有时,一种错觉可虚像成海市蜃楼,化一座渡桥,把此时的光景送抵彼岸,恍惑间,时空的墙被拆分消匿,新与旧的隔离带被挪走,往昔与眼时的模样悄然重合,所有的一切有了生命律动的共振,仿佛地球仪上描纹的经纬线,纵横交错,可细密至谁的家门口,叩门扉启,牵曳出陌路的情。这是需要意会的情感,若唱出来给人听,便是“走到哪里都有人很像你”;写出来给人想,就是千人心中的千个哈姆雷特;而拍出来给人看,应该是吉姆.贾木许的《地球之夜》了,一夜间,地球在人的眼中被放平了。 想象中其貌不扬的电影故事——《地球之夜》,因为输入了特立独行的贾木许的血液,真的出现了脱胎换骨的新气质,能进到人的心肝道里,这其实没什么大不了的,因为他是贾木许。但始终有让我琢磨不透的,一个规矩质朴成豆腐块似的电影,有如深海般那么神秘的能量来滋养观影者的心智,那是意料之外的,或许看似清淡无味却富含蛋白质的豆腐它自身就是答案。 我喜欢把回味《地球之夜》比作吃这样一块豆腐。但要让电影的形与灵更贴近可参照、可眼鉴的事物,那么这部电影更像一列正在行进的列车。五节车厢,挂着洛杉矶、纽约、巴黎、罗马、赫尔辛基的市徽,五地的出租车司机被请来作报告,各自讲述自己与某位或某几位乘客间的故事。报告结束,贾木许列车长带着司机们消失在地球之夜。而我,继续想象,北京的的哥在干嘛?当然,贾木许一直是这样的列车长,他踏着黑色来,留下幽默走,无论是在《神秘列车》还是在《咖啡与香烟》里。 而回到电影中,一如既往地做他短片拼盘的拿手菜,那是五个小短片,独立存在,剧情上几乎没有交集。但有让整部电影形散神聚的粘合剂,那是工整了电影的基本要素,让人产生错觉。一个主角(出租车司机)、一个道具(出租车)、一个场景(路),他们一直在路上,几乎固定了景别,圈于出租车内,可是感觉在颠覆,动的画迷惑于静的物中,画面单调之极忽转万殊风情,故事斑斓,人像万千种。 而时间是统一的,只因经纬度不同,表现时忠于客观,有时差跨度,起始于洛杉矶时间——(傍晚7:07),讲到赫尔辛基时,正对着破晓时的5:07。关于这个时间的换算,与倒时差的设置,贾木许挺让人惊艳的,他的“一丝不苟”似乎给艺术点了第三只眼,神气十足。 五个故事,我最爱洛杉矶站,里面的薇诺娜.瑞德可爱到爆,想来年轻真好!德普的审美暴露无遗,无论是薇诺娜还是凡妮莎,娇俏灵动的小可人是他的主菜,至于新欢则不评论。话说回来,在这部电影中,薇诺娜略显稚嫩青涩的表演并不碍眼,反倒让人过目不忘了。抽烟,嚼口香糖,吐脏字,推拒大牌星探的邀请,微动作小细节,一步一步把一个巨有“性格”与“理想”的女孩与己合二为一了。三十分钟过,故事被掐断,里面的生活在幻想的脑际延续。其实我不清楚贾木许要把故事的精神放置在哪个高度,意境非常值得回味,有一半的遗憾还有一半的庆幸,出租车司机与星探,各走各的路,不是将伯之助,更不是成人之美。大明星梦多么诱人,可是拥有不见得就幸福,机械师看似不光鲜不光芒,可是谁说那不会是明智的选择。其实,理是理不清的…… 到纽约站,就看到了贾木许的影子。身为伊朗与匈牙利混血的美国人,人说他到纽约求学时也时常迷路,遭遇各种尴尬,受歧视的伤,熬一笑而过的心灵鸡汤,所以他借一位新到美国的德国老人讲导演自己的心情故事。出租车是最恰当的载体,属于你又不属于你的驿站,就如漂泊的人生寄生在地球之夜。这段故事里,三个人都相当出彩,有色人种操着带口音的英语各种相互调侃,层层堆叠着有关伤自尊、思故乡、继续活的小丑人生,咳!谁人不是他人眼中的小丑啊。 巴黎一站哲学且魅惑着,因为《巴黎野玫瑰》碧翠斯.黛尔一抹性感的笑痕,这女人太有视觉冲击力了,注定是镜头的情人。这一段旅程,什么都不谈,只谈性,我也觉得那是烟幕弹,我要是不承认自己肤浅,必然深入挖掘,做个思想者:睁着眼睛的你,好奇的是欲望,看到的只是我的肉体;心中有万物的我,即便闭着眼睛,也能看见你的灵魂是喜是悲。 带贾木许去罗马的是他的御用老伙计罗伯托.贝尼尼,就一部《美丽人生》,他便称得上是名副其实的戏骨了,什么角色都能被他演得入木三分。这部片子里他是带罪的羔羊,然后结果了上帝任命的牧羊犬。事实上,艺术想要突破自我,时常会开罪于宗教、政治,我好奇这样的故事,但不大喜欢无因无果地调戏宗教。这个故事同样有放射性的主题思想,贝尼尼残酷地忏悔过后,所导致的“死亡喜剧”,会让人有各种遐想,舒服的,刺眼的。当然,或许这是另类的严肃的探讨,正如贾木许自己所言,他虽不是宗教的实践者,但他对佛家、基督教、印度教都有兴趣,他只是厌恶借神谕而主张人言的传教,他觉得信仰是自由的。所以,他设计了如此奇异的出租车之旅。 最后一站到赫尔辛基,这是我最不喜欢的片断,没有技术含量,为说故事而说故事,露出了贾木许急于出品、草率收笔的心切,幸好结尾结得好看,没为整个片子拉后腿。如果说,一个星期是个周期,贾木许把剧本写到第八天,就此他要闭嘴干活,也是能理解的。不管怎么样,喜欢某个导演,出于爱屋及乌的心理,对他的电影,无论好与坏,容忍度必然要有弹性,甚至可以对不满的视而不见。何况,八天出这么一个本子,拍摄地点由合作的演员来定,随性且有趣,被膜拜也是应该的。 有车,有司机,有故事,归为公路片,《地球之夜》名副其实。低成本,自编自导,拼人品靠朋友,还要传输一种思维方式,《地球之夜》为独立电影恰如其分。这就是贾木许超显眼的公路片,虽然有车有路有人,但还是有别于其他导演的作品。很懂生活的加菲猫先生,他说过,他并不是每次吃完饭就看电视,有时他会边吃边看电视,生活中有些改变会增加乐趣。这就是与众不同,或许就是同类型影片,各种优异层出不穷的原因了。 我个人很喜欢贾木许,这位大佬的作品是免费的拍电影的教科书,至少对我的路子。照搬他的各种技巧,菜鸟也能沉稳地装装大虾。最重要的是,他的电影不是用钱砸出来的,但他的电影总能砸出名声,然后顺手牵走美刀。《一个导演的故事》想表达,那些很牛的电影大师们很多都是甩着独立电影的鞭子,斗个性,从而争取到自己的地盘的。之后,荷包鼓了,口碑有了,选择走不同的路子,再给自己赚不同的身份,那是不用操心的易事了,那种威武是有些水分的。而贾木许又锋芒在此,一直坚守最初的梦想,所以我觉得他是可以在美国独立电影与文艺电影这两块地“指手画脚”的大师。 PS,TomWaits为电影做的原声音乐,超棒。 新浪乐库:http://music.sina.com.cn/yueku/a/34814.html
A conversation, a misunderstanding. The basic pattern in many of Jim Jarmusch’s films is two characters, sometimes three, bound together by chance and wandering along toward an ill-defined goal, each trying all the while to get to know the other or to make himself understood through the use of words—an attempt that is generally bound to fail. Supposing they speak the same language, they don’t have the same idea of it. In Down by Lawalready, Roberto Benigni was defined as speaking “good restaurant English.” And: “In English, we say ‘It’s good to go,’” Giancarlo Esposito patronizingly explains to Armin Mueller-Stahl, the New York cabbie in Night on Earth.
I first heard of Night on Earth when someone from Jarmusch’s office called to ask if I could translate a pun in the French dialogue. The film was still in production, and Jim was already thinking of his subtitles, but I certainly wasn’t about to suggest a wordplay in English; inventing a—necessarily approximate—equivalent would have caused more damage than using a circumlocution (which is what was done). Although I wrote, in collaboration or not, the French subtitles for most of Jarmusch’s films, I didn’t do Night on Earth. But this pun—which I wouldn’t have had to translate into French anyway—stuck with me as an image for the film. It’s a joke that every schoolboy in France has made or laughed at: a native from Côte d’Ivoire—Ivory Coast—is an Ivoirien, so il voit rien, “he can’t see a thing.” In the taxi of the Paris episode, two outrageously coarse African wheeler-dealers throw this line at the Ivoirien driver, out of a feeling of class superiority rather than racism, but making him even angrier than he already was at the end of a rotten night. Words can hurt and often do.
There is another echo to the Ivory Coast origin of the Isaach De Bankolé character: he says he is a native of Treichville, a suburb of Abidjan and the location (and working title) of Jean Rouch’s Moi, un noir, a film that was arguably the single most important source of a new way of seeing, from the nouvelle vague on, and on. In Moi, un noir, the characters—“real people”—play themselves but identify with film icons, such as Edward G. Robinson and Eddie Constantine. In a reverse movement, Jarmusch writes for and with film personas: each character in Night on Earth has been defined by some of his or her previous movie roles, and the film plays hide-and-seek with their images.
Il voit rien: what, indeed, does a taxi driver see? Far from everything, Night on Earth tells us. He doesn’t, in fact, see his passengers, or only as a reflection. He may talk with them, as happens in all the episodes—there probably wouldn’t be a film otherwise—but not face-to-face. Incidentally, this solves the eternal problem of the field/reverse-field figure that has plagued cinema since its coming-of-age (a predicament I allude to in Godard’s Les enfants jouent à la Russie). The characters look at the street, at the rearview mirror, that is, at the camera, within the frame, instead of looking at each other. Although JJ always eschewed such narrative conventions as the field/reverse-field, here the subject matter itself suggested an alternative—as is the case in most of his films, in fact. This was difficult to put to good use and posed numerous logistical problems, as he has stated in interviews, but the result is elegant and impressive—especially in our Paris night.
A word should be said about Paris here. For more than forty years, Paris taxis were traditionally and monopolistically driven by White Russians, former princes or generals, one secretly hoped, who delivered unending monologues—according to Samuel Fuller, an approving grunt was enough to keep them going—until more closemouthed Vietnamese and Africans took over. They were famous for their winding itineraries. Isaach De Bankolé’s imaginary and impossible route starts in Belleville and ends near la?Villette, with a swerve through the central Châtelet subterranean passage. Mostly we are in the northeast, in the movie a neighborhood that appears to be inhabited by blacks and derelicts only, in real life one of the few places in Paris that maintains some character—not that one should take pride in derelict buildings, but at least some soul seems to remain there.
Halfway through the segment, a new passenger appears, one of the most vibrant characters in any of JJ’s films or in Béatrice Dalle’s career. With her white eyes, her foul mouth, and her double entendres, the girl is something of a mythical character, a Homer or a Tiresias, a Greek soothsayer in today’s Paris. She was born blind, she says, but of course she is a seer, and she does see much more than the unfortunate driver. Incidentally, she gives a good definition of the cinema experience, even though she has never seen a moving image: a film can and should be felt, she says, rather than flatly seen. And the same holds true of lovemaking, she adds, with all her body. One might be tempted to articulate a metaphor from there, except metaphors and good cinema don’t work too well together, and a metaphor doesn’t call the person she’s talking to connard every second sentence. A person is not just what he or she appears to be but is made up of superimposed layers of many characters. Through virtues of homonymy, a renegade Native American might be a character out of The Odyssey, an accountant an English poet, a dreamy dropout a great jazz musician, a pigeon keeper an angel of death. But they are one and all at once and—unlike in Melville’s Le samouraï—their concrete and sensual existences are not sacrificed to a mere fable.
As a nice afterthought to the story, the accident that she foresees and he doesn’t is just a comedy ending, and her laughter confirms it. Just as the Ivoirien driver was called blind at the beginning, so he is again at the end, and rightly so. Play on words, blindness. These two intertwined motifs stand for most of Jarmusch’s films. Not seeing is much less of a hindrance than not speaking the language. His films are sort of a Babel tower, with languages ranging from indigenous to Japanese to, limiting ourselves to Night on Earth,Californian-American executive and teenager lingos, Brooklynese, German mixed with some English, French with a variety of accents, Italian, and Finnish. For a long time, Jim refused to prepare a so-called international version of his films, that is, a soundtrack mix without the dialogue, which is necessary for dubbing in foreign languages. Is there any such thing as a nonforeign language, these films ask? But also this: even if language communication is a failure, are the chance meetings failures, too? It doesn’t seem so, and there may be some magic there. Insults may have been exchanged heartily, but every individual is bound to remain unique, every encounter unforgettable.
Bernard Eisenschitz is a film historian and translator who lives in Paris. He has written, and occasionally made film essays, about Soviet and German cinema, Nicholas Ray, and Fritz Lang, among other topics. He is the editor of Cinéma,a biannual magazine of film history and aesthetics.
贾木许是除了woody allen之外最有意思的导演,五段有趣的遭遇,人与人相处是建立在平等的关系上的,梦想的平等,国籍的平等,强弱的平等,信仰的平等,还有悲惨的平等。
贾木许的公路情结,每个故事都很有意思,有趣又充满当地的文化气息。薇诺娜真是什么装扮都很好看!
其实应该叫深夜出租车,或者是欧洲之夜,五段小故事,五个地方的出租车司机与陌生人的相遇,人们彼此遇见,然后交流,再告别彼此,关于梦想与现实等诸多方面。短篇精悍却也蛮有趣味。
同一时间发生于各个城市的出租车事件,这部是最喜欢的。没有观光客般的视角展现城市,不直白强调人物与环境的关系,却把所有的关联体现在看似简单的镜头里。没有激烈的戏剧冲突,不刻意营造深夜氛围,这样的片子不会给深夜看片的人以负担。人物在某种程度上是残缺的,却对外部环境充满了真诚的信任。
罗马>赫尔辛基>巴黎>纽约>洛杉矶。贝尼尼的神经质话痨喜剧表演才华让我全程笑个不停···乱伦、人兽的对话2333···赫尔辛基的悲惨故事让我觉得很难受,生活如此不易,让我想起了《life in a day》,活着最难的是做人;巴黎的盲女道出了感受力的真理——上帝给你关了一道门必定会给你开一道窗。话说我也感觉闭上眼睛能更好地体验,比如性爱;纽约就是全程 fuck 了,黑人大哥的幽默与东德大叔的木讷对比产生了一种喜剧效果,更重要的是,在纽约这个冷漠的大都市里流露出一种人性的温暖,但可能毕竟都是边缘人吧···洛杉矶的一开始没看,感觉是一种很随性的生活方式,有点老庄哲学的感觉了···8天写完剧本,自编自导自制,贾木许真牛逼。
夜间的出租车司机可谓是当代都市生活中最疏离寂寞的漂泊浪子,与贾木许的边缘气质卓然贴合。五座城市,五个不羁的Taxi driver,五个或极度喜感或忧伤涌动的故事:年轻女司机渴望当器械师,不愿做好莱坞明星梦;移民纽约而来的德国老者,不会开车与认路,只得当乘客同时收车费;来自科特迪瓦脾气火爆的巴黎司机,竟不若盲女心明眼亮,看不清前路;罗马的老司机,忘记摘墨镜,一心与神父忏悔自己的性爱经历(南瓜-绵羊-嫂子),丝毫不理会乘客的心脏病;穿越芬兰与三位乘客比惨的开车人,清晨呆坐街头的落寞倒霉蛋。Tom Waits的音乐总是贾木许作品中的灵魂角色。故事2探讨移民及语言问题,德式英语中夹杂德语、原是小丑的司机/乘客(阿明·缪勒-斯塔尔饰)不啻是全片最大笑点。故事3涉及种族问题。这两个故事最佳,其次是纽约和罗马。(9.0/10)
爱死这部电影了,不是因为本来就很喜欢贾木许,而是因为,每次在出租车上,不是听到很多故事,就是经历很多故事,特别符合我的气质~
1.薇诺娜果然随便怎样都很美2.黑人小哥们都自带rap属性3.凌晨4点遇见失明的巴黎野玫瑰4.罗马出租车司机一张破嘴说死红衣主教5.在积雪的赫尔辛基听你讲一个悲伤的故事直到东方破晓~想念凌晨4点时的你,从未遇见凌晨4点时的你。
洛杉矶是随遇而安,纽约是随波逐流,巴黎是生生不息,罗马是醉生梦死,赫尔辛基是向死而生。从概念到影像,对于“流动“最完美的诠释,流动的城市,流动的人生。
哎呀我靠,终于懂了腰乐队神曲《世界呢分钟》的来源了。就是这片的港译名,而且不是“世界呢?分钟。”,而是“世界这分钟”。
贾木许真不是我的菜,处处都觉得刻意
当我还是孩童,月似珍珠,日如黄金。当我长大成人,寒风凛冽,山川颠倒。
LA:梦想和现实。NY:种族差异。PR:盲人爱贾曼。RM:叨逼叨害死人。【南瓜,绵羊,我嫂子】HS:北欧负组魂。贾木许那爵士风的配乐(大提琴)自然是很动听。
这个片子怎么又被提起来了。。还是榜二。。
薇諾娜演小痞子的樣子真神似,寬大的衣服,褲子上的掛件,還有別再耳朵上的香煙,駝背走路,說話臟口....但是她理想一根筋想做個工程師,哈哈可憐我們的星探了...還有貝尼尼,太調侃了
满口FUCK的薇诺娜,角色置换的笑点超低笑声又超感染的黑人青年和小丑老人,用每一个毛孔做爱的盲女和有眼无珠的司机,巨逗巨会说段子的贝尼尼和眼白翻好久的神父,最严肃最日常最生活化的赫尔辛基四人组。出租车司机或许是众生百态浸染最多的职业,在最美最闹也最温情伤感的夜晚。
北京时间早上9点
【B】原来深夜出租车这个题材三十年前就被贾木许拍过了。人与人之间永远不可能互相理解,却又总会在某些事上得到共鸣。
1司机对自己的职业并非完全满意,但她拒绝了星探给她的机会,因为她已经有了明确的目标:做一名机械师。未来她可能会为自己拒绝对方感到后悔,也可能为自己没有忘记初心而感到庆幸。2司机不熟悉路线,也不太会开车。他并没有抛弃对方,而是伸出援手。今天,我来做司机,你来做乘客。他是安吉拉眼中的混蛋,却是司机眼中的大好人。别人说你是什么不算数,你的行动说明了你是怎样的人。3盲人,黑人,两个都是边缘人士。他不愿赚她钱,她也不愿让他白跑一趟。也只有遇到同类人的时候,他俩才能得到应有的尊重。4人们总是嘴上说要忏悔,另一边却继续做着错事。5安慰一个人的最好的方式,就是让他知道你比他更惨。一个是出租车司机,一个是星探/盲人/神父……完全不同的人产生了碰撞。出租车司机从来没有两次载过同一个人,所有的相遇都是缘分。
Winona Ryder是有多美