伍迪.艾伦1975年这部的《爱与死》,无疑非常适合悲观主义者的情人节。
他将自己丢入1812的俄法战争,将战争与和平变成一出阴差阳错的闹剧,无论是维护爱人名义而决斗,还是在战场上做炮灰,又或者被鲱鱼撑死,结局都那么回事,毕竟,艾伦小时候就邂逅了跟伯格曼下完棋的死神。“我们会再见的”,拿着镰刀穿着白袍的死神对他说。
作为宗教和上帝的怀疑者,伍迪艾伦将这番质疑以夸张化的脸谱置于自己扮演的懦弱的俄罗斯士兵鲍里斯,这个唠叨着嘲讽信仰的家伙,却比他所追逐的爱欲对象、信仰上帝的索嘉,有着高得多的道德底线。于是,他开始了自己迫不得已又狂笑不已的殉道之旅,被裹挟于冤冤相报、处处偷情的世间,不发一枪一弹的鲍里斯,却不幸成了1812的战争英雄、圣彼得堡的情圣、以哲学和生理同时赢得美人归的笨拙丈夫、暗杀冒牌拿破仑的阻挠历史进程罪人。
最终,他在死囚中,满心欢喜地等来上帝显灵,寻思着上帝跟拿破仑商量好了,赦免他。于是,大义凛然面带微笑地步上刑场,被小时候约定的死神接走。
同样是质疑者,在伯格曼看来
几年前看伍迪艾伦的纪录片讲到第七封印对爱与死的影响,中午看了前者突然想起来就补上了。
伯格曼是那种,即使浑身上下只有一部超级8也会要想尽办法拍片的人,不管你看不看,我的这些智慧不能憋着。
而伍迪艾伦才是那种会说:如果我不做导演,或许我会成为一个双簧管演奏家/相声演员blahblahblah的人。
伍迪艾伦是如此地崇拜伯格曼,所以他应该不会介意我打这个比方(如果他哪天知道了who the fuck am I的话):伯格曼的天才就像是一个有着超长纵线的“T”,而伍迪艾伦的天才就像是一把齿朝上的梳子
怪异并且混乱,差不多是伍迪艾伦的一贯风格,但感觉这部是有点过头,所以没太看进去。
喜欢片子里的几段俄罗斯味道,特别是两个哥哥出场时跳的舞,但伍迪艾伦太不俄罗斯了,这可能是觉得乱的原因。
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How I got into this predicament I'll never know. Absolutely incredible. To be executed for a crime I never committed. Of course, isn't all mankind in the same boat? Isn't all mankind ultimately executed for a crime it never committed? The difference is that all men go eventually, but I go six o'clock tomorrow morning. I was supposed to go at five o'clock but I have a smart lawyer. Got leniency.
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“爱与死”【To Love Is To Suffer】--by Woody Allen
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