很多人一说起大师,都会往深奥玄妙上走。其实真正的大师一点也不会故弄玄虚。他们的美妙是你完全能够感受和理解的。
对这部只用自然光和烛光拍出油画感觉的片子,视觉上当然是无可挑剔的,每一个镜头的起始和终止,机位都在它最应该在的地方,平静的视角,让你脱离了那些人物的悲伤、欢乐、荣耀、凄凉,站在一旁,去欣赏大命运的美。
不过如果只谈画面而不谈音乐,这部片就失掉了一半灵魂。
我很惊讶音乐和镜头、节奏以及人物内心世界的默契。碟里带了原声,可惜弄不下来,于是上网疯狂寻了一整天,却无意发现这样一段记录,库布里克看过《西部往事》,对里面先写好音乐再拍电影的方法很欣赏,于是立刻实践到自己的片里,拍摄现场都是一边放着音乐一边表演,听着音乐来找机位,找演员的站位,找移动的节奏。。。
电影何以能被视为一门融合各种艺术形式的而体现价值的艺术,Barry Lyndon是很有力的例证之一。
已经将原声上传到这里,有兴趣的朋友可以自取
http://pickup.mofile.com/5673772425358464http://www.rogerebert.com/reviews/barry-lyndon-1975Stanley Kubrick's "Barry Lyndon," received indifferently in 1975, has grown in stature in the years since and is now widely regarded as one of the master's best. It is certainly in every frame a Kubrick film: technically awesome, emotionally distant, remorseless in its doubt of human goodness. Based on a novel published in 1844, it takes a form common in the 19th century novel, following the life of the hero from birth to death. The novel by Thackeray, called the first novel without a hero, observes a man without morals, character or judgment, unrepentant, unredeemed. Born in Ireland in modest circumstances, he rises through two armies and the British aristocracy with cold calculation.
"Barry Lyndon" is aggressive in its cool detachment. It defies us to care, it asks us to remain only observers of its stately elegance. Many of its developments take place off-screen, the narrator informing us what's about to happen, and we learn long before the film ends that its hero is doomed. This news doesn't much depress us, because Kubrick has directed Ryan O'Neal in the title role as if he were a still life. It's difficult to imagine such tumultuous events whirling around such a passive character. He loses a fortune, a wife or a leg with as little emotion as he might in losing a dog. Only the death of his son devastates him and that perhaps because he sees himself in the boy.
The casting choice of O'Neal is bold. Not a particularly charismatic actor, he is ideal for the role. Consider Albert Finney in "Tom Jones," for example, bursting with vitality. Finney could not possibly have played Lyndon. O'Neal easily seems self-pitying, narcissistic, on the verge of tears. As one terrible event after another occurs to him, he projects an eerie calm. Nor do his triumphs -- in gambling, con games, a fortunate marriage and even acquiring a title -- seem to bring him much joy. He is a man to whom things happen.
The other characters seem cast primarily for their faces and their presence, certainly not for their personalities. Look at the curling sneer of the lips of Leonard Rossiter, as Captain Quin, who ends Barry's youthful affair with a cousin by an advantageous offer of marriage. Study the face of Marisa Berenson, as Lady Lyndon. Is there any passion in her marriage? She loves their son as Barry does, but that seems to be their only feeling in common. When the time comes for her to sign an annuity check for the man who nearly destroyed her family, her pen pauses momentarily, then smoothly advances.
The film has the arrogance of genius. Never mind its budget or the perfectionism in its 300-day shooting schedule. How many directors would have had Kubrick's confidence in taking this ultimately inconsequential story of a man's rise and fall, and realizing it in a style that dictates our attitude toward it? We don't simply see Kubrick's movie, we see it in the frame of mind he insists on -- unless we're so closed to the notion of directorial styles that the whole thing just seems like a beautiful extravagance (which it is). There is no other way to see Barry than the way Kubrick sees him.
Kubrick's work has a sense of detachment and bloodlessness. The most "human" character in "2001: A Space Odyssey" (1968) is the computer, and "A Clockwork Orange" (1971) is disturbing specifically in its objectivity about violence. The title of "Clockwork," from Anthony Burgess' novel, illustrates Kubrick's attitude to his material. He likes to take organic subjects and disassemble them as if they were mechanical. It's not just that he wants to know what makes us tick; he wants to demonstrate that we do all tick. After "Spartacus" (1960), he never again created a major character driven by idealism or emotion.
The events in "Barry Lyndon" could furnish a swashbuckling romance. He falls into a foolish adolescent love, has to leave his home suddenly after a duel, enlists almost accidentally in the British army, fights in Europe, deserts from not one but two armies, falls in with unscrupulous companions, marries a woman of wealth and beauty, and then destroys himself because he lacks the character to survive.
But Kubrick examines Barry's life with microscopic clarity. He has the confidence of the great 19th century novelists, authors who stood above their material and accepted without question their right to manipulate and interpret it with omniscience. Kubrick has appropriated Thackeray's attitude -- or Trollope's or George Eliot's. There isn't Dickens' humor or relish of human character. Barry Lyndon, falling in and out of love and success, may see no pattern in his own affairs, but the artist sees one for him, one of consistent selfish opportunism.
Perhaps Kubrick's buried theme in "Barry Lyndon" is even similar to his outlook in "2001: A Space Odyssey." Both films are about organisms striving to endure and prevail -- and never mind the reason. The earlier film was about the human race itself; this one is about a depraved minor example of it. Barry journeys without plan, sees what he desires, tries to acquire it and perhaps succeeds because he plays roles so well without being remotely dedicated to them. He looks the part of a lover, a soldier, a husband. But there is no there there.
There's a sense in both this film and "2001" that a superior force hovers above these struggles and controls them. In "2001," it was a never-clarified form of higher intelligence. In "Barry Lyndon," it's Kubrick himself, standing aloof from the action by two distancing devices: the narrator (Michael Hordern), who deliberately destroys suspense and tension by informing us of all key developments in advance, and the photography, which is a succession of meticulously, almost coldly, composed set images. It's notable that three of the film's four Oscars were awarded for cinematography (John Alcott), art direction (Ken Adam) and costumes (Ulla-Britt Soderlund and Milena Canonero). The many landscapes are often filmed in long shots; the fields, hills and clouds could be from a landscape by Gainsborough. The interior compositions could be by Joshua Reynolds.
This must be one of the most beautiful films ever made, and yet the beauty isn't in the service of emotion. Against magnificent settings, the characters play at intrigues and scandals. They cheat at cards and marriage, they fight ridiculous duels. This is a film with a backdrop of the Seven Years' War that engulfed Europe, and it hardly seems to think the war worth noticing, except as a series of challenges posed for Barry Lyndon. By placing such small characters on such a big stage, by forcing our detachment from them, Kubrick supplies a philosophical position just as clearly as if he'd put speeches in his characters' mouths.
The images proceed in elegant stages through the events, often accompanied by the inexorable funereal progression of Handel's "Sarabande." For such an eventful life, there is no attempt to speed the events along. Kubrick told the critic Michel Ciment he used the narrator because the novel had too much incident even for a three-hour film, but there isn't the slightest sense he's condensing.
Some people find "Barry Lyndon" a fascinating, if cold, exercise in masterful filmmaking; others find it a terrific bore. I have little sympathy for the second opinion; how can anyone be bored by such an audacious film? "Barry Lyndon" isn't a great entertainment in the usual way, but it's a great example of directorial vision: Kubrick saying he's going to make this material function as an illustration of the way he sees the world.
This film falls under the category of what Pauline Kael called "Good Trash". A lot of the techniques employed by Kubrick here are demanding, yet readily pleasing: although the film is very long, the editing is so disciplined that one feels not one dull moment. And the soft lighting is very hard to do well without: (1) ruining the right contrast and in-situ fidelity, and (2) seeming cloy as caramel; but Kubrick pulls it off!
On the other hand, the theme material lacks depth, and we feel out of touch with the characters, who are not really fully devloped and plausible. However, one only recognizes these shortcomings upon reflection after the viewing, and the viewing itself is thoroughly agreeable. Come to think of it, the spirit of the film is very well aligned to the style of the Baroque novels themselves, which is more about mannerism and a wry sense of humor than realism and psychological depth. A very nice period adaptation.
Tips: the recurring theme music, a motif of delicate beauty, at times sweet, and at times haunting, is from Schubert's Piano Trio in E-Flat. A good rendition is by the Beaux Art quartet. Otherwise the set performance with Grimaux is also excellent.
整整一周,我把自己封闭在巴黎电影资料馆的小隔间里,几乎看了库布里克所有的电影,也看了几部jean cocteau和帕索里尼的。在看完《巴里 林登》之后,我决定写点什么。
最初选择看库布里克的电影,是为了逃离古典主义。我从中学时代起就无比迷恋的古典主义(其中当然也包括中国的古典文化),在我来到欧洲一年之后,渐渐让我感到疲倦。也许是更多的接触和了解,让我看到古典主义并不比现代主义更加的人性化。
再回到这部电影,它想告诉我们什么呢?
许多人就库布里克在场景,服饰上的追求极致大加赞扬,也有说这是疯子的做法。电影中油画一般华美典雅的画面,确实是电影的一大亮点。我想说的是,在欧洲用18世纪的城堡和服饰来还原历史场景到电影中,是值得称赞的认真态度,但并不是像大多数人想象的那么困难。欧洲人把这些珍贵文化保护的很好,在这里可以经常听到有人说“这座建筑不是很古老,也就19世纪的”。在我看来导演这样做并不仅仅是还原真实,而是用另一种方式再现那些博物馆里陈列着的精美油画,他想告诉我们,那些精美华丽背后真实的人生与命运。
电影最想告诉我们的当然还是人性,让人唏嘘感叹又无奈的人性。电影里让我印象很深的一个场景是巴里顺利地利用妻子的贵族身份获得显赫地位之后,坐在一辆马车里,在她旁边肆意地抽着烟,听到她的制止,他不屑地看了她一眼,把嘴里的烟吹在她脸上。另一个是和继子伯灵顿决斗的时候,巴里心生善念,一枪打在了地上,后来镜头转向伯灵顿的脸,他先是发现自己没有死之后松了一口气,接着他意识到他有了开枪的机会,有了结束自己从童年就开始的噩梦般的人生的机会,也有了把这个出身低下,不择手段跻身上流社会的爱尔兰人踢出局的机会,于是他做出了决定,这个决定很坚决,但是并不十分容易,因为他知道自己很不光彩。这里让人感慨的除了伯灵顿对巴里深深的仇恨,还有他的蔑视,那也是整个阶层整个时代对出身卑微者的蔑视,正是这种蔑视决定了巴里凄凉的晚年,也正是这种蔑视决定了《红与黑》里面于连的死。巴里婚后的为所欲为和他母亲的飞扬跋扈,也和自身被人看不起有关系。伯灵顿这个人物就像是阶级观念的化身,在那个时代,他是比巴里更为强大的。
我记得有一句话说“李白难为杜甫之沉郁,杜甫难为李白之飘逸”,曾经觉得很有道理。但当我们看到库布里克这个绝顶天才可以把科幻片,剧情片,恐怖片,战争片,悬念片,甚至古装片都能拍到极致,不能不感概,一切条条框框,不过是人为设定的。这也是这部电影想要告诉我们的吧?
库布里克的电影最让我惊为天人的地方还不是这些。十八岁第一次知道这个导演的时候,并不敢看他的电影,因为那些直击灵魂深处的深刻让我生理到心理都非常不适。如果你很认真地看了库布里克的电影,你应该知道我说的是什么。我甚至想不到太合适的语言来形容存在于他电影里的让人极度震惊不安的东西。我可以举个例子:比如《发条橙》里面开头牛奶吧镜头的拉伸和重音鼓,比如《紧闭双眼》里神秘派对上宗教祭祀般的仪式和钢琴最边缘音部的配乐,还有《洛丽塔》里面一开头就被杀死的剧作家这个角色的存在,还有《2001太空漫游》里的黑色石板。我觉得这些东西才是库布里克真正区别于其他大师级导演的地方。
时隔八年,终于可以以成熟的心智看他的电影,而不至于变成精神分裂。这跟个人成长和环境都有或多或少的关系吧。虽然法国人有很多地方让我非常厌烦,但是对于艺术格外尊重的态度,在任何其他国家都是少见的。
电影资料馆的学习还在继续,库布里克的电影也没有全部看完。这是第一次写出对库布里克电影的理解,期待自己很快能有新的还者更深的理解。豆瓣让我学到很多东西,在这里写出此文,期待比我更懂电影的人能多多指点。
穷尽一生,也不过是从20基尼到500基尼的长度。
萨克雷的小说、亨德尔的音乐,18世纪的油画、家庭成员睡前阅读般的叙事,忘记了编年,也忘记了幕次,这是南柯一梦,综合古典艺术的形式之美。
Bloody hell!库神把科幻片、战争片、恐怖片、悬疑片、剧情片、cult片统统拍到极致也就罢了,我勒个去连英伦古典文艺片都拍成这样,你个天才老混蛋让BBC情何以堪啊!
在描述巴里儿子的死时,一直保持客观俯视态度的老库终于未能一直中立,以极其动情的方法渲染巴里丧子的悲痛(如那个从病床切到葬礼的蒙太奇),一下子击中了我。无可挑剔的华丽摄影和服饰曾被指摘为形式主义至上,但我以为这种形式恰好符合影片的内核,即璀璨外表下的空虚的灵魂。开篇的情欲戏太牛!
3个小时流畅,沉着,写实的叙事风格没有一个多余的镜头,摄影更是极致,连一丝光线都扑捉得如此完美,配乐是继2001后把古典音乐用得最好的一次,逼逼西的各种只能称为古装片,库布里克一部巴里·林登才真正成就了古典。
古典主义文学的第三人称,冷静的叙述完全围绕着巴里,但是却几乎不用巴里的眼光去看。大库布里克是世界影坛的第一个全类型天才,李安是第二个。
有没有人觉得这是部神作啊?????怎么每一方面都表现得这么好啦??战争、爱情、堕落、从天堂到地狱、甚至到了结尾我都要哭了。看了整整一个晚上 倒回去三次
每一个镜头都可以装上画框,挂到美术馆里去。
第三遍看的感觉仍然是:视觉,听觉,气氛,对白,节奏,行止,于那个时代电影能复制的东西库布里克基本都复制了,可这乱世浮生流水账故事实在有点闷。3.5
三个小时?一点不长,这种典型的电视连续剧情节无论是墨西哥,韩国,中国哪个国家来拍都是几十集起,看完还浪费好多狗血。库布里克让你花三个小时看了一个人一生可能的起伏,在一个精美的风俗长卷中。
在《乱世儿女》均衡的田园构图、复古的情调与极浅极柔和景深之下,库布里克讲了一个充满哲理的故事“从生到灭,不过如此”
暗黑版阿甘。巴里并非品质坏,而是没有品质,见缝就钻,见洞就插,不讲原则,没有坚守,所以他像具行尸走肉。无根之人的奥德赛,生命的最后阶段才算收获了点道德感。精英挺好的,应该争当精英,不过当成精赵就不酷了。最不可能斗过命运的就是小聪明,命运终究会把一切都夺回去。真小人也好过伪君子。
传奇的f0.7镜头,传奇的全自然光烛光,从头到尾一丝不苟极趋沉闷的中心构图、调度、剪接、推进,一直到配乐的发挥和标准的两段结构。库老的古典主义传奇。
Lyndon爵士病重身亡,一年后,Barry和Lady Lyndon结婚,也成了一名贵族,改名为Barry Lyndon。但Lyndon爵士和Lady Lyndon的儿子Bullingdon却十分不喜欢Barry,Barry也预感到自己的未来将会毁于Bullingdon手中...
畸人乘真,手把芙蓉。汎彼浩劫,窅然空蹤。月出東斗,好風相從。太華夜碧,人聞清鐘。虛佇神素,脫然畦封。黃唐在獨,落落玄宗。
重看@新衡山,四星半;库布里克真乃技术狂人,画面如此讲究,看这光线和色彩流动的油画不过誉,每处的构图和站姿坐相都绝对精心排练过,非强迫症不能也;《红与黑》于连同类,《漂亮朋友》杜洛瓦共好。
一个死气沉沉的社会,等级森严,无所事事。一个人的逃避,或为改变命运而进行的努力,不过是命运借以最终达成的工具。放弃心灵真实以求获得社会地位,最终却是在浮华社会中逐步失去所有的真实,成为一个脂粉锦缎包裹下的空无。
【中国电影资料馆库布里克展放映】第二遍看,依旧震撼。在资料馆大银幕上,那些用F0.7镜头拍摄的每一帧都古典精致得可以挂在美术馆的画面的美丽纤毫毕现。观感太好让人泪流满面。看到某让人略讨厌的角色死去的情节竟然湿了……现在我已被片中反复出现的震撼配乐《Sarabande》洗脑
库布里克代表作,一部恢弘的文艺片。库导的作品大多具有惊悚和疯狂的主题,这部却是例外。3小时的片长和缓慢的节奏吓跑了大批观众,但不得不承认:该片技术上趋于完美,f0.7镜头和美如油画的全自然光与烛光摄影、给力的服装和道具配上巴赫舒伯特莫扎特等人的古典乐共同造就了这部古典力作。(8.5/10)
“世界真是烂透了,所以库布里克主人公通常标准很低无甚奢求,就像片中的林登:从一个情景跳到另一个情景,头脑里没有特别的目标,这会儿他挺战事的其中一方,下次又会跑到另一方;此刻他富有,下一刻就穷困。不管世界如何运转,他总在随波逐流。如果找到幸福,一把抓住毫不迟疑;如果麻烦来临,迅速逃离绝无犹豫。如果有人死去或者痛苦,他也总会默默念叨还好不是自己。这就是库布里克电影中身处最糟糕的世界时,一个人所能做到的最好。”