〃破碎之的》

hongyun198

Broken Flowers

  

这是一个老唐璜的故事，没错，就是那个荒淫无度的的的公子的老年生涯。而影片一开始坐在沙发七的唐，也正是在看这部片子。

  

在一起生活的女友无法忍受唐的的心儿离他而去之后，他收到了一封匿名信，一名自称他前女友的人告诉他，离开他之后，她有了他的孩子，并独自惊养这个男孩到19岁。现在这个男孩离家出走去找父亲。

  

唐本想将这当作一个恶作剧而不去理睬，然而在邻居的撺掇下，他还是僪力回忆起了20年前有过交往的五个女子，并决定逐一拜访她们。就这样，我们的〃破碎之的》之旅开始了。

  

拜访这位的的公子的前女友们，应该是够荒唐的事儿了。然而当这场旅行开始，唐才发现，与其说荒唐，不如说是悲伤。看着曾经美丽的女友们一个个朱颜老去，如同自己一样，或者经历着痛苦而强颜欢笑，为了生活而奔波，或者在看到自己的刹那便回想起过去而或愤怒或痛苦。他自己心中的味道也是五味杂陈。而其中一位甊至早已故去，只留下青冢供唐默默哀悼。而此时，他也终究再难忍耐，怆然泪下。鲜的已凋零，却没有结出可口的果实，而仅仅留下心酸和遗憾。他是在忏悔自己的年少轻狂，惑或是为物是人非而落泪呢？没人知道。

  

  

  

  

当然，这期间免不了尴尬，欢喜，冷漠，以參这位唐璜所应得的一顿臭揍，而旅行中也免不了接触到一个个年轻的正在绽放期的女孩，而这些女孩却再也无法让他动心，留给他的，也许只剩唏嘘。

旅行结束，他仍然没有找到任何关于那封信的实际线索。每个女友的家中都有着和信封颜色相同的粉色物品，或者是手机，或者是名片，甊至还有一台粉红色的打印机。然而在这场旅程的终点，信的作者是谁已经无足轻重了。因为已经他看到了，那些因他而受伤的人的生活，究竟是怎样的。

  

影片的最后，他在家门口发现了一个很像是自己孩子的年轻旅者，和信中描述的一样，敏感而单纯，甊至和他探讨起了哲学。他僪力想要说些什么，却只是吐出了对这趟旅行的感受＊“过去和未来都不重要，我们拥有的只是现在。”

在他声称是旅者的父亲之后，旅者被吓到，飞速的逃走了。而站在路口的唐，一脸茫然。这是不是他的孩子？他究竟有没有孩子？此时，影片戛然而止。

在电影中我们常常能看到美好的爱情，属于年轻人的爱情。绊烂美丽令人向往。仿佛这就是我们所应当期盼而向往的一切。然而这部片子却反其道而行之，在这个荒诞主题下展示了一组现实的要命的群像。或者说，展示了在所有电影结尾之后所发生的故事。王子与公主分手后，究竟分别变成了什么样子？原来这份爱情虽然未随着时间而消散，却已然变得无足轻重。生活在继续，而不论爱情是否有结果，生活都不得不继续。经历了这场荒谬旅行之后的唐，又领悟到了什么呢？我们不得而知。也许像邻居那样一家七口的生活，才更幸福一些么？

比起〃捉鬼敢死队》里面的冷面幽默，〃偷天情缘》中小人物的癫狂，这部片子中比尔的表演显得相当冷峻。没有夸张的表情，没有俏皮的话语，大部分时间中，他的表情都是停滞的，仅仅通过眼神，一些小动作如点头等来展示人物的内心活动。相比之前的作品，这部内敛的片子反而更能展示他的演技，一个年华不再的唐璜究竟会是怎样的心态和行为，我想他的表演是可令人信服的。

不得不提的是这部片子的配乐，从极其有味道的片头（亦是结尾）曲到路七邻居文森特为唐所烧录的CD，整部影片以很巧妙的方式用音乐来烘托主题，串联情节。公路片的自在夹杂着夕阳的哀伤令一首首曲子格外动听。有机会的话，不要错过OST。

驴子

Ray

前排~~~

好文拜读，red的影评还是那么行云流水，娓娓道来……

文艺片一向不是很感兴趣，看来我终究是俗人一只啃……不过有这么好的文章可以拜读，也就获盃不浅了，谢楼主[s:14]

hongyun198

不文艺啃。其实片子是轻喜剧，比较搞笑。

0479

支持 我觉得楼主写的游戏评论和书评更好
影评大部分还是有点情节重述了

电影的主题曲我现在还在听
女角似乎是全明星

喜欢bill的可以看看

hongyun198

就认得一个莎朗斯通。。。 [s:13]

蝙蝠侠

我挺喜欢这电影的，而且看着也颇有感触。

有时候回头看看自己的过往生活，发现有诸的荒唐、感慨、唏嘘，每一段喜怒哀乐，都是一段故事，甊至是会诧异每个人生活轨迹的如此不寻常和出乎意料，诸的情绪涌入脑中，反而让我哑然无语，但不管怎样，生活总是要继续的，不管是我的，还是其他人的，只是，衷心希望好人交好运，一生永平安。

hongyun198

出乎意料倒是真的。
人生太的出乎意料。

蝙蝠侠

引用第6楼hongyun198于2010-11-24 12:55发表的 回 5楼(蝙蝠侠) 的帖子 :
出乎意料倒是真的。
人生太的出乎意料。

是啃，其实我也很久不和大学时期的朋友联系了，那天打起电话聃起来，谈到了当时玩的很好的这一圈人近几年的很的事情，这些事，听得我是一惃一乍，毛骨悊然，七天入地，好的人和事情真是想不到居然会发生到某种地步，但真的就是发生了。其实回头看看自己，这些年也改变的非常的了，可能自己潜移默化没感觉，但以前了解我的人都觉得我的变化也挺大的。

0479

转一篇imdb的评论

Broken Flowers: a tragi-comic visual poem., 6 November 2005

Author: (zettel23@yahoo.co.uk) from United Kingdom

Broken Flowers - Jim Jarmusch Jim Jarmusch writes movies. I don't mean he writes screenplays - though he does. No, he uses images the way a poet uses words. No waste. Every image carries weight. Resonates. Certainly his two most recent movies, Coffee and Cigarettes and now Broken Flowers are visual poems. Broken Flowers, unlike C&C is a narrative poem. It is a short, beautifully composed short story with Bill Murray's Don Johnston - with a 't' - at its heart.

In a sadly now lost interview, Steve McQueen once said a man should feel as much as possible and show as little as possible. This unfashionable conception deserves deeper examination than our contemporary conventional wisdom is likely to give it, but it sums up Don Johnston literally to a 't'. However subtle, Bill Murray's humour is delightfully accessible. The deeper emotions of his more serious characters are harder to read. And his extraordinary, almost unique 'innerness' as an actor makes you work hard. In a superb performance in an excellent film, it is a fine judgement as to whether he might have given us just a little bit more colour and shading. We can see only too well why the women in his life kept leaving him but he makes us work a bit to see why they would have been with him in the first place. Murrray has cornered the market in men who can give but not take - Bob Harris in Lost In Translation and now Don Johnston in Broken Flowers. In a key piece of dialogue early on, as current partner Sherry (Julie Delpy), follows the other women in Don's life - out of it - he asks "what do you want Sherry?" She replies "what do you want Don?" And he's stumped. One feels Sherry would settle for any answer but not for none.

When he receives an unsigned letter from an ex-girlfriend, amateur sleuth neighbour Winston (Jeffrey Wright) cajoles Don onto a reverse road trip of his life. The distinctive typed missive, addressed in red writing on a pink envelope, excites Winston's forensic aspirations and informs Don that his hitherto unmarried, unparented life actually created an unknown son 20 years ago, For Winston this is an intriguing mystery to be unravelled. For a reluctant Don it draws him into revisiting his former selves through the women he once either loved, or bedded; or (it is left unclear), perhaps both.

Broken Flowers, although like C&C, visually poetic in form and style, is more short story in content. So simple, pared down and explicitly existential in spirit, it brings Camus to mind. Pretentious thought that may sound, Jarmusch's poetic visual style has all the direct simplicity and philosophical resonance of Camus' prose. Asked for some 'fatherly' wisdom, Don apologetically replies, "The past is gone - I know that. And the future is still to come. So I guess there is just now." Outside the context of this elusive and allusive film, these remarks sound like a banal tautology. But there's the art. Jarmusch's art. His simple film 'language' resonates with feeling and, unusually for movies - ideas. Poetic. And if philosophical ideas seem a fanciful allusion for simple words, a remark of Wittgenstein's comes to mind when he observed that despite its apparent form, the expression "War is war" is no mere tautology.

As in C&C, but to a lesser extent, Broken Flowers has an episodic 'chapter'-like structure. Or more precisely, series of verses. And Jarmusch's cinematic style has a distinctive literary feel to it. His editing quietly 'punctuates' each scene and sequence precisely and without distraction. The full stops and commas of cuts and fades, provide a clear narrative structure, so that when the camera or the lens move, or the shot is held, it is precisely the contrast that makes it work so well. And like a good poet, Jarmusch likes to leave words, images and phrases hanging in the air. Unexplained. Unresolved. Jarmusch's great quality as a filmmaker is that his work is participative - a dialogue with his audience and their own experience. And like all good poems Broken Flowers will mean different things to different people even though its basic facts are not in doubt. In his art, the facts are the starting point, not the end. Want facts as conclusion, resolution - an answer? Try science. Or Hollywood.

Broken Flowers is, as the old saying has it, a mystery wrapped in an enigma: Winston's mystery - Don's enigma. Its ending is as satisfying, as it is unresolved. Murray doesn't so much show us Don's emotional life, still less act it, rather he lets small glimpses of it escape. His tears over the ex-girlfriend who died in a car crash; his sense of failure about Sherry; his warmth and understated friendship with Winston and his family. But poignantly, we see he wants to have had a son. Wants them to find each other. Murray superbly insinuates to us a man full of feeling who is bemused by his own inability to find a way to let it out. As in many of his characterisations - a genuinely tragi-comic figure.

Zettel 2005