发信人: NORRIS (阿玛兰塔。。阿玛兰塔！！), 信区: Movie
标 题: Eyes Wide Shut解析（zz）
发信站: 日月光华 (2005年09月23日09:04:51 星期五), 站内信件
标 题: Eyes Wide Shut解析（zz）
发信站: 日月光华 (2005年09月23日09:04:51 星期五), 站内信件
以下文字来源于：http://www.plume-noire.com/
原作者：Sebastian Sipat
原作者：Sebastian Sipat
Eyes Wide Shut
Directed By Stanley Kubrick
First off all, let's say that Eyes Wide Shut has little to do with the
onslaught of publicity that preceded it.While the intention is sexual, the
treatment is cold and intellectual rather than physical or sensual. In
fact, one can easily recognize Kubrick's style (cold lights, long scenes..)
and this film won't necessarily shock straight-asses and conservatives any
more than the Stanley Kubrick's previous creations.
Without talking about a cinematographic testament, one can't help notice
that for his last film, Kubrick decided to quote himself, to refer to his
earlier films. Some of the winks are really obvious (Lolita), while others
are more subtle to amuse the amateur [from the lunch with the mom and the
kid in front of tv cartoons referring to The Shining to Cruise shopping as
the camera shhots him with a backward travelling, reminiscent of A
Clockwork Orange (Bill Harford (Tom Cruise) doesn't shop for music tapes,
but does wear a long coat similar to Alex's)]. The film doesn't look like
Kubrick's cinematographic conclusion, but rather like a generator of
endless loops (and reminds us of Alex's fixed look in the opening of A
Clockwork Orange, resumed by Jack in The Shining and by Gomer Pyle in Full
Metal Jacket, we could wonder if these loops were not already inherent of
this filmography) - Eyes Wide Shut's structure being built around loops.
that for his last film, Kubrick decided to quote himself, to refer to his
earlier films. Some of the winks are really obvious (Lolita), while others
are more subtle to amuse the amateur [from the lunch with the mom and the
kid in front of tv cartoons referring to The Shining to Cruise shopping as
the camera shhots him with a backward travelling, reminiscent of A
Clockwork Orange (Bill Harford (Tom Cruise) doesn't shop for music tapes,
but does wear a long coat similar to Alex's)]. The film doesn't look like
Kubrick's cinematographic conclusion, but rather like a generator of
endless loops (and reminds us of Alex's fixed look in the opening of A
Clockwork Orange, resumed by Jack in The Shining and by Gomer Pyle in Full
Metal Jacket, we could wonder if these loops were not already inherent of
this filmography) - Eyes Wide Shut's structure being built around loops.
The Loops
All the film elements (secondary stories, time and space) appear for the
first time and are then repeated, opened and then closed:
first time and are then repeated, opened and then closed:
When he asks where the girls are taking him, they reply ? where the
rainbow ends ? - it's at Rainbow Fashions that he will buy his disguise
that would allow him to access group sex;
rainbow ends ? - it's at Rainbow Fashions that he will buy his disguise
that would allow him to access group sex;
during Mandy's (Julienne Davis) first O.D, Bill tells her ? you’re a very
very lucky girl ? and on the paper from which he will learn about the
second O.D, the headline is: Lucky to be alive ;
In the same way, Bill's itinerary (who seems to be in constant travelling)
functions in loops: he comes back a second time at all the points of his
wandering. [Victor Ziegler's house (Sydney Pollack), the bar where
Nightingale (Todd Field) plays the piano, Somerton (the place of the orgy),
Domino's appartement, Rainbow Fashions, etc.]. Space and events
cross-check, close in on themselves, the spectator cannot consider any of
them as being objective. This is not an absent narrator that relates of
Bill's comings and goings, it is obvious that we are running through the
one of the characters' substance of his fantasies (awake or asleep) (we
will talk about that later).
very lucky girl ? and on the paper from which he will learn about the
second O.D, the headline is: Lucky to be alive ;
In the same way, Bill's itinerary (who seems to be in constant travelling)
functions in loops: he comes back a second time at all the points of his
wandering. [Victor Ziegler's house (Sydney Pollack), the bar where
Nightingale (Todd Field) plays the piano, Somerton (the place of the orgy),
Domino's appartement, Rainbow Fashions, etc.]. Space and events
cross-check, close in on themselves, the spectator cannot consider any of
them as being objective. This is not an absent narrator that relates of
Bill's comings and goings, it is obvious that we are running through the
one of the characters' substance of his fantasies (awake or asleep) (we
will talk about that later).
A dreamed logic
The events shown to the spectator are the subjective perceptions of one of
the characters, these perceptions working according to a dreamed logic
rather than a rational and concrete one (dreams explaining the systematic
repetitions ; recurrent dreams or fantasies). Fantasy, even when strange
and disconcerting, takes its roots in the known and it is as a
cross-reference to Bill and Alice's appartment and to Alice (Nicole Kidman)
herself that is the narrative framework. This is particularly the case of
the use of paintings (although the Christmas tree has almost the same use).
Inspite of the fact that Bill visits lots of places, the spectator can
doubt about their multiplicity ; isn't he only visiting the rooms of an art
gallery ? Eveywhere, walls are saturated with paintings referring to the
Harford's appartment and especially to Alice (the gallery is hers - ? I
used to manage an art gallery in Soho ? she tells her Hungarian dance
partner). From the beginning to the end, Bill is the prisonner of this
labyrinth gallery in which each room has its own movement (abstraction in
the hospital halls ; impressionnism in Bill and Alice's apartment ;
portraits in Ziegler's pool room ; etc.). Some spaces are in the direct
continuity of the others :
the characters, these perceptions working according to a dreamed logic
rather than a rational and concrete one (dreams explaining the systematic
repetitions ; recurrent dreams or fantasies). Fantasy, even when strange
and disconcerting, takes its roots in the known and it is as a
cross-reference to Bill and Alice's appartment and to Alice (Nicole Kidman)
herself that is the narrative framework. This is particularly the case of
the use of paintings (although the Christmas tree has almost the same use).
Inspite of the fact that Bill visits lots of places, the spectator can
doubt about their multiplicity ; isn't he only visiting the rooms of an art
gallery ? Eveywhere, walls are saturated with paintings referring to the
Harford's appartment and especially to Alice (the gallery is hers - ? I
used to manage an art gallery in Soho ? she tells her Hungarian dance
partner). From the beginning to the end, Bill is the prisonner of this
labyrinth gallery in which each room has its own movement (abstraction in
the hospital halls ; impressionnism in Bill and Alice's apartment ;
portraits in Ziegler's pool room ; etc.). Some spaces are in the direct
continuity of the others :
When he enters a café, Bill passes under a Christmas decoration that is
also outside of Ziegler's pool room (the café also features portraits) ;
also outside of Ziegler's pool room (the café also features portraits) ;
the tapestry (golden lily flowers on blue background) in a hall outside
Bill and Alice's apartment is the same as in Marion's** bedroom (Marie
Richardson) ; etc.
Spaces as the situations they host are undoubtly generated by a mind
intrinsic to the story. The main concern is to know which one - is it Bill
or Alice's fantasies that are weaving the story ? It's blurry. Even if this
text favors one of them, we do not believe there is a unique abswer to this
question, each answer offering interesting thoughts on the nature of the
couple.
Bill and Alice's apartment is the same as in Marion's** bedroom (Marie
Richardson) ; etc.
Spaces as the situations they host are undoubtly generated by a mind
intrinsic to the story. The main concern is to know which one - is it Bill
or Alice's fantasies that are weaving the story ? It's blurry. Even if this
text favors one of them, we do not believe there is a unique abswer to this
question, each answer offering interesting thoughts on the nature of the
couple.
Answer #1 : Alice's fantasies
? If you men only knew ?. Angry at her husband for under-estimating female
sexuality (to disregard her fantasmagoric imagination), Alice gives him a
visit of her museum of perversions (maybe a variation on the wonderland -
she indeed likes to glare at mirrors*** the little Alice). This hypothesis
places Alice as the generator of Bill's adventures and the art gallery as a
reflect of her interiority (of her cervicality).
What we see from Alice in the movie lets us believe in the pertinence of
this approach. Sitting at a table, she smokes, reads the paper with
distraction, or wraps gifts having time to daydream. Twice (of course) Bill
comes back to the house and Alice wakes up (therefore she was dreaming) and
she tells him her dreams, which correspond to Bill's almost same adventures
(while he is coming back from the orgy, she describes a similar scene -
both situations ending in Bill's humiliation).
this approach. Sitting at a table, she smokes, reads the paper with
distraction, or wraps gifts having time to daydream. Twice (of course) Bill
comes back to the house and Alice wakes up (therefore she was dreaming) and
she tells him her dreams, which correspond to Bill's almost same adventures
(while he is coming back from the orgy, she describes a similar scene -
both situations ending in Bill's humiliation).
The mask is very important, symbolizing theater, it is a denunciation of
unreal fantasy. Bill is only an actor in the orgy set by Alice, she
imagines as him jealous of her naval officer because it is what she would
like him to be (? Why haven’t you ever been jealous about me ? ?). Ziegler
directly addresses the spectator when he says : ? Suppose I tell you that
all of that was staged [...] that it was fake ? (this also at Ziegler's
that the spectator finds the first clue of Bill's fake reality: Mandy,
drugged and lying in the red coach is also in the painting in the
background). The mask is then associated to Alice's sleep to emphasize that.
unreal fantasy. Bill is only an actor in the orgy set by Alice, she
imagines as him jealous of her naval officer because it is what she would
like him to be (? Why haven’t you ever been jealous about me ? ?). Ziegler
directly addresses the spectator when he says : ? Suppose I tell you that
all of that was staged [...] that it was fake ? (this also at Ziegler's
that the spectator finds the first clue of Bill's fake reality: Mandy,
drugged and lying in the red coach is also in the painting in the
background). The mask is then associated to Alice's sleep to emphasize that.
Answer #2 : Bill's fantaisies
After his wife tells him about the naval officer, Bill has a jealousy
crisis. Tortured, he turns to his own extraconjugal desires. This second
hypothesis places Bill as a generator of his own story and the art gallery
as a reflect of the prison in which his wedding is jailed. Wherever he
goes, he feels his wife's ascendancy, he feels watched and guilty [he will
never be able to commit adultery - and his feeling of guilt will explode
when he discovers her asleep by the mask ( evidence of the games he
played)]. In this approach, the mask, Ziegler's speech and the painting
representing Mandy have almost the same function. What is interesting is
Bill's incapacity to fulfiil anything with the girls that he meets. As
guilty, he makes himself endure an asexual role, what he was thinking about
women: he is the one who needs security and feels menaced by the imminent
sexua
l act [he must leave the orgy without having tasted it, feeling his
life is in danger; he refrains from making love to Domino (however he pays
$150) and avoids to dying of AIDS]. The ? To be continued ? Bill tells the
girls when he has to leave to go cure Mandy, lets suppose he is conscious
enough to own a certain control of the story - if we suppose they are
Somerton's guests.
crisis. Tortured, he turns to his own extraconjugal desires. This second
hypothesis places Bill as a generator of his own story and the art gallery
as a reflect of the prison in which his wedding is jailed. Wherever he
goes, he feels his wife's ascendancy, he feels watched and guilty [he will
never be able to commit adultery - and his feeling of guilt will explode
when he discovers her asleep by the mask ( evidence of the games he
played)]. In this approach, the mask, Ziegler's speech and the painting
representing Mandy have almost the same function. What is interesting is
Bill's incapacity to fulfiil anything with the girls that he meets. As
guilty, he makes himself endure an asexual role, what he was thinking about
women: he is the one who needs security and feels menaced by the imminent
sexua
l act [he must leave the orgy without having tasted it, feeling his
life is in danger; he refrains from making love to Domino (however he pays
$150) and avoids to dying of AIDS]. The ? To be continued ? Bill tells the
girls when he has to leave to go cure Mandy, lets suppose he is conscious
enough to own a certain control of the story - if we suppose they are
Somerton's guests.
? The important thing is - we’re awake now ?
With its mosaic of places and characters, paintings and references to
Kubrick's previous films (without forgetting the disguise exhibit at
Rainbow Fashions), Eyes Wide Shut is simply a museum-film. Complex,
intelligent and open to a lot of different interpretations, one can't help
to go back see it again (and again).
Kubrick's previous films (without forgetting the disguise exhibit at
Rainbow Fashions), Eyes Wide Shut is simply a museum-film. Complex,
intelligent and open to a lot of different interpretations, one can't help
to go back see it again (and again).
Sebastian Sipat
rock that strangely ressembles a monolith - information that we have not
verified.
verified.
> Analysis 2
** Thanks to Cynthia Collette for having underlined this element.
*** Thanks to Nicolas Handfield for pointing out the use of mirrors in the
film.
发信人: reliyi (liyi601), 信区: Movie
标 题: <金塞性学博士>和<大开眼戒>一起看有感!
发信站: 日月光华 (2005年09月24日22:06:40 星期六)
** Thanks to Cynthia Collette for having underlined this element.
*** Thanks to Nicolas Handfield for pointing out the use of mirrors in the
film.
发信人: reliyi (liyi601), 信区: Movie
标 题: <金塞性学博士>和<大开眼戒>一起看有感!
发信站: 日月光华 (2005年09月24日22:06:40 星期六)
感触颇多。。。
什么是人性 什么是道德伦理?
什么是人性 什么是道德伦理?
金塞说我们的道德伦理束缚了我们的天性
而我们应该意识到的是
天性并不是什么褒义词
天性只是个中性词
我们的天性中有乱交的一面
人类为了自己的社会能够稳定的发展与存在
可以说我们无意识的创造了许多道德伦理规范
这些道德比如忠贞
保护维系了整个社会的相对稳定
天性中的乱交是人类这个物种繁衍和发展的原动力
然而
我们习惯于社会的道德约束
我们想成为社会的一分子
我们想和别人一样
从众心理也是中性的
因为没有从众心理人类的很多事实是办不成的
人类自己束缚自己的天性 然而人类又必须自己束缚自己
而我们应该意识到的是
天性并不是什么褒义词
天性只是个中性词
我们的天性中有乱交的一面
人类为了自己的社会能够稳定的发展与存在
可以说我们无意识的创造了许多道德伦理规范
这些道德比如忠贞
保护维系了整个社会的相对稳定
天性中的乱交是人类这个物种繁衍和发展的原动力
然而
我们习惯于社会的道德约束
我们想成为社会的一分子
我们想和别人一样
从众心理也是中性的
因为没有从众心理人类的很多事实是办不成的
人类自己束缚自己的天性 然而人类又必须自己束缚自己
道德伦理有时就如同爱国主义一样
我们真正理性的来想
对于我们个人来讲
今天买不买日货并不妨碍你今天或者今年甚至一辈子的生活
一两次的不忠也不会那么容易和彻底的毁掉一个人的生活
然而我们如果那样的做了
我们必然受到良心的谴责
我们以前未曾意识到
社会道德是用来维护整个社会的稳定的
具体你个人采取什么样的行为方式和这个道德中的说教关系不会那么的大
我们的行为更多的只是源于从众心理而非理性的权衡
虽然如果一个人过于偏离道德的规范
他的确会受到惩罚 他的确会受到自己的伤害
比如如果克鲁斯和那个妓女在夜晚发生了关系 那么无疑他染上爱滋的可能性便会增大也许
也还会有许多人们无法意识到的伤害
正如《kinsey》里最后所说做爱不仅仅是肉体的摩擦的愉快运动 它还包含很多别的意义在
里面 弄不好会伤的很深
我们真正理性的来想
对于我们个人来讲
今天买不买日货并不妨碍你今天或者今年甚至一辈子的生活
一两次的不忠也不会那么容易和彻底的毁掉一个人的生活
然而我们如果那样的做了
我们必然受到良心的谴责
我们以前未曾意识到
社会道德是用来维护整个社会的稳定的
具体你个人采取什么样的行为方式和这个道德中的说教关系不会那么的大
我们的行为更多的只是源于从众心理而非理性的权衡
虽然如果一个人过于偏离道德的规范
他的确会受到惩罚 他的确会受到自己的伤害
比如如果克鲁斯和那个妓女在夜晚发生了关系 那么无疑他染上爱滋的可能性便会增大也许
也还会有许多人们无法意识到的伤害
正如《kinsey》里最后所说做爱不仅仅是肉体的摩擦的愉快运动 它还包含很多别的意义在
里面 弄不好会伤的很深
克鲁斯和尼克他们在尝试解决人性中不安分的一面和婚姻的关系
尼克向迎着问题去解决 剖析自己 然而迎面去解决问题如果没有足够的能力知识和运气有
天性必然会与人类千年以来自创的婚姻制度发生冲突 这也几乎每个婚姻对于这个问题或多
或少都是有的 而金塞居然允许了她的妻子和他的男伴上床 这样的知识和境界非常人所能
达到 当然也只局限到他个人的生活 而且可以看出他的婚姻最终也并没有破灭 他和妻子的
爱仍旧十分坚固 正如他所说 性比起我们的爱情和生活还有事业算得了什么。
尼克向迎着问题去解决 剖析自己 然而迎面去解决问题如果没有足够的能力知识和运气有
天性必然会与人类千年以来自创的婚姻制度发生冲突 这也几乎每个婚姻对于这个问题或多
或少都是有的 而金塞居然允许了她的妻子和他的男伴上床 这样的知识和境界非常人所能
达到 当然也只局限到他个人的生活 而且可以看出他的婚姻最终也并没有破灭 他和妻子的
爱仍旧十分坚固 正如他所说 性比起我们的爱情和生活还有事业算得了什么。
但无论怎样 倘若我们自己无法拥有金塞夫妇的胸襟和能力去那样的对待性 那么我们理应
最大限度的保护自己 保护你的她和他 虽然我们有更多的欲望 但是那还要建立在足够的安
全之上 我们的欲望 不是去压抑它 而是让它在别的更有利于己有利于他人的地方发泄出来
用弗洛伊德的理论讲 就是将其“升华”。
--
Some things are what we know we know,
some are what we know we don't know,
some are what we don't know we know and
some are what we don't know we don't know.
最大限度的保护自己 保护你的她和他 虽然我们有更多的欲望 但是那还要建立在足够的安
全之上 我们的欲望 不是去压抑它 而是让它在别的更有利于己有利于他人的地方发泄出来
用弗洛伊德的理论讲 就是将其“升华”。
--
Some things are what we know we know,
some are what we know we don't know,
some are what we don't know we know and
some are what we don't know we don't know.
发信人: Laputa (God on high in my pray in my need), 信区: Movie
标 题: 立即做爱！(zz)
发信站: 日月光华 (2002年08月24日18:30:17 星期六), 站内信件
标 题: 立即做爱！(zz)
发信站: 日月光华 (2002年08月24日18:30:17 星期六), 站内信件
作者
毛 尖
简介
作者：毛 尖
立即做爱！
――寇比力克的面具
――寇比力克的面具
1999年三月的一个星期天，电影史上硕果仅存的几位大导演之一斯丹利·寇比力克
（Stanley Kubrick）在他的离伦敦25英里的家中因心脏病突发死去。一个星期前，他刚
刚完成Eyes Wide Shut（「大开眼戒」是个不准确的译名，但因为流传很广，本文还是
取此译名），这部被多年辛苦保密的影片因此成了寇比力克的绝唱。
斯丹利因为很少愿意接受采访或露面，总是说"让影片说话吧"，所以在公众眼里他
是个地道的隐士。他这样调侃自己："人们总认为我被高墙和电脑围着，我头戴足球钢盔
，驾驶时速是30英里，我的花园是用直升机浇灌的。"另外，在影视圈，他还是个臭名昭
著的完美主义者，和他合作过的演员有不少是对他"耿耿于怀"的。象麦可多威尔（McDow
ell）就一直说自己无法对他发生好感："不凡，是的。伟大，是的。但作为人，他似乎
考砸了。"传言说他在拍「全金属外壳」（Full Metal Jacket）时，当他问手下的演员
："你们当中，有谁希望在影片的开头就死去的？"几乎所有的人都举起了手。不过，好
莱坞最炙手可热的明星夫妻――汤姆·克鲁斯和尼可·基德曼――在英国随寇比力克拍
了一年半的「大开眼戒」后，却非常深情地回忆说："他对我们就象家人一样。他是一个
真正的天才，一个亲爱的朋友，我们会非常非常怀念他。"的确，所有恨他的人也好，爱
他的人也好，都不会否认斯丹利是令人难忘的，就象他的所有影片，包括「洛丽塔」（L
olita, 1962），「2001：太空漫游」（2001:A Space Odyssey, 1968），「发条橙」（
A Clockwork Orange, 1971）和「闪灵」（The Shining, 1980）。
是个地道的隐士。他这样调侃自己："人们总认为我被高墙和电脑围着，我头戴足球钢盔
，驾驶时速是30英里，我的花园是用直升机浇灌的。"另外，在影视圈，他还是个臭名昭
著的完美主义者，和他合作过的演员有不少是对他"耿耿于怀"的。象麦可多威尔（McDow
ell）就一直说自己无法对他发生好感："不凡，是的。伟大，是的。但作为人，他似乎
考砸了。"传言说他在拍「全金属外壳」（Full Metal Jacket）时，当他问手下的演员
："你们当中，有谁希望在影片的开头就死去的？"几乎所有的人都举起了手。不过，好
莱坞最炙手可热的明星夫妻――汤姆·克鲁斯和尼可·基德曼――在英国随寇比力克拍
了一年半的「大开眼戒」后，却非常深情地回忆说："他对我们就象家人一样。他是一个
真正的天才，一个亲爱的朋友，我们会非常非常怀念他。"的确，所有恨他的人也好，爱
他的人也好，都不会否认斯丹利是令人难忘的，就象他的所有影片，包括「洛丽塔」（L
olita, 1962），「2001：太空漫游」（2001:A Space Odyssey, 1968），「发条橙」（
A Clockwork Orange, 1971）和「闪灵」（The Shining, 1980）。
长达159分钟的「大开眼戒」是寇比力克于1987年拍完「全金属外壳」，策划多年后
推出的第一部影片。据说该戏中的每一个场景都是拍了数十次，而当影片被认为已经杀
青，克鲁斯夫妇回美后，斯丹利又把他们召回，另化了几个月重拍。因寇比力克本人在1
961年后就再没有离开过英国，他说他厌恶好莱坞的虚伪
推出的第一部影片。据说该戏中的每一个场景都是拍了数十次，而当影片被认为已经杀
青，克鲁斯夫妇回美后，斯丹利又把他们召回，另化了几个月重拍。因寇比力克本人在1
961年后就再没有离开过英国，他说他厌恶好莱坞的虚伪
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