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          怎样评价孙时导演的青春片《夏日往事》?

          2021-04-19 05:55:51 栏目 : 高清成人影院 围观 : 361次

          刚刚二刷完,我来说说看:)

          “我的故事总是产生在夏天。炎热的气象使人们袒露得更多,也更能粉饰心中的愿望。那时侯,好像永远是夏天,太阳总是有空出来随同着我,阳光充分,太亮,使得眼前一阵阵发黑。”

          或许是电影《阳光残暴的日子》的这段开场白过于经典,当《夏日往事》的长镜头在光影中徐徐展开时,我头脑里忽然划过了这段念白。是的,青春与夏日有着太多类似的意向:炎热、炽烈、阳光充分,漫长无边……

          《夏日往事》就是在一抹亮色中启幕的:14岁的小镇少年邵杰躲在家里看小电影,抽出一卷卫生纸正筹备和剧中人物分享彼此快活时,突然被窗外的逝世党苦瓜发明。恼羞成怒的邵杰冲出屋外。两个少年,豁然闯进夏日的阳光里,扑通,扑通跳入湖中。火烫的小电影,明晃晃的太阳光和清凉的湖水,这一组注满“冰火两重”感官体验的镜头,以一卷仓惶扯拽的卫生纸为隐喻,拉开小镇少年生理发育与感情成长的青春画卷。

          《夏日往事》是孙时导演从美国雪城大学取得电影艺术硕士学位后领导的第一部青春片。大概因为导演正派青春,电影鲜亮明艳的颜色和嫩生生能掐出水儿来的人物资地,始终给人一种葱翠逼人的感到。说实话,很久没看过这么脆嫩鲜活的片子了。以下,聊一聊我爱好这部电影的几个处所:

          1它拍出了青春明媚的性感,而非妖媚的放纵;

          从韩国的《色即是空》到山姆大叔的《美国派》系列,近些年,展示青春发育的电影名堂翻翻,层出不穷。这其中有一大部分片子,走了直露放浪的门路,有的满场撩骚,毫无叙事,有的堆砌“生理体验”,缺少“感情融合”,电影一启幕,便如脱缰的野马在直男、直女的感官世界里长驱直入,一骑绝尘。

          孙时导演很好地把控了电影标准。他的镜头语言真挚、率意、平和,又恰到利益地做到了自然、控制。邵杰在初见英子时怯生生又贼兮兮的眼神;苦瓜重复撩拨邵杰的热辣对白;二人在发明偷来的小电影碟片被混混王龙捷足先登后,要找他干架时飙升的荷尔蒙;在镜头里重复晃动着的少年白花花和矿工黑黢黢的肉体;以及小镇茏葱的田野和粼粼湖光,这些元素已然共同织就了一副性感而鲜活的青春图景。

          挑开紫色珠帘,女一号英子登场了。然而导演并没让她用一个妩媚的笑颜颠倒众生。否则,那就是莫妮卡·贝鲁奇走在西西里小镇上的套路了。英子美丽,但她并不妖艳----白净的皮肤、简短的马尾辫和靛蓝色的连衣裙,让她的美贴近凡尘。英子性感,但她并不靠饱满的胸脯、苗条的大腿豪夺眼球,反而她优渥的家境,开朗而略带叛逆的性情,让她在小镇之中出挑、性感,一下就成为邵杰和苦瓜“心头好”。

          导演的镜头内敛、抑制。他不用肉体、器官的特写来刺激荷尔蒙,不用夸大、俗鄙的发情式表演来鼓动愿望。借用十四岁少年的自然视角表达机体内跳窜不安的“力比多”,既坚持了对女性角色的尊敬,又让全片显得浪漫、真实,他拍出了青春明媚的性感,而非妖媚的放纵。这个荷尔蒙蠢蠢欲动的金色夏日,像极了刚出炉的蛋挞,黄得流油,热得冒泡。

          2 它用多线叙事舒展少年心事:疏朗而纠结;美妙亦阵痛;

          苦瓜坚强而时常莽撞,邵杰平和却偶尔优柔,电影胜利塑造了两位性情迥异却相交甚厚的少年形象。在讲故事时,孙时导演以邵杰邀请英子一起看小电影为明线,以苦瓜和父亲被迫分开小镇为暗线:明线交代发育,暗线催生成长,明线渲染美妙,暗线制作阵痛,明暗交错,悲欣交集,在双线游走的叙事中,导演始终用细微的情节变换紧握观众的情感,不急不徐地展示故事张力和青春意象。

          街机、汽水、自行车、鱼棚、租碟店、民众浴室等等怀旧元素,粉墨登场;夏日、阳光、长夜和弥天大雨也劈头盖脸的袭来,疏朗的少年,纠结的心事,让我们拥抱发育的美妙,也不可豁免的接纳成长的阵痛。青春毕竟是什么?看到电影中尽情奔驰的邵杰与苦瓜,我忽然感到,青春就像一对在风暴中的不停摇摆的雨刮器,不知疲惫,左右冲洗,然后,人们终于慢慢看清了这个世界。

          3它拍出了小镇众生在碰撞交锋中的温情隽永;

          青春片不唯青春,这是本片的宝贵之处。《夏日往事》的基调,总令我想起《喜剧之王》里那些街坊小人物的温情与烟火气。比如:呆萌的小混混也会器重邻里情感;本地黑道大哥会掏出二十块钱周济来鲁莽小弟;风情的站街女被尹天仇执着的敬业精力集体激动……

          在《夏日往事》中,影片也有意营造出了这样一种众生相:跛子为维护小镇少年,刻意不卖给他们三级光盘;邵杰和苦瓜去租碟店偷光盘,却意外救下了因失恋而喝得烂醉的跛子;邵杰爸陪苦瓜爸打牌,却一次次地任他拖欠赌账;好心肠邻居奶奶为苦瓜端来一碗早饭;甚至做了矿工的混混王龙,在看到邵杰和苦瓜时,眼里都漾出充斥愧意的眼光……形象丰盛,性情迥异的小人物,活机动现,浮现出一派“向心而生”的默契。当然,这并不是说影片里是一水心肠仁慈的劳动听民,而是导演着意让故事里一闪而过的小人物,立足角色命运,在碰撞交锋中,做出温情隽永的举动取向,也让整部影片的质地更加朴素、温暖。

          4它把青春里的白日梦拍出了黑色风趣;

          王小波说:“我们的生涯有这么多的障碍,真他妈的有意思——这种逻辑就叫做黑色风趣。”

          在美国,以黑色风趣来表示“成长之惑”,已经成为一种习用的文艺伎俩。比拟完全意义上的美国犹太黑色风趣成长小说有伯特·布莱克曼的《多少钱》和《奥蒙戈夏令营之战》、L.S. 西蒙克斯的《举哀七日》、布鲁斯·J. 弗里德曼的《妈妈的吻》等等。

          《夏日往事》无疑是个关于青春的黑色风趣。吊姑娘这事,很像吊汤,吊得太高容易溅出来。荷尔蒙上脑得邵杰,自认为约姑娘来家里看场三级片就能完成从男孩向男人的大飞跃。天真啊——这个难度系数,好比被人亲了一口,就要担忧接下来怀孕了怎么办似的,只是青春期的天才们才会发的白日梦!

          好在导演更聪慧,既不帮他了结心愿,也不让他美梦扑街——历尽艰巨的邵杰竟鬼使神差地和英子看了一晚上岩井俊二导演的《情书》。

          “我也没想到这么好看……”影片的最后,邵杰懵懂地为这段真实而荒谬的青春作结。

          那天晚上,英子坐在邵杰的自行车后座上,苦瓜和爸爸坐在卡车的拖斗上,在黑夜的迷雾中相遇又错过,终于消散在彼此命运的岔路中。青春就像一卷卫生纸,开端总感到它像We must open the year 1790 by reverting to the affairs of Britain, and of other countries having an influence on British interests. The Parliament met on the 21st of January; and, in the course of the debate on the Address in the Commons, Fox took the opportunity to laud the French Revolution, and especially the soldiers for destroying the Government which had raised them, and which they had sworn to obey. Burke, in reply, whilst paying the highest compliments to the genius of Fox, and expressing the value which he placed on his friendship, endeavoured to guard the House and country against the pernicious consequences of such an admiration as had been expressed by Fox. He declared the conduct of the troops disgraceful; for instead of betraying the Government, they ought to have defended it so far as to allow of its yielding the necessary reforms. But the so-called reforms in France, he said, were a disgrace to the nation. They had, instead of limiting each branch of the Government for the general good and for rational liberty, destroyed all the balances and counterpoises which gave the State steadiness and security. They had pulled down all things into an incongruous and ill-digested mass; they had concocted a digest of anarchy called the Rights of Man, which would disgrace a schoolboy; and had laid the axe to the root of all property by confiscating[371] that of the Church. To compare that revolution with our glorious one of 1688, he said, was next to blasphemy. They were diametrically opposed. Ours preserved the Constitution and got rid of an arbitrary monarch; theirs destroyed the Constitution and kept a monarch who was willing to concede reforms, but who was left helpless. Fox replied that he had been mistaken by his most venerated and estimable friend; that he was no friend to anarchy and lamented the cruelties that had been practised in France, but he considered them the natural result of the long and terrible despotism which had produced the convulsion, and that he had the firmest hopes that the French would yet complete their Constitution with wisdom and moderation. Here the matter might have ended, but Sheridan rose and uttered a grand but ill-considered eulogium on the French Revolution, and charged Burke with being an advocate of despotism. Burke highly resented this; he made a severe reply to Sheridan; and instead of the benefits which he prognosticated, Burke, with a deeper sagacity, declared that the issue of that revolution would be not only civil war but many other wars.夏天一样长得无边无际,却好像在一夜之间就被用完了。

          我想,青春的魅力在于它原来就不靠谱。而成长,逐渐教会了我们把性命里的白日梦活成“黑色风趣”。你们都懂的,人间并不十分美妙,但是真他妈的有意思。

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