自由的幻影转载一则影评 Buñuel分集剧情
Themasterofsurrealisticcinema,LuisBuñuel,changedhisapproachtothebourgeoisieafter"Tristana",andhislastthreefilmsareallcomicandprevailthroughamixtureofpuresurrealism,extremeironyandtheoneconsistentthemeofBuñuel'sauteurship-hatredoftherulingclasses. 超现实主义电影大师，路易斯•布努埃尔，在“Tristana”之后改变了他对中产阶级的方式，他的最后三部电影都是喜剧的，带劝说性质的，通过一些纯超现实主义的、极端的讽刺和他一贯的主题的混合，那就是他对统治阶级独具特色的仇恨。 "LeFantômedelaLiberté"isperhapsBuñuel'sleastaccessibleworksincehisfirsttwofilms,"UnChienAndalou"and"L'Aged'Or".Itisathematiccontinuationof"LeCharmeDiscretdelaBourgeoisie",wherethesevenprotagonistsjustcouldn'tfinish,orevenstart,ameal.ThisisastrongmetaphorforBuñuel'sviewthatthebourgeoisieisadyingclass,andthatnotevenaviolentrevolutionisneededtoremovethebourgeoisiefrompowerandwealth.Theyareperfectlycapableofdoingsothemselves,throughtheirindulgenceinpatheticetiquetteanddecayingsenseofmorality."LeFantôme"isnotfunnierthan"LeCharme",butitishardertounderstand,andthisisexactlywhatBuñuelandCarrièrewantedafterthesuccessof"LeCharme"atthepreviousAcademyAwards. 布努埃尔的观点是一个很强烈的隐喻，中产阶级是一个正在死亡的阶级，而且连剥夺中产阶级的权利和财富的暴力革命都不需要。他们理想化地成为他们自己，通过沉溺在可悲的礼仪以及对道德已经腐朽的感官。 In"LeFantôme",noteventhecharactersareconsistentthroughoutthefilm.Thisfilmislikearelay,whereonememberoftherulingclasspassesthesticktothenext,andnevercomesbacktothevisionoftheaudience.Theyjustleave,likeBuñuelwantedthemto,perhaps,butinthisfilmisanimportantfactorbecauseitconfirmsBuñuel'snon-humanviewofthepeopleofthisclass.Hiswasacollectivehatred,andthisfilmreflectshiscollectiveviewofthebourgeoisie.Thefilmcontainsabsurd,surrealincidents,likepriestsplayingcardswhilesmokinganddrinking,parentsreactingtopostcardsoffamousbuildingsgiventheirdaughterbyastrangerastheywereobsceneandawriterkillingtensofpeoplefromhissniping-positionattheroofofabuilding.Thewriterisfoundnotguilty,andthecontinuingmix-upofcharacters,twoactorscompetingforonerolemakesforaveryconfusingnarrative.Ormaybethe"story"isjustamockeryoftraditionalstorytellinginfilm.ResnaisandRobbe-Grilletmade"LastYearinMarienbad"justtoprovethattellingstoriesisabourgeoisthingandnotnecessaryformodernistorrevolutionarycinema. 在《自由的幻影》中，甚至连人物都不是持续的。这部电影就像接力赛，在其中，统治阶级中的一个成员将棒传递给下一个，从不出现观众的影像。观众都留下来了，像布努埃尔期望的那样，因为在电影中有一个很重要的因素，即是强调布努埃尔的“non-humanviewofthepeopleofthisclassnon-humanviewofthepeopleofthisclass”。他是集体仇恨，这部电影就表达了他对中产阶级的集体观点。这部电影包含了荒谬的、超现实主义的情节，像牧师们打牌同时抽烟喝酒，父母对陌生男人给女儿的著名建筑的明信片的反应，他们认为那是亵渎的，一个作家从楼层高出射杀了数十人。作家最后却无罪，然后就是继续的人物混杂……雷乃的《去年在马里昂巴德》仅是想证明，讲故事是一件中产阶级的事，对于现代主义者或者革命电影来说并不需要。 ThisfilmisactuallybasedonapaintingbyFranciscoJosédeGoyacalled"ElTresdeMayo"(ThethreeinMayo),and"LeFantôme"startswithashortepisodeofhowBuñueldepictstheincidentsduringtheNapoleonWars.Butit'sthethemeofGoya'spaintingthatBuñuelisconcernedwith,andthisfilmismorethanamockeryofthebourgeoisie,itisalsoanattackoncommunistdoctrinewhichallovertheworldonlyseemstotakefromthepeoplewhatiswassupposedtogivetothepeople:Freedom,andalsoanattackonleftistdefeatism.TheglorificationofthedefeatisperhapsthemodernLeft'sbiggestproblem,whichonlyleadstoamoveawayfrompower."Downwithfreedom!",Buñuel'srevolutionariesshout-andthefiringsquadsstartfiringatthedyingrevolutionaries. 这部电影可以说是中产阶级的笑柄，但同时也是对共产主义口号的攻击，全世界看上去都在从人民手里夺走那原本想要给人民的东西：自由。同时也是对左翼的失败主义的攻击。对失败的赞美也许是现代左翼的最大问题，那只能导致权力的丧失。“打到自由！”，布努埃尔的革命叫嚣着，狂热的团体开始向腐朽的革命开火了。 byAudunBråten(braugen@hotmail.com)fromOslo,Norway
