Really a middle-brow film with lots of fun and play, but not without some eeriness, especially when the uncanny presence of the Shakespearean dialogues punctuates the duo’s absurdist exchanges. They are thrown into the play and involved in the events that they half witness and half forget. When events are encountered in medias res, there are moments of disorientation, of doubting and groping for their selfhood. Here I am reminded of Rivette’s Celine and Julie Go Boating,
荒诞喜剧永远是我的心头好。
两个在《哈姆雷特》中非常微小的小人物,在这出剧中被推上了前台。一个因为看到了命运的困惑而暴躁不安,一个无数次接近创新的边缘,但不管怎么挣扎,最后都会被不知名的牵引拉回原路。
一个名为“演员”的角色,他该是本剧作者或造物主,带着哈姆雷特亡父的样子,带着他的戏班,一次次肆无忌惮的给 Rosencrantz和Guildenstern 展示他们的前程命运和结局,因为知道他们注定无法堪破。
作为两个书中角色,他们的路线已经被写好,就算他们突然有了某种程度的醒悟,有了自主意识,还是逃不脱字里行间。就像是被文字的言灵所束缚的扯线木偶,挣扎以后,还是只能跟《哈姆雷特》殊途同归,一起走向两个剧本相同的结局:Rosencrantz and Guildenstern Are Dead。
宫廷戏,荒诞戏,内心戏,戏中戏,一切也不过只是一出戏。用舞台化的场景来拍摄,夸张的手法来演绎,真是恰如其分。
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关于同名戏剧的图文REPO在这里 http://www.douban.com/note/165320259/
《君臣人子小命呜呼》跌宕!不过是殊途同归
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