The first question is, “Why did she stay?”, followed by, “How would she stay?” It’s perhaps easier to analyze by exclusions: Jean-Marie did NOT stay for political reasons; nor for profit; nor for love of the land or culture (as Dinesen professed to be). In fact, Marie didn’t seem to be capable of sentimentalism, let alone living and dying for it.
Clues? “Your father said happiness is not enough for me.”
“I am a good fighter, too. How could I show courage in France? It would be absurd; no rhyme or reason. I’d slacken off, get too comfortable.”
These are not the finest examples of eloquence by any measure. But one can hardly articulate better, such being the revelation of the private psycology of colonialism.
一开始很不自觉地要猜这究竟是哪个国家,是什么战争,在哪个年代。后来随着故事的进展,也就都忘了这些疑问。反正这些好像虚幻,又好像真实的事件,都在告诉我,一切都将一发不可收拾。
片中几乎每个人物都被用了特写,他们不同的处境不同的经历似乎一直在存托于佩尔的倔强。每个人都在说着逃离,而鼓动大家逃离的,是直升飞机上一些白色物质对另一些白色物质的警告。然而,我们也不能确定,留下来,是不是另一种方式的逃离?逃离这种必须落叶归根的失败感?
如果一个女人可以镇定地面对一些持枪劫路的匪徒,说着我认识你,我也认识你,我认识你们每个人,我tm还认识你舅舅!那么我们可以认定她就是一个不相信危机的人,她这种不信危机的镇定是可怕的,却又是飞蛾扑火般的脆弱。是的,她那么单薄地走在泥土地上,却在做着一些果断的劳动。这种让人心疼的徒劳,让我明白了,殖民,只是弱者的逃离。
当人们执着地听着电台的警告,告诫大家能走即走时,她却把频率调在雷鬼乐电台,这种懒散的调调和整个时局如此不和谐。不和谐,便会被颠覆,电台人的被杀
于佩尔,这个法国女人,真是越老越有味道。当年只看到她骨子里有一种倔强,很少看到她的笑,如今依然很少看到她的笑,那份倔强却在时间的老坛子中孕育出一份说不出的美丽气质。难道是因为法国也跟中国一样,明星青黄不接,年轻一代徒具外表,连花瓶的位置都是抬举,还得那些老帮菜出来铁肩担道义,力挽狂澜?
由于影片的故事背景牵扯到中国影迷最难以理解的西方种族问题以及非洲部落冲突问题,所以对于剧情理解基本上都是浮云,只能看看女主角长的怎么样。
此外,喜欢咖啡的朋友倒不妨看一下这个片子,里面有阿拉比卡咖啡从采摘到烘焙的全过程。话说当年我还年轻那会儿,有一天突发奇想,打算将来有一天在中国混不下去了就去非洲种咖啡。看了这部片,我决定还是在中国好好混吧。
在一个放眼望去,街上拿枪的人比拿手机的人还多的国家种咖啡,简直就是找死。我还不想为了那一杯纯正的阿拉比卡咖啡,就冒险去给黑人当活靶子。
还不是蓝山的。
Dream can be built in one's mind freely, also can be spreaded and hung on with one's spirit. But when the dream against the fact that cannot change, we should give up and hold the precious life, 'cause when everything is set up by humanity, you can recover your dream by your living, or you have to pay the suffering because of your stubbornness
《白色物质》三星半,可惜了一个好故事
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