的形式呈现。喜欢科尼特的真实和勇敢。真实（不单是她录节目时的肆无忌惮，还有她原因给陌生外界分享自己的私生活）是她本来的性格，勇敢则是摇滚赋予给她的。她对柯本的爱和对媒体的恨在她走进医院看柯本遗体的时候背对摄像头做的那个中指里面全部解释得通。然后我会联想到，着当年那些造谣直指说凶手是她或者奎斯特，就觉得特别荒唐。

分析（这也是本片导演想传递给观众的信息，不仅是为了满足喜欢柯本和人，更是表达了对小孩子的关爱问题，家庭和小孩子间的关系，都值得当代的人再一次思考）柯本这个人也蛮有意思的，首先从外界的角度来看（内界角度是指他的毒瘾和胃病）：

关于人群。当年刚出道的柯本，渴望被爱被人认可，而当他真正被粉丝媒体所围绕的时候，其实他并没有真正的觉得被爱，反而加重了他的抑郁症。他感觉是被强奸和控制了。于是他不玩了，不再媒体和粉丝面前玩了，破罐子破摔。得到了欢呼和排行版又怎样，依然救不了深陷孤独的柯本。

关于小孩。以为他俩小孩的诞生，会对柯本的抑郁症有帮助，但反而却加大了柯本的负担。他不断暗示自己不能给她一个破碎的家庭，要爱她，保护她。但是那个时候的柯本由于外界的压力加上毒瘾和胃病的缠身，以及依旧我行我素的妻子，还是过回了怀上小孩之前的生活。


感谢导演和柯本亲人的真诚分享，让那个犹豫美丽颓废嘶哑桑影的柯本再现，最重要的是，把那个美丽的蓝眼睛柯本小王子永远的留给了我们。：）

而历史不会改写，命运更不会，死不能复生。看完这个影片的最大感触居然不是简单的摇滚情怀泛滥（那个涅槃的柯本已经真正的涅槃了，他很好现在，不用我们担心和挂念），但如果你把柯本当成一个普通人看，就会想到这个世界上还有好多小孩子正遭遇着柯本的经历。

明天是德国二战告败，宣布撤退在荷兰的军队，独立日纪念日。自由爱和平，人类不断神往以及追求的东西，而现实生活中又有多少人经营得好自己的婚姻和家庭。这种小单位的幸福都无法抓住无法战胜，又有什么资格高歌自由和平爱？