Movie & Moving

常常游走在一部又一部电影的开始与结束间,那些情节像参差不齐的树,以各种姿态在我的城市里生长。

无论白天或黑夜,这些树都在生长,根和脉在延生交错,而枝干和叶芽伸向远方。在城市中央的铁塔,播放沙沙哑哑的音乐,曲调里总有难以去掉的杂音。实际上,这是一座迷城,有斑驳带着常年水渍的老街,破旧的房子围在一起同底下那条晦暗的巷子耳语,锈蚀的老式自行车躺在墙角,阳光又给它镀上不在年轻却愈发年轻的色调。

在哪个转角,会拐进哪段情节?你又在哪个路口曾驻足回望。胡同里的所有都是老的,阳光被老树分割后,只剩下的条纹,似乎是老人收割岁月的收获。年轻的影子奔跑在这些不断往后退的曾经里,路口像新生的芽,不断分枝,谁知道要前往哪个方向,也许向左或向右相差百年。

迷失?擦肩而过总是神秘而不确定,像浮世绘常有的圆润线条,你跟着哪个线条走才会走出这个迷局。柳暗花明的山水意境早成了老旧的手段,也许平淡地,走着往常的步伐,带着一往的心境才能走出这样一座森林,可是出不了这座城,因为作为凡人。

精巧的歌声有天也会像狂风过后的向日葵,不再向着太阳。而你在心中种下的鼓点,却像种子吸水后开始疯狂生长。故事翻过一页,你却找不到熟悉的角色,还有那些竹蜻蜓和风筝,原来这是活页小说,故事不会完,情节却常断。下一页,你可能打开通往城市底下蔓延的根须某一个节点。

上升或下降,电梯里的你知道铁壳外是一个什么样的世界?你知道?你完全确定吗?你的想象会把黑夜点燃,但不一定会让黑夜明亮一些。纵横在这座城市里的陌生与熟悉有时会冲撞出火花,陌生是一杯已冷的茶,涩口而后甘。让我怀念的,在村陌间,推开柴扉,讨得一杯水喝,破口而发黄的土陶壶倒出褐色而清冽的茶水,招手挥别那缕炊烟,转身到满眼灯火处处歌声的世界。广阔的空间,寂寞的狭隘。大喊一声,听不到回声,回声全在心里,然后你想起了中央铁塔的声音。

黑色背景里绽放的总是诡谲的色彩,我们常常在这样的色彩里谢幕。

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Up

        Adventure has become the leitmotif of my life. From father-and-son expedition to individual backpacking, from package tour to DIY, I’m still seeking the most suitable way of travelling, with such elements as climbing, photographing and sharing. Yes, I do enjoy sharing, not necessarily with a whole-trip companion, but with any passer-by, in front of whom I can discard my poker-faced mask for the office and appear humorous and considerate in a short talk for curiosity sake, you know, just scratching the surface and without any thinking of business opportunity or ascendency. On the other hand, soliloquy among ‘plum wives and crane sons’ isn’t in the least self-relieving and spirit-cleansing, and I don’t wanna deceive myself.

In the best part of a decade, I’ve been in quest of the answer from virtual and real heroes: Despite his unbridled personality, stunning hair and unequalled prowess, Tristan in ‘Legends of the Fall’ isn’t qualified to be an adventurer, for a bona fide adventurer should be more than self-reliant. He always tries to be responsible, but never in the correct way. His untimely affection for Susannah—-perilous taboo for an adventurer—-casts a cloud upon the whole family, and his departure, with dual intentions of showing respect for his late brother and ‘assisting’ Susannah to overcome the ‘immoral’ love, only brings about a serious of tragedies and accrues his suffering. Adventure has thus degraded into a way of eluding from a penchant or belief, and perhaps the belly of a bear is his best destination; Yu Chunshun, an out-and-out hombre as Yu Qiuyu observed, reveres adventure as his destiny, his power, his curse. He’s the idol of all Shanghaiese, yet by adoring we don’t mean following his footsteps. I’m certain that priceless wealth is in him, and that he’s my idol, but I haven’t the heart to sweep away the tinsel that fills my room. Now without further ado, let’s take a look at an old man whose plan of adventure with his beloved has ever been postponed by domestic cares and trivial businesses, and is finally turned into gold in his last Indian-summer years.

Carl Fredricksen, a shy and quiet young boy, meets an energetic and outgoing tomboy named Ellie, discovering they share the same interest in exploration as their hero, the famed explorer Charles F. Muntz. Ellie tells Carl of her desire to move her clubhouse to Paradise Falls in South America, and makes Carl promise to help. Carl and Ellie wed and grow old together in the old house where they first met while making a living as a toy balloon vendor and a zookeeper respectively. Unable to have children, they repeatedly try to save up for the trip to Paradise Falls, but other financial obligations arise. Just as they’re finally about to take their trip, Ellie passes away, leaving Carl a lonely and bitter old man with nothing to live for and missing his wife terribly. These scenes, altering quickly without any conversation, epitomize the fleeting time. Sometimes silence means more than words.

As the years pass, the city grows around Carl’s house with construction as Carl refuses to move. After a tussle with a construction worker over Carl’s broken mailbox, the court orders Carl to move into a retirement home. Carl comes up with a scheme to keep his promise to Ellie, and uses his old professional supplies to create a makeshift airship using tens of thousands of helium balloons that lift his house off its foundations. Russell, a Wilderness Explorer trying to earn his final merit badge for ‘Assisting the Elderly’, has stowed away on the porch after being sent on a snipe hunt by Carl the day before.

     After a storm throws them around for a while, they find themselves landing on a great plateau across a large ravine facing Paradise Falls. With their body weight providing ballast allowing Carl and Russell to pull the floating house, the two begin to walk around the ravine, hoping to reach the falls while there’s still enough helium in the balloons to keep the house afloat. As they walk towards Paradise Falls, Russell finds a colorful tropical flightless bird, which he names Kevin, not realizing that the bird is actually female. They later run into a dog named Dug wearing a translating collar that lets him speak. They discover Dug’s owner is the elderly Charles Muntz himself, who returned to South America in his immense dirigible several decades earlier in a quest to find and bring back a large species of bird to restore his reputation, tarnished by accusations of fraud. Muntz invites Carl and Russell into his dirigible and Carl is initially thrilled to meet his hero. Unfortunately, the countless years he spent there has made Muntz greedy and paranoid, believing anyone who came to Paradise Falls was after the bird to steal his glory. When Carl realizes that Muntz is after Kevin and will kill without a moment’s thought in order to capture her alive, he takes steps to save the bird and escape with Russell. Thanks to Kevin and Dug they flee the dirigible and escape Muntz’s pack of vicious dogs, led by Alpha, but Kevin is injured during the escape.

     As Carl and Russell assist the injured Kevin to her chicks, Muntz with his dogs arrives in his airship, led by a tracking device in Dug’s collar, and sets a fire under Carl’s house, forcing Carl to choose his house over Kevin. Muntz and his dogs quickly capture the bird and fly off. Though Carl successfully gets the house on the ground overlooking Paradise Falls per Ellie’s wish, he has lost Russell’s favor. Carl, settling down in his house, finds Ellie’s childhood scrapbook and discovers her mementos of her life with Carl after they were married, and a final note from her thanking Carl for her adventure of marriage with him and an encouragement for him to go on his own. Invigorated by Ellie’s last wish, he goes outside to find Russell, only to find him suspended from balloons to give chase to Muntz. Carl lightens the weight of his house by dumping his furniture and other possessions, allowing him to chase after Muntz in his house with Dug by his side.

     Russell enters the airship through a window, but is captured by the dogs. He is tied up on a chair and left to fall to the earth from the dirigible’s access ramp. Carl saves him however, but keeps him tied up in the house for his own safety. Carl and Dug board the ship and are able to lure the guard dogs away from Kevin to free her. Carl and Muntz duel face to face and fight (Muntz with a sword, Carl with his cane), while Dug is able to wrest control of the dogs and the dirigible from Alpha. Russell frees himself but clings to a lifeline as he finds the house in a literal dogfight with biplanes piloted by Muntz’s dogs. When Carl shouts for help, Russell distracts the pilots and regains control of the house to rescue his friends, who are now on top of the airship. In pursuit, Muntz shoots out some of the balloons, causing the house to land and slide off the airship. Carl manages to trick Muntz inside the house while saving Russell, Dug, and Kevin. Muntz accidentally lets go of the rope and plummets towards the earth below, while Carl’s house drifts off into the clouds — a loss Carl gracefully accepts as being for the best.

     Carl takes Muntz’s dirigible and returns Kevin to her chicks, then flies Russell and Dug back to the city. When Russell’s father misses his son’s Senior Explorer ceremony, Carl fulfills that role himself to proudly present Russell with his final badge, the grape soda cap badge that Ellie presented to Carl when they first met. Afterward, Carl, reinvigorated in both spirit and body from his adventure, becomes a cheerfully active community volunteer with a strong father-like relationship with Russell and the other Wilderness Explorers. Whilst Carl now resides in Muntz’s airship, his old house has landed exactly where Ellie envisioned it—-overlooking Paradise Falls. The last speaking scene before the credits shows Carl and Russell eating ice cream seated in front of Fenton’s, a real-life ice cream parlor in Oakland, California.

     Oftentimes we’re taught to pursue with unremitting endeavor an aim that’s positive and beneficial to the society, but through the movie ‘Up’ we know that in practice we’re bound to face many choices, morally or legally. Not only the aim, but also our efforts to achieve the aim should be positive and beneficial. Take the ending of the 2 explorers, Muntz and Carl, and Russell, though ignorant of Muntz’s glory, Paradise Falls, and the horse sense that wilderness is wild, is no doubt the hero of our story.

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安娜•卡列尼娜

苏菲·玛索是前女友轶轶的偶像。于是我爱屋及乌,一一观看了她的代表作品,如《勇敢的心》、《芳芳》、《末日危机》等。总体感觉,苏菲·玛索之所以成为法国国宝级人物,并非由于高超的演技,而是其东方特质令法国及西方观众如痴如醉。同理,喜欢《安娜·卡列尼娜》,也并非是对安娜这一角色有多热衷,而是笔者自身强烈的古典音乐情结。

安娜·卡列尼娜》的剧情是由多段古典音乐衔接展开的:深夜,开往圣彼得堡的列车上,安娜坐在包厢的角落里,情不自禁地咀嚼和回味着刚刚逝去的诱人的美好时光:在沃伦斯基伯爵温暖多情的臂弯里,幸福的安娜随着“花之圆舞曲”的节奏,依然在不停地旋转着……

行进途中列车在一个小站临时停车,安娜到月台上去呼吸新鲜空气,这时她才意外地发现沃伦斯基伯爵站在冰天雪地之中的不远处,正一往情深地凝视着她,原来他也在同一列火车上。

这段画面的背景音乐,是柴可夫斯基第六交响曲第一乐章呈示部中最著名的副部主题。三段体的A段富于迷人的抒情性和歌曲性的段落,这是柴可夫斯基笔下最简单质朴、最富于灵感同时又最真挚动人的主题之一。温柔的下行音程和下行音阶,叹息般的二度、模进等,都是柴可夫斯基后期作品中特有的手法。加弱音器的小提琴与中提琴旋律线仿佛与圆号和木管乐器的和声“粘”在了一起,我国著名音乐学者钱仁康先生曾这样形容这一主题,它不是热情的迸发而是迷惘的温柔,它是对幸福生活的憧憬和幻想,又像是藏在心底的甜蜜的回忆……

当音乐进入副部的中间段(B段)时,安娜乘坐的列车也恰好到达圣彼得堡车站。在站台上,看见安娜和前来接她的丈夫卡列宁接吻,沃伦斯基索性走上前去,不顾唐突地问安娜“夜里睡得怎样”,这样也算是向卡列宁做了自我介绍。他对已经认出他的卡列宁说希望能有幸登门拜访,略显傲慢的卡列宁漫不经心地说声请他光临,就挽着妻子回家了。而这时安娜的心思看来都在她心爱的儿子身上……在这一情节中人物的谈话背景上,音乐中原有的音调的多面性,也使它在和影片结合时的包容性大大增强。确切地说,在弦乐的脉搏一般跳动的单一持续的背景上出现的长笛(随后是单簧管)与大管之间的柔和对话,长笛与双簧管吹出的仍然在“叹息”的下行曲调以B段结尾处那如同“问号”一般的乐句,与主人公安娜心中潜藏的疑虑不安,与她在情感萌动之中的那种下意识的迷惘和渴盼之间,再次出现了巧妙的重合。

安娜怀了自己的孩子但却流产,沃伦斯基则陷入忏悔和绝望并企图自杀;后来,他终因无法忍受强烈的思念而不顾一切地冲入安娜家中将她带走。这时我们听到副部进入A段,主题再现:弦乐取消了弱音器,第一、第二小提琴与中提琴在三个不同的音区齐奏主题,音色变得非常丰满,对幸福的渴望显得那么热切!音乐在这里又贴切地表达了处于爱恋中的一对恋人那燃烧的激情和相互占有的欲望……副部的结尾,随着感情热潮的迅速消退,独奏单簧管上回响的主题就像远方传来的忧郁的歌声。隐约可闻的弦乐和定音鼓上的震音,给人一种暴风雨即将来临的感觉。第一乐章呈示部副部的这个小结尾部分,曾出现在沃伦斯基第一次和安娜拥抱在一起、感情和欲望终于得到宣泄的情节中,音乐对于这对情人的未来,就如同预言和宣告!

尽管作为发展部开端的那个著名的“晴天霹雳般”激烈的和弦从未响起过,但熟悉“柴六”的观众在欣赏这部1997年版“安娜·卡列尼娜悲剧”的过程中会时时刻刻感受到它的存在!这恰恰说明在两部艺术作品——一部交响曲和一部小说之间,存在着某种植根于丰厚的俄罗斯传统与文化的必然联系。惟其如此,我们才会发现,第一乐章发展部的中间片段,与影片中赛马俱乐部情节里沃伦斯基因马失前蹄而坠地这一情节的气氛正相吻合。狂怒的沃伦斯基残忍地打死了自己的爱驹,这时音乐大师索尔蒂和音响师巧妙地让枪声与音乐中一个混合了打击乐的和弦重叠,这样,在音响的掩蔽下,乐曲几乎不被察觉地直接跳到了发展部的尾声。

省去了主部同时副部大大缩短的再现部,是在惊心动魄的暴风雨之后的喘息和心有余悸。半音阶下行音调的出现,增强了一种凄切的意味,给人以往事不堪回首之感。随后的第一乐章尾声部分,出现在沃伦斯基由于赛马失败而显得失态、忧郁的安娜与丈夫卡列宁乘车回家,随后卡列宁拒绝了安娜的离婚要求并以儿子的归属相威胁的情节中。那种几乎没有生气的平静,也恰恰成为安娜开始陷入绝望心境的写照。绝望的安娜选择了卧轨,这一场景与《魂断蓝桥》中费雯丽出演的玛亚不尽相同,只是后者愧对的是恋人的关爱,而前者愧对的是自己的抉择。

值得注意的是,本片正是出自《Immortal Beloved》的导演贝纳罗斯,难怪全剧的画面和背景音乐配合得如此天衣无缝。

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致命美人心

《致命美人心》是莎朗斯通成名前主演的西班牙片,改编自西班牙作家伊班尼的畅销小说。剧情描述赛尔维城的青年璜美雅度梦想成为斗牛士,他在小型牛赛成为顶尖斗牛士后娶了女友卡门为妻,另一方面却跟交际花索儿打得火热,美满婚姻因而破裂。但性感的索儿对璜丝毫不关心,也不肯收敛自己的放荡行为。事业上摇摇欲坠的璜决定重新振作,再次挽回婚姻。

本片的剧情与张爱玲小说《红玫瑰与白玫瑰》有着惊人的相似:璜美雅度和振保的生命中都有两个女人,一个是圣洁的妻子(白玫瑰),一个是热烈的情妇(红玫瑰)。

白玫瑰是要同我们共度一生的人,人们爱它的圣洁单纯。在我们心烦意乱,疲惫不堪时,它会让我们感受到安全宁静。但是,时间久了我们往往不自觉的厌烦了白色,它的过分简单平静会让我们感到生命的消逝,死亡的临近。璜美雅度与卡门结婚伊始是何等恩爱,可随着璜一步步陷入名利场,一身素装、淳朴善良的卡门已无法满足璜那极度膨胀的贪欲了。久而久之白的真的成了衣服上的一粒饭粒子,看上去是那样的不体面,让人厌恶想把它拿掉。

此时,“事业有成”的璜美雅度勾搭上了交际花索儿。一身艳装的索尔是如此美丽,但凡男士见到她,都有种“想吻”的冲动。可怜娇妻卡门这会儿还蒙在鼓里,还在家中为一场场性命攸关的比赛而暗自揪心。

如果说白玫瑰代表的是天长地久,那么红玫瑰代表的便是轰轰烈烈。索尔可以在璜美雅度春风得意之时,满足他的肉欲和虚荣,亦会趁他醉生梦死不务正业之际,毅然弃之而去,投入新科冠军的怀抱。红玫瑰,注定不会只为一个人开放,却也永远只为一类人开放。

璜美雅度这才意识到,自己只是名利场圈钱的工具,商家的奉承、贵妇的巴结,仅仅是逢场作戏而已。为赢回本属于自己的冠军头衔,为赢回爱妻卡门的信任,璜再次昂首踏入了熟悉而陌生的斗牛场。然而,命运却与他开了个玩笑,最后一刺意外失手,使他不幸成为公牛角下的牺牲品。冥冥之中一切自有定数,璜的罪孽太深,他和卡门“再也回不去了!

璜美雅度这个角色,让我不禁联想到葡萄牙球星C罗。两人不仅外貌相似,连身处环境和成长经历都颇为相像。C罗同璜一样出身贫寒,进入同为榨钱机器的足球圈后,很快便以出色的盘带技术闻名于世。成名之后的C罗,也同其他贫民球星一样,陷入重重绯闻之中,幸好,他从未失去对冠军的渴望,日常训练也从不懈怠。祝福C罗!

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情归阿拉巴马

近几年来,像《阿甘正传》,《美丽人生》这样的欧美大片屈指可数,迫使我只能回归遥远的2002,重温由“美国新甜心”Reese Witherspoon主演的《情归阿拉巴马》。

剧情是这样的:纽约时尚界的新秀设计师梅兰妮,拥有美丽的外表与出众的才华,让她成为纽约最受人注目的时尚专家。但是让人更为饮羡是梅兰妮拥有一位贵为纽约市长公子的男友。一天梅兰妮的男友刻意安排在第五大道上的珠宝名店——Tiffany向梅兰妮求婚。梅兰妮情不自禁地一口答应,把自己在阿拉巴马老家的过去忘得一干二净。好不容易在纽约熬出一片天的梅兰妮为了嫁给纽约市长之子必须回到老家去了断一切。

年少不经世的梅兰妮早先在阿拉巴马已经有过一段婚姻,于是她必须先找到自己的丈夫办妥离婚手续,才能再回到纽约进行另一段婚姻。起初,见过世面的梅兰妮无法容忍家乡的落后与粗鄙,拒不听从父母及好友的劝诫,铁了心要与“败家子”的丈夫分手;随着时间的推移,她逐渐发现自己其实仍然留恋家乡的一草一木。尽管昔日好友已失去了共同语言,但那种无拘无束、洒脱奔放的生活方式,亲密无间、憨厚纯朴的民俗民风似乎早已扎根于自己的心中。而闹了七年离婚的丈夫,事实上已占据了她所有的爱,他善良、温柔、体贴、爽朗,了解她的一言一行,一举一动。尽管他不如纽约市长公子那样事业有成,浪漫奢华,但显然更有安全感。经过痛苦的思索,梅兰妮最终返璞归真,选择了本该属于她的Sweet Home Alabama

影片以一种温馨的方式结束了,没有跌宕起伏的情节,没有摄人心魄的景观,但感人的因素丝毫不减。因为剧情是那样的贴近生活,贴近我们自己的生活。看过该片的人,相信无不认同梅兰妮的选择,佩服梅兰妮的勇气,但要我们仿效她的做法,着实很难。当我们还只是丑小鸭时,一心启盼着有朝一日能飞黄腾达,成为一只引吭高歌的白天鹅。我们义无反顾,勇往直前,万难不屈,奋力拼搏,终于赢得了属于自己的一片蓝天。然而这时我们却发现,以往的淳朴已经远去,昔日的友情渐渐淡薄,周围的一切都华而不实,与原先的理想追求相去甚远。于是我们开始反思我们的努力,反思我们的动机,反思老师的指导,父母的教诲,社会的舆论……一轮轮由内而外的剖析之后,我们顿时发现,我们出生的苇塘阡陌才应该是我们的真正归宿。

天鹅向鸭群投以欣羡的目光,却发现又有无数只鸭子企图挥动翅膀,搏击长空,加入自己的行列。天鹅长叹一声,默默离去,它终究无法卸下一身洁白的羽毛,因为要对一生的努力做个交代。

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Seinfeld

        4 years of sitcoms! In 4 years I’ve conquered star-studded Friends, aphrodisiac Sex and the City, fabulous Desperate Housewives, cozy Everybody Loves Raymond, and ‘mo lei tau’ Seinfeld, without skipping a single episode. Plainly Everybody Loves Raymond was most endeared to me: I looked with envy upon the harmonious family atmosphere in the inception, groaned about Raymond’s childish and selfish behaviors with his marriage on solid ground, and lamented over the doomed 7 years’ itch. The producers molded the dull routine into vivid episodes, in which no plot or sub-plot would cause raised eyebrows while the ensemble constituted a melting mood of tenderness. Desperate Housewives, on the contrary, boasted too much happening (For a happening is in essence unrepeatable; it comes about in ways no one could predict, taking form from vaporous imaginings or sudden impulse.) so that the audience might turn exhausted after every 40-minute cliffhanger. The occurrences in Friends and Seinfeld were funny and realistic, and had definitely satisfied the taste buds of the viewing America, but, through my captious eyes, they were still not my cup of tea. The protagonists altered their mates frequently, which went against the ethos of Chinese people. (You know, sometimes I was glued to the certain sitcom all day long, and it seemed to me that the protagonist changed scores of lovers in one day!) Not to mention Sex and the City, cheap exploitation series full of nudity and promiscuity.

        Previously I had no intention of writing any passage on Seinfeld until I was astonished to know it ranked second to none among the 50 Greatest Shows of All Time by TV Guide. This might lie in its pursuance with the postmodern interpretation. Jerry Seinfeld and Larry David pitched Seinfeld as a ‘show about nothing’, similar to the self-parodying ‘show within a show’ of Season 4 episodes ‘The Pilot, Part 1’ and ‘Part 2’. Seinfeld stood out from the typical family- or coworker-driven TV sitcoms of its time. None of the principal Seinfeld characters were related by blood or worked together. The episodes of most sitcoms revolve around a central theme or contrived comic situations, whereas most episodes of Seinfeld focused on the minutiae of daily life, such as waiting in line at the movies, going out for dinner, buying a suit, and coping with the petty injustices of life. Some viewers hold the belief that the world view presented in Seinfeld was somewhat consistent with the philosophy of nihilism, the view that life is pointless.

        In most Seinfeld episodes, one story thread was presented at the beginning, involving the characters in separate and unrelated situations. Rapid scene-shifts between story lines moved the story forward. By Season 4, the episodes ended by having all of the separate story lines converge—-often unexpectedly. Despite the separate plot strands, the narratives revealed ‘consistent efforts to maintain the intimacy’ between the small cast of characters.

        The show kept a strong sense of continuity—-characters and plots from past episodes were frequently referenced or expanded upon. Occasionally, story arcs would span multiple episodes and even entire seasons. Larry David, the show’s head writer and executive producer for the first seven seasons, was praised for keeping a close eye on minor details and making sure the main characters’ lives remained consistent and believable.

        The show stood apart from other sitcoms of the time for not placing a shred of importance on the characters learning moral lessons. It was often said that the mantra of the show’s producers was: ‘No hugging, no learning.’ In effect, the characters were often morally indifferent or callous. Take a look at ‘the Bubble Boy’ episode, when Elaine and the narrator took pieces of napkins to wipe off their tears while Jerry used one to clean down his lips. Even Susan’s death in the series elicited no genuine emotions from anyone in the show.

        The above-mentioned 2 features were best reflected in the 1-hour retrospective clip show and 75-minute series finale in which Jerry, George, Elaine and Kramer were prosecuted for violating a ‘Good Samaritan law’ and were sentenced to jail for one year. All the victims in the last 9 seasons appeared to accuse the 4 common people of their moral unawareness. Such ending, just like Mozart’s Jupiter Symphony IV finale, was much longer than the previous episodes, yet bewitching.

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燃情岁月

    很喜欢《燃情岁月》里带着宿命而悲壮的电影配乐,还有那个金灿灿中透露出恬静的秋天颜色。那画面带着神奇的质感,带着苍凉色彩的草原辽阔,阳光似情人的眼波抚摸着崔斯汀的背影和的的作响的马蹄而过。

    放浪而狂野的崔斯汀,他的眼睛是深渊也是大海。

    然而,崔斯汀注定是一个命犯天煞孤星的男人。

    女人爱上这样的男人注定会是一场悲剧,可是却无法逃脱。

    我听着电影里消沉如冰雪初融的音乐,看着崔斯汀的痛苦与失落。看着他金色的长发飘荡在藏蓝的天空里,身影随着远山一起慢慢遁入森林的气魄。

    那条水银一样缓慢流淌的大河,仿佛神秘的寓言般沉默。

    他眼睁睁的看着山莫死在德军的机枪下,他旁若无人的哭喊,他诅咒着上帝,他按着古老的印地安仪式挥刀取出自己弟弟的心脏。

    他的弟弟死了,他的哥哥艾弗雷德带着心灵上的创伤离开了草原,他的父亲因为中风而备受折磨,他的妈妈在他很小的时候就已经离开了这个家,理由仅仅是那里的冬天太寒冷。

    战争结束后,崔斯汀没有回家,他把自己的身心交给了外面的世界,仿佛他一直都是这样的游荡。

    然后突然有一天劲风袭来,他回家了,金色的长发在风中飞扬如招展的旗帜,那是一种不羁的韵律,同时也带着无限的苍茫与空旷。

    当崔斯汀回到农场时,他与苏珊之间的爱情爆发了,失落的艾弗雷德离开农场独自进了城。农场的生活尽管又恢复了平静,但是弟弟死亡的阴影始终让崔斯汀无法面对他所深爱的苏珊,崔斯汀后来离家远航,他的身体才是他真正的帐篷,他走了,逃避了苏珊的爱,却带走了苏珊的心。

    他去远航,在波涛骇浪中寻找着心灵上的安宁。他去流浪,那颗狂野的心,也许真的如印地安老人所寓言,直到死亡才会停止追求自由的本色。可是,在鸦片和女人中间,他变得更加茫然,漂泊的宿命有时候会让他感到失望与沮丧。他又选择回到了家乡,回到了森林与河流,马群与远山的怀抱。

    崔斯汀与伊莎贝结婚了。

    那个从小就暗恋他的印地安女孩,笑起来会露出白白的牙齿。

    他们有了自己的孩子,他们快乐的生活着,草原总是能赋予人们最简单的幸福。

    而崔斯汀忘了,他曾赶着奔腾的马群从天边走来,他曾经走进过一个女人的生命,留给她的却是无尽的空虚与等待。

    在多年以后,她成了他哥哥的妻子,隔着铁栅栏,她轻轻地、忧伤地:永远真的是太远了。

    她的爱情是低到尘埃里的花朵,低低的绽放。

    激情与回忆,痛苦与缠绵似乎是燃烧着她生命的火把,她也知道他不会属于她,他留给她的注定只能是眼泪和伤痕,可是她却已经爱得无法自拔。

    后来,伊莎贝被愚蠢的警察乱枪扫中,已经归于平静的崔斯汀内心再次燃起了火焰,在父亲和哥哥的帮助下,他报了仇。

    崔斯汀给儿子起名叫山莫。苏珊意识到崔斯汀永远也无法卸下他对弟弟的愧疚,哀莫大于心死,她选择了永远的逃避。

    崔斯汀的哥哥把苏珊的遗体带回了草原,一家人又团结在了一起。

    历尽沧桑的崔斯汀把父亲和孩子交给了大哥,他选择独自离开,从此浪迹天涯,直到生命的终结。

    草原上的那条无声的大河冲刷着岁月的痕迹,它缓慢的流淌着,似乎一个述说故事的老人,可是没有人能看见水面下激流暗涌。有些人能清楚地听见来自心灵的声音,他们依着那声音作息,这种人最后不是疯了,就是成了传说。

    崔斯汀注定了是一个不肯安歇的灵魂,爱上这样的男人是不幸的,可这并不是他的错,因为是他血液里滚动的潮汐让他流浪,这种流浪注定要贯穿他的出生到死亡。崔斯汀在落叶时节诞生,那是一个可怕的冬天,他母亲生他时差点死掉,印地安老人把他包在熊皮内,整晚地抱着,等他长大了,他教他猎杀的乐趣,据说,当猎人从猎物的身体中取出心脏,握在手中,它们的灵魂就能得到释放……在童年的时候,他就以猎杀灰熊的方式来挑战勇气,那场与狗熊的搏杀中,他的血与熊的血溶在一起,从此,一种伟大征服欲左右着他的一切。到了最后,他也以同样的方式选择了结束。据说,在美洲印第安人传说中,熊是英雄灵魂的拯救者。他因此也注定命犯天煞孤星,无伴终老,孤独一生。这是英雄的寂寞,从此浪迹天涯。纵使能够排山倒海,亦无法再见自己的爱人。

    影片最后,讲述着故事的印第安老人在篝火面前为崔斯汀的一生做了总结:疼爱他的人均英年早逝,他是石头,他和他们对冲,不管他多希望去保护他们。他死于1963年9月,秋天,月圆之时,他最后路面的地方是在北方,那儿仍有许多待捕猎的动物。他的墓并没有记号,但没有关系,反正他常活在边缘之地,在今生和来世之间。

    而我也已经知道,我已经在电影里的秋天沉沦。

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