美人计

第20届法罗岛电影节第8个放映日为大家带来《美人计》，下面请看前线在编织浪漫中猝不及防的痴男怨女的评价了！

果树：

女主之美照亮全片，镜头的精巧设计引人入胜。

保嵩：

酒窖那一段戏拍的让人叫好，但剧本偷钥匙这个点，设计的不好，没有说服力，那么容易被发现，为什么要干

Morning：

间谍元素是希区柯克编织浪漫的借口，也是对成人困惑的深度挖掘。所以还是要从英格丽褒曼的角度来看待这个故事，她不是间谍，她做间谍是为了什么，是为了信任和爱情，这和《色戒》是一样，这样才能超越情感空虚、充满负罪感的生活。这部电影里最差的就是加里格兰特，常常不在状态，不仅男配对比的跑出，母亲的角色是二战前德国最伟大的演员康斯坦丁扮演，她在后半程贡献了极为老道的表演。

Not Here：

又要开始花式夸人环节了，褒曼的美貌和演技果然名不虚传，加里格兰特这个角色并不讨喜，但是他可以把这个角色演的让人讨厌不起来。比如黑心生意基本上没有应有的深入氛围效果，只是单纯的背景，这种老片子的通病就见怪不怪了，毕竟现在好多片子也这样摆个架子装高端呢。

子夜无人：

观感居然是太过简单了，古往今来的“美人计”中皆把“美人”当作一道牺牲品的处境，在这里看不到更深的残酷性、剥削性的展现，虽然从时间维度来说很不公平，但经历过《色戒》那样扎进你骨髓深处的扒皮露骨之后，很难再被这样消解为商业爱情片的痴男怨女故事所打动，加里·格兰特的角色不仅没有成为邝裕民，反而还充当了惊人的救世主。

松野空松：

爱情桥段让人白眼，又是经典好莱坞那套一见钟情，还是爱得如此情深深雨濛濛，但是褒曼太美惹

SONGMJ23：

银幕中仿佛存在着一个由强大的光影表现力生成的动态空间。

FranzCamus：

养育自己成人的父亲是纳粹战犯 自己爱着的男人却不重视自己并把自己拱手相让给敌人 敌人爱着自己自己却因为立场而爱不得 身在囹圄的女人 带着挣扎的内心 不知该往何处去。

我们敏熙：

这片难道是男女主角拼命拐着弯说话，愣是不让对方知晓自己心意的电影的始祖？最后一幕戛然而止，收得让人猝不及防，但又让人拍手叫好。

欧·尹：

希区柯克第十部x褒曼第五部，目前也只能名列第十部。间谍政治如儿戏，爱情矫情似少年。褒曼很棒，不喜欢格兰特，反倒是alex母子更有魅力。当然，镜头、调度还是显功力的，主观眩晕与关门收尾都很好。可还是，瑜不掩瑕。

#FIFF20#第8日的场刊将于稍后释出，请大家拭目以待了。

Yet let us recall the final scene of Notorious (1946): Devlin elopes with the poisoned Alicia from Sebastian's house in full view of the latter's Nazi collaborators. What we have here is a homologous underlying structure of the three gazes, of the three subjective positions: the ignorant Other is here the members of the Nazi ring who do not know that Alicia is an American spy and that Sebastian knows it (the reason why he is slowly poisoning her with his mother's help); the actants are Devlin and Alicia-Devlin escorts her down the staircase, posing as her friend who will take her to the hospital, with Sebastian's agreement; the helpless opponents are Sebastian and his mother, reduced to the role of passive observers-although Devlin's act is directed against them, any public countermove of theirs would instantly reveal to the members of the Nazi gang present that Alicia is an American spy and that Sebastian knows it, whereby Sebastian would sign his death warrant. What makes this scene different from the three above-mentioned comic interludes is the character of the third agency, the ignorant big Other, the public which witnesses the duel of the actant and his opponent: the Other loses here its benevolent innocence and assumes features of a threatening paranoiac agency. Those who range Notorious among the few Hitchcock's films which display noir sensibility are therefore in the right: one of the features which characterize the noir universe is precisely this mutation in the status of the big Other.

引自

Enjoy Your Symptom!

评价人数不足

Slavoj Zizek / 2007 / Routledge

The very notion of the big Other (of the symbolic order) is founded on the special kind of double deception that becomes visible in a scene from the Marx brothers' Duck Soup, where Groucho defends his client before the court of law with the following argument in favor of his insanity: "This man looks like an idiot and acts like an idiot—but this should in no way deceive you: he IS an idiot!" The paradox of this proposition exemplifies perfectly the classical topos of the Lacanian theory concerning the difference between animal and human deception: man alone is capable of deceiving by means of truth itself. An animal can feign to be or to intend something other than what it really is or intends, but only man can lie by telling a truth that he expects to be taken for a lie. Only man can deceive by feigning to deceive. This is, of course, the logic of Freud's joke about two Polish Jews often cited by Lacan. One of these men asks the other in an offended tone: "Why are you telling me that you are going to Cracow,, so that I'll think you're going to Lemberg, when you are really going to Cracow?" This same logic structures the plot of a whole series of Hitchcock's films: the amorous couple is at first united by a pure accident or an external constraint, i.e., they find themselves in a situation in which they must pretend to be married or in love, until, finally, they fall in love for real. The paradox of such a situation could be adequately described by a paraphrase of Groucho's plea: "This couple looks like a couple in love and acts like a couple in love—but this should in no way deceive you: they ARE a couple in love!" We find perhaps the most refined version of this in Notorious, when Alicia and Devlin, American agents in the house of Sebastian, a rich Nazi supporter and Alicia's husband, furtively enter the wine cellar to explore the secret contents of the champagne bottles. There, they are surprised by the sudden arrival of Sebastian. To conceal the real purpose of their visit to the cellar, they embrace quickly, feigning a clandestine meeting of two lovers. The point is, of course, that they are effectively in love: they succeed in deceiving the husband (for the time being, at least), but what they offer him as a lure is truth itself. This kind of movement "from outside inward" is one of the key components of the intersubjective relations in Hitchcock's films: we effectively become something by pretending that we already are that. To grasp the dialectic of this movement, we have to take into account the crucial fact that this "outside" is never simply a "mask" we wear in public but is rather the symbolic order itself. By "pretending to be something," by "acting as if we were something," we assume a certain place in the intersubjective symbolic network, and it is this external place that defines our true position. If we remain convinced, deep within ourselves, that "we are not really that," if we preserve an intimate distance toward ''the social role we play," we doubly deceive ourselves. The final deception is that social appearance is deceitful, for in the social-symbolic reality things ultimately are precisely what they pretend to be. (More precisely, this holds only for those of Hitchcock's films designated by Lesley Brill as "romances," in opposition to the "ironic" films. The "romances" are ruled by the Pascalian logic whereby social play gradually changes into an authentic intersubjective relationship whereas the "ironic" films [Psycho, for example] depict a total blockade of communication, a psychotic split where the "mask" is effectively nothing but a mask, i.e., where the subject maintains the kind of distance from the symbolic order characteristic of psychoses.)

引自

Looking Awry

8.8

Slavoj Žižek / 1991 / The MIT Press

What matters in Notorious is not the fact that there are some bottles of wine filled with sand ('ore'), but that the wine is in the cellar; that the cellar door is locked; that the key is in the husband's possession; that the husband is in love with his wife; that she herself is in love with another; and that the third party wishes to know what is in the cellar.

第二部分第五章

Everything You Always Wanted to Kno

评价人数不足

Zizek, Slavoj (EDT) / 1992 / Verso

有图片版：//www.toutiao.com/i6491909722390659598/ 一生拍过53部影片的阿尔弗雷德·希区柯克（Alfred Hitchcock），对金发女郎尤为迷恋。据传这源于希区小的时候，家附近发生过一桩金发女郎谋杀事件。他坦言自己迷恋金发女郎的原因：“金发美女最适合被谋杀！想像一下，鲜红的血从她雪白的肌肤上流下来，衬着闪亮的金发是多么美啊！” 但也不是随便一个金发美人他都能看上眼，他说碧姬·芭铎（Brigitte Bardot）是“一只被端上圣诞晚宴的火鸡”，说特蕾莎·怀特（Teresa Wright）是“毫无性感味道的未成年少女”。筹备《西北偏北》（North by Northwest）时，加里·格兰特（Cary Grant）强烈推荐正和他热恋中的索菲亚·罗兰（Sophia Loren）出任女主角，被希区一口回绝：“罗兰小姐不是合适的金发女郎。” 那么，什么样的金发美人才能得到希区的青睐呢？根据希区本人自述，他选择金发女郎的标准有三个： 1.拥有超凡的美貌和青春 2.不应超过中等身高 3.容易指导和加以雕琢 希区生命中最重要的金发女郎主要有三位：英格丽·褒曼（Ingrid Bergman）、格蕾丝·凯利（Grace Kelly）和蒂比•海德莉（Tippi Hedren）。 说起来，英格丽·鲍曼算不上典型的“希女郎”，个头高，骨架大，“拥有超凡的美貌和青春”倒是百分百符合。褒曼的美浑然天成，光彩夺目，然而让希区柯克最倾心的，是褒曼身上高贵冷漠与世俗热情相结合的气质。事实上，外表高贵冷艳的褒曼，私下里豪爽奔放，性伴侣众多。 希区柯克与褒曼合作的第一部影片是《爱德华大夫》（Spellbound）。褒曼当时已随着《卡萨布兰卡》（Casablanca）、《战地钟声》（For Whom the Bell Tolls）而大红大紫，且凭借《煤气灯下》（Gaslight）中的精湛表演拿下了平生第一个奥斯卡最佳女主角奖。 她本不想接这部片子，第一，是不相信这个爱情故事，其二，最主要的，当时有很多希区柯克在片场不好相处的传闻（主要是“演员就是牲口”的言论）。但迫于和制片人大卫·O·塞尔兹尼克（David O. Selznick）的合同，只好勉强答应下来。 然而电影开拍了，褒曼发现根本不是那么一回事。那个以折磨演员为乐的希区，到了褒曼身边，马上变成一个温和体贴的胖子。“他会很有耐心的坐着听提出说不同的意见，无论是工作中还是生活上的，他是个我可以倾诉一切的人。” 在片场，希区柯克对褒曼以外的所有人都十分冷淡，当时还是新人的格利高里·派克（Gregory Peck）更是得不到希区的一丁点好脸色。希区把所有的兴趣和注意力都倾注到这位美人身上，甚至和妻子奥玛的关系一度紧张。 在影片拍摄现场，希区故意放弃了拍女明星惯用的低亮度照明法，反而用强光把褒曼的脸蛋清晰地放到银幕中央，他的解释是：“褒曼完全不需要灯光的帮助（掩盖）”。 众所周知，希区柯克对金发女郎的爱并不仅仅停留在精神层面，坊间多有传言，希区柯克曾向女演员提出肉体上的要求。褒曼曾对她的朋友回忆：“跟希区柯克拍戏是一件可怕的事情，因为他经常跑进更衣室做一些挑逗的动作。”然而褒曼是个个性强硬的姑娘，老司机希区的淫威根本不会在她身上奏效。 于是，希区只有继续对褒曼的精神迷恋。在他们合作的下一部电影《美人计》中，他特意选择加里·格兰特为男主角，格兰特高大俊朗的外形简直就是希区柯克的相反面。 希区柯克设计了一场前所未有的吻戏，挑战《海斯法典》对“接吻不得超过3秒钟”的规定。他们一边接吻，一边说着话，还起身做事，共持续了三分钟。后来希区柯克接受采访时，直言不讳地承认，格兰特就是他的替身，他想吻褒曼的想法通过格兰特实现了。 《风流夜合花》（Under Capricorn，也译作《历劫佳人》）是他们合作的最后一部影片，其间褒曼结识了意大利名导罗伯托·罗西里尼（Roberto Rossellini），很快陷入爱河，抛弃各自的家庭走到了一起。这是好莱坞40年代末最大的一场娱乐事件和丑闻，也让胖子导演伤透了心。希区柯克认为褒曼背叛了他，不只是因为他喜欢与褒曼合作，更因为她离开他找了另一个导演。

公众号：电影套盒（laodianyinghualang）