[闲聊]奥斯卡奖口水 (cont.)
[闲聊]奥斯卡奖口水 (cont.)
前天晚上逛到附近一家放独立电影的剧院, 旁边咖啡馆里正在举行一个奥斯卡奖讨论会, 可惜除了主持人以外只有俩参加讨论的, 遂加入其中. 结果倒挺高兴的, 因为主持人是在费城里组织电影节之类活动的, 看过无数电影, 而且她跟我一样不喜欢Spielberg, 我俩一唱一和, 把Spielberg批得体无完肤, 兴高采烈. 她坚持认为BBM会得最佳影片, 因为李安铁定了得导演奖, 而一般导演奖决定最佳影片奖. 我这边还对Crash略有幻想. 从她那里听来的赌城赔率的消息是Matt Dillon会得到最佳男配角. 她喜欢的去年影片包括The Squid and the Whale, A History of Violence, Grizzly Man, the Three Burials of Melquiades Estrada. 我说女主角提名的片子我一部也没看过, 她说要不是工作关系看了两部否则她对这几部也没兴趣. 她恶狠狠地说她非常不sentimental, 让我很高兴. 她还爆内幕消息说Terrence Howard是本地人, 他太太是Lafayette Hill附近人士, 他从小是学传统音乐的, 弹钢琴, 讨厌rap.
聊了半天, 她说她的专业是chemical engineering, 但是一天工程师也没干过, 而是去当放电影的projectionist, 兼搞一切跟放电影有关系的活儿, 并且在城里组织这样的讨论会什么的. 最后说起每年费城电影节都有个亚洲另类电影系列, 去年还放了些邵氏老片, 让我一定注意云云.
********************
昨晚主要是为了看Jon Stewart主持人, 尤其是他和他的team (The Daily Show with Jon Stewart)参与写稿子和编clips, 结合他自己的特点(政治笑话) 和电影目的需要, 所以效果相当好, 我很满意. ("Martin Scorese: 0, 3 6 Mafia: 1").
贴张他上大学时的照片. 好玩死了.
看完节目后两大疑问:
1. Phil Hoffman说话不算数!! 讲好了得奖要学狗叫的, 却去讲他妈妈了! 不干, 我要听狗叫!
2. Where the hell is Don Cheadle??? 前天在ISA时就没见他, 礼拜天又没见他, 听说Crash的六七个制片人之间已经吵起来了, 不知道他是不是跟Haggis 他们也闹矛盾了...
礼拜六晚上看Independent Spirit Awards (Maggie Gyllenhaal 和 Peter Saarsgard 这一对让我怎么也看不够 ). 开头见BBM得了最佳电影, 觉得Crash得Oscar的希望又小了一点. 但是仔细一看不对, Crash得了First Feature Film, 希望又上去了.
礼拜天发奖仪式一上来, 男配角居然既不是Matt Dillon也不是Jake Gyllenhaal, 可以说Crash和 BBM双方打了平手. 在编剧上又打平手. 我就觉得还是有希望. Crash得到最佳剪辑, 而BBM失去最佳摄影, 我一下觉得机会来了. 其实BBM最近呼声已经降得很低了, 唯一能拖它上最佳影片的因素是李安几乎铁定得最佳导演奖, 而一般人投票是总是导演影片同一部. 但是李安似乎已经搞过一回得Director's Guild Award but not Oscar的先例, 所以我还是觉得BBM的机会不过半. 而李安铁定导演奖是因为其他几个提名的是新导演, 资格不老, 而Spielberg资格虽老, 片子实在水平不行. 果然啊果然, 我老的直觉最近强得很, 奥运会时也特别灵.
说起Phil Hoffman, 在ISA时我就想, 他是个实在的家伙, 工作好严肃, 银幕下则毫不张扬. 他说我不想让观众对我太了解, 否则看我的演戏就不能全面投入到欣赏角色本身了, 看见的都是我本人, 这我可不要.
第一次见到他是在"木兰花"里, 印象就很深, 与Tom Cruise同场演戏, 立刻就把阿汤挤得影儿都没了. 他跟阿汤是截然相反的类型的人, 不知道他对阿汤这个人有什么看法--- 然后突然想起来, Hoffman跟Cruise刚刚又合演一出戏Mission Impossible 3. 或许他是为了钱, 或许他也私下里喜欢演个跟Cruise做对的角色呢?
Terrence Howard带了好可爱的儿子出现, 让我八卦心起, 开始胡思乱想他是不是离婚了. 上面唱It's Hard Out Here to Be a Pimp时, 下面估计他在坐立不安. 发奖时看见John Singleton跳起来, 却没见Craig Brewer. 一年又一年, 我发现自己越来越跟glamor有仇, 受不了大家衣冠楚楚人模狗样的严肃劲儿. 好来五真没劲, 给Jon Stewart 讽刺两句还委屈死了("...and these issues were never a problem again"关于政治题材的电影). 所以当几个穿匪徒衣服的rap artists跳上去领奖, 我倒挺开心的. 周六晚上的ISA上, 去的人都开玩笑说赶快领了奖好去排队拿免费礼品云云. Phil Hoffman穿了件皱巴巴的衬衫上去说话, 倒比穿礼服带狗领可爱多了. 我宁可看他们坐在Santa Monica的帐篷里喝酒聊天, 好过走什么红地毯, 多腻味多没有个性. 穿上好衣服就连狗叫都开不了口了. 没劲!
美术指导和服装这类奖都给Memoir of a Geisha拿去了, 要多白痴有多白痴. 明明是不正宗的想当然耳的设计, 好象把清朝明朝衣服混一起还拿奖. 最佳摄影居然也给他们拿了, 真是匪夷所思. 把画面拍得跟明信片一样谁不会? Indie Spirit那帮人才懂, 给了Good Night and Good Luck. 拍黑白的功夫比彩色片要讲究多了.
连Jon Stewart都说太多蒙太奇了, 把film clip都用光了. 开头关于cowboy电影里homosexual subtext那段很好. 而讲film noir的那段不知道目的何在, 那段一上来我就觉得音乐耳熟, 忽然想起来是LA Confidential的soundtrack. 那片子我看了四五遍, 没法不记得.
据说Crash 得到最佳影片奖后, Brokeback Mountain的人纷纷跑出来攻击Crash. Larry McMurtry说我们没得奖是因为好莱乌害怕被人以为支持同性恋 (a bit too late, don't you think?), 某些人爆出内部消息说老年投票者私下说绝不看gay cowboy movies. 混战一团.
我就不明白Brokeback Mountain那帮人怎么就那么肯定自己会得最佳影片, 听他们的说话口气好象本来是非它莫属的, 被Crash以不正当手段抢去的似的. 或许, 投票的怕好来乌全体被人套上支持同性恋的帽子而选择了"安全"的影片, 但那也不是Crash的错啊, 切. 他们就这么肯定自己的片子比别人都高明, 我偏偏不这么认为.
要说得奖的不是最好的影片, 奥斯卡奖里大半都是这种例子. Titanic, Forrest Gump, Shakeshpeare in Love, Braveheart, 甚至Return of the King, Million Dollar Baby, 都让我 也没见支持Pulp Fiction, 红(Kieslowski), 和LA Confidential的人们出来smear得了奖的片子.
至于什么是好片子, 谁又比谁强, 这种事是说不清的. 我过去就说过, my head favors Capote, but my heart is all for Crash. 或许真的是没在LA呆过就不会在肠子里感受到Crash的真实. 在技术上第一次当导演的Paul Haggis也未必高明到哪里, 在调度多线故事的结构上, 他不能跟Robert Altman, PT Anderson比. 可是我真喜欢里面写的人物, 真情实感. 类似结构的木兰花里, 有几个subplot就没让我特别信服或投入, 可是Crash里面, 几乎每个人都触动我, 而最最触动我的, 竟然是Sandra Bullock演的那个鄙视敌视少数民族的有钱太太. 天! 那种人是我平时最讨厌的类型, It says something about the writing if they can get me to identify with a character that I normally despise the most. 在洛杉矶感受到的种族主义, 跟Spike Lee的, 跟密西西比的, 跟DC人脑子里的, 都是完完全全不一样的性质. 黑夜里燃烧的车辆, LA人立刻能联想起Rodney King, OJ Simpson, and the riots in South Central. 不是当地人恐怕没有这种直接的感受, 尤其是东部那种自我感觉良好的elitist librals, Maureen Dawd那种人, 一边雇Hispanic 保姆佣人一边在NAACP露脸当嘉宾给Jesse Jackson捐钱, 以为这样就天下大同了.
最近刚刚看了Junebug, 说到character study, 真实感, 或许是我见过的最厉害的片子之一. 可是这样的片子永远不会得到鲜花掌声(除了或许在Sundance), 那又怎样? 到现在也没看到在Cannes得了最佳男主角的Three Burials of Melquiades Estrada. Grizzly Man连提名也没有. 甲之佳肴乙之毒药.
所谓媒体舆论, 胡说八道的居多, 不可全信. 例如在某电视台上见人说: Phil Hoffman过去发光的机会不多, 老演配角, 是典型的character actor, 现在他有幸在Capote里被委以重任, 才有机会突破, 得了那么多奖 (本年度包揽, I think), 从此领纲大片的机会要多起来了. 我这边几乎要笑掉大牙. 不是说他没有可能从此sell out, 如果他还喜欢干这行工作的话就不会一下子去变成John Travolta, Bruce Willis, Tom Hanks这种被广大人民群众爱戴的票房明星. 担什么GP大纲? 那种片子有啥意思? 偶尔去走穴捞一票罢了. 而且Capote的成就根本是全部掌握在自己手里的, Dan Futterman, Bennett Miller, Phil Hoffman三个死党把艺术主动权紧紧掌握在自己手里, 才能彻底拍一部冷冷的, 纯intellectual, 道德上uncompromising的片子, 一滴讨好观众的润滑油都没有. 如果现在倒向财大气粗的studios, 拿人钱手短气更短, 就别想随心所欲了, 那还有什么意思? 看看Justin Lin的例子, 看看Hustle and Flow, 如果傍了大款就不可能让Terrence Howard主演. 独立制作的影人, 有钱就没艺术自主权, 你自己挑吧.
*******************
其实李安说奥斯卡奖跟艺术性没关系, 这话在原则上是没错. 烂片得奖的事多了去了. 今年难道他们还给活地亚论提了个名, 可是Match Point怎么能是原创剧本呢? 明明是根据Dreiser的小说美国悲剧改编的, 过去还拍过个A Place in the Sun, 我还看过. 老小子是诚实地从来不理你好来无的岔, 今年不知又在哪家饭馆里吹黑管(小号?)了.
(cont.)
聊了半天, 她说她的专业是chemical engineering, 但是一天工程师也没干过, 而是去当放电影的projectionist, 兼搞一切跟放电影有关系的活儿, 并且在城里组织这样的讨论会什么的. 最后说起每年费城电影节都有个亚洲另类电影系列, 去年还放了些邵氏老片, 让我一定注意云云.
********************
昨晚主要是为了看Jon Stewart主持人, 尤其是他和他的team (The Daily Show with Jon Stewart)参与写稿子和编clips, 结合他自己的特点(政治笑话) 和电影目的需要, 所以效果相当好, 我很满意. ("Martin Scorese: 0, 3 6 Mafia: 1").
贴张他上大学时的照片. 好玩死了.
看完节目后两大疑问:
1. Phil Hoffman说话不算数!! 讲好了得奖要学狗叫的, 却去讲他妈妈了! 不干, 我要听狗叫!
2. Where the hell is Don Cheadle??? 前天在ISA时就没见他, 礼拜天又没见他, 听说Crash的六七个制片人之间已经吵起来了, 不知道他是不是跟Haggis 他们也闹矛盾了...
礼拜六晚上看Independent Spirit Awards (Maggie Gyllenhaal 和 Peter Saarsgard 这一对让我怎么也看不够 ). 开头见BBM得了最佳电影, 觉得Crash得Oscar的希望又小了一点. 但是仔细一看不对, Crash得了First Feature Film, 希望又上去了.
礼拜天发奖仪式一上来, 男配角居然既不是Matt Dillon也不是Jake Gyllenhaal, 可以说Crash和 BBM双方打了平手. 在编剧上又打平手. 我就觉得还是有希望. Crash得到最佳剪辑, 而BBM失去最佳摄影, 我一下觉得机会来了. 其实BBM最近呼声已经降得很低了, 唯一能拖它上最佳影片的因素是李安几乎铁定得最佳导演奖, 而一般人投票是总是导演影片同一部. 但是李安似乎已经搞过一回得Director's Guild Award but not Oscar的先例, 所以我还是觉得BBM的机会不过半. 而李安铁定导演奖是因为其他几个提名的是新导演, 资格不老, 而Spielberg资格虽老, 片子实在水平不行. 果然啊果然, 我老的直觉最近强得很, 奥运会时也特别灵.
说起Phil Hoffman, 在ISA时我就想, 他是个实在的家伙, 工作好严肃, 银幕下则毫不张扬. 他说我不想让观众对我太了解, 否则看我的演戏就不能全面投入到欣赏角色本身了, 看见的都是我本人, 这我可不要.
第一次见到他是在"木兰花"里, 印象就很深, 与Tom Cruise同场演戏, 立刻就把阿汤挤得影儿都没了. 他跟阿汤是截然相反的类型的人, 不知道他对阿汤这个人有什么看法--- 然后突然想起来, Hoffman跟Cruise刚刚又合演一出戏Mission Impossible 3. 或许他是为了钱, 或许他也私下里喜欢演个跟Cruise做对的角色呢?
Terrence Howard带了好可爱的儿子出现, 让我八卦心起, 开始胡思乱想他是不是离婚了. 上面唱It's Hard Out Here to Be a Pimp时, 下面估计他在坐立不安. 发奖时看见John Singleton跳起来, 却没见Craig Brewer. 一年又一年, 我发现自己越来越跟glamor有仇, 受不了大家衣冠楚楚人模狗样的严肃劲儿. 好来五真没劲, 给Jon Stewart 讽刺两句还委屈死了("...and these issues were never a problem again"关于政治题材的电影). 所以当几个穿匪徒衣服的rap artists跳上去领奖, 我倒挺开心的. 周六晚上的ISA上, 去的人都开玩笑说赶快领了奖好去排队拿免费礼品云云. Phil Hoffman穿了件皱巴巴的衬衫上去说话, 倒比穿礼服带狗领可爱多了. 我宁可看他们坐在Santa Monica的帐篷里喝酒聊天, 好过走什么红地毯, 多腻味多没有个性. 穿上好衣服就连狗叫都开不了口了. 没劲!
美术指导和服装这类奖都给Memoir of a Geisha拿去了, 要多白痴有多白痴. 明明是不正宗的想当然耳的设计, 好象把清朝明朝衣服混一起还拿奖. 最佳摄影居然也给他们拿了, 真是匪夷所思. 把画面拍得跟明信片一样谁不会? Indie Spirit那帮人才懂, 给了Good Night and Good Luck. 拍黑白的功夫比彩色片要讲究多了.
连Jon Stewart都说太多蒙太奇了, 把film clip都用光了. 开头关于cowboy电影里homosexual subtext那段很好. 而讲film noir的那段不知道目的何在, 那段一上来我就觉得音乐耳熟, 忽然想起来是LA Confidential的soundtrack. 那片子我看了四五遍, 没法不记得.
据说Crash 得到最佳影片奖后, Brokeback Mountain的人纷纷跑出来攻击Crash. Larry McMurtry说我们没得奖是因为好莱乌害怕被人以为支持同性恋 (a bit too late, don't you think?), 某些人爆出内部消息说老年投票者私下说绝不看gay cowboy movies. 混战一团.
我就不明白Brokeback Mountain那帮人怎么就那么肯定自己会得最佳影片, 听他们的说话口气好象本来是非它莫属的, 被Crash以不正当手段抢去的似的. 或许, 投票的怕好来乌全体被人套上支持同性恋的帽子而选择了"安全"的影片, 但那也不是Crash的错啊, 切. 他们就这么肯定自己的片子比别人都高明, 我偏偏不这么认为.
要说得奖的不是最好的影片, 奥斯卡奖里大半都是这种例子. Titanic, Forrest Gump, Shakeshpeare in Love, Braveheart, 甚至Return of the King, Million Dollar Baby, 都让我 也没见支持Pulp Fiction, 红(Kieslowski), 和LA Confidential的人们出来smear得了奖的片子.
至于什么是好片子, 谁又比谁强, 这种事是说不清的. 我过去就说过, my head favors Capote, but my heart is all for Crash. 或许真的是没在LA呆过就不会在肠子里感受到Crash的真实. 在技术上第一次当导演的Paul Haggis也未必高明到哪里, 在调度多线故事的结构上, 他不能跟Robert Altman, PT Anderson比. 可是我真喜欢里面写的人物, 真情实感. 类似结构的木兰花里, 有几个subplot就没让我特别信服或投入, 可是Crash里面, 几乎每个人都触动我, 而最最触动我的, 竟然是Sandra Bullock演的那个鄙视敌视少数民族的有钱太太. 天! 那种人是我平时最讨厌的类型, It says something about the writing if they can get me to identify with a character that I normally despise the most. 在洛杉矶感受到的种族主义, 跟Spike Lee的, 跟密西西比的, 跟DC人脑子里的, 都是完完全全不一样的性质. 黑夜里燃烧的车辆, LA人立刻能联想起Rodney King, OJ Simpson, and the riots in South Central. 不是当地人恐怕没有这种直接的感受, 尤其是东部那种自我感觉良好的elitist librals, Maureen Dawd那种人, 一边雇Hispanic 保姆佣人一边在NAACP露脸当嘉宾给Jesse Jackson捐钱, 以为这样就天下大同了.
最近刚刚看了Junebug, 说到character study, 真实感, 或许是我见过的最厉害的片子之一. 可是这样的片子永远不会得到鲜花掌声(除了或许在Sundance), 那又怎样? 到现在也没看到在Cannes得了最佳男主角的Three Burials of Melquiades Estrada. Grizzly Man连提名也没有. 甲之佳肴乙之毒药.
所谓媒体舆论, 胡说八道的居多, 不可全信. 例如在某电视台上见人说: Phil Hoffman过去发光的机会不多, 老演配角, 是典型的character actor, 现在他有幸在Capote里被委以重任, 才有机会突破, 得了那么多奖 (本年度包揽, I think), 从此领纲大片的机会要多起来了. 我这边几乎要笑掉大牙. 不是说他没有可能从此sell out, 如果他还喜欢干这行工作的话就不会一下子去变成John Travolta, Bruce Willis, Tom Hanks这种被广大人民群众爱戴的票房明星. 担什么GP大纲? 那种片子有啥意思? 偶尔去走穴捞一票罢了. 而且Capote的成就根本是全部掌握在自己手里的, Dan Futterman, Bennett Miller, Phil Hoffman三个死党把艺术主动权紧紧掌握在自己手里, 才能彻底拍一部冷冷的, 纯intellectual, 道德上uncompromising的片子, 一滴讨好观众的润滑油都没有. 如果现在倒向财大气粗的studios, 拿人钱手短气更短, 就别想随心所欲了, 那还有什么意思? 看看Justin Lin的例子, 看看Hustle and Flow, 如果傍了大款就不可能让Terrence Howard主演. 独立制作的影人, 有钱就没艺术自主权, 你自己挑吧.
*******************
其实李安说奥斯卡奖跟艺术性没关系, 这话在原则上是没错. 烂片得奖的事多了去了. 今年难道他们还给活地亚论提了个名, 可是Match Point怎么能是原创剧本呢? 明明是根据Dreiser的小说美国悲剧改编的, 过去还拍过个A Place in the Sun, 我还看过. 老小子是诚实地从来不理你好来无的岔, 今年不知又在哪家饭馆里吹黑管(小号?)了.
(cont.)
Last edited by Jun on 2006-03-08 15:15, edited 9 times in total.
我也觉得Grizzly Man挺好看的。唯一不能让我说毫无保留的喜欢它的地方就是Herzog不能够禁声,总觉得最好看的纪录片是导演的观点完全隐藏在镜头之后的-要完全客观总是不可能的,但是越少的导演的主观,或者越少的直接评论,就越好看一些。不过Herzog这样个性强的人,让他不发表意见,大概也难。这部片子今年奥四卡没拿到提名,还是觉得有点惊讶,我还以为他的题材挺和老奥的口味呢。提名的记录片里只看过enron和企鹅,这两部个人感觉比Grizzly Man差着一个级别,不过也可能是个人喜好不同把
说道Herzog我看了电影之后去imdb他,倒是挺想看Werner Herzog Eats His Shoe
的,就是不知道那里有
说道Herzog我看了电影之后去imdb他,倒是挺想看Werner Herzog Eats His Shoe
的,就是不知道那里有
Last paragran of Roger Ebert on 16 blocks.The bedrock of the plot is the dogged determination of the Bruce Willis character. Jack may be middle-aged, he may be tired, he may be balding, he may be a drunk, but if he's played by Bruce Willis you don't want to bet against him. He gets that look in his eye that says: It's going to be a pain in the ass for me to do this, but I couldn't live with myself if I didn't. I always I believe that more easily than the look that merely says: I will prevail because this is an action picture and I play the hero.
乡音无改鬓毛衰
This has GOT to be a conspiracy of some kind:
In 2006, Jake Gyllenhaal was in the same movie as his sister's squeeze, Peter Sarsgaard in Jarhead. Jarhead is a movie with "more half-naked young male bodies (and homosexual subtext) than Brokeback Mountain."
Sarsgaard was also in a movie called "The Dying Gaul," in which he plays a gay screenwriter in a love affair with a married Hollywood executive.
Gyllenhaal was in "Brokeback Mountain," in which he also plays a gay man in a love affair with a married man.
The director of Jarhead is NOT gay (neither is the director of BBM, but the writer/director of The Dying Gaul is), and he (Sam Mendes) is Kate Winslett's husband. However, he made "American Beauty" with writer Alan Ball, who is openly gay and made "Six Feet Under."
In 2006, Jake Gyllenhaal was in the same movie as his sister's squeeze, Peter Sarsgaard in Jarhead. Jarhead is a movie with "more half-naked young male bodies (and homosexual subtext) than Brokeback Mountain."
Sarsgaard was also in a movie called "The Dying Gaul," in which he plays a gay screenwriter in a love affair with a married Hollywood executive.
Gyllenhaal was in "Brokeback Mountain," in which he also plays a gay man in a love affair with a married man.
The director of Jarhead is NOT gay (neither is the director of BBM, but the writer/director of The Dying Gaul is), and he (Sam Mendes) is Kate Winslett's husband. However, he made "American Beauty" with writer Alan Ball, who is openly gay and made "Six Feet Under."
Last edited by Jun on 2006-03-07 15:53, edited 1 time in total.
You mean they are part of Gay Mafia?
BBM 没得最佳影片奖我稍稍有点幸灾乐祸,一是因为我早就说过的,觉得这片子被拍的太淡化社会矛盾,太讨好观众了。二是哈!以为讲了gay 问题就应该无往而不利了么?而且李安拿了导演奖,剧本是最佳改编,票房也成功,足够鼓励更多人拍“主流基片”。
我很高兴hustle and flow 和 crash 得奖,这两个片子都需要更多的attention from public。
艺妓那么大的制作,下了那么多血本,总得弄几个不重要的奖来撑一撑。商业片嘛。我宽容的说。
BBM 没得最佳影片奖我稍稍有点幸灾乐祸,一是因为我早就说过的,觉得这片子被拍的太淡化社会矛盾,太讨好观众了。二是哈!以为讲了gay 问题就应该无往而不利了么?而且李安拿了导演奖,剧本是最佳改编,票房也成功,足够鼓励更多人拍“主流基片”。
我很高兴hustle and flow 和 crash 得奖,这两个片子都需要更多的attention from public。
艺妓那么大的制作,下了那么多血本,总得弄几个不重要的奖来撑一撑。商业片嘛。我宽容的说。
Last edited by Knowing on 2006-03-08 14:20, edited 1 time in total.
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撞车的故事结构很精致,是我喜欢的类型。但觉得影片本身并没有那么出色。叙述方式,拍摄手法都略显匠气,且不说那些煽情的桥段,及时的音乐,各就各位的道具(LA的雪)
我不太愿意相信crash的公关成功论,或BBM的主题激进论。听起来多黑幕,多阴谋,多吓人啊!――虽然我也明白,电影不可能仅仅是电影。:f28:
其实我最喜欢的是capote
我不太愿意相信crash的公关成功论,或BBM的主题激进论。听起来多黑幕,多阴谋,多吓人啊!――虽然我也明白,电影不可能仅仅是电影。:f28:
其实我最喜欢的是capote
Why 'Crash' won, why 'Brokeback' lost and how the academy chose to play it safe.
By Kenneth Turan, Times Staff Writer
March 5, 2006
Sometimes you win by losing, and nothing has proved what a powerful, taboo-breaking, necessary film "Brokeback Mountain" was more than its loss Sunday night to "Crash" in the Oscar best picture category.
Despite all the magazine covers it graced, despite all the red-state theaters it made good money in, despite (or maybe because of) all the jokes late-night talk show hosts made about it, you could not take the pulse of the industry without realizing that this film made a number of people distinctly uncomfortable.
More than any other of the nominated films, "Brokeback Mountain" was the one people told me they really didn't feel like seeing, didn't really get, didn't understand the fuss over. Did I really like it, they wanted to know. Yes, I really did.
In the privacy of the voting booth, as many political candidates who've led in polls only to lose elections have found out, people are free to act out the unspoken fears and unconscious prejudices that they would never breathe to another soul, or, likely, acknowledge to themselves. And at least this year, that acting out doomed "Brokeback Mountain."
For Hollywood, as a whole laundry list of people announced from the podium Sunday night and a lengthy montage of clips tried to emphasize, is a liberal place, a place that prides itself on its progressive agenda. If this were a year when voters had no other palatable options, they might have taken a deep breath and voted for "Brokeback." This year, however, "Crash" was poised to be the spoiler.
I do not for one minute question the sincerity and integrity of the people who made "Crash," and I do not question their commitment to wanting a more equal society. But I do question the film they've made. It may be true, as producer Cathy Schulman said in accepting the Oscar for best picture, that this was "one of the most breathtaking and stunning maverick years in American history," but "Crash" is not an example of that.
I don't care how much trouble "Crash" had getting financing or getting people on board, the reality of this film, the reason it won the best picture Oscar, is that it is, at its core, a standard Hollywood movie, as manipulative and unrealistic as the day is long. And something more.
For "Crash's" biggest asset is its ability to give people a carload of those standard Hollywood satisfactions but make them think they are seeing something groundbreaking and daring. It is, in some ways, a feel-good film about racism, a film you could see and feel like a better person, a film that could make you believe that you had done your moral duty and examined your soul when in fact you were just getting your buttons pushed and your preconceptions reconfirmed.
【说的好凶。】
So for people who were discomfited by "Brokeback Mountain" but wanted to be able to look themselves in the mirror and feel like they were good, productive liberals, "Crash" provided the perfect safe harbor. They could vote for it in good conscience, vote for it and feel they had made a progressive move, vote for it and not feel that there was any stain on their liberal credentials for shunning what "Brokeback" had to offer. And that's exactly what they did.
"Brokeback," it is worth noting, was in some ways the tamest of the discomforting films available to Oscar voters in various categories. Steven Spielberg's "Munich"; the Palestinian Territories' "Paradise Now," one of the best foreign language nominees; and the documentary nominee "Darwin's Nightmare" offered scenarios that truly shook up people's normal ways of seeing the world. None of them won a thing.
Hollywood, of course, is under no obligation to be a progressive force in the world. It is in the business of entertainment, in the business of making the most dollars it can. Yes, on Oscar night, it likes to pat itself on the back for the good it does in the world, but as Sunday night's ceremony proved, it is easier to congratulate yourself for a job well done in the past than actually do that job in the present.
same feeling here.密斯张三 wrote:撞车的故事结构很精致,是我喜欢的类型。但觉得影片本身并没有那么出色。叙述方式,拍摄手法都略显匠气,且不说那些煽情的桥段,及时的音乐,各就各位的道具(LA的雪)
要说题材讨好,racism和gay的题材,两片差不多,racism在美国其实更讨好。不喜欢撞车就是觉得匠气,不自然。
蒲一开始,每个人都是怒火冲天,毫无理性,异常狂燥,曾住过LA的人可能会有同感,可是从未去过的人看了只觉得莫名其妙,这莫名其妙还没过去,就发现导演(或者编剧)在自以为很微妙其实很明显的往种族问题上靠。Sandra Bullock演的妻子自己也不明白为什么每天这么愤怒,影片自以为含蓄的暗示她丈夫和女秘书(?)有染,来了个特写,女秘书是个很漂亮的黑人小妞,这桥段太cheap,没有意义。而无聊的Sandra Bullock在从自己的好友那儿得不到帮助和慰籍后,从自己的墨西哥女佣处得到一丝温暖,???。编剧费尽心机把各色人种搀杂着串进故事,是很精巧很别致,可是太求全,反而让人迷惑,不是在讲racism,而是人和人之间的隔阂和误解,仔细想想,这隔阂和误解有多少和racism有关系?
正当我看得莫名其妙之时,突如其来,每个人的愤怒来得快也去得快,突然之间,剑拔弩张之势就烟消云散,消除的原因也和racism没有关系,似乎一刹那,人开始有了理智,开始象我身边的正常人一样思考和行为。这就更加和现实生活不符合,人一时的愤怒和感动是有的,以为一时的感动和愤怒能改变一个人的mindset也是不可能的。
我不喜欢crash就是因为觉得太不真实,不错的hollywood影片,可也让我没什么感动,没什么可回味,没什么可担心的,这么多的误解和错觉,不是最终都靠每个人的良心和亲情解决了吗?
罗卜青菜. 去年我还看不出Million Dollar Baby有啥好呢. 有人却看得哇哇大哭来着.
继续列表:
Junebug, check. (挺好的, 不过有很多地方没解释, 有点神秘)
Best of Youth, 正在看(好看啊好看死了).
打算看:
Three Burials of Melquiades Estrada
Cache
Thumbsucker (据说Keanu Reeves演得很有趣, 另有Vincent D'Onofrio, Vince Vaughn等等)
The Squid and the Whale
Murderball (大家注意了, 电视台A&E要播放这部片子, 请查当地时间表)
Happy Endings
The Dying Gaul
L'Enfant
费城电影节的组织人强烈推荐Jarhead, 最近刚出来. 我对战争片比较不感冒, 正犹豫中.
另外推荐两部老一点的片子: You Can Count on Me; Bread and Tulips (意大利的).
继续列表:
Junebug, check. (挺好的, 不过有很多地方没解释, 有点神秘)
Best of Youth, 正在看(好看啊好看死了).
打算看:
Three Burials of Melquiades Estrada
Cache
Thumbsucker (据说Keanu Reeves演得很有趣, 另有Vincent D'Onofrio, Vince Vaughn等等)
The Squid and the Whale
Murderball (大家注意了, 电视台A&E要播放这部片子, 请查当地时间表)
Happy Endings
The Dying Gaul
L'Enfant
费城电影节的组织人强烈推荐Jarhead, 最近刚出来. 我对战争片比较不感冒, 正犹豫中.
另外推荐两部老一点的片子: You Can Count on Me; Bread and Tulips (意大利的).
gawd, ang lee could stick that little gold man up his ... (re: his complaints that he deserved the oscar.) you can complain all you want, but to say that the film industry hates homosexuality more than anything else is just hilarious. the review's argument is really tenuous in positing that the choice was merely between bbm and crash, and that the choice was made based on ideology. prove either of these to me, people!
Now that happy moment between the time the lie is told and when it is found out.
他说了更bitter 更没逻辑的话。挖塞,这下我才相信他也是个人,儒家那套克己功夫还没炼到炉火纯青的地步。
http://www.mingpaoweekly.com/htm/20060308/maa1.htm
[quote]
李安又分析《
http://www.mingpaoweekly.com/htm/20060308/maa1.htm
[quote]
李安又分析《
有事找我请发站内消息
其实我无所谓谁得奖,说到底奥斯卡也是一群人做出来的,一群人有一群人各自口味。只是crash实在与以往风格不同(咦?你不许人家换口味?),结构特色是奥斯卡的死穴,人物故事一旦纠结复杂评委就立刻忽略(借口是什么?刻意?manipulating?) 比如Jun举的例子――Pulp Fiction, LA Confidential, Robert Altman, PT Anderson,都是这样。最讽刺是今年他们发给Robert Altman一退休奖,算是迟来补偿。
我看到某处报道李安说我们横扫各大奖项票房也比crash高,自信满满,没有得奖他很吃惊。。。我就 这是李安说的?――不过媒体惯会断章取义。
这个问题太经典了。名人儿女不好做啊。:laughting015:
[quote]
我看到某处报道李安说我们横扫各大奖项票房也比crash高,自信满满,没有得奖他很吃惊。。。我就 这是李安说的?――不过媒体惯会断章取义。
这个问题太经典了。名人儿女不好做啊。:laughting015:
[quote]
据说是制片人吵起来了。Jun wrote: Don Cheadle跑到哪里去了? 到现在影子也没有. 没有他这片子搞不成, 至少搞不来这么多演员加盟啊. 最生气的是最后Cathy Shulman发言时刚说到: Don Cheadle 今天不能来... 就乐声大作把她给淹没了. 气死我了, 连最佳影片也不让多说一句. 我可以肯定他们给Cloony的时间长多了.
Jon stewart远远没有在他节目上辣。给了民主党和切泥各一个笑话
Last edited by 密斯张三 on 2006-03-08 14:51, edited 1 time in total.