关于《欧洲特快列车》……

生铁

这个电影以前咱们谈过么？老边，尚方，零丁，你们可曾喜欢这个片？它算好片么？

我觉得我吸引它，还是画面，画外音，1、2、3、4……还有女主角，她躺在沙盘模型上做爱……

你们可喜欢它么？

生铁

我一开始没拿它当事，觉得不错，看了也就看了。

可是，常常想到它，念念不忘，今天又拿出来看。

这电影就象它的女主角一样，有后劲。

边河

这是哪部呢，在沙盘模型做爱……拉斯冯提尔的欧洲特快车里好像是没有的吧。好吧，冯提尔的我都不记得说什么了也。
唉，继续做活去了。

andsoon

是不是罗伯格利耶那个

尚方翊剑

但是上次看已经是05年的丹麦二区发行的“拉斯欧洲三部曲”的版本，一些剧情的细节已经记不清了，在我脑子里是一些模糊的影像和一些奇特的机位。
一区CC上个月刚洗牌过这部电影，你是否就看的这个版本.我会找到这个再看一遍。

这是当年美国上映时的预告片，另附拉斯当年的“豪言壮语”。
Manifesto No. 3: Europa BY LARS VON TRIER
Years before he and Thomas Vinterberg issued the well-known Dogme 95 manifesto, Lars von Trier wrote three similarly impassioned artist’s statements, one to accompany each of the films that make up his loosely configured “Europe Trilogy”: The Element of Crime (1984), Epidemic (1987), and Europa (1991). In this, the last of the three, written for Europa, he explains movie magic and confesses his carnal sins.
I CONFESS

Seemingly all is well: Film director Lars von Trier is a scientist, artist, and human being. And yet I say: I am a human being. But I’m an artist. But I’m a film director.

I cry as I write these lines, for how sham was my attitude. Who am I to lecture and chastise? Who am I to scornfully brush aside other people’s lives and work? My shame is only compounded by my apology that I had been seduced by the arrogance of science falling to the ground as a lie! For it is true that I have been trying to intoxicate myself in a cloud of sophistries about the purpose of art and the artist’s obligations, that I have thought up ingenious theories on the anatomy and the nature of film, but—and I confess this openly—I have never come close to disguising my innermost passion with this pathetic smoke screen: MY CARNAL DESIRE.

Our relationship with film can be described and explained in many ways. We should make films with the intention to educate, we may want to use film as a ship that will take us on a journey to unknown lands, or we can claim that the goal of our films is to make the audience laugh or cry, and pay. This may all sound plausible, but I do not believe in it.

There is only one excuse for living through—and forcing others to live through—the hell of the filmmaking process: the carnal satisfaction in that fraction of a second when the cinema’s loudspeakers and projector in unison and inexplicably give rise to the illusion of motion and sound like an electron leaving its orbit and thus creating light, in order to create ONLY ONE THING—a miraculous breath of life! This is the filmmaker’s only reward, hope, and craving. This carnal experience when movie magic really works, rushing through the body like a quivering orgasm . . . It is my quest for this experience that has always been and always will be behind all my work and efforts . . . NOTHING ELSE! There, I’ve written it, and it felt good. And forget all the bogus explanations about “childlike fascination” and “all-encompassing humility.” For here is my confession: LARS VON TRIER, A SIMPLE MASTURBATOR OF THE SILVER SCREEN.

Still, in part three of the trilogy, Europa, I have not made even the slightest attempt at a diversion. Purity and clarity have been achieved at last! Here nothing conceals reality under a sickly layer of “art” . . . No trick is too tacky, no device too cheap, no effect too tasteless.

JUST GIVE ME A SINGLE TEAR OR ONE DROP OF SWEAT; I WILL GLADLY GIVE YOU ALL THE WORLD’S “ART” IN RETURN.

One final word. Let only God judge my alchemic attempts at creating life on celluloid. One thing is certain. Life outside the cinema can never be equaled, for it is his creation and therefore divine.
+++++++++++++++++++++++++++++激情澎湃的分割线+++++++++++++++++++++++++++++++++++
No trick is too tacky, no device too cheap, no effect too tasteless.
非常吻合我现在对电影的认知。

[ 本帖最后由 尚方翊剑 于 2008-12-15 18:22 编辑 ]

边河

我对《犯罪分子》印象极其深刻。

生铁

不过也对，拉斯的片子看过两部，看完只留下几个镜头的印象。别的都不大记得。

不像有些导演，对整部片子，尤其是故事，都留下印象——我当然说的不是商业片。

生铁

他们的DOGMA95宣言，也很象黑蓝首页的宣言，很壮声威。