Who says the younger generation is more prone to new trends, and the older generation is always conservative? Globalization and foreigners are new, but they are not always found favorable. The two European films thematise the African illegal immigrants, but in opposite moods. Yet both films show that the elderly are more hospitable to foreigners than the younger generation, even though those foreigners are the unwelcome groups in society. Terraferma was situated in an island in Italy. The old grandfather was a fisherman, unwilling to give up his boat and his vocation although that did not earn much. He fished with his grandson, whose father was dead. The second son of the old man would rather make the bay a tourist site. One day the grandfather and the grandson saw a group of illegal immigrants floating in the sea, some threw themselves into water, so the grandfather took them to the
电影开始的第一个场景就非常戏剧化和有个人风格,还出现了一张东方人的脸,我以为是中国人,后来知道原来是偷渡到美国的越南人。
看完电影我以为这是一部老电影,甚至自己觉得有点老苏联的感觉,虽然我并不了解苏联但是我就有这样的感觉,里面充斥着一种让我感动的朴素情怀,有点浪漫革命主义的感觉(好吧,我可能想多了)。就像是最后出现的白色花朵那样纯粹的颜色,这样的表达方式我已经很久没在电影里看到了。电影结局几乎是脱离现实的,其实那个小镇的描写也几乎是脱离现实的,乌托邦式的理想化,那样的美好,让我更有一种悲观的感觉,因为现实生活中就不可能嘛,警察包庇,黑人小孩成功逃走,人与人之间是那么和谐,绝症奇迹般地好了,这完全是理想化的。但是我赞同导演这种建立一个乌托邦的想法,因为这表达了导演对朴素感情和美好生活的希望。
但一看时间电影竟然是2011年上映的还在法国取景,我开始没明白自己的困惑,后来看了导演资料才知道,原来是因为在这部2011年的新电影却竟然没有出现任何现代的信息,没有炫目的手机,没有崭新的大房子
影片里面包含友情、爱情、种族、身份、困苦、拯救……很多很多一部看起来非常伟大的电影里面应该有的使之宏大深刻的元素,但是,阿基•考里斯马基先生根本没用它们,别说没把宏大深刻的主题当回事,就连跟宏大深刻有关的情绪都没当回事,他只拍了一种东西:平实、真诚地去生活和爱。这在我看来,已经远远超出了那些看起来具有宏大深刻意义的“伟大电影”。
欣赏导演的风格还是可以的。分明是在法国北部拍摄的场景,却能神奇地散发出北欧城市的味道,说法语的演员也能让我联想到Aki Kaurismaki以往作品中人物的木讷和幽默,当然不得不提,他招牌式的灯光、摄影、配乐和美术布景,均是一成不变的作者化派头。从美学角度上来看,这部作品确实是无可挑剔的。然而,在现实层面来看则让人相当失望,简直就是超“现实”主义的童话故事。导演的用心看得出是相当乐观和理想,很有自由左派的情怀,跟80年代港产片里讲义气的黑社会或者移情弱势人群的主题电影都很接近,但假如现实中都套用此方法来处理非法移民问题的话,整个欧洲相信过不了多久就要沦陷了。毕竟,Aki Kaurismaki不是Ken Loach,一触碰到这类现实主义的题材,很容易滑入到一种丧失批判力度的幻想情节里无法自拔。也许是北欧的社会问题不像片中所呈现的那么尖锐突出,所以养尊处优的导演也会一时昏过头而不知所以。
勒阿弗尔:2011,贺岁版窃听风暴?
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