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上联:众人点评十分到位
下联:补充论述样样俱全
横批:十分精彩
(必须写够140字才让我发出去,我只能简单说两句,那就是:
在那个特殊的时代背景下,爱情看似无处不在,但其实十分可贵。
人们为了追求自己想要的人生,必须做出各式各样的选择,而这样的选择也引发了电影中主人公们之间的矛盾与冲突,从而更进一步点缀了那个纷繁复杂的社会。)
从来不写影评,这也算不上是影评,只是对看过的影评中一些内容的不赞同。以下皆为个人看法。
一、关于最后萨利为什么要离开布莱恩......我靠她说是因为她以自我为中心、无法忍受婚后生活、仍然想要争名逐利当个女演员,你们就和布莱恩一样都相信了吗!!!
1.俩犹太人的婚礼上,萨利一如既往地笑得很开心,可见是对婚姻生活怀有憧憬的;而布莱恩呢?低头不语,神色郁郁。
2.两人躺在树林里,萨利千方百计想要逗布莱恩开心,还主动提到了孩子,甚至将孩子和耶稣作比;而布莱恩还是没精打采。最后萨利伏在他的膝盖上,脸色也落寞起来。接着是快闪过他们过去荒诞快乐的时光和在歌厅里光怪陆离的日子。
3.萨利堕胎的时候,捡起了坐在楼梯上玩球的男孩丢下去的皮球,还在他身后停留看了他一会儿。她这样难道像是难道渴望堕胎的样子吗?
萨利通过布莱恩冷淡的反应,知道了他们不会有未来。她对布莱恩没有说出的before后面那句话,结合前文的内容,感觉更可能是“你不久就要厌倦这样的我,然后离开我了”。就像她的父亲一样,就像Max一样。
其实我一直想知道的是,布莱恩到底有没有和萨利结婚?想来是没有的,月台相别,布莱恩抬起萨利空荡荡的右手无名指,他犹豫了一下,最终也只是赞美了她的指甲艳色耀目,但是他难道不知道萨利的指甲一直都是这个颜色吗?曾经的海誓山盟不过是一纸空文。布莱恩在得知萨利堕胎时,不断指责萨利,要求一定要知道她堕胎的理由,又何尝不是希望能从她嘴里完全撇清自己的过错呢。
萨利太爱他了,所以她给了他想要的理由。
“我真的很爱你。”
“是的......我想你是真的爱我。”
二、萨利嘴里说着还是想要当一个女演员、唱着她爱歌厅......真的是这样吗?
1.月台离别萨利说她必须要去一个面试,结果是回到了歌厅。作为歌厅里的“国际巨星”,萨利想要回去肯定是不需要面试的,所以她这样说只是想要和布莱恩做一个潇洒的告别以及让他相信自己说不安于婚姻仍想闯荡的话而已。
而且,没有了皮草大衣之后,我们可以看到萨利的衣服破了好几个硕大的口子。她没钱了,想来布莱恩也没给她留下什么钱。没钱,怎么闯荡?问题在于,布莱恩知道吗?他怎么会不明白,他也是落魄过的,没钱寸步难行,萨利回去后还能做什么,他心知肚明。
2.快闪时出现了萨利被猥亵的画面,萨利在歌厅仍然是被欺压的对象。
3.萨利最后一首歌登台演出前惴惴不安的神情,在灯光打过来时一秒换成欣喜若狂。她在舞台上光芒四射地表达她对歌厅生活狂热的喜爱。可是我总觉得她几欲落泪。
最后回闪出影片开头歌厅放荡堕落的表演画面,最令人影响深刻的是两个女人抱着在污泥里摔跤,只为赢得台下阵阵喝彩。
比起稳定婚姻和可爱孩子,萨利怎么可能真正热爱这样的歌厅生活?只不过是后者是她唯一能抓住的东西罢了。
她的生活教会了她就算眼睛在流泪嘴角也要高高扬起,就算想要哭泣也只能一脸享受地大笑不已。
“忘记了你生活中的烦恼了吗?我早就告诉你了,在这里生活是美丽的。”
因为只要灯光打在你脸上,你就要给我笑出来。
9.0分。以歌厅女明星的生活展开纳粹在德国的兴起岁月,德国逐步被纳粹舆论控制;作品介于胡闹与严肃之间,以在歌厅胡闹避世来严肃讨论纳粹,从一开始纳粹被赶出场内到后来满座似乎皆为纳粹,男主的言行即是导演对此的观点。最牛逼的还是那段乡村少年唱起由最初的温和到后来气势汹汹的“党歌”,完全出乎意料。歌舞段落很棒且不生硬,小丑最讨喜。
Economic instability and social unrest following World War I gave way to a culture of escapism and decadence in Weimar Berlin. Though previously Berlin had not made much of a name for itself on the global stage, the Golden Twenties turned Berlin into the third largest city in the world, with a population of over 4 million. The 20s were a time of rich culture and sophisticated developments in art, architecture, music, fashion, and particularly film and live entertainment. Popular personas of the time included Marlene Dietrich and Lotte Lenya. The city became a haven for many writers and artists, thrill seekers who were drawn to the magnetic, taboo atmosphere— particularly of Berlin’s nightlife.
Many artists interacted and blended with the underground culture, nightlife and cabarets. Described in Voluptuous Panic: the Erotic World of Weimar Berlin as the “International sex-tourist Mecca of the Twenties and early Thirties,” Berlin was known for its sexual perversity and moral degeneracy. The nightlife scenes were famous for their erotic performances and abundance of cocaine and alcohol. As a result, many right-wing individuals viewed the culture of the time as socially disruptive and profane. One American writer of the time, Ben Hecht, described Berlin as the “prime breeding ground for evil.”
Despite the culture of decadence in the newly cosmopolitan Berlin, most of the population still faced poverty and unemployment in the aftermath of WWI. Prostitution rose as a means of survival for both women and men. In the 20s, this was normalized to a point where the German army granted approval to it soldiers to attend certain brothels, and even rationed coupon books for sexual services at establishments that had been inspected and cleared of sexually transmitted infections like syphilis and gonorrhea. Drug trafficking and the black market played a huge role in Berlin’s underground economy. Cocaine, heroin, and tranquilizers were easily accessible at the time.
Nightlife venues were abundant and diverse. They included girlculture venues, homosexual venues, lesbian venues, nudist venues, sex museums, transvestite venues, underworld venues, and Weimar Nazi venues.
Berlin Cabarets
Berlin Cabarets of the 1920’s were of a different variety than the ones that would later arise in the early 1930’s in response to the Depression, growing Nazi influence and social unrest. The twenties featured kick-lines of beautiful women who were shining with exuberance and personality: “Their faces were made up with an optimism that nipped all resistance to economic development in the bud, and the little cries of pleasure, issued in a precisely calculated rhythm, gave ever renewed praise to the splendors of existence in just such circumstances story ... exploiting with unflagging zeal the very boom they themselves were representing.” (Anton Kaes, Martin Jay, and Edward Dimendberg, The Weimar Republic Source Book)
After the Great Depression struck, the tone of Cabarets shifted significantly. Despite their well rehearsed smiles, performers began to represent deterioration and frenzy as opposed to blasé luxury: “Their smiles are those of a mark; their confidence a leftover from better days; their precision a mockery of the difficulties in which the very powers they call to mind now find themselves. Though they might continue to snake and wave as if nothing happened--the crisis to which so many factories have fallen victim has also silently liquidated this machinery of girls.” (ibid.) The dancers became more brash and provocative. Large theatres were censored by Nazis for content (both immoral and libelous), whereas nightclub stages and small cabarets maintained their erotic and subversive atmosphere and slid under the radar for a slightly longer period of time. (Lisa Appignanesi, The Cabaret)
Queer Culture
Berlin has a long and substantial history of queer culture. It was considered, from 1920s until the rise of the Nazi party, to be the gay capital of the European continent. Berlin’s status as a site of prominent cultural production was at odds with formal law; homosexuality was illegal in Germany from 1871 all the way until 1994 under the Strafgesetzbuch, or German penal code. The provision Paragraph 175 outlawed homosexual acts between men (as well as prostitution, bestiality, and underage sexual abuse). It was made more draconian during Hitler’s rein.
The burgeoning gay scene was the result of relatively tolerant policing policy that began in the late 19th century. Leopold von Meerscheidt-Hullessem, Berlin’s police commissioner in the 1880s, identified that the law was functionally unenforceable. The only way to convict someone was if they confessed, if it was a reported act of nonconsensual sexual violence, or if there was a witness who could testify in court. Rather than prioritize convictions, the police shifted their strategy to surveilling suspected individuals. The police tolerated a variety of gay public spaces—bars, cafés, and even gender non-conforming balls. Because Berliners were not penalized for frequenting these spaces a large and fairly open community emerged, one that did not exist in other European cities.
Gay culture in 1920s and early 1930s Berlin is most often, and fairly, associated with cabaret culture. A number of cabaret queens, both from Germany and abroad, were gay. One example is Claire Waldoff. Waldoff was not from Berlin, but moved there before World War I and earned a reputation as a review singer. She recorded the song “There’s Only One Berlin” in 1932, and it was banned by the Nazi Party in 1933 for its political content. However, it was so well known at the time that most people who lived in the city that year would have been familiar with it. Waldoff was a well-known lesbian; she lived with her partner, and owned a gay-lesbian salon. Although she socialized with many straight club owners and cabaret performers as well, her relationship with another woman was known and accepted.
The liberal attitudes in Berlin were partially the result of advocacy pioneered by Magnus Hirschfeld. Hirschfeld was a German physician who advocated for gay and transgender rights decades before the timeline of Cabaret, and his work and revolutionized German thought about homosexuality. The Wissenschaftlich-humanitäres Komitee, or WhK (“The Scientific-Humanitarian Committee”) was founded by Hirschfeld in 1897. The mission of the WhK was to advocate for the decriminalization and social recognition of gay and transgender people. At its height, the WhK had roughly 500 members and branches in 25 cities across three countries. Hirschfeld went on to found the Institut für Sexualwissenschaft (“Institute for Sexology”) in 1918 under the more liberal Weimar Republic. The institute advocated for widely available contraception, the treatment of sexually transmitted diseases, women’s emancipation, and sex education. Hirschfeld coined the term “transsexualism”—while terminology has since evolved, it was an important beginning to the discussion of gender nonconformity and medical gender transition—and some of the institute staff were themselves transgender. The institute offered endocrinological and surgical services, including the first modern sexual reassignment surgeries. Hirschfeld also strongly advocated against the arrest of crossdressers, especially those involved in sex work. Documentation of much of Hirschfeld’s would be destroyed in Nazi book burnings, which included the Institute archives.
Outside of cabarets, there was also a sizeable gay literary culture. The 1920s and early 1930s, there were at least 25 different gay German periodicals. These publications were sold alongside other standard papers. They provided community news, listed events, and even listed personal advertisements.
浓妆艳抹、光怪陆离的乱世烟云。虽然是歌舞片,但歌舞主要起串场作用,本质上还是传统叙事,倒是摄影超前时代了。朋友比爱人难找,时代比歌厅疯狂,既然注定纳粹要崛起,倒不如在靡靡之音中将魏玛共和国埋葬...
真是不长记性,又去看浓妆艳俗的歌舞。。。不过没想到自己还挺喜欢Liza Minnelli的,还是拿男配那位的妆化得太恶心了
歌厅野玫瑰,迷乱三人行,颓浊魏玛风情画,享乐主义的柏林
幻世浮生,歌厅是一个缩影,不仅是醉生梦死的幻乐场也是爱情的滋生地更是历史更迭的见证者,鲍勃福斯的剪辑和给传统无脑歌舞片的拔高实在厉害。超喜欢歌厅那个浓妆艳抹的男主持人,虽然没对纳粹着重笔墨,但是历史的压迫感已经油然而生,多角色对爱的选择和动荡感自然而生。歌厅很好的密闭了一个幻象
两个侍候一个,钱让世界转动,人生就像歌厅,欢迎下次光临
她按时计酬出租自己,她死的那天,邻居们都看窃笑,看吧,那是过量的药物和酒精的后果。但当我看到她像个女王般躺在那里。她是我见过最快乐的尸体。
真是人生如酒店啊!舞台效果非常棒,无论是舞蹈、歌曲还是化妆都极有特点,妩媚且靡靡,并对时代做出暗示。舞台上和舞台下分成两部分,却又有意无意的互相影响着,观众席角度的偷窥镜头极有代入感。丽莎·明奈利永远不肯卸掉的浓妆。形象总让我想起《大力水手》的奥列佛
最佳导演科波拉输得不冤。
这是我很久很久以来看过最好的歌舞片,它不仅仅是一部很先锋的表现2、30年代开放的柏林和那里同志生活的电影,更是通过巧妙的音乐、歌舞描绘了当时的历史图景(故事和歌舞是分开的,并不是那种“说着就唱起来”的歌舞片),我第一次在影院里真切地一直想,快继续唱,不要停,继续唱呀!太喜欢了!
几乎是1973年奥斯卡的最大赢家,却并不广为人知。末世情调,社会实况和意识形态结合得几乎天衣无缝,歌舞与类型的完美融合。歌舞表演即便放到今天来也依然前卫大胆,虽对于纳粹和现实的描绘只有寥寥几笔,但是足够生动传神,尤其是纳粹青年演唱《tomorrow belongs to me》那段堪称一绝。★★★★☆
饱满浓郁,个人看过的最好看的歌舞片。比神马《雨中曲》、《花都艳舞》、《芝加哥》、《红磨坊》和《歌剧魅影》之流强出三条街
男女主都很可爱,开始以为只是男主被绿了,还很心疼,结果女主居然又被同一个人给绿了,人生真的很无常,在女主怀孕后男主不计前嫌说愿意娶她时真心挺感动,可惜两人三观差距太大,结局还是没能在一起。主线剧情还好,支线有点弱,觉得犹太人那一对可有可无
第一部鲍勃·福斯。摄影剪辑登峰造极,迷幻背后自有明晰。你以为生活与政治很割裂,就像你也以为歌舞与现实很割裂,然而一切都不曾割裂,它们或互为表里,或相互侵犯,或共进共退。第89届奥斯卡前夕观第45届奥斯卡上《教父》的最大对手有多牛逼。盛世不再。
非歌舞部分的戏剧冲突太平,唱歌和剧情仅靠歌词联系显得彼此分割,男主没有参与任何歌舞环节,化妆浓艳、表情夸张,歌都不好听,舞也局限于一个舞台,没有华丽的剪辑和摄影,全靠音效体验歌舞氛围了,部分歌舞还略显浮夸和聒噪…噢,作为歌舞片,太多低于预期,只能3星啦。敬“伟大的颓废”。
Life is a cabaret,在最坏的时代来临前,活出最肆意最精彩的人生!电影让人爱不释手,丽莎·明奈利更是令人迷醉!
【A】鲍勃福斯屌爆了!丽莎明耐丽屌爆了!神作!看的过程中一直在忿忿不平,我操,这么牛逼的片,居然在奥斯卡最佳影片角逐中输掉了?!居然输掉了?!看完后赶紧查了查当年是何方神圣干掉的这牛逼片子,哦,是教父.........
每个英俊小gay的背后都有一个美女毫无指望的爱着他
山雨欲来之前的靡靡乱世,时代乱云翻滚下一群小人物被裹挟而去的命运,以为这次可以不一样,以为终于可以停止爱的漂泊,Maybe this time唱得沉醉又揪心,她如灵猫般的盈盈泪眼,盛满了自以为降临的幸福天真,爱一个人有罪吗,转身挥手依旧是舞台上明亮的星;歌舞完美融合叙事,剪辑太棒。
这片是瘾,戒不掉。Nazi的暗线实在是高招!它铺下的那种末世情调给这个故事加上了不少的深度,但最要命的是,通过完美的剪辑,主线的爱情故事、音乐剧片段以及副线居然能够如此熨帖的并存、互推、互相挖掘,这简直是个奇迹!
它给了我一个20世纪30年代法西斯掌权前夜的柏林社会细微而深刻的变化的直观认识。