其实什么事情都是那么无可奈何或者说是无计可施,可能我也是这样的人吧,满脑子就是毫无边际的自信,对什么都不在乎,也对什么都在乎!
所以不能自做主张的把生活的...
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·Howl (2007-06-26)
·坏小子——生活的幻灭(2007-06-20)
·天各一方,云水守望(2007-06-16)
·激情的后遗症(2007-06-11)
·假如过去(2007-05-17)
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·your jenny/2007-08-18
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文采太好了!全用西....
·/2007-06-21




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2007-06-26 01:14:09
Howl

Howl
(Allen Ginsberg)




I

I saw the best minds of my generation destroyed by madness, starving hysterical naked,
dragging themselves through the negro streets at dawn looking for an angry fix,
angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night,
who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats
floating across the tops of cities contemplating jazz,
who bared their brains to Heaven under the El and saw Mohammedan angels staggering on tene- ment roofs
illuminated,
who passed through universities with radiant cool eyes hallucinating Arkansas and Blake-light tragedy among the
scholars of war,
who were expelled from the academies for crazy & publishing obscene odes on the windows of the skull,
who cowered in unshaven rooms in underwear, burn- ing their money in wastebaskets and listening to the Terror
through the wall,
who got busted in their pubic beards returning through Laredo with a belt of marijuana for New York,
who ate fire in paint hotels or drank turpentine in Paradise Alley, death, or purgatoried their torsos night after night
with dreams, with drugs, with waking nightmares, al- cohol and cock and endless balls,
incomparable blind; streets of shuddering cloud and lightning in the mind leaping toward poles of Canada &
Paterson, illuminating all the mo- tionless world of Time between,
Peyote solidities of halls, backyard green tree cemetery dawns, wine drunkenness over the rooftops, storefront
boroughs of teahead joyride neon blinking traffic light, sun and moon and tree vibrations in the roaring winter dusks
of Brook- lyn, ashcan rantings and kind king light of mind,
who chained themselves to subways for the endless ride from Battery to holy Bronx on benzedrine until the noise of
wheels and children brought them down shuddering mouth-wracked and battered bleak of brain all drained of
brilliance in the drear light of Zoo,
who sank all night in submarine light of Bickford's floated out and sat through the stale beer after noon in desolate
Fugazzi's, listening to the crack of doom on the hydrogen jukebox,
who talked continuously seventy hours from park to pad to bar to Bellevue to museum to the Brook- lyn Bridge,
lost battalion of platonic conversationalists jumping down the stoops off fire escapes off windowsills off Empire State
out of the moon,
yacketayakking screaming vomiting whispering facts and memories and anecdotes and eyeball kicks and shocks of
hospitals and jails and wars,
whole intellects disgorged in total recall for seven days and nights with brilliant eyes, meat for the Synagogue cast on
the pavement,
who vanished into nowhere Zen New Jersey leaving a trail of ambiguous picture postcards of Atlantic City Hall,
suffering Eastern sweats and Tangerian bone-grind- ings and migraines of China under junk-with- drawal in
Newark's bleak furnished room,
who wandered around and around at midnight in the railroad yard wondering where to go, and went, leaving no
broken hearts,
who lit cigarettes in boxcars boxcars boxcars racketing through snow toward lonesome farms in grand- father night,
who studied Plotinus Poe St. John of the Cross telep- athy and bop kabbalah because the cosmos in- stinctively
vibrated at their feet in Kansas,
who loned it through the streets of Idaho seeking vis- ionary indian angels who were visionary indian angels,
who thought they were only mad when Baltimore gleamed in supernatural ecstasy,
who jumped in limousines with the Chinaman of Okla- homa on the impulse of winter midnight street light smalltown
rain,
who lounged hungry and lonesome through Houston seeking jazz or sex or soup, and followed the brilliant Spaniard
to converse about America and Eternity, a hopeless task, and so took ship to Africa,
who disappeared into the volcanoes of Mexico leaving behind nothing but the shadow of dungarees and the lava and
ash of poetry scattered in fire place Chicago,
who reappeared on the West Coast investigating the F.B.I. in beards and shorts with big pacifist eyes sexy in their
dark skin passing out incom- prehensible leaflets,
who burned cigarette holes in their arms protesting the narcotic tobacco haze of Capitalism,
who distributed Supercommunist pamphlets in Union Square weeping and undressing while the sirens of Los Alamos
wailed them down, and wailed down Wall, and the Staten Island ferry also wailed,
who broke down crying in white gymnasiums naked and trembling before the machinery of other skeletons,
who bit detectives in the neck and shrieked with delight in policecars for committing no crime but their own wild
cooking pederasty and intoxication,
who howled on their knees in the subway and were dragged off the roof waving genitals and manu- scripts,
who let themselves be fucked in the ass by saintly motorcyclists, and screamed with joy,
who blew and were blown by those human seraphim, the sailors, caresses of Atlantic and Caribbean love,
who balled in the morning in the evenings in rose gardens and the grass of public parks and cemeteries scattering
their semen freely to whomever come who may,
who hiccuped endlessly trying to giggle but wound up with a sob behind a partition in a Turkish Bath when the blond
& naked angel came to pierce them with a sword,
who lost their loveboys to the three old shrews of fate the one eyed shrew of the heterosexual dollar the one eyed
shrew that winks out of the womb and the one eyed shrew that does nothing but sit on her ass and snip the intellectual
golden threads of the craftsman's loom,
who copulated ecstatic and insatiate with a bottle of beer a sweetheart a package of cigarettes a can- dle and fell off
the bed, and continued along the floor and down the hall and ended fainting on the wall with a vision of ultimate cunt
and come eluding the last gyzym of consciousness,
who sweetened the snatches of a million girls trembling in the sunset, and were red eyed in the morning but prepared
to sweeten the snatch of the sun rise, flashing buttocks under barns and naked in the lake,
who went out whoring through Colorado in myriad stolen night-cars, N.C., secret hero of these poems, cocksman and
Adonis of Denver-joy to the memory of his innumerable lays of girls in empty lots & diner backyards, moviehouses'
rickety rows, on mountaintops in caves or with gaunt waitresses in familiar roadside lonely pet- ticoat upliftings &
especially secret gas-station solipsisms of johns, & hometown alleys too,
who faded out in vast sordid movies, were shifted in dreams, woke on a sudden Manhattan, and picked themselves up
out of basements hung over with heartless Tokay and horrors of Third Avenue iron dreams & stumbled to unemploy-
ment offices,
who walked all night with their shoes full of blood on the snowbank docks waiting for a door in the East River to open
to a room full of steamheat and opium,
who created great suicidal dramas on the apartment cliff-banks of the Hudson under the wartime blue floodlight of
the moon & their heads shall be crowned with laurel in oblivion,
who ate the lamb stew of the imagination or digested the crab at the muddy bottom of the rivers of Bowery,
who wept at the romance of the streets with their pushcarts full of onions and bad music,
who sat in boxes breathing in the darkness under the bridge, and rose up to build harpsichords in their lofts,
who coughed on the sixth floor of Harlem crowned with flame under the tubercular sky surrounded by orange crates
of theology,
who scribbled all night rocking and rolling over lofty incantations which in the yellow morning were stanzas of
gibberish,
who cooked rotten animals lung heart feet tail borsht & tortillas dreaming of the pure vegetable kingdom,
who plunged themselves under meat trucks looking for an egg,
who threw their watches off the roof to cast their ballot for Eternity outside of Time, & alarm clocks fell on their
heads every day for the next decade,
who cut their wrists three times successively unsuccess- fully, gave up and were forced to open antique stores where
they thought they were growing old and cried,
who were burned alive in their innocent flannel suits on Madison Avenue amid blasts of leaden verse & the tanked-up
clatter of the iron regiments of fashion & the nitroglycerine shrieks of the fairies of advertising & the mustard gas of
sinis- ter intelligent editors, or were run down by the drunken taxicabs of Absolute Reality,
who jumped off the Brooklyn Bridge this actually hap- pened and walked away unknown and forgotten into the
ghostly daze of Chinatown soup alley ways & firetrucks, not even one free beer,
who sang out of their windows in despair, fell out of the subway window, jumped in the filthy Pas- saic, leaped on
negroes, cried all over the street, danced on broken wineglasses barefoot smashed phonograph records of nostalgic
European 1930s German jazz finished the whiskey and threw up groaning into the bloody toilet, moans in their ears
and the blast of colossal steam whistles,
who barreled down the highways of the past journeying to each other's hotrod-Golgotha jail-solitude watch or
Birmingham jazz incarnation,
who drove crosscountry seventytwo hours to find out if I had a vision or you had a vision or he had a vision to find
out Eternity,
who journeyed to Denver, who died in Denver, who came back to Denver & waited in vain, who watched over Denver
& brooded & loned in Denver and finally went away to find out the Time, & now Denver is lonesome for her heroes,
who fell on their knees in hopeless cathedrals praying for each other's salvation and light and breasts, until the soul
illuminated its hair for a second,
who crashed through their minds in jail waiting for impossible criminals with golden heads and the charm of reality in
their hearts who sang sweet blues to Alcatraz,
who retired to Mexico to cultivate a habit, or Rocky Mount to tender Buddha or Tangiers to boys or Southern Pacific
to the black locomotive or Harvard to Narcissus to Woodlawn to the daisychain or grave,
who demanded sanity trials accusing the radio of hyp notism & were left with their insanity & their hands & a hung
jury,
who threw potato salad at CCNY lecturers on Dadaism and subsequently presented themselves on the granite steps of
the madhouse with shaven heads and harlequin speech of suicide, demanding in- stantaneous lobotomy,
and who were given instead the concrete void of insulin Metrazol electricity hydrotherapy psycho- therapy
occupational therapy pingpong & amnesia,
who in humorless protest overturned only one symbolic pingpong table, resting briefly in catatonia,
returning years later truly bald except for a wig of blood, and tears and fingers, to the visible mad man doom of the
wards of the madtowns of the East,
Pilgrim State's Rockland's and Greystone's foetid halls, bickering with the echoes of the soul, rock- ing and rolling in
the midnight solitude-bench dolmen-realms of love, dream of life a night- mare, bodies turned to stone as heavy as the
moon,
with mother finally ******, and the last fantastic book flung out of the tenement window, and the last door closed at
4. A.M. and the last telephone slammed at the wall in reply and the last fur- nished room emptied down to the last
piece of mental furniture, a yellow paper rose twisted on a wire hanger in the closet, and even that imaginary, nothing
but a hopeful little bit of hallucination
ah, Carl, while you are not safe I am not safe, and now you're really in the total animal soup of time
and who therefore ran through the icy streets obsessed with a sudden flash of the alchemy of the use of the ellipse the
catalog the meter & the vibrat- ing plane,
who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the
soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together
jumping with sensation of Pater Omnipotens Aeterna Deus
to recreate the syntax and measure of poor human prose and stand before you speechless and intel- ligent and shaking
with shame, rejected yet con- fessing out the soul to conform to the rhythm of thought in his naked and endless head,
the madman bum and angel beat in Time, unknown, yet putting down here what might be left to say in time come
after death,
and rose reincarnate in the ghostly clothes of jazz in the goldhorn shadow of the band and blew the suffering of
America's naked mind for love into an eli eli lamma lamma sabacthani saxophone cry that shivered the cities down to
the last radio
with the absolute heart of the poem of life butchered out of their own bodies good to eat a thousand years.


II


What sphinx of cement and aluminum bashed open their skulls and ate up their brains and imagi- nation?
Moloch! Solitude! Filth! Ugliness! Ashcans and unob tainable dollars! Children screaming under the stairways! Boys
sobbing in armies! Old men weeping in the parks!
Moloch! Moloch! Nightmare of Moloch! Moloch the loveless! Mental Moloch! Moloch the heavy judger of men!
Moloch the incomprehensible prison! Moloch the crossbone soulless jailhouse and Congress of sorrows! Moloch whose
buildings are judgment! Moloch the vast stone of war! Moloch the stun- ned governments!
Moloch whose mind is pure machinery! Moloch whose blood is running money! Moloch whose fingers are ten armies!
Moloch whose breast is a canni- bal dynamo! Moloch whose ear is a smoking tomb!
Moloch whose eyes are a thousand blind windows! Moloch whose skyscrapers stand in the long streets like endless
Jehovahs! Moloch whose fac- tories dream and croak in the fog! Moloch whose smokestacks and antennae crown the
cities!
Moloch whose love is endless oil and stone! Moloch whose soul is electricity and banks! Moloch whose poverty is the
specter of genius! Moloch whose fate is a cloud of sexless hydrogen! Moloch whose name is the Mind!
Moloch in whom I sit lonely! Moloch in whom I dream Angels! Crazy in Moloch! Cocksucker in Moloch! Lacklove and
manless in Moloch!
Moloch who entered my soul early! Moloch in whom I am a consciousness without a body! Moloch who frightened me
out of my natural ecstasy! Moloch whom I abandon! Wake up in Moloch! Light streaming out of the sky!
Moloch! Moloch! Robot apartments! invisible suburbs! skeleton treasuries! blind capitals! demonic industries! spectral
nations! invincible mad houses! granite cocks! monstrous bombs!
They broke their backs lifting Moloch to Heaven! Pave- ments, trees, radios, tons! lifting the city to Heaven which
exists and is everywhere about us!
Visions! omens! hallucinations! miracles! ecstasies! gone down the American river!
Dreams! adorations! illuminations! religions! the whole boatload of sensitive bullshit!
Breakthroughs! over the river! flips and crucifixions! gone down the flood! Highs! Epiphanies! De- spairs! Ten years'
animal screams and suicides! Minds! New loves! Mad generation! down on the rocks of Time!
Real holy laughter in the river! They saw it all! the wild eyes! the holy yells! They bade farewell! They jumped off the
roof! to solitude! waving! carrying flowers! Down to the river! into the street!


III

Carl Solomon! I'm with you in Rockland where you're madder than I am
I'm with you in Rockland where you must feel very strange
I'm with you in Rockland where you imitate the shade of my mother
I'm with you in Rockland where you've murdered your twelve secretaries
I'm with you in Rockland where you laugh at this invisible humor
I'm with you in Rockland where we are great writers on the same dreadful typewriter
I'm with you in Rockland where your condition has become serious and is reported on the radio
I'm with you in Rockland where the faculties of the skull no longer admit the worms of the senses
I'm with you in Rockland where you drink the tea of the breasts of the spinsters of Utica
I'm with you in Rockland where you pun on the bodies of your nurses the harpies of the Bronx
I'm with you in Rockland where you scream in a straightjacket that you're losing the game of the actual pingpong of
the abyss
I'm with you in Rockland where you bang on the catatonic piano the soul is innocent and immortal it should never die
ungodly in an armed madhouse
I'm with you in Rockland where fifty more shocks will never return your soul to its body again from its pilgrimage to a
cross in the void
I'm with you in Rockland where you accuse your doctors of insanity and plot the Hebrew socialist revolution against
the fascist national Golgotha
I'm with you in Rockland where you will split the heavens of Long Island and resurrect your living human Jesus from
the superhuman tomb
I'm with you in Rockland where there are twenty-five-thousand mad com- rades all together singing the final stanzas
of the Internationale
I'm with you in Rockland where we hug and kiss the United States under our bedsheets the United States that coughs
all night and won't let us sleep
I'm with you in Rockland where we wake up electrified out of the coma by our own souls' airplanes roaring over the
roof they've come to drop angelic bombs the hospital illuminates itself imaginary walls col- lapse O skinny legions run
outside O starry spangled shock of mercy the eternal war is here O victory forget your underwear we're free
I'm with you in Rockland in my dreams you walk dripping from a sea- journey on the highway across America in tears
to the door of my cottage in the Western night

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2007-06-20 03:41:32
坏小子——生活的幻灭
   刚刚看过金基德的《坏小子》,影片一如既往的表现了金基德所独有的强势表达和哲理叙述。


             


    《坏小子》完全是一个抽象作品,通过一系列特定的元素用隐晦的逻辑呈现了出来,具体的情节接近荒诞、理想化,使人不能追究细节的真实性,可潜藏在金基德内心深处的现实性对于大众来说是一种可怕的揭露。
    
    在现实世界中,一个暗恋的男人把一个嫌恶他的女大学生变成放荡的妓女。坏小子Han-gi是个妓院的打手,在街头看到一个令他一见倾心的女孩Sun-hwa,Sun-hwa是一名美院的大学生,于是便当着其男友的面强吻了她,Sun-hwa也赏了Han-gi一记耳光。他利用女孩的贪图小便宜的心理令女孩签下巨额高利贷并同意卖身,Han-gi总是躲在Sun-hwa房间的透视镜后,窥视着Sun-hwa一次次接客。Han-gi深爱着Sun-hwa,而Sun-hwa也最终爱上了Han-gi。这段畸恋就这样持续着。
    
    就Han-gi而言,金基德刻意塑造了一个内心卑微,遭人唾弃的形象,一个妓院的皮条客,自始至终
没有说话,直到暴打他的小弟时才发现其根本不能正常发音,其实这点从刚开始镜头在对Han-gi脖子上的疤痕的特写已经交代了。就这样一个人没有发言权,生活极具悲惨,内心惶恐,在压力下自卑感浓重。这就是金基德书写的人物,明显的暗示了Han-gi这样的一个社会形象,人们失去勇气,失去生活的自主,生活在沉重的压力下,没有说话的权利和能力,正如王小波所说的“沉默的大多数”。Han-gi无意中爱上了Sun-hwa,但是他没有爱Sun-hwa的权利,生活阶层、金钱都使Han-gi丧失了这种对爱发言的权利,Han-gi选择了强吻,这种没有道德的行为,沉默的多数能怎么做呢?面对围观的人群,代表权利的军警,站在台阶下面的Han-gi不能幸免地被Sun-hwa唾弃。
    
    沉默,不在沉默中灭亡就在沉默中爆发。Han-gi故意设下圈套,逼迫了Sun-hwa去卖淫,他选择了暴力的手段去爱一个人,企图把Han-gi拉下与自己同等的炼狱中,得到权利的平等,得到平等的爱情。用你死我忘同归于尽的方式控制了Sun-hwa。每每在Sun-hwa接客的时候,Han-gi躲在玻璃镜后面的暗室里,痛苦的看着Sun-hwa与嫖客的性交。躲在镜子后窥视一切的Han-gi承受着比Sun-hwa更痛苦的精神和灵魂上的煎熬。看着Sun-hwa痛哭流涕,他更加痛苦,即使Han-gi喝醉酒后走进Sun-hwa的房间,抚摸着心爱的人的体肤时,他也不能继续占有下去,自卑的痛苦折磨着他,他知道这样只能占有Sun-hwa的身体而不能得到她的灵魂,他需要的是爱情和关怀。他坐在镜子后面眼睁睁地看着Sun-hwa被一个个男人蹂躏,用这种方式严酷的虐待着自己,他试图用这种痛苦与Sun-hwa同在,怀着既然不能同往天堂那就一起下地狱的自我毁灭的态度,悲惨的爆发出对爱对平等的激情,不断的受伤,又不断的恢复,是他对生活仅存的一点奢求,可最后依然生活在痛苦中。
   对Sun-hwa的表现,我想是导演个人的男权主义情怀使然。最开始对于Sun-hwa的描写停留在一个美貌纯洁的美术学院大学生,而让Sun-hwa陷入悲剧的,也正是Sun-hwa自己内心的贪婪之心。深藏在华丽表面的社会阶层并不如我们想象的那么高尚,隐隐的肮脏品行更是对立阶层深恶痛绝的对象。而Sun-hwa被抽取了所有关于家庭以及思想的方面,从开始偷窃的行为到对妓女的反抗再到安于接受现实再到最后和Han-gi一起驾车卖淫的自愿,看似反应女人的懦弱实则对女性内心下贱的一种惩罚。当看到海边沙滩一个女孩走进大海自尽,Sun-hwa保持无动于衷,而后她又在红衣女子逗留的沙滩中捡到了两张被撕碎的照片,那个投海的红衣女子,既是Sun-hwa对已逝的灵魂的默视,也是Sun-hwa彻底放纵自己的开始。如果说结尾Sun-hwa与Han-gi融入了爱情之中,那么只能说是Sun-hwa自我沉沦,面对这样悲惨的处境,Sun-hwa同样放弃了发言权,这不同于Han-gi,Han-gi完全没有发言权,而Sun-hwa是在压力面前倒下了,而这种倒下是内心无助的放弃,和人内心低劣的表现。正如她刚刚挣脱妓院的束缚,在路边又与卡车司机发生了交易,有形的枷锁去掉了,而自我的本性却无法抛弃,是压力改造了人还是人的本性,金基德交给了观者思考。 
  
   对于这样一个天马行空的故事,结尾金基德同样提供了匪夷所思的结局。悲剧的主线从头贯彻到了尾。有人说金基德讲了三个结局,也有人说是两个。我认为是三个结局。 
  
   第一个结局,Han-gi被小弟刺杀,Sun-hwa与过路的卡车司机性交易,Han-gi什么也么得到,Sun-hwa失去自我,从此沉沦。两个人最终悲惨终了。
  
   第二个结局,Han-gi在被刺杀后复活,Han-gi和Sun-hwa不约而同的走进服装店换了衣服,而我们惊奇的发现他们这时穿的衣服正是沙滩照片上那两个男女所穿的,照片上的人头部分被投海自尽的女人撕掉,这时Han-gi和Sun-hwa填补了无头的照片上两个亲密爱人的位置。两人依靠坐在海滩望向远方,Han-gi颓废沮丧,Sun-hwa一脸茫然,既使他们坐在了一起,但是他们依然没有获得爱情。悲剧延伸到海的未知的远方。
  
   第三个结局更让人心如刀绞,Han-gi和Sun-hwa开着一辆现代卡车随处游荡,Han-gi在车厢里铺上床,床头放的那和卫生纸格外刺痛人心,下面的画面如期所料,Han-gi招揽嫖客,Sun-hwa在车上卖淫,我悲痛的看到他们一无所获,最终仍然沉默的接受痛苦。
  
   很多人认为这是一个爱情故事,我不认为。看似金基德抽象的电影语言让人眩晕,可透过表象你会发现人们在生活中的无奈与痛苦的悲剧。金基德真正地传达了他对这个世界、生活的人们的看法。
  
   金基德是我喜爱的韩国导演,《时间》《撒玛利亚的女孩》《空房间》《春去冬来又一春》 《海岸线 》《 漂流欲室 》《雏妓》都是很不错的电影,他总是用一种时空转换的方式阐述自己的哲理,时间性很强。当然片子一般都很闷和晦涩,但力量强劲,总让人看完,重新思考生活以及人。
  
   《呼吸》还没看呢,再搜搜。



   
 
 
     以下是Volker Hummel,来自德国汉堡的自由记者,对金基德关于《坏小子》的专访
    
VH:金先生,你曾经说过你的所有电影始于仇恨。那么你的新片“坏小子”又是被一种什么样的愤怒驱使而成?
KKD:我曾经在一个更广阔的情景中使用了“仇恨”这个词,但是我确不认为你可以让这个词脱离那个情景。我现在谈论的这种仇恨并不是特别的指向某一个事物或者某一个人。它只是我所感知的一种情绪,正如我在生活中看到另我费解的事情。这就是为什么我要拍摄电影:我看见另我疑惑的事情,然后我把它拍成电影来试图理解它。因此或许应该谈论误解来取代仇恨更为恰当。
VH:你试图通过电影“坏小子”从这个世界找寻什么呢?
KKD:这个问题我会这样来说,为什么每个人同样的出生到这个世界,拥有同等的权利和同等的品质,可是一旦我们长大,我们就被区分开来,加以分类。为什么他们要通过我们的相貌和着装来判定我们?为什么如今相貌的好丑,钱的多少变得日渐重要?有了这些标准,便在我们出生之后,成长的过程中影响着我们,我们被划以不同的等级,不同的社会阶层,相互之间不能有所交往。我想知道让不同的阶层交往,让他们的世界相互融合难道真的不存在可能?
VH:你找到答案了吗?
KKD:我的答案是人们应该相互尊重,无所谓阶层,相貌或者财富。这是我的答案,但是拍摄这部电影意欲让观众们去直面这个问题。我相信每个人都会找到他们自己的答案。
VH:通常在你的电影中,“坏小子”的主角皮条客亨吉(曹在显出演),是一个沉默不语的人,不能够与人交流亦或表达自己。似乎暴力成为了他唯一的语言。是什么原因导致了这种沉默?
KKD:在我的电影里那些人们不能言语是意指他们曾经受过很深的伤害。他们对他人的信任不复存在是由于始初的诺言破灭。他们被告知如“我爱你”,然而承诺的人却并非真情真意。因为种种的失望让他们失去了信仰和对他人的信任,于是不再言语。他们转而寻求暴力,我更喜欢把它称为一种肢体语言。我更愿意把它理解为一种身体上的表达而非单纯的消极暴力。我的人物所受到的伤害和被烙下的疮疤也是年轻人在他们还不能真正对外在的创伤做出回应的年龄段所经历过的。他们还不能保护自己去抵挡身体上的侮辱,例如来自他们的父母,或者口头上的辱骂或者当他们看见父母的打架。或者当你走在街上却遭到别人袭击。一旦这类事情发生,你会感到无助,但是却束手无策。这些经历就会在那些人心里留下疮疤。我个人也有过类似的经历。比如说,在以前,一些比我小却强壮于我的孩子揍我。我没能力保护自己。还有,在海军部队,就因为一些士兵的级别比我高,就可以无缘无故地打我。在经历了这些类似事情的过程中我问自己,为什么必须是这样的?这些问题一直伴随着我成为一名导演表达出我的所想所感。
VH:你认为自己的电影是自传体式的吗?
KKD:在拍摄电影“坏小子”,我不得不说在最开始我真的不喜欢像亨吉这样的人,但是有这么一件事,就是我碰到了一个在红灯区工作的人。他不由分说地揍我,在那时那刻我讨厌那个男人。在那种情况下我还没能完全了解他,但是我尝试着去做。通过这部电影我试着探究这个角色的心理找出他做出这些事情的缘由。
VH:做为导演,对于传闻好莱坞意欲重拍“坏小子”,你认为如何?
KKD:我很愿意制作一部好莱坞版的“坏小子”启用美国演员如布莱德.皮特。但是这只是我个人的愿望,于今还没有好莱坞的人与我联系此事。
VH:你不认为你的极为个人色彩的暴力美学同好莱坞体制是相抵触吗?
KKD:从外在来看,似乎好莱坞电影的制作是有一个很严格的流程,但是我以为事实上并非如此。他们以一种婉转的方法表达出他们想要表达的。因此看上去他们似乎有着各种各样的界定,然而却是不存在的。所以我愿意在那里工作,采用他们的方法,借此来得以颠覆。但是如果可能我亦愿意用法国的方式拍一部法国版的“坏小子”。但是我很想知道你是从哪听到有关好莱坞打算重拍的传闻。或者实际上我只是正在同那些销售人员开玩笑。
VH:我是在一篇关于2001年釜山电影节的文章上读到的。
KKD:我想这个消息是来自我的发行商们。海外部问过我是否可能,我会考虑去做吗?我说可以。
VH:唯一一部我现在能够想起的好莱坞电影有着与“坏小子”类似的主题,人们用自己的身体来表达自己,就是“搏击俱乐部” (Fight Club)(大卫.芬奇,1999),你有看过类似的影片吗?
KKD:不幸的是我没有看过“搏击俱乐部”,于我所闻,我认为它可能更接近我“真实的虚构”,唯一一部3小时20分的电影。是关于一个人杀掉了所有他讨厌的人们——结果这场杀戮不过是一个梦而已。也有一点像“美国狂人” (American Psycho)(玛丽.哈伦,2000)。
VH:在网站www.kimkiduk.com,你把自己的电影称作“半抽象式”,怎么说呢?
KKD:我的半抽象电影制作更多是关于去做,而非只在表现现实。对这个我们所见的世界,我试图加上我们的想法和感知。
VH:你的工作就像是一个画家,“漂流浴室”(2002)看来更像是超现实的想象而非叙述性的。埃贡·希勒Egon Schiele的画作在“坏小子”起到某种角色的作用。
KKD:我在法国蒙托利埃海滩画了两年画。我没有参加任何官方展和其他活动;我只是自己画画,在街上展示我的作品。我在德国慕尼黑也弄过街道展,在那里我知道了埃贡·希勒的作品。我在“ 坏小子”里放入他的画(他的作品集)是因为第一眼扫过这些画会让人觉得很粗俗,看上去像是淫秽的东西。但是如果你凑近一点看,却是非常纯净的。他们展现出那些被欲望包裹着的人们的形象。起初我喜欢古斯塔夫·克利姆特Gustav Klimt多一些,但是看得越多,我越是喜欢希勒的作品,我便转向了他。
VH:女权主义者对“坏小子”的义愤是否同你以前电影所遭受非议一样还是那么多吗?
KKD:确切的说是的。90%的女性评论家对这部电影都给与了消极的评价。但是如果你会发现这部电影的观众有80%是女性。你会发现所有的专业电影工作者和评论家几乎都给与了消极的评论但是普通的大众却完全能接受它。他们理解它。如果你认为我的电影是金基德式的创造一些如电影所展现的女人的悲剧,那就非常危险了。但是如果你认为它是在描叙一个社会中已经存在的问题,那么你就不可能真的去讨厌“坏小子”。
VH:在韩国,“坏小子”是你至今最成功的电影。你是否认为商业上的成功意味着艺术上的失败?
KKD:电影的成功全赖主角曹在显。因为出演了一部走红的韩国电视连续剧让他一夜走红。这可不全是我的错。
标签:金基德,电影,文艺
作者 r83 阅读全文 |  评论()  | 人气() |  引用()  | 推荐 | 保存日志
 
2007-06-16 04:37:39
天各一方,云水守望
       血红色的雪崩压倒了他压倒了她压倒了爱情。
       一天、一月、一年、一辈子只为了等待,只为了相间。我想替她去寻找,我想陪她守侯。我爱她,爱她与他的爱情,她不属于别的,她只属于爱情。
       穿过繁忙的谷仓,跑过幽深的院子,跨过一层层剃阶,在大树下,在溪流边,在水车旁,在木楼前,午后的乡村阳光穿过樟树的缝隙,洒在爱情的脸上。那个清澈的制服,那个泥泞的小腿,那个纯洁的面庞,那个焦急的眼神,是等待,是想念,是真挚,是执着。他们相拥,喜极而泣,背着画板的小肩膀幸福地倒在思念的怀中。
       什么都没有,只有誓死的承诺:我会等你。
       我会等你,我真的会等你吗?我真的一直在等你吗?
       穿越时空,执着,爱情是信念,是坚定的信仰。此一分别,永世不忘,生死相许,执守到老,升华隽永。
       千里之外,天各一方,云水守望。
       我相信执着,我相信至死不渝,我相信天荒地老,因为我相信爱情。
      
       One day when we were young
       One wonderful morning in May
       You told me, you loved me
       When we were young one day
       Sweet songs of spring were song
       And music was never so gay
       You told me, you loved me
       When we were young one day
       You told me, you loved me
       And held me close to your heart
       We laughed then, we cried then
       Then came the time to part
       When songs of spring are song
       Remember that morning in May
       Remember you loved me
       When we were young one day
       When songs of spring are song
       Remember that morning in May
       Remember you loved me
       When we were young one day
­
       我不会忘记,我忘记了那就是我死了




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作者 r83 阅读全文 |  评论()  | 人气() |  引用()  | 推荐 | 保存日志