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迷失Z城

劇情片美國2016

主演:查理·漢納姆  羅伯特·帕丁森  西耶娜·米勒  湯姆·赫蘭德  愛德華·阿什利  安古斯·麥克菲登  伊恩·麥克迪阿梅德  克萊夫·弗朗西斯  馬修·桑德蘭  亞歷山大·約瓦諾維奇  葉蓮娜·索洛維  鮑比·斯莫德里奇  

導演:詹姆斯·格雷

 劇照

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更新時間:2024-05-12 04:20

詳細劇情

  英國探險家珀西·福斯特(查理·漢納姆 Charlie Hunnam 飾)深入神秘的南美洲亞馬遜叢林探險,竟發(fā)現(xiàn)未知的文明生活跡象,他回到英國公開這個意義深遠的重大發(fā)現(xiàn),卻被當成笑話嘲弄,沒有人愿意相信他的話。在愛妻尼娜(西耶娜·米勒 Sienna Miller 飾)無怨無悔的支持下,福斯特決心帶領兒子杰克(湯姆·霍蘭德 Tom Holland 飾)重返亞馬遜叢林,尋找古文明存在的證據,一行人卻離奇消失,從此再無任何音訊,成為史上最神秘又懸疑的失蹤事件。

 長篇影評

 1 ) 三顧雨林——穩(wěn)扎穩(wěn)打的古典劇作

5- 膠片攝影質感,三次亞馬遜叢林探險經歷為主體的古典原型敘事為家庭、上流社會和戰(zhàn)場(西方文明重要三件套),三個充滿沖突的國內的場景所串聯(lián),始終抓住主角的內心。特別好的劇本 游走于殖民時代末期的文明與野蠻之間,文明的野蠻是殘酷的,而野蠻的文明是浪漫的。 原型敘事讓影片集中于主角作為一個理想的西方探險者的視角: 從第一次為提升地位、完成任務卻“無心插柳柳成蔭”,聽聞Z城的傳說與一窺其文明蹤跡 到第二次逼迫于在文明世界中證明自己的焦急再度前往,為一同前往的上級所妨礙而失敗 再到第三次經受戰(zhàn)爭洗禮如愿升職,認清文明世界之野蠻后跟隨心之所向,魂歸叢林。 反過來從土著印第安人的角度來看這三次探險也很有意思,經歷了視主角團為敵人到友人再到敵人的節(jié)奏變更,也反映著整個西方世界局勢的動蕩與殖民主義的消亡。 第一次對主角團的敵意源于先到一步的德國殖民軍的侵占,土著眼里英國與德國人顯然并無什么分別。此時的主角也作為英國的殖民軍中的一份子,“成功征服”了此地,而德國派來的探險者僅剩一船一尸,可能在象征擴張殖民地過程中德國的滯后與不利,一戰(zhàn)也由此醞釀。 第二次主角為證明自己與野蠻之文明而來,土著部落則友善地接納了他。彼時一戰(zhàn)前夕,各國專注于文明間的矛盾,無暇顧及遠在南美的探險事業(yè)。文明的野蠻暫時擦去了在雨林的足跡,野蠻便對主角展現(xiàn)出了其所望的文明。

而第三次土著再度展現(xiàn)出了敵意,則是由于美國人武裝齊備的“探險”。一戰(zhàn)過去,曾作為歐洲殖民地的美國崛起成為文明世界的霸主,也開始試圖將文明的足跡印在南美的亞馬遜雨林。意識到美國人因為自己關于Z城的作品被吸引過去,主角此行更有幾分救贖的意味。

所以說這個劇本寫的真不錯,層次數次遞進,節(jié)奏總在起伏。一個探險故事被挖掘升華到殖民與西方文明史的敘述,同時沒有丟掉其本身作為一個理想浪漫主義故事的特質。觸及女性主義議題是一個不小的驚喜。我理解里感覺比較遺憾的是,荷蘭弟的兒子角色有一點工具化,變?yōu)橹鹘悄觊L之后的代表初心和理想主義的發(fā)聲者,父親長期缺席后微妙的父子關系沒有特別感受到。

 2 ) 刪減扼殺不了我們的探險夢

與DC重磅新作《神奇女俠》正面碰撞絕對需要勇氣,稍稍有點票房野心的國產片都去擠國產保護月了,但進口片《迷失Z城》并沒有這樣的同等待遇,只好硬著頭皮上吧。但上畫前就傳出遭廣電總局刪減大半的重大利空,一些流媒體對刪減的槽點再大肆宣傳,影迷們自然不指望它能長線放映了,只好抓緊有限的幾天時間一睹為快。

影片講述了一個英國的探險家福斯特尋找z城的故事,主人公有真實的故事原型。影片以叢林探險為噱頭,宣稱這是近幾年最過癮的叢林冒險題材,可惜還是談不了廣電總局的剪刀。血腥鏡頭被剪的一點不剩,只剩下緩慢的古典配樂和單線條的敘事讓觀影的你昏昏欲睡。我們拋開那些噱頭,回歸故事本身,其實探險夢比起那些惡劣的氣候,食人魚,野人外更讓你印象深刻。

男主人公福斯特開始走上探險之路是為了重振家族的聲譽和軍隊榮譽。身為少校的他為了勛章,處心積慮,抓緊一切機會表現(xiàn),連射鹿獻禮都不惜冒險??上г诤推侥甏]有給這位出身不好的軍人太多機會,最后倒是皇家地理協(xié)會給了他一根稻草。只要探險有發(fā)現(xiàn),就能獲得勛章。

探險之路是艱辛的,遙遠未知的路程,時刻突發(fā)的危險,同伴的受傷死亡,更可怕的是絕望的情緒籠罩在所有人的心上。福斯特堅持了下來,克服了種種,終于發(fā)現(xiàn)了陶瓷這一文明的標志,凱旋回國。

如果說開始為了勛章,再次前往就是為了向全世界證明自己的發(fā)現(xiàn),野心進一步擴大。在權貴的財力支持下,福斯特一行再次踏上尋找z城之旅。這一次比惡劣氣候更危險的是掉鏈子的同伴。你可以看出豬隊友是多么可怕,騎了他們的馬,毀了他們的食物,回國后還反咬了他們一口。權貴的偽善可見一斑。尋找z城再次不得不中止,無功而返。

第三次踏上尋城之旅則升華到靈魂深處。一戰(zhàn)中碰到的靈媒告訴他,只有找到那個地方,你的靈魂才能安息。這是你的宿命。雖然戰(zhàn)爭損傷了眼睛,但兒子的踴躍報名,家人的精神支持,英國皇家地理協(xié)會的大力財力支持,旅程再次開始。雖然探險父子組合在叢林失蹤,但在他們在探險界已是傳奇,激勵更多的人去探知未知的世界。

其實 《金剛》也是探險題材,但《金剛》更多的是破壞和反戰(zhàn)。在這部電影中,主人公給予土著文明極大的尊重。不再是白人高高在上的尊容,而是平等與他們對話,絕不破壞和掠奪。再加上恒心與毅力,堅持自己的探險信仰,福斯特才會從眾多探險家中脫穎而出,為我們所銘記。

夢想需要信仰般的堅持,什么都無法阻擋。體制,現(xiàn)實環(huán)境,審查都不重要,只要心中有夢,那團火就不會滅。你也許看不到,但你的后代會繼承你的夢想繼續(xù)前行,無往無悔。

 3 ) 都在說這個電影和傳記和實際出入很大

The Lost City of Z is a very long way from a true story — and I should know
A new Hollywood film hypes Percy Fawcett as a great explorer. In fact, he was a racist incompetent who achieved very little

The new film The Lost City of Z is being advertised as based on the true story of one of Britain’s greatest explorers. It is about Lt-Col Percy Fawcett. Greatest explorer? Fawcett? He was a surveyor who never discovered anything, a nutter, a racist, and so incompetent that the only expedition he organised was a five-week disaster. Calling him one of our greatest explorers is like calling Eddie the Eagle one of our greatest sportsmen. It is an insult to the huge roster of true explorers. Had the advertisement been about a soap powder, it would fall foul of the Trade Descriptions Act.

Percy Fawcett joined the army immediately after school, with a commission in the artillery in 1886. The next 20 years involved garrison duty in Ceylon and postings in Malta and England. The only significant events were getting married and becoming a devotee (like many others) of the charlatan psychic Madame Blavatsky. Fawcett’s game-changer came in 1906, when he was 40. The army let him take the Royal Geographical Society’s course on frontier surveying. Far away in South America, Bolivia had just sold its rubber-rich province of Acre to Brazil, so it needed its new north-western boundary mapped. The Bolivians approached the RGS for a mature surveyor to do this. The society’s secretary asked the newly qualified Fawcett whether he wanted to go; he accepted, reported for duty in La Paz and was at work on the new Amazonian frontier by the end of the year. This survey was the best thing Fawcett did. But he described it as boring, because the new frontier was all along rivers. This was the height of the great Amazon rubber boom, so he and his team cruised from one comfortable rubber barraca to the next, taking their regular measurements.

Fawcett’s only publications were a series of papers in the Geographical Journal about his mapping work. But he kept a journal, and in 1953 his son Brian edited this and other papers into a book called Exploration Fawcett. He emerges from it as a typical Edwardian colonial officer — friendly with South Americans but looking down on them, appalled by the cruelty at some rubber stations, full of gossip about life on this remote but boom-rich backwater, and uninterested in nature apart from banalities about dangerous snakes and irritating insects.

In 1908, the Bolivians asked Fawcett to survey another of their frontiers with Brazil: a small river called Verde, far away at the north-eastern corner of the large landlocked country. The preparations were appalling. Fawcett took minimal supplies, since he was accustomed to being fed by rubber stations. This was the end of the dry season with the river at its lowest. So they soon had to abandon their boat and continue on foot. After only a week, all food was exhausted and they were really starving. Fawcett casually remarked that five out of his six peons died from the effects of this five-week disaster. This was the only expedition he led into unexplored territory.

The Bolivians invited Fawcett back in 1910, this time to map part of their boundary with Peru. It involved paddling up a frontier river called Heath and two meetings with indigenous peoples on the banks. The first group fired arrows and guns over their heads. But Fawcett waded ashore with presents and shouting a few words of ‘Chuncho’ (the Peruvian word for all forest peoples) that he had memorised but did not understand. That was the only time that Fawcett attempted any language other than Spanish. Further up the Heath river, Fawcett met a tribe he called Ecocha (now Ese Eja) whom he really liked. They were ‘embarrassingly hospitable’ with their food, so Fawcett spent a few days with them and recorded something of their ethnography. He returned for a second visit in 1911.

After a final survey for the Bolivian government in 1913, of the upper Beni river in the Andes, Fawcett went sightseeing in central Bolivia. He and two companions were paddled down the big Guaporé river. They stopped at Mequens on its Brazilian bank to visit the Swedish anthropologist Baron Erland Nordenski?ld and his attractive wife, who provided guides to take them on a walk inland to visit a people they called Maxubi (now Makurap). The Maxubi were friendly and hospitable, but continuing on a forest trail Fawcett met another tribe (probably Sakurabiat) to whom he took a violent dislike. When one aimed a drawn bow at him, Fawcett shot the man with a Mauser revolver — absolutely forbidden by Brazil’s Indian Service. He described them as he imagined Neanderthals or Piltdown Man to have looked: ‘large hairy men, with exceptionally long arms, and foreheads sloping back from pronounced eye ridges… villainous savages, hideous ape men with pig-like eyes.’ No Amazonian Indian has body hair or looks remotely like this — I know, because I have spent time with over 40 different peoples. These two groups, and the two on the Heath, were the only tribal people seen by Fawcett. He liked two of them. So it was strange that he wrote racist gibberish that ‘there are three kinds of Indians. The first are docile and miserable people, easily tamed; the second, dangerous, repulsive cannibals very rarely seen; the third, a robust and fair people, who must have a civilised origin.’

When Fawcett was in the cattle country of central Bolivia in September 1914, news came of the outbreak of war. So he hurried home and by January 1915 was back in the artillery. In his late forties, he was too old for frontline service; but he fought a good war, ending as Lieutenant-Colonel.

In one of his pre-war lectures to the RGS, Fawcett had spoken of possible ancient ruins in the Amazon forests. He was now told about a scrap of paper dated 1743 in which bandeirantes imagined that they had seen a deserted city in the jungles. (The bandeirantes were slavers who scoured the interior of Brazil for Indians to capture. Although most of these thugs were illiterate, others did write reports about their travels — none of which said a word about seeing ruins.) Fawcett gave this imaginary ‘lost city’ the codename Z, and finding it became an obsession.

The easiest forest tribes to visit in Brazil were on the headwaters of one of the Amazon’s southern tributaries, the Xingu. A German anthropologist had contacted a dozen amiable peoples there in 1884; and since then they had been visited by seven groups of anthropologists or Indian Service officials. All had walked in by the same trail. So in 1920 Fawcett tried to follow this route — even though it was nowhere near where the chimera city might have been. His plans went wrong, so he got no further than a ranch halfway along the trail. In 1921 he searched for the mythical city down on the Atlantic coast, by train inland from Salvador da Bahia; but, hardly surprisingly, the miners there knew nothing.

In 1925, by now penniless but desperate, Fawcett tried again to reach the upper Xingu tribes. He now took two inexperienced ex-public schoolboys, his son Jack and Jack’s friend Raleigh Rimmel. The old surveyor made two suicidal pronouncements. One was that the trio should travel light, with nothing more than small packs. Everyone in Amazonia knew that you could not cut trails and keep your team fed with fewer than eight men. (I can confirm this, having done months of such cutting and carrying.) But Fawcett sent their pack animals and porters back, and continued with only his two novices. His other dictum was that Indians would look after them. This was equally dangerous. The Xingu tribes pride themselves on generosity; but they expect visitors to reciprocate. All expeditions in the past four decades had brought plenty of presents such as machetes, knives and beads. Fawcett had none. He committed other blunders that antagonised their hosts. So it was only a matter of days before they were all dead.

Twenty years later, Chief Comatsi of the Kalapalo tribe gave a very detailed account of Fawcett’s visit, reminding his assembled people of exactly how they had killed the unwelcome strangers. But the German anthropologist Max Schmidt, who was there in 1926, thought that they had plunged into the forests, got lost and starved to death; this was also the view of a missionary couple called Young who were on another Xingu headwater. The Brazilian Indian Service regretted that Fawcett, who was obsessively secretive, had not asked for their help in dealing with the Indians. They felt he was killed because of the harshness and lack of tact that all recognised in him.

Such was the sad tale of this incompetent, whose only skill was in surveying. But the disappearance of an English colonel while searching for a mythical ancient city in tropical rain forests was a media sensation. Two expeditions went to try to learn more. There was revived interest in the 1950s with the publication of Exploration Fawcett and the Kalapalo chief’s account of how they killed the Englishmen. Then it was forgotten until 2009 when David Grann, a talented writer, published The Lost City of Z. Unfortunately, Grann hyped the story out of all proportion and wrongly depicted Fawcett as a great explorer.

As he cheerfully admitted, Grann had no experience of rainforests. But he let his imagination run riot, with pages about ferocious piranhas, huge anacondas, electric eels (actually a fish that has never killed a man), frogs ‘with enough toxins to kill 100 people’, ‘predator’ pig-like peccary, ‘sauba ants that could reduce the men’s clothes to threads in a single night, ticks that attached like leeches (another scourge) and the red hairy chiggers that consumed human tissue. The cyanide-squirting millipedes. The parasitic worms that caused blindness…’ and so on. Everyone who know tropical forests, including me, knows that almost every word of this is nonsense.

Fawcett himself gave a simple account of his four surveying journeys for the Bolivian government. But for Grann, ‘in expedition after expedition… he explored thousands of square miles of the Amazon and helped redraw the map of South America’. Fawcett admitted that he was ‘a greenhorn in the jungle’ and knew nothing about nature. But Grann wrote that he moved ‘inch by inch through the jungle, tracing rivers and mountains, cataloguing exotic species… [until] he had explored as much of the region as anyone’.

For Grann, Fawcett was competing against other explorers ‘who were racing into the interior of South America’. The only study that Fawcett made after leaving school in 1886 was his RGS surveying course. He never mentioned any library research. But for Grann he was ‘almost unique’ in viewing 16th- and 17th-century chronicles ignored by other scholars; he re–evaluated El Dorado chronicles and consulted ‘archival records’ and ‘tribesmen’ in ‘piecing together his theory of Z’. Not a word of this was true, either.

Grann wrote that, as an author, he would have been lost without my three-volume, 2,100-page history of Brazilian Indians and five centuries of exploration. He quotes quite often from my books. So he had no excuse for describing Fawcett’s brief visits to three indigenous villages as the ‘discovery of so many previously unknown Indians’, from whom ‘he learned to speak myriad indigenous languages’, and adopted ‘herbal medicines and native methods of hunting [so that he] was better able to survive off the land’. Equally absurd was his rubbish about cannibalistic tribes, blow guns with poisoned darts, or Kuikuro menacing him with ‘gleaming spears flickering’ from the undergrowth (they never used spears, or had metal even, before their contact 130 years ago).

When the colonel vanished, Grann writes that ‘scores’ of explorers tried to find him, and that ‘one recent estimate put the death toll from these expeditions as high as 100.’ Actually, only one search expedition reached the Xingu, led by George Dyott in 1928. (It found that the three Englishmen had been killed by Indians.) The only other expedition was in 1932, but it got only as far as the Araguaia river far to the east. The death toll from these two attempts was zero. In 1935 a ridiculous actor called Albert de Winton went by himself to the Xingu and was killed by Indians who wanted his gun. So if we count him, the death toll is one — well short of Grann’s 100.

These and a great many other passages are artistic licence and hype of an absurd order. Hollywood believed everything Grann wrote, and then hyped it up more. People wishing to learn about the maverick colonel should consult his own fairly modest memoir — not the recent fantasy book and film about him. But I could recommend scores of writings by real explorers.

John Hemming is a Canadian explorer; the three volumes of his history of Brazilian Indians are Red Gold (1978), Amazon Frontier (1985) and Die If You Must (2004)

 4 ) 探險家的危險旅程

探險家Percy Fawcett生于1867年,深入亞馬遜河谷5次直至最后一次消失在密林之中。影片改編自他的故事。
        佛斯特的父親生于印度殖民地,哥哥是登山家與冒險小說家。佛斯特自己一心想從事更加冒險有趣的職業(yè),所以佛斯特幾乎不假思索地就接受了去南美畫地圖這樣的使命,也開始了他的冒險人生。
       看到一張冒險家本人1911年的照片,那時候他已經成功地完成了幾次亞馬遜河域的旅程,照片上的他緊蹙眉頭,神情嚴肅,并沒有那種輕松喜悅的神色。
       影片中的福斯特梳著一絲不茍的油頭,紳士氣十足。他在途中讀妻子寫下的歌頌英雄主義的詩歌。佛斯特第一次探險歸來的時候得到了熱烈的歡迎。他與懷抱幼子的妻子在人群中擁吻。英格蘭歌舞升平,生活愜意,波瀾不驚,與密林叢生,四處是未知的野獸以及印第安部落的亞馬遜形成了鮮明的對比。可是佛斯特堅信自己發(fā)現(xiàn)了失落的文明,執(zhí)意要再次踏上旅途。妻子看著佛斯特在高堂上神色堅定地號召人們去尋找Z文明,又驕傲又擔心。終于他和妻子爆發(fā)了爭吵??墒菭幊澈?,他還是和同伴踏上了九死一生的旅途。不過這次他們鎩羽而歸,并沒能到達Z。
     時光到了一戰(zhàn),年近50的佛斯特自愿到前線服役。在戰(zhàn)場,一個女巫對佛斯特說,你所發(fā)現(xiàn)的,遠比你想象的更加偉大,你要再去尋找他們,這就是你的命運。佛斯特與曾經一同探險的伙伴在同一軍營服役,在一場戰(zhàn)斗中,幾乎命喪德軍毒氣戰(zhàn)。在病床上,佛斯特說自己夢到了亞馬遜的從林,可是醫(yī)生說介于身體狀況佛斯特不可能再踏上那樣的征途了。佛斯特的長子Jake看著在病榻上痛哭流涕的父親,卻默默與這位缺席家庭生活多年的父親和解了。
     最后,Jake鼓勵父親再次踏上征途,也許是戰(zhàn)爭與缺乏父愛的童年讓Jake對人生的意義充滿質疑,Jake堅持要與父親同去。他們一路上都受到高度關注,在火車站為他們喝彩的人不計其數??墒沁@次終究是一次致命之旅,父子倆在叢林里走過之前的那些路,發(fā)現(xiàn)曾經人煙興盛的城市已荒廢,終將父子倆也成了迷失的一部分,都沒能再回來。
     維基百科上提供了福斯特父子結局的很多說法,但沒有一個說法能夠被證實。有一個說法是佛斯特喪失了記憶,在一個食人部落里生活并成為了首領。又有很多其他的說法表示父子已被殺害。
     影片并沒有英雄主義式的煽情。全片色彩古典,更像是流暢的敘事。里面間或的南美片段,也讓人想起馬爾克斯的小說。
     不管是探險,還是一戰(zhàn),佛斯特度過了那樣危險重重的一生。在那些瀕死時刻,他想起的都是恍如隔世般的英格蘭,可這些卻是他放棄的生活。他曾經幸運地找到過Z的一些遺跡,卻終其一生再沒能踏上Z。
      但是你能說,佛斯特的一生都是無用功嗎?用佛斯特自己的話說,這就是他的命運,他們完成了別人無法想象的旅程。

      看完電影出來,里昂正是暮色降至的時刻,看著平靜美好的街道與河流,想想有人能夠放棄這樣的生活,堅持去完成那件十分危險的使命,又覺得其實世界是屬于有勇氣的人的,我們今天對世界的很多認知,都是由這些勇敢的古典旅行者締造出來的。

 5 ) 一個隱喻和一個祝福

還挺意外的,原來不按教科書敘事理論拍的片子是這樣的。
躲開了英雄的塑料味兒,結識了一個人,管窺了一戰(zhàn)前英國的一段社會階層關系。

個人覺得最關鍵的梗,在他妻子最后對他念的一封小信,關于什么是活著。
值得背下來。

z城不是一個城。片中也從來沒對這座城有過多的渲染,不過是一些小碎片拿出來作為電影不可不用之物擺擺樣子。
z城隱喻的是深藏在每個人心里的那個夢想。
對z城的追尋和殉葬,這其間所損失的尋常人生,付出了愛人、朋友、社會地位、兒子的生命、自己的生命——一切人生必要且珍貴之物的代價,而那個夢想是否真的實現(xiàn)了呢?也始終未知。

那又如何呢?
那又如何?
去背片尾他妻子的那封小信。

祝福,是由俄羅斯女巫送上的。
她說‘這是你的使命’。

能清楚的找到自己的使命,清晰的明白它高于一切人生需求,在每一個需要做選擇的關頭,毫不猶豫的選擇它。
這是莫大的幸福。

所有的戰(zhàn)斗,都沒用轟轟烈烈的處理。戰(zhàn)場就在平淡之中,就在尋常生活里,就在每一個細小的選擇之間。
愿我們都能發(fā)現(xiàn)自己的z城。
迷失其中,也是一種完美的結局。

 6 ) 勇者最先了解世界

電影《迷失Z城》改編自美國作家大衛(wèi)·格恩的同名小說,展現(xiàn)英國軍人珀西·福斯特對亞馬遜平原未知地區(qū)的三次探索,以及他堅持不懈尋找人類文明失落之城的故事。

影片以極具英倫風格的草原獵鹿游戲開始,色調暗黃的畫面如陳舊書卷般徐徐展開,敘事脈絡十分古典。珀西·福斯特成功在游戲中拔得頭籌,卻在獻禮宴會上受到冷漠接待而不禁失意重重。原來,父輩遺留的壞名聲讓珀西長期陷入身世的牽絆,難以憑借自己的能力爭取軍事上的榮譽。于是,促使珀西第一次走上探險之路的,便是一份被承諾或許能夠重振家族聲望的派遣工作——到玻利維亞的未知地帶測繪地圖。然而正值壯年的珀西渴望建功立業(yè),想要身體力行地參與軍事活動,對于這份看似枯燥乏味的徒步工作根本沒有多大興趣。可以說珀西最早來到亞馬遜平原,純粹只是為了能夠在探險中取得成果,求得榮譽和出頭的機會。

珀西·福斯特與副官亨利·克斯汀一行人踏上環(huán)境惡劣、疾病四溢的玻利維亞東部,準備著威爾第河的標識測繪工作,也開始了持續(xù)幾年的野外生存。在這個過程中,珀西作為“陌生之地的陌生人”見識了熱帶雨林的兇殘生物,參加了原始森林里的獨家音樂會,在到達雅各比亞時,還分別接到政府的禁行警告及當地權勢的人力資助。他們不斷前行,在被沿途野人和食人魚攻擊、食物消耗殆盡的情況下堅持到達最終的測量點,順利完成任務。而對珀西來說,相比任務的完成,在威爾第河上游發(fā)現(xiàn)的幾個古代陶制碎片,更令他興奮。

因為帶路的土著向導曾經對他,一個原始森林的探路者表達過憐憫和不屑。似乎在土著向導看來,像珀西這樣的白種人只能一次次地試圖探索亞馬遜一帶,卻不能成為真正的征服者。因為這里并不是像白種人們印象中的野蠻之地,這里有更高、更久遠的人類居住歷史和文明。

找到古董,這可以說是一個節(jié)點。在此之前,珀西認為土著向導“瘋了”;而在此之后,珀西開始相信這個文明的存在,并且對他口中的“黃金之城”產生了巨大的興趣。土著向導對于“黃金之城”的信仰和迷戀,逐漸轉移到了珀西身上。

珀西為了改寫家族命運而進行叢林探尋,卻在探尋道路上,找到了自己的命運。

探險改變命運。的確,珀西帶功而歸,他受到了前所未有的禮遇和擁戴,也終于能和家人團圓。作為“英格蘭最勇猛的探險家”,珀西順利進入上流社會圈子,開始將自己在亞馬遜的考古發(fā)現(xiàn)宣告與眾。他的態(tài)度很明確:原始部落未必生存著“野蠻人”,亞馬遜平原也未必就是“綠色荒漠”。想要證實更古老的文明,就需要有人繼續(xù)涉獵下去。

皇家地理學會的態(tài)度也很明確:我們不愿意承認,但不妨礙你親自嘗試。

珀西將“黃金之城”命名為“Z城”,寓意為人類文明的最后一塊拼圖。這塊讓他魂牽夢縈的拼圖,驅使珀西和他的伙伴們再次深入雨林。相比第一次的勉強成行和剛剛發(fā)現(xiàn)古跡時的興奮,珀西這次的探險更具使命感。20世紀初,南美洲大量原始部族的土著被槍火和疾病虐殺,存活下來的更多淪為奴隸,沒有人權和自由。在當時的歐洲人看來,那些印第安土著就是沒有文明的“野蠻人”。顯然,珀西涉足的領域是對原始人具有現(xiàn)代生存能力和歷史文明的強烈辯護。正是因為珀西到過亞馬遜一帶,親身的體驗讓他看到的比地理學會在座的更多,所以他才想要打擊教會浸透的虛偽宣揚,才想要找到更多的證據來打破人們對于原始森林的狹隘認識和誤解。

值得注意的是,在地理學會的演講上,有人對珀西的理論提出質疑,他們聲稱自己也曾到過南美洲,并堅持那是一片蠻夷之地。珀西指出,你們的“到過”是游覽,是休閑。而提到自己的那趟旅程,珀西強調是“Exploration”,是探索而非游玩,是深入和發(fā)現(xiàn)未知。如果不能真正深入、再深入,是不會有新發(fā)現(xiàn)的,也就不能為隱藏文明找到存在依據。就像有人去測繪才能制出地圖,這樣一個嶄新歷史的篇章,是需要有人親自撥翻的。

珀西接受了這個挑戰(zhàn),成為了第一個向未知邁步的人。

在1912年開始第二次探險里,珀西依舊遭遇原始人的圍攻。不同于上次的盲目躲避,珀西開始選擇使用策略。他學著與原始人打交道,用奏琴唱歌的方式使他們放松警惕,最終獲得原始部族的信任,一行人受到禮遇。關于被原始人的多次被圍攻卻一槍不發(fā),可以認為是珀西對原始人是抱有很大的善意,也可以認為是他對找到失落Z城的渴望極盛,以至于小心翼翼地不想打斷一切可能的線索。沿途的部落發(fā)掘,無形中增加著珀西對于Z城的期待值。

由于中途同伴的背離和環(huán)境原因,食物匱乏的珀西一行人不得不停滯返程。

在第二次的行程里,珀西沒有找到所尋的答案,但是對于探險世界,他有了新的感悟。開始,珀西是帶著為原始人辯護的責任而行的,還是站在了一個征服者的角度。而當他與原始部落打過交道后,便為原始人的生活智慧所震驚,開始鏟除了內心全部自大、輕蔑的心理,從一個全新的立場反省和重新審視。結論就是:我作為探索者沒有給他們(原始人)帶來什么。相反的,我的探索為我找到了不一樣的世界,我看到了更多。是他們(原始人)引導了我的探索,帶給了我不一樣的眼光。

于這種感悟之下,珀西開始對這片綠色平原產生了深深的敬意,甚至是敬畏。這個時刻,可以算是珀西·福斯特探險人生中的第二個節(jié)點了。

第二次從亞馬遜歸來已是戰(zhàn)爭時期,珀西退出地理學會,被征召參戰(zhàn)。然而身在黃土漫天、硝煙四起的戰(zhàn)場,珀西心中念念不忘的還是那個等待他去找回的失落Z城。記得影片開始時,珀西是很在意亞馬遜的任務不能發(fā)揮自己的軍事能力,更不能在戰(zhàn)場大展宏圖的。是在亞馬遜叢林的兩進兩出改變了他的心性。

正如戰(zhàn)時的靈媒所言,珀西心中有不能抹去的記憶和狂熱的追求。他所盼望的東西或許比他所幻想的更加偉大,也更加難以放棄,因為這是他的靈魂所向,是他的宿命。

探險,是珀西·福斯特的命運。是探險幫助他抹掉野心與戾氣,引導他找到內心真正之所向,也在無形中替他揮去雜念。

這一路找尋,不僅是對于神秘的Z城,也是珀西對自我的重新認識。

珀西在戰(zhàn)場上中毒倒地,眼前的天空不再是污濁的炮火煙灰,而是清晨時雨林里的薄暮和光,是來自內心的引導。生來就是屬于那里的人,才能做到無時不刻身在其中。

“我必須回去。”否則人生便沒有希望了。

珀西的叢林探險使得北美大陸掀起一陣探險熱潮,為了趕在使用現(xiàn)代破壞性武器的美國人之前找到Z城,珀西的大兒子杰克對父親發(fā)起了回歸亞馬遜的邀請。

某種程度上來說,大兒子杰克是珀西探尋失落Z城的見證人。在他童年每段需要陪伴的時期,父親都在野外艱苦地尋求生存。父子同心,熱帶雨林的蟲咬鳥鳴,想必杰克渴望這種感受已有很多時日了吧。

影片對于杰克與珀西的關系上,有不少細致的描寫。

在珀西第一次出行之前,年齡尚小的杰克與他很是親近,獵鹿獻禮時第一個沖上來與父親親熱;珀西從玻利維亞歸來已是幾年后,杰克長大了一些,對父親的印象卻不深了。他僵硬地抱了抱珀西,問他:“你是我爸爸嗎?”而當珀西第二次從亞馬遜回來、又馬不停蹄地準備替國征戰(zhàn)時,杰克最大程度上表現(xiàn)了他的不滿。他質控父親拋棄家庭,誤解珀西的探險為爭名奪利的做為。為此,珀西打了杰克一耳光,杰克憤然離去;等到珀西帶傷從戰(zhàn)場歸來,杰克表面上冷言冷語,似乎還在為之前的耳光慪氣,卻在眾人離開后心疼得掉下眼淚。可見,父子感情很深,而且情感的搭建和刺激離不開父親的探險生活。

顯然,杰克受父親的影響也很大。是珀西的勇氣和毅力讓杰克在很少的父親陪伴中反而更加愛戴父親,也使得珀西對于Z城的追求延續(xù)成為父子二人共同的旅程。珀西作為父親,身體力行地教會了杰克如何抗拒恐懼,這種引導是潛移默化的。

這個引導對于家庭的另一成員,珀西的妻子也是一樣。丈夫有三次探險,她便有三次不同的態(tài)度和表現(xiàn)。從第一次的堅強獨立,到第二次的否定崩潰,再到第三次的安然同意,妻子不斷地被丈夫甚至兒子的氣焰打敗。他們天性的力量,強大到可以幫助自己的妻子和母親戰(zhàn)勝恐懼。

第三次探險,珀西帶著兒子不斷深入原始人生活,二人放心大膽地接受部族照顧。他們相信“上帝髦下,眾生平等”,愿意將生命交給上帝,也盡一切可能接近原始人的文明真相。

不幸的是,父子二人在一次徒步中被不識的部族包圍,陷入困境。

杰克絕望地感嘆道:“我們今天就要死在這兒了?!闭Z氣中不單單是對死亡的恐懼,還有對于沒有找到Z城的遺憾和憤恨。

珀西的回答卻不置可否:“……但你我這一段冒險旅程是世人想象不到的,它給了我們內心的理解與感知。”

與前一次探險中不尋結果不回頭、有著殊死執(zhí)念的珀西不同,這次的體驗給了他更新的感悟,那便是:探險的人生不在于真正到達終點,而在于走過時對世界的感受,在于不斷前進之前的最前一步,在于不斷前進之后緊接著的那一步步。

能夠趕在別人之先體會無人知曉的世界,一定是件很美好的事情吧。

這大概是珀西探險人生中的第三個重要節(jié)點了。

關于珀西和杰克的結局,影片沒有給明確的答案。父子二人被原始人抬上蜿蜒的道路,周邊滿是星星點點的火光,照得珀西閉上了眼睛。鏡頭轉換間,珀西看到了記憶中妻子的笑臉。她從沒真正到過亞馬遜平原,但在這一刻幻影里的她,卻又好像同自己站在一起,從沒離開過這片神秘的土地。

珀西·福斯特的人生被探險叢林所改變了,他的行動也為后世對于亞馬遜一帶文明的發(fā)掘做出了巨大貢獻。而驅動珀西追逐Z城、探險叢林的那些陶片古董,凝聚了他對于世界神秘地帶的最初接觸。

我們對于世界的了解和敬畏,會變成理想,幫助我們堅持走在途中,并找到意外收獲。到最后發(fā)現(xiàn),理想并不是走到最終目的地,而是首先邁出的不同步伐,而是邁步之前的決心,追尋的樂趣。

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 短評

直到片尾看到producer是布拉德皮特之后才恍然大悟為什么電影里的男主角們一個個都長的像布拉德皮特ok

6分鐘前
  • 黃柑柑
  • 還行

事實被改編成非虛構文字作品,這其中就不勉存在對真實的刪改,再到被改編成電影,又是更多的刪改,現(xiàn)在又在這樣的電影基礎上剪掉三十幾分鐘那又能怎樣?如果讓大衛(wèi)·柯南伯格拍多好,拍成像危險方法那樣。關于這部電影我比較喜歡的一點是,許多場景非常適合配上德彪西印象主義音樂。

8分鐘前
  • 惡魔的步調
  • 還行

今天觀影非常愉快:片尾亮燈放字幕時,工作人員進來問還有人嗎?我以為又要被提醒沒彩蛋啊什麼的,結果工作人員竟然說,衹是近來確認一下,並沒有不讓看字幕的意思,於是非常安穩(wěn)地聽完了片尾曲。享受!【日後補五星

9分鐘前
  • 介意
  • 還行

直男和直男去大自然 直男和胖子去大自然 直男去打仗 直男和兒子去大自然 大自然真好啊兒子我們別走啦…… 冗長散漫的直男歷險記 orz 我和友鄰看的是同部片嗎 出色的剪輯在哪里呀?迷失在Z城里厚?

12分鐘前
  • 小捌
  • 較差

在所有逆流而上的叢林公路電影里,格雷無疑貢獻了最古典肌理的版本;但視聽乃至于劇作上古典優(yōu)雅得越不可挑剔,叢林的野性和主人公的癡迷卻也就越不可體味。

15分鐘前
  • Peter Cat
  • 還行

喜歡兩個地方。一個是用筆記本擋箭,二是男主帶兒子走后鏡頭從他老婆的臥室里急速后退??傮w就是流水賬,太長。Sienna Miller的角色和《美國狙擊手》里完全一樣,是故意的嗎?

19分鐘前
  • 貓貓
  • 還行

不是很能理解帝國時期對外擴張的野心和夙愿。結尾那一刻,被食人族抬走的父子給人一種儀式感的動容,其他部分很無聊。

21分鐘前
  • 踢邇達
  • 還行

聽聞院線刪了30分鐘嚇得沒去看,看得藍光,主題很深刻,理想烏托邦與現(xiàn)實之間的對弈,心懷夢想的人,永遠也逃不出文明的桎梏,反而被自然之力反噬,迷失在文明與自然之中。實拍場景和攝影點贊,整體還是有些太長了

23分鐘前
  • 烏鴉火堂
  • 還行

美輪美奐, 有幾場戲好像幻境, 從戰(zhàn)場穿越到叢林, 像夢一樣開枝散葉, 有點《蛇之擁抱》的錯覺。老派的故事和畫面真是讓沉迷古典的人欲罷不能。有人會說平淡,可要拍成《奪寶奇兵》我就中途退場了。選角棒,帕丁森居然有種迷之帥氣(差點認不出),而湖南一定是今年的最勞模最帥男主!

28分鐘前
  • LORENZO 洛倫佐
  • 力薦

難怪公映版本要刪減…

32分鐘前
  • 辣辣的皮特
  • 較差

不是先進文明對落后文明的俯視,而是工業(yè)文明對古老文明的反哺。詹姆士·格雷用充滿歷史厚度的古典拍法講述南美開荒的鮮花與骸骨。讓人魂牽夢縈的Z城啊,你也是我的南美情結所在...

34分鐘前
  • 同志亦凡人中文站
  • 推薦

拍出了Z城對珀西致命的吸引力,卻沒拍出Z城對觀眾致命的吸引力。

36分鐘前
  • 冰山的陰影
  • 還行

古典沉穩(wěn),如幻如霧,他內心擁有河流森林湖泊,愿付諸終生尋覓未知,見他人不曾見過的風景,經歷他人不曾擁有的人生,名利如浮云,飛鯤馳萬里。影像從來只是冰山一角,世界從來只屬于勇敢的人,而我不過坐享其成罷了。

37分鐘前
  • 秋天的黛西
  • 推薦

6/10,強烈譴責國內引進方為了增加排片賺錢蓄意刪減的行為,看的如坐針氈,前面看的非常不適應,因為劇情推動的太快了,快到讓我莫名其妙,以至于看完對人物動機和形象都沒啥印象,所以如果對故事感興趣的我還是不建議去看這個刪減版,因為看的會很痛苦、很惡心、很想暴打提議刪減的那個人。

38分鐘前
  • 二月鳥語
  • 還行

第一次看James Gray,沒想到居然是一部古典韻味濃厚的浪漫主義史詩,剪輯攝影都太太太優(yōu)秀,每場戲都看得如醉如癡,最后五分鐘更是格外震懾人心,結尾一鏡回味無窮

39分鐘前
  • Steamed Punk
  • 力薦

各方面都很主流,格雷最平庸的一部

43分鐘前
  • LOOK
  • 較差

I had a farm in Afri...對不起,進錯片場。在亞馬遜帶著一箱吃的不敢往前多走一天,貝爺哭了。這是一個重在精神的冒險故事。想看雨林和土著文化的可以退散。其中參雜的男女和種族平等討論,意愿是好,但手法生硬論點過于超時代,太假。影像古典路數,但是素材取舍不當,不顯穩(wěn)重精巧倒是拖沓了

44分鐘前
  • 小斑
  • 還行

散軼的探險筆記,撲火的飛蛾;我們對世界,對彼此,對自己的探索,已知與未知的比例,大概永遠都是恒定的。

45分鐘前
  • 戰(zhàn)將波艦金
  • 推薦

電影生動而深情地詮釋了什么是“魂牽夢繞”。本來過度浪漫化這種直男歷險、白人拓荒的電影不算是好事甚至是雷區(qū),但格雷很完美地閃避了這些,用自己娓娓道來的節(jié)奏把一個神秘而傳奇的故事完全復原,我身臨其境無法自拔。而且本身有些遺憾的收尾,被最后一個鏡頭全部挽回,看完真是恍如隔世般感動

48分鐘前
  • 米粒
  • 力薦

141分鐘版。人物傳記,冒險呢?沒有,甚至在這方面的描寫都很差,很簡單的(僅受到一次攻擊和食物危機)就到了沒有(白)人發(fā)現(xiàn)的地方并發(fā)現(xiàn)文明,很簡單的從沒有人能回來的地方回來。

51分鐘前
  • 無姓之人
  • 較差

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