清晰的三幕結(jié)構(gòu)。第一幕由標(biāo)準(zhǔn)的羅伊格卷積構(gòu)成——我不知道人們?yōu)槭裁聪矚g稱(chēng)其為“意識(shí)流”，也許他們對(duì)“意識(shí)”有一種元層次的理解——并花哨、極富間離效果（我指的是難看程度）地介紹了故事背景：說(shuō)實(shí)話，片頭字幕應(yīng)該在Chas看到81號(hào)的瞬間之后才出來(lái)；第二幕像是邁克爾·鮑威爾[1]執(zhí)導(dǎo)的保羅· 奧斯特小說(shuō)；第三幕（連接點(diǎn)微妙地不平衡、太輕柔以至于突兀）像是嗑藥不夠多的盧·里德改編的大衛(wèi)·林奇仙境。

這部電影中別出心裁的部分成功嗎？我們必須弄清立場(chǎng)：它們不成功。這警示著我們現(xiàn)在的別出心裁在五十年后看上去可能的樣子。全心全意支持羅伊格電影的人必然是做作的人。然而這部電影壞嗎？它不壞：其中不好的部分[2]，可以想象，如果我們?cè)谄瑘?chǎng)就能憑著當(dāng)代眼光輕易地修正。然而即使是這樣剩下來(lái)的東西，也滲透著不合時(shí)宜、局促而仿佛難堪的做作。顯然這有其吸引人之處：這像是一套室內(nèi)游戲（a set of indoor games），作為剪輯、混音成品的電影僅僅是某種圍繞著它被懸空的神秘結(jié)果（以及愉悅）所附帶的紀(jì)念品，而某種回放般的難堪[3]（和上文一樣是主動(dòng)態(tài)，并非“令人難堪”）是它的簽名。另外：題目好。林奇元素：開(kāi)頭Chaz背上的小傷痕和結(jié)尾有關(guān)系嗎？注意最后不是一次置換，更像一次滲入。我總覺(jué)得Lucie雖然可愛(ài)但臨近結(jié)尾的感情非常無(wú)趣，并且那天晚上和Chaz在一起的完全應(yīng)該是Turner；不過(guò)也許1968-70年的發(fā)行商不會(huì)允許這樣。

原創(chuàng)配樂(lè)只用一架鋼琴，好。Henry Flowers的《尤利西斯》梗優(yōu)于所有笨拙的博爾赫斯生搬硬套。

B/B+

[1] 主角，我指的是拍主角的鏡頭，充滿了《偷窺狂》氣質(zhì)。

[2] 巴洛克槍殺以及幻想說(shuō)唱：舉兩個(gè)明顯的例子。

[3] 這也會(huì)伴隨著如今的音樂(lè)視頻（羅伊格看上去是其一大模仿對(duì)象）存在嗎？

認(rèn)識(shí)電影

8.9

[美] 路易斯·賈內(nèi)梯 [瑞典] 英格瑪·伯格曼 [日] 黑澤明 等供圖 / 2007 / 世界圖書(shū)出版公司

第十章 意識(shí)形態(tài)-同性戀解放：

【緣起】來(lái)自20世紀(jì)60年代許多革命性團(tuán)體的啟發(fā)：女性主義、黑人解放運(yùn)動(dòng)。這之后同性戀主題電影逐漸普遍，尤其是美國(guó)和歐洲。部分愿意你是因?yàn)楹萌R塢工業(yè)界的制作法規(guī)被新的分級(jí)制度取代而廢除，這類(lèi)同性戀電影都把同性戀視為歇斯底里、性執(zhí)迷和自我鄙夷的角色，結(jié)尾常不外乎是自殺。當(dāng)然，也有如《熱天午后》、《歌廳》、《另一家園》、《血腥的星期天》、《 我美麗的洗衣店》、《上班女郎》、《 迷幻演出》、《一籠傻鳥(niǎo)》、《蒙娜麗莎》、《長(zhǎng)久伴侶》和《費(fèi)城故事》等片。此外，法斯賓德和阿莫多瓦的電影對(duì)同性戀角色有多層次塑造。

①故事：黑幫成員男主在一次幫派爭(zhēng)斗中殺了個(gè)與自己有過(guò)節(jié)的同幫派人（電影前30分鐘）。為了逃避自己黑幫老大追殺，他一方面化名，進(jìn)入一個(gè)地下室暫時(shí)躲藏，并在這里和一男兩女體驗(yàn)了一系列波西米亞式生活（電影后面部分的大多數(shù)內(nèi)容都是關(guān)于這些波希米亞式生活）；另一方面他聯(lián)系朋友，請(qǐng)求他幫忙弄一個(gè)美國(guó)護(hù)照從而讓他逃離美國(guó)。然而在見(jiàn)面交接美國(guó)護(hù)照這天，他朋友卻只帶來(lái)了追殺他的黑幫老大一行人，于是他只能束手被捕。

②電影充滿了致幻迷離的氣氛，營(yíng)造這種氣氛的視聽(tīng)手法包括但不限于：隨意跳躍時(shí)空，并且并不像如《去年在馬里昂巴德》那樣用旁白/配樂(lè)/各種手法來(lái)串聯(lián)起時(shí)空，而是任由他們支離破裂（換句話說(shuō)，就是轉(zhuǎn)場(chǎng)肆意跳躍，不說(shuō)明時(shí)間是往前還是往后，也不去維持不同時(shí)空的連貫性，只是單純的轉(zhuǎn)場(chǎng)到另一個(gè)location）、奇異的交叉剪輯（開(kāi)頭的性愛(ài)+黑幫開(kāi)車(chē)、男主洗手+一個(gè)人用垃圾桶砸商店、男主被鞭打+做愛(ài)+黑白照片+墻上的血、給墻噴油漆+男主在車(chē)?yán)锶绢^發(fā)）、顏色的突然變化（“一群人一開(kāi)始在法庭，顏色變換后變成了在電影院”那段）、男主開(kāi)槍打死人那段（以男主臉為焦點(diǎn)zoom out+子彈出膛后的閃光燈+被擊中的人所處的畫(huà)面全部變紅）、后半段室內(nèi)營(yíng)造妖艷迷離感的調(diào)色（比如紅色布景和衣服、昏黃光線、綠色打光【如紅發(fā)男主第一次室內(nèi)和那金發(fā)女性聊天】）、鏡子本身的夢(mèng)幻質(zhì)感（如男主戴上假發(fā)后各種照鏡子）和營(yíng)造雌雄同體感（具體段落是金發(fā)女子和戴假發(fā)的男主上床時(shí)，以鏡子反射一個(gè)人的身體部位，并用鏡子遮住另一個(gè)人相應(yīng)的身體部分，從而表現(xiàn)雌雄同體的感覺(jué)。營(yíng)造這種雌雄同體的原理就是將鏡子反射的東西與另一個(gè)東西契合地并置。這種雌雄同體感本身也是一種充滿了致幻感的感覺(jué)）、多重角度抓?。ū热缬捌詈竽兄鳒?zhǔn)備打死地下室的那個(gè)男性時(shí)攝影機(jī)用不同的機(jī)位把子彈上膛拍了三遍）、子彈射入人體后的子彈主觀視點(diǎn)鏡頭，通過(guò)最終穿透畫(huà)面來(lái)轉(zhuǎn)場(chǎng)（即影片最后男主打死地下室的那個(gè)男性的那段）。

③羅杰.伊伯特說(shuō)的有一點(diǎn)我比較同意，這個(gè)電影的前30分鐘的pacing（或者說(shuō)畫(huà)面切換的速度）有點(diǎn)太快了，導(dǎo)致影像的情緒沖擊力沒(méi)有被充分釋放。不是只有快節(jié)奏才能產(chǎn)生致幻感。

Wringing the ethos out of the vestige of beatnik and swinging 60s, Donald Cammell and Nicolas Roeg's hallucinogenic cult film PERFORMANCE (which marks both filmmakers’ directorial feature debut), was made in 1968 but mothballed by the studio for two years due to its obscene sexual contents and explicit violence.

For a new audience, it is fairly natural to get dumbfounded by the film’s frenetic editing of montages from the very start, amalgamating graphic sex sequences between our protagonist Chas (Fox) and his casual bedmate Dana (Sidney) with manifold clumps of irrelevant scenes which later rig up a flimsy narrative, it is a sharp, disorientating gambit, but seems too divisive by half (it is a post-production last resort to mitigate the smutty images at the expense of its own impetus and coherence as a dauntless cause célèbre by this reviewer’s lights).

Chaz is an aggro-prone tearaway working for the gang of Harry Flowers (a corn-fed Johnny Shannon), but before long he needs to lie low after rubbing out an attacker of bad blood out of self-defense, since Harry wants him vanish as well. So he hangs his hat in the basement of a decrepitresidence owned by a former rock star Turner (Mick Jagger’s acting debut), who has lost his demon in what he does and secludes himself from the outside world, co-habits with his lover Pherber (the late Pallenberg, a là Warhol’s Factory Girl) and a young French girl Lucy (a tomboyish Breton), the equilibrium of their boho ménage-à-trois will dutifully be ruffled (not exactly challenged as we tend to surmise judging by its cover) by Chaz, an unbidden outsider under the pseudonym of Johnny Dean.

The premise sounds promising for making a heavy weather of the underlying discrepancy/assimilation between two male ids: Chaz’s macho/gangsta make-up and Turner’s androgynous and lackadaisical stagnation, but in reality, however visually psychedelic the film looks (Dutch angles, a distorted God’s viewpoint shot, mesmeric mirror images, that creepy identity-shifting moment in the end, just to name a few), the fundamentals are only scratched skin-deep, often to one’s aggravation, instead, it evolves into a dashing and dazing shindig of excesses (nudity rather than sex)and a madcap platform for Turner/Jagger’s superstar glamour (who performs the theme song MEMO FROM TURNER in the MTV style, avant la lettre).

Notorious for its under-the-influence verité carried out during the filmmaking (there is literal acid involved in the plot where Chaz and co. terrorizing a hapless chauffeur), PERFORMANCE ultimately comes off as a short-range stunner and an experimental novelty which cannot elevate its own perversity and subversion into something significantly revolutionary and groundbreaking, although James Fox is arguably in his most absorbing and ambiguously sensual form here. At odds with the state of those participated, PERFORMANCE is more stultifying than stupefying from the POV of a first-time viewer in the 21st century, that ship has long sailed, save for its skirling soundtrack, operatively transmitting those signs of bygone times into one’s nostalgic delirium.

referential points: Nicolas Roeg’s BAD TIMING (1980, 7.5/10), DON’T LOOK NOW (1973, 8.3/10); Joseph Losey’s THE SERVANT (1963, 8.3/10).