贝托鲁奇 – Mtime时光网

浅谈贝托卢奇

断翼 — Mon, 09 Feb 2009 14:33:00 GMT

借我们二二的贝托卢奇一寒假，终于快结束了，看了《死神》《革命之前》《伙伴》《随波逐流的人》《月神》《巴黎最后的探戈》《1900》《末代皇帝》《戏梦巴黎》，还差《小活佛》和《遮蔽的天空》。性和政治，拉康式分裂，马克思，个人作为历史的困兽，精神分析，理想主义读解与自我迷失。对戈达尔，安东尼奥尼的致敬。他还是无可救药的让我想起米兰昆德拉。

政治，不得不说，但又懒得说。我个人极为讨厌电影触碰到政治化得东西，当然了，中国电影一旦跟政治沾边就必然意识形态化，欧洲电影则通过精神分析和能追溯到柏拉图观点（国家不过是个人的放大）等哲学将其以个人历史生命体验为表象，进行传达。由于中外的教育模式不同，中国哲学混同贡布里希所说的“圆圈式文化”，柏杨所谈到的“酱缸文化”（个人认为还是有点批判过度）不作为一种显学的形态而存在。当然，如果不是当代的全球化对效率的要求，中国哲学是自在的，是自我丰富的循环式滋养学科。沟通和传达需要修炼和体悟，潜移默化的形式必然对于注重效率的今天是落后的，难以吸引浮躁的现代人。西方哲学并不成为一个自我循环式，而是阶梯式的清晰露骨。就算忽略西方从小学中学就开始教授哲学而中国哲学教育的落后，以哲学理念和各话语的结构模式来看，中西方的巨大差异也足以成为普通大众看不懂现代主义电影的借口。

其实贝托卢奇始终不变的兴趣点在于，将角色性格分裂为两个迥然不同甚至对立的生命体，并且这两个人一定是跟这个角色交互辉映。尤其从让人联想到伯格曼《假面》的《伙伴》开始，到《随波逐流的人》中，男主人公的妻子和情人是他的人格两面，《戏梦巴黎》中姐弟两人是男主人公心灵世界的两极。所以你可以发现主人公的各种误认。都说3p是贝的最爱，其实他的观念还是跟《祖与占》的观念截然不同的。

贝托卢奇对色彩的掌控和他对与视觉品质的重视，还是跟从黑白时代走过来的其他大师不太一样的。相较于他们，他更加重视电影商业性的方面，《戏梦巴黎》的影调控制就是最好的例证。

当然啦，贝托卢奇的一厢情愿式的理想主义化的看待中国，看待社会主义，在今天看来有点可笑。（例如，我就很不理解《1900》结尾审判时，一个老农民伸出没有了三根指头的手给地主看，责备他说这是为他干活造成的，他能偿还吗——地主又没让你割掉手指，是你自己在农作行为中的事故而已。在社会主义国家，不也有农作割掉手指的事发生吗？跟为谁而干有什么关系呢？）作为一个意大利人，他以自己主观性浓郁的浪漫观念来看待文革看待毛泽东，虽然大部分应说是由时代局限性所致，但从另一个方面来说，作为清晰看到资本主义社会各阶级矛盾尖锐性的明眼人，是不是太过于相信社会主义对人类的疗救作用呢？这样说有点偏颇哈，因为贝托卢奇自己也是渐渐对马克思那一套半信半疑了，然而对于资本主义社会的批判还是很清晰的。所以这样摇摆不定的倾向都用个人作为历史困兽这一主题，来转移对这个永无休止的问题的探讨。然而总让我觉得不太自然，貌似是一种规避。

总有人说他的片子有失控倾向，我认为贝托卢奇是缺乏一定的结构支撑所致，我说的不是叙事结构，而是一个恰当的或者更确切地说是一个系统的能将任何他感兴趣的题材兼容到其中的思想体系。似乎其思想内涵有一定的时代局限性，难以推而广之。说白了，就那么点事，三两部片子说明白了，后面再说这个事就有点让人烦，而且这件事再套在别的题材上就不那么合适了，就有点“凑”的意思了。

以上是现阶段对贝托卢奇的看法一二，个人见解而已。有点直觉主义式的读解，没看什么资料胡说八道的，本人是怀着极端不负责任的意识行文，因而可笑之处各位看官见谅。

扯扯关于蔡明亮的东西

蓝调 — Fri, 29 Feb 2008 05:03:00 GMT

已经下过决心不再买蔡明亮的片子了，但是鬼使神差还是买了《黑眼圈》，这样蔡导从《青少年那吒》以后拍的片子我都有了，其实收集的很不容易，因为象这样沉闷的非主流的影片喜欢看的人的确不很多，碟商也是唯利是图的，他不会为某些人的喜好去生产的。

资金上蔡明亮是没有问题的，所以他一直有电影拍，这是因为他的《爱情万岁》在威尼斯拿过金狮，是被国际上认可的导演了，他曾经说《天边一朵云》如果是别人拍的话可能就会被认为是一个色情片，但是他拍就是艺术片，是啊！大家都在保护他，所以象《天边一朵云》可以一刀不剪就可以上映，不过他还是认为在宝岛台湾没有完全得到认同，他深恶痛绝，尤其表现在金马奖上，的确金马奖的这些年是不太给本土的电影工作者面子，很少有本土的影人获奖，刚刚结束的本届就是例子，四个表演奖被香港和内地瓜分，就连新人奖也被内地的汤唯折贵，至于最佳影片《色戒》也不应算是纯粹的台湾影片，蔡明亮认为金马过于商业，可是看看就算奥斯卡，也甚少有票房惨淡的影片获奖，奥斯卡其实和金马都一样，都是地区性的，它主要还是表彰为大众认可的影片，鼓励为市场做出贡献的影人，它不是电影节，只要艺术不要票房，如果都一窝蜂的去拍小众电影，还有谁愿意来看电影，这个产业谁来保护啊！

晚上犹豫了一会儿是不是要看《黑眼圈》，知道这是要考验耐心的，还好，在依然故我的沉闷坚持到了结束，《黑眼圈》在威尼斯遭到了记者的退场待遇，看来曲高必定和寡，但是一定要把影片拍的这么难看吗？究竟是形式大于了内容，还是内容大于了形式，常常自诩超级电影迷，文艺艺术青年，从内容上还能接受蔡明亮的，但对于这种拍摄风格却越来越不敢苟同了，电影一定要这样拍吗？总觉得他离大师还差很多，充其量只能算是个类型片导演，是什么类型我也说不清楚，因为他统一的拍摄风格决定要这么说，“大量的长镜头，吝啬的对白，艰难的生存环境，变异的人物关系等等”，他从没有作任何其它的尝试，还是驾驭不了其它类型呢？只有他自己能说的清楚，看看真正的大师库布里克，西可塞斯，斯皮尔伯格，科波拉没有一个是在一种风格里转悠的，从1993年至今拍了八部长片和一部短片，如他所说他是拍“小康”的成长过程，一样风格无一例外的拍九部，究竟是多还是少呢？同样从台湾出来的李安，他的成名作品《推手》也算是闷片，前20分钟也是长镜没句正经的台词，他没有沉湎他的成名，之后他的风格没有局限化，李安不闷他是闷骚，他既有口碑的同时票房也不差，蔡明亮也算闷骚，蔡导的镜头和内容都是很大胆的这是毋庸置疑的，他是镜头闷的要命，人物骚的要死。

蔡的艺术成就我没资格评论，既然你是个知名导演，就应该有责任，也应该考虑一下市场，而不是考验观众的承受能力和理解能力，就象我是北方人喜欢吃馒头，但是适当的也要有米饭调剂一下，其实吃米饭和馒头没有什么不一样的，营养价值也不会差到哪去，可是如果天天吃米饭，最喜欢的馒头不见了会怎样呢！没有让蔡明亮拍商业电影的意思，也许那会毁了他的一世英名，可是艺术的表现手法也很多的，不需要每一部都是堆砌大量的长镜和空镜吧，长此下去就是“美”，也会有审“美”疲劳的，那些曾经的掌声，也许很多都是怕被别人说自己没有看到“皇帝新衣”的人鼓的，伍迪艾伦也始终是坚持艺术，非主流，不和商业妥协，但是他在六十多岁的时候还在寻求改变，《赛点》就是例子，上学的时候流行“魔鬼词典”，它用“人人都希望看过但是都不想看”解释名著，我希望的经典影片是百看不厌，是有回味的，不是望而生畏的。

从林青霞之后台湾只有电影演员而无明星了，这也决定了票房号召力的缺失，蔡明亮的影片主要演员是由固定的班底构成的，演小康父亲的苗天已经去世了，其他出现最多是李康生，杨贵媚，陈湘琪。

李康生只属于蔡明亮，看他在许鞍华的《千言万语》出现的时候，总觉得别别扭扭的，他的表演是蔡明亮需要的，他是本色演出还是属于性格演出真的不好说，九部影片都有他，从来没看过他笑，一贯都是苦瓜脸，有的时候真怕他掉进角色里出不来抑郁了，那一动不动的表情是演技吗？现在他也做导演了，拍的东西和他的师傅如出一辙。

杨贵媚虽然是公认的有演技的演员，可是她从影这么多年却只获得过一次金马奖，和她的演技不成正比，而且这次获奖和蔡明亮无关，说她是好演员是因为她不在乎影片里毁坏自己的形象，只要是角色需要，她都肯牺牲，她频频出现在众多的艺术片中，大概太想拿奖了，看她在颁奖典礼上鼓励刘德华的感言中就能听的出来，“我已经等了四年”，重要的电影是视听艺术，她是个有台词功力的演员，在蔡明亮的电影里不怎么说话也就罢了，而在《不散》中那个什么也不说只是不断嗑瓜子的角色，真的有些埋没她了。

陈湘琪是不是也想拿奖我不得而知，只是她目前还没获过奖，她在蔡明亮的影片中表现更大胆，牺牲更彻底，曾经在杨德昌《独立时代》中的那个迷人的琪琪再看不见了，她也被蔡明亮拉下水了，象她这样又有形象又有演技的人并不多，但是她的知名度就差了很多，是她不肯融入主流吗？她大概被艺术诱惑了。

《巴黎最后的探戈》

喜寶 — Tue, 30 Oct 2007 05:52:00 GMT

前天我看了《巴黎最後的探戈》。
剛一開始，看見那座大橋，想到《巴黎，我愛你》。
再看老舊的房屋，感覺像是《戲夢巴黎》裏的那閒。一樣的光線，一樣的灰塵，一樣的安靜......後來一查，果然《戯夢巴黎》和這部影片由同一個人導演——貝托魯奇。
馬龍.白蘭度演潦倒喪妻而瘋狂的男人。
她說，愛情就是兩人同住一個租來的房間，無需姓名，縱情做愛。
她不能和他在一起。她要結婚。
他卻愛上了她。
她開槍打死了他。
誰了解誰，誰知道誰的過去、現在和未來。
姓名是多麽膚淺的東西。
旁人都不重要。

[视频]Bertolucci访谈

mnauce — Tue, 17 Jul 2007 04:43:00 GMT

Bernado Bertolucci interview (BBC)

The Visual Style of Bertolucci

mnauce — Mon, 09 Jul 2007 16:07:42 GMT

BB影片的视觉风格其实很值得探讨(不过说实话以前看得时候我也没有特别注意)，毕竟有Vittorio Storaro这样一位摄影大师与其长期合作。

比如the Conformist一些片断明显显露出表现主义的视觉风格，Spider's Stratagem，Last Tango in Paris的视觉风格则明显受一些绘画的影响（比如Francis Bacon，Théodore Rousseau），还有自然是摄像机调度，运动，机位等等。虽然这更多地应当归功于Vittorio Storaro。

转一篇我觉得不错的英文文章

http://italian.vassar.edu/bertolucci/style.html

The Visual Style of Bertolucci
By Alex Wei

Bernardo Bertolucci is an expressionist filmmaker in the sense that the style of his films transgresses the realities of everyday life and the traditional cinematic way of depicting it. He achieves this through many techniques such as original camera shots or compositions that only we, behind the camera, could see. Bertolucci also paints his films in a light that creates a surrealist or "metarealist" mood and aura.

The Conformist is shot with camera angles that evoke an avant-guarde style of cinematography. Towards the end of one scene when the chauffeur arrives, the camera is set very low to the ground, and as people begin to depart from the scene, the leaves on the ground blow away from the camera into the air. However, the leaves do not move in a random and natural way, rather they continuously blow outwards and upwards in a stylized manner. It is through the angle that Bertolucci's cinematographer shoots the footage, that this avant-garde interpretation of nature, is shown in such an unnatural and surrealist manner.

When Marcello believes that he is being followed by a car, the camera is pacing with the car but is tilted at a forty-five degree angle. The camera is focused on the car's front grill and mimics the shape of the grill which is a "V" form. Highlighting this pointed area of the car, it creates a sense of uneasiness because we cannot see the driver and since it is a perspective that we do not normally have of an automobile, our senses are prepared for the unexpected to happen. Then the camera redresses its position achieving a normal shot of the gate and the car, a return to our normal perspective: the sense of danger has passed.

Bertolucci paints the film with light in the sense that the quality of light is integral to the overall reading of the film. When the film begins, two men are in a car and bathed with a blue light that is evokes twilight or dawn, but the hue is unique enough that it creates a moody and "film noir" look. We can tell that the two men are involved in actions that are questionable through the mysterious light that envelopes them. The same eerie dark blue light appears in many locations of the film, particularly around the train station. This certain quality of light sets the stage for later events. We as viewers, subconsciously or consciously, through the character of light, know that the ending of the film will be dramatic. Ironically, the light during the last scene in the woods is shot in a natural tone that would appear there. It is slightly gray, but definitely not as gelled as in the earlier scenes.

This quality of light that exists throughout the film enhances the colors of incandescent lighting whether on streets or from building windows. As a result, the style of lighting has a murky quality to it that creates a painterly effect. In reality we do not normally see a streetscape "painted" in this manner.

A different type of light, a gray golden light, existed throughout the film Last Tango in Paris. The characteristics of the light here were too uniform to be "available" light, rather they were predetermined. Therefore, the grayness of the light reflected the nature of the relationship between Paul and Jeanne, while the golden color, often casting through the shutters, reflected the nature of love. This gray-gold mix created a visual depiction of the turmoil and nature of the relationship.

These two elements of cinematography that are part of the visual aspects of the films reflect Bertolucci's desire for a cinema that extends beyond neorealism, into the multi-dimensions of our perceptions and senses.

All of these elements are in the hands of the Director of Photography who is held in the position of realizing the director's intentions through the mediums of light, form and film. It is interesting to think that typically the Director does not play an active role in the filming other than viewing daily prints.

贝托鲁奇获“荣誉金狮奖” 经典将重现威尼斯

mnauce — Mon, 09 Jul 2007 15:17:40 GMT

原文 http://www.mtime.com/my/335587/blog/397404/

贝托鲁奇获“荣誉金狮奖” 经典将重现威尼斯

Juneau 发布于：2007-06-19 14:02

威尼斯电影节组委会昨日宣布，66岁的意大利著名导演贝纳尔多·贝托鲁奇将荣获今年威尼斯的“荣誉金狮奖”。这位曾推出《巴黎最后的探戈》、《末代皇帝》等代表作的名导，将在9月8日举行的电影节闭幕式上被授予奖项。“贝托鲁奇是一名伟大的意大利电影人”，威尼斯电影节总监大卫.克洛夫说，“他勇于向世界观众展示其个人的创作灵感。”
身为意大利最受推崇的导演之一，贝托鲁奇是威尼斯电影节的常客，他在1962年至2003年之间推出诸多佳作，其中以中国历史为题材的1987年影片《末代皇帝》获得过9项奥斯卡奖，包括最佳导演，轰动了整个影坛。为了向贝托鲁奇致敬，本届威尼斯电影节还将修复并上映其1970年的影片《蜘蛛的策略》。

贝托鲁奇蛰伏四年再执导筒新片聚焦意大利史诗

mnauce — Mon, 09 Jul 2007 15:14:59 GMT

原文在 http://www.mtime.com/my/335587/blog/374406/

贝托鲁奇蛰伏四年再执导筒新片聚焦意大利史诗

时光电影报道发布于：2007-06-04 09:19

　　曾执导《末代皇帝》的意大利名导贝尔纳多·贝托鲁奇蛰伏四年后即将再执导筒，操刀一部暂未定名的英语对白新片，该片将聚焦16世纪意大利音乐家杰苏阿尔多颠沛流离的感情生活以及他著名的谋杀案件。

　　贝托鲁奇合作多年的制片人杰雷米·托马斯正在为此片筹集资金，他将这部影片与贝托鲁奇的名作《末代皇帝》相提并论，称该片讲述了一段历史上不为人知的“史诗故事”。提及意大利音乐家卡洛·杰苏阿尔多，除了他的歌谣曲和牧歌等音乐作品外，更为著名的是他所犯下的谋杀罪行。由于妻子出轨，杰苏阿尔多因妒生恨，于是杀死了妻子及其情夫。他本人在这段爱恨交织的感情纠葛以及杀人后的愧疚和痛苦中饱受心灵的折磨，反而激发出他非凡的音乐创作灵感。

　　自2003年推出《戏梦巴黎》后，现年67岁的意大利名导贝托鲁奇一直没有新作推出。原来，这段时间贝托鲁奇一直在潜心为这部新片做开拍前的准备工作。该片剧本由贝托鲁奇本人和曾与之合作执笔《末代皇帝》剧本的编剧马克·佩普洛共同操刀。据制片人杰雷米·托马斯介绍，由佩普洛执笔的剧本第一稿定名为《天堂与地狱》，但贝托鲁奇已经对剧本进行了大幅度的删改。目前，该片选角工作刚刚开展，尚未有确定的演员人选。“目前，该片主创阵容中惟一可以确定的就是贝尔纳多和马克这对搭档将负责操刀该片。”托马斯在接受《综艺日报》的采访时说。

　　不久前，贝托鲁奇曾宣布将根据小说《仙乐飘飘》(Bel Canto)创作一部以南美洲为故事背景的电影剧本，但在这部杰苏阿尔多传记片的拍摄计划宣布之后，《仙乐飘飘》的拍摄计划将无限期后推。

本群组现在荒得要死

mnauce — Fri, 01 Jun 2007 06:30:37 GMT

等我有空来打理一下

以《戏梦巴黎》的色调为主题装修了一下

法兰 — Thu, 03 May 2007 09:37:59 GMT

我用的是笔记本,屏幕可能有色差，头图右边我用了《末代皇帝》的海报作素材，真担心太暗了用台式机的朋友会看不见……

如果有不满意的地方告诉我，我继续改~~

你最中意的B女郎

mnauce — Sat, 07 Apr 2007 15:01:08 GMT

Adriana Asti，BB的前妻，伊的资料好像很不容易找。偶只从BB的一个访谈里知道她从前是舞台剧演员。BB说她改变了他对演员的看法。

顺便说，以上截图截自Before the Revolution中我最喜欢的段落之一。

她的作品海报见这里p0039967.people.mov.cn/

Dominique Sanda ，法国演员，出身模特，除了主演BB的The Conformist与1900外，还与De Sica合作过。

以上截图截自the Conformist一个极其暧昧的画面。大家猜右边那人是男是女？

恩，上面这张您要是看得还不爽的话俺们再来一张。

其实这两张都没把伊的气质完全凸现出来，电影里似乎更为漂亮。

Stefania Sandrelli，意大利著名女星。她最初出名其实是在前不久在上海展映的《意大利式的离婚》（1961）（展映的同时还有她的《我们如此相爱》），上面是the Conformist中的一张截图，她是此图后景中的那位妙龄女郎，左边是男主角Jean-Louis Trintignant (Three Colors: Red, Z, Un homme et une femme)。注意这张图的打光。再来一张：

除了BB早期的the Conformist与the Partner，伊其实在Stealing Beauty中也饰演了一个角色（你们猜她演了谁？）。另外，如果你看过一部西班牙情色片《火腿火腿》（又名《共夫共妻》），你也能找到她，她在其中出演一个风骚半老徐娘，个人以为比那时的Penélope Cruz 性感多了。

这张慎入噢

Maria Schneider，在Last Tango最出名的一张海报中。

Last Tango的大获成功，使得Maria Schneider红极一时（此片被很多美国影评人赞为惊世之作，BB那时的江湖地位几近前辈Fellini，Antonioni，当时美国很多人都在讨论BB是否是未来的Fellini，Antonioni）。但不久她因吸毒无法正常工作，断送了大好前程。这之后她比较有名的片子似乎只有Antonioni的the Passenger。

Jill Clayburgh，美国著名演员，除电影外还演舞台剧与电视剧，两次Oscar提名，一次嘎纳最佳女主角。出演了BB的La Luna。

Debra Winger，美国演员（这时BB已经主要在美国活动了），两次Oscar提名。出演了BB的The Sheltering Sky。

Liv Tyler 在Stealing Beauty的海报中，这位想必不用俺介绍了。

Eva Green，the Dreamers的女主角。这位想必也不用介绍了。

累死了，偶确定没有力气再搞个B男郎出来了。大家投票吧。

《末代皇帝》的一些个人读解

mnauce — Sat, 07 Apr 2007 01:44:10 GMT

本贴原是回moviefan贴的, 后来越写越长，索性另开一贴。

关于《末代皇帝》，我觉得同其他BB影片一样，重心在“人”(而非“史”)，Bertolucci并不曾着墨表现某种宏大叙事，他选择的是用他惯常的贝氏手法，从溥仪的特定角度来表现人在大历史下的无力感。

溥仪，在影片中从来不曾是一个完整的人，就像BB早期名作中的主人公一样，是existential anti-hero。终其一生在寻找某种定义自身的质素。

我们看到溥仪回忆的初始点是其作为幼童被带进宫，伴随这个事件的是“关门”的意象，还有那段表征命运动机的音乐。然后是溥仪被带进那个大厅面见慈禧的著名场景，BB非常着意这场戏的空间处理，打光上暧昧幽闭, 大厅侧面是众罗汉的狰狞面容，正面居中的是垂死的西太后慈禧，环绕其身的是面敷白粉，状若无常的一众年老嫔妃与一些阴阳怪气的太监。
这段场景既给溥仪继位做了交代，也交代了整个历史背景，垂死的西太后意味垂死的满清，给溥仪的命运写了第一笔。溥仪并不是自愿成为皇帝的，但这并不由他作主。既然成了皇帝，就要担负起挽救满清垂死命运的重责，而这又岂是溥仪能做到的，但溥仪又必须做，现实与理想的落差构成了他难以化解的焦虑，这以后他将借各种途径来解除这种焦虑。

其后是那段著名的加冕礼。BB镜头横摇，全景式地展现台下的“宦海”（宦官与百官组成的人海），他们整齐统一的服装，静穆的神情，无不透出庄严肃穆。而台上的三岁幼童穿着大号的皇袍，台下的场景越是恢弘壮观，越显出他渺小，无力。同时，皇帝的身份对这时的他也并无多大意义，溥仪像其他普通的儿童一样，纵然台下如许江山社稷，对他来讲，也比不过一只蟋蟀有吸引力。

溥仪虽然称帝，但依旧不能掌控自己的命运，影片用了一个充满了贝氏暧昧性的隐谕来表明这点：溥仪已经半大了却还要其奶妈给他哺乳，而一群宫廷贵人在画舫上用望远镜窥视着他们。这一暧昧的场景既表明溥仪的无法长大，不愿长大(长大就意味着责任), 也表明他的一举一动，哪怕是最私人的事件，都在宫内权贵的严密监控之下。
这种无力感及至奶妈被迫离宫，达到了一个小高潮（此时又响起那段命运动机的音乐。）

正因为他始终无法掌握自己的命运，当Johnston到来后，他无疑把后者视为救星，或者说是精神之父。溥仪的趣味思想及此已完全倾向西方，他视西方的启蒙思想为自救之道，所以他遵从Johnston的意愿戴上眼镜，其后又自剪辫子。

Johnston出场的镜头耐人寻味，高个瘦削带着礼帽的新帝师与矮胖身着朝服的旧帝师这一高一矮两个人从一群穿长衫的抗议学生中走出，走到对峙的抗议学生与“国民”政府士兵的刺刀中间然后从旁离开。这位新帝师似乎为溥仪打开了一扇窗，为他带来了希望，重建帝国的希望，但终究也未能给溥仪的理想带来什么实质性的帮助。溥仪对Johnston说I want a car，Johnston却为其带来了bicycle。尽管如此溥仪以为自己已然独立，能够掌控自己的命运，于是当冯玉祥的手下将其驱逐出宫时，他满不在乎，似乎求之不得。

然而只有到了外面，脱离了紫禁城的保护（虽然溥仪始终以为是禁锢），他才慢慢碰得头破血流。after all，他是一个鞋带都不会系的“孩子”。

为了实现其恢复帝国的梦想，溥仪接受了日本的"帮助"，天真地以为自己可与日本天皇称兄道弟。但满洲里时期却是其生命中最灰暗的时光（这整个时空的打光很明显地体现了这点）。他的两个妻子，一个似乎解脱了，长笑而去；另一个则沉迷鸦片，最后成了疯子。而溥仪的天真梦想，也逐渐被现实无情击碎。关门的意象与命运的音乐再度同时响起。在满洲里他成了一个名副其实的傀儡，甚至连表面的尊严都尽失。

也因此，当他被苏军送往红色中国时，他有了轻生的念头，但被救了起来，也就是说，在影片的第三个时期－－解放的中国，溥仪依旧是个不能掌控自身命运的人，连自杀都不能。面对教官的质问，银幕上出现了或许是电影中最感人的一幕，他愤然快笔写下“溥仪”两字，然后却又惘然，缓缓缩回颤抖的手，似乎对面前的两字充满了不确定，无力感。而那张让他交代事实他却什么也写不出的白纸也正暗示其人生的一片空白。

anyway，在改造最后，溥仪已有了“觉悟”，真诚地相信自己从前错了，似乎他终于找到了他人生的立足点。然而世事无常，很快就是文化大革命的登场，这是一个非常戏剧化的场景，同1900的结尾有点相似，更早的则可以追述到Before the Revolution与The Spider's Stratagem结尾的歌剧院场景。劳改所溥仪的老师（溥仪在第三个时期的精神之父）成了批斗的对象，一切价值都被颠覆重估，溥仪刚刚改造好的人生观再度受到冲击。毛泽东的大幅巨像似乎预示着一个新的皇帝形象，于是这个出身在旧世界末世的人，人生对他来说再也没有可能理清，于是带着一份疑惑悄然离世。影片最后以一个非常暧昧的蟋蟀场景结束，似乎意味着溥仪已再无力在这个社会洪流中认清自己，于是复归到小时候天真烂漫的状态。

总之我个人完全是从BB出发来考量这片。影片中有很多BB的trademark。首先是布光，BB对于布光相当考究，早期的一些彩色片，个人觉得与其老师Pasolini的一些影片：Decameron，Medea的用光相似（也有差别，特别是Spider这片）。但从末代皇帝开始，他的布光又有某种新的发展，更注重色彩的对比与发展，具体表现在片中三个时空用了完全不同的色调来表现人物的心理色调，紫禁城那段的光线越来越亮，因为溥仪在Johnston到来后感受到的启蒙也越来越多。

二是寻父弑父这个Bertolucci固有主题，在此片中稍有变型－－寻找人生价值，价值被颠覆。

三是片中广泛使用的有贝氏暧昧性的symbolism，那种诗化的表现手法。事实上上面提到的若干种仅是我所理解的一些隐谕（希望没理解的太过离谱），片中还有许多我不很理解的手法（比如溥仪隔着一块布与其他人“游戏”等等），我觉得好些隐谕处理的过于个人化了。这似乎也是BB影片一个最大的问题－－如何处理作者（auteur）与读者的关系，如何使个人手法激起普遍的感受。1900我觉得就是这方面比较失败的作品，太过个人化了，我个人不是很喜欢。（俺最喜欢的那些都是俺最共鸣的，呵呵）

以上都是些个人见解，欢迎大家补充，提出不同意见。

BB的一个介绍

mnauce — Fri, 06 Apr 2007 12:00:01 GMT

暂时没找到像样点的中文介绍。俺就偷懒贴个英文介绍（from Wiki，其实这个贴介绍的也不够全面。）等以后收集到中文介绍再慢慢贴。也希望各位不吝贡献一些（yc自然更佳）。

Bernardo Bertolucci (born March 16, 1940) is an Italian writer and Academy Award winning film director.

[hide]

[edit] Biography

[edit] Early years and family

Bernardo Bertolucci was born in the Italian city of Parma, in the region of Emilia Romagna. He was the second son of his father Attilio, who was a poet, a reputed art historian, anthologist and also a film critic. Having been raised in such an environment, Bertolucci began writing at the age of fifteen, and soon after received several prestigious literary prizes including the Premio Viareggio for his first book. His father's background helped his career: the elder Bertolucci had helped the Italian filmmaker Pier Paolo Pasolini publish his first novel, and Pasolini reciprocated by hiring Bertolucci as first assistant in Rome on Accattone (1961). But Bertolucci's potential had already been noticed by others, such as Sergio Leone, who asked him to write the storyline for Once Upon a Time in the West. Leone later rejected it as too cerebral for an American audience.

Bertolucci has two brothers: the film producer Giovanni (b. 24 June 1940) and the theatre director and playwright Giuseppe (b. 27 February 1947).

His first wife was Adriana Asti, star of his early film Prima della rivoluzione. In 1978 he married Clare Peploe, a British screenwriter who has since directed a few films as well.

[edit] First film

Bertolucci initially wished to become a poet like his father. With this goal in mind, he attended the Faculty of Modern Literature of the University of Rome from 1958 to 1961. This is where his film career began, as mentioned previously, as an assistant director to Pasolini. Shortly after this, Bertolucci left the University without graduating. In 1962, at the age of 21, he directed his first feature film, La commare secca (1962) The film is a short murder mystery, following a prostitute's homicide. Bertolucci uses flashbacks to piece together the crime and the person who committed it. The film which shortly followed was his acclaimed Prima della rivoluzione (Before the Revolution, 1964).

The boom of Italian cinema that gave Bertolucci his start slowed in the 1970s, as directors were forced to co-produce their films with several of the American, Swedish, French, and German companies and actors due to the effects of the global economic recession on the Italian film industry. It has been speculated that this is the point in its history at which Italian cinema began to depend upon the international market.

[edit] Collaboration with co-producers

Directors increasingly were forced to co-produce their films with French, American, Swedish, and German companies, in order both to finance them and to appear competitive in the now-international entertainment industry. Bertolucci was no exception. Last Tango in Paris (1972), starring Marlon Brando and Maria Schneider exemplified the new trend for Italian movies to make more money by employing foreign actors in starring roles: Last Tango included only one Italian actor, Massimo Girotti, in a main role. Bertolucci's 1900 (1976), starring Burt Lancaster, Donald Sutherland, Robert de Niro, and Gérard Depardieu, is often said to mark the point at which the Italian film industry's dependence on the international market began to contribute to the disintegration of its national identity, although the film itself is entirely focused on an Italian theme: it chronicles the lives of two men during the political turmoils that took place in Italy in the first half on the 20th century.

[edit] Politics

Bertolucci might not regret this disintegration: he is actively political, and a confessed Marxist. Like Visconti, who similarly employed many foreign artists during the late 1960s, Bertolucci uses his films to express his political views; hence they are often autobiographical as well as highly controversial. His political films were preceded by others re-evaluating history. The Conformist (1970) criticised Fascist ideology, touched upon the relationship between nationhood and nationalism, as well as issues of popular taste and collective memory, all amid an international plot by Mussolini to assassinate a professor of politics in Paris, France. 1900 also analyses the struggle of Left and Right. The 1987 epic The Last Emperor (recently re-released at an extended 219 minutes) allowed Bertolucci to influence politics both through his characters and through the act of making the film itself. He was granted unprecedented permission to film in the Forbidden City of Beijing, and the film's central character Pu Yi undergoes a decade-long communist re-education under Mao which takes him from the peacock colours of the palace to the grey suit worn by his contemporaries to live out his life as a gardener.

[edit] Evaluation

Many critics consider sex and politics the defining characteristics of Bertolucci's films. Last Tango examines sex in an extremely carnal and disturbed way. It is seen as an erotic film which opened the door to eroticism in general-release films. The Conformist is based political themes, more specifically, fascism, and the relationship between personal comfort and ideals. The film deals with Fascist Italy and can be seen as both artistic and intellectual. This film is thought to demonstrate his excellence as a director. While he has directed, written, or been otherwise involved in dozens of movies over five decades, and his range is extremely broad, these themes nonetheless figure prominently throughout his work, especially in his most noted and most recent releases. Stealing Beauty offers little heterogeneity and The Dreamers manages to include both subject matters and little else. Whether this narrowness is Bertolucci's intent or merely a symptom of the narrowness some critics accuse him of, he has used the controversy aroused by his films iconoclastically to encourage people to reconsider themselves and their society; he is often considered successful in pushing back the boundaries of propriety. Bertolucci enthusiasts will also notice the similarities between characters in films, particularly in the two most recent (Stealing Beauty, 1996, and The Dreamers, 2003). For example, the two female leads in both films (Liv Tyler and Eva Green), are fair of skin, slender, dark haired and blue eyed. Both characters are heavy smokers during the fashionable ages of youth, and both are shown losing their virginities, at the age of nineteen. Both Tyler and Green appear in full frontal nude scenes. In both films, Bertolucci speaks of 'proof of love,' using almost the exact same lines each time.

In The Dreamers, the character Isabelle, declares she was born in 1959 even though the film is set in the late sixties. This line is not to be taken literally; it is a reference to Jean-Luc Godard's film Breathless (1959) as the character then proceeds to renact a famous scene from the Godard film.

[edit] Spiritualism, certainty, and self-doubt

Bertolucci also has a talent for putting the human soul under the microscope. Psychoanalysis is as central to his films as it is to Woody Allen's, and Marlon Brando claimed that Bertolucci's sharing of psychoanalytical confidences with the star on the set of Last Tango in Paris helped elicit the performance that many consider Brando's best. Bertolucci himself is also known for the number of psychologists who have followed him everywhere, even interpreting his dreams, as a subject of dissertations and research on the creative artist. His interest in understanding the human condition has led to the many explicit scenes in his films.

Last Tango in Paris presents Marlon Brando's character Paul as he finds comfort in an anonymous affair after the death of his wife in violent circumstances. The film caused controversy in Italy for a sodomy scene, and it was sequestered by the censorship commission and all copies were ordered destroyed. An Italian court revoked Bertolucci's civil rights for five years and gave him a four-month suspended prison sentence. Many years after, when the general modesty had changed and the censorship commission had been abolished, the film reappeared (because Bertolucci had kept a clandestine copy) and was projected in a slightly censored version.

In this and other films, Bertolucci examines the power of sexual relations in people's lives. Stealing Beauty gives a visual account of a girl growing into a woman during a summer abroad. His latest work, The Dreamers, has been criticised not only for its extensive sex scenes but also for the inclusion of male masturbation. In it, the sexual relations of three main characters serve to expose their thoughts. For instance, when Theo is shown to masturbate it is in the context that the one he loves the most, his sister, seems to be growing away from him and he can see the development of a relationship between the newcomer and his sister that excludes him. The film hints at an unnatural relationship between brother and sister, a relationship that borders on incest. The chaos in ordered family relationships mirrors the chaos on the streets outside as France experiences the turbulent May 1968 days of the student revolt.

The Last Emperor, 1987.

[edit] Academy Award

In 1987, Bertolucci directed the epic, The Last Emperor, which was a biographical film that told the life story of Aisin-Gioro Puyi, the last Emperor of China. Bertolucci won the Academy Award for Best Director. The movie starred John Lone, Joan Chen, Peter O'Toole, Ruocheng Ying, Victor Wong, Dennis Dun, Ryuichi Sakamoto, Maggie Han, Ric Young, Vivian Wu, and Chen Kaige. The movie was written by Mark Peploe and Bernardo Bertolucci. The Last Emperor uses Pu Yi's life as a mirror that reflects China's passage from feudalism through revolution to its current state.

The Last Emperor won all 9 Academy Awards for which it was nominated for—Best Picture, Best Art Direction-Set Decoration, Best Cinematography, Best Costume Design, Best Director, Best Film Editing, Best Music, Original Score, Best Sound and Best Writing, Screenplay Based on Material from Another Medium.

The Last Emperor was the first feature film ever authorized by the government of the People's Republic of China to film in the Forbidden City. Bertolucci had proposed the film to the Chinese government as one of two possible projects. The other film was "La Condition Humaine" by André Malraux. The Chinese government preferred The Last Emperor, and made no restrictions on the content. The Last Emperor became the first western film made in China and about the country to be produced with full Chinese government cooperation since 1949.

[edit] Filmography

La commare secca (1962)
Prima della rivoluzione (Before the Revolution, 1962)
La via del petrolio (1965)
Il Canale (1966)
Partner (1968)
Amore e rabbia (1969, episode "il Fico Infruttuoso")
La strategia del ragno (Spider's Stratagem, 1970)
Il conformista (The Conformist, 1970)
Ultimo tango a Parigi (Last Tango in Paris, 1973)
1900 (Novecento, 1976)
La Luna (Luna, 1979)
La tragedia di un uomo ridicolo (1981)
L'ultimo imperatore (The Last Emperor, 1987)
The Sheltering Sky, (1990)
Little Buddha (1993)
Stealing Beauty (Io ballo da sola, 1996)
Besieged (1998)
Ten Minutes Older: The Cello (2002)
The Dreamers (2003)

Preceded by
Oliver Stone
for Platoon

Academy Award for Best Director
1987
for The Last Emperor

Succeeded by
Barry Levinson
for Rain Man

[edit] See also

Pedophilia and child sexual abuse in films

[edit] External links

贝托鲁奇相关影人简单介绍

mnauce — Fri, 06 Apr 2007 11:37:48 GMT

Vittorio Storaro

这位与Bernardo Bertolucci（以下简称BB）差不多同龄的摄影大师，包办了BB自The Conformist以后的绝大多数影片（在Before the Revolution中他是助理摄像师）。他与Coppola也有过合作（没记错的话应该是Apocalypse Now）。

Ennio Morricone

这位意大利作曲家、配乐大师作品无数，也包括为BB影片配乐的Before the Revolution，1900，La Luna等。

Pier Paolo Pasolini ， Roberto Rossellini ，Jean Luc Godard

这三位电影大师可谓BB的精神之父（也是BB将在其电影中致敬并弑杀的人物）。Pasolini是BB父亲（诗人兼影评人）的朋友，BB后来协助Pasolini拍摄了Accattone，可以说是在Pasolini的指导下度过了其电影的学徒时期（BB本来是诗人，从影之后相当时间内也认为拍电影与写诗没甚差别，我们可以看到诗歌将极大地影响日后BB影片的气质）。

Rossellini：BB在一次访谈中提及Rosellini是最伟大的导演，他的电影是没有边界的。

Godard：作为新浪潮的干将及其中最激进者，Godard是BB的偶像，对此BB在多部影片中都对其表以敬意(homage)，比如Before the Revolution与the Partner。

以下是与BB合作过的最重要的几位演员。

首当其冲的自然是其前妻Adriana Asti ，这位女士在Before the Revolution中的表现实在令俺难忘。BB说这部影片就是献给Adriana的（好浪漫啊！！）只可惜这么可爱的女士Mtime上居然没有照片，请各位自行image google之。

Dominique Sanda ，出身模特，可能是BB影片中我喜欢的女演员（唯有Adriana可以与之一拼），请参见the Conformist与1900。

Stefania Sandrelli 又是一位极其可爱的女士，请参见the Conformist与the Partner.

我得说BB是位极其会选女主角的导演，BB影片中最重要的就是人物（特别是那种existential anti-hero），而女主角总是很可爱，包括中后期影片中的Jill Clayburgh (La Luna), Debra Winger (The Sheltering Sky), Liv Tyler (Stealing Beauty)，Eva Green (The Dreamers).

男主角也有几个可说的，俺印象最深的是The Conformist(Jean-Louis Trintignant )，Before the Revolution(Francesco Barilli , Allen Midgette)，La Luna这几片的男主角。感兴趣者请自行google/image-google之。

其他大家喜欢的BB相关影人请大家补充谢谢！

本群组今日开张，欢迎喜爱Bertolucci的朋友踊跃加入！

mnauce — Fri, 06 Apr 2007 10:48:52 GMT

并请留下您最喜爱的一部和几部贝氏作品

谢谢！

贝托鲁奇 – Mtime时光网

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Contents

[edit] Biography

[edit] Early years and family

[edit] First film

[edit] Collaboration with co-producers

[edit] Politics

[edit] Evaluation

[edit] Spiritualism, certainty, and self-doubt

[edit] Academy Award

[edit] Filmography

[edit] See also

[edit] External links

贝托鲁奇相关影人 简单介绍

本群组今日开张，欢迎喜爱Bertolucci的朋友踊跃加入！

贝托鲁奇蛰伏四年再执导筒新片聚焦意大利史诗

贝托鲁奇相关影人简单介绍