www68399com皇家赌场 2

写得匆忙,随时修改随时更正,先放一段导演访谈(源:Don’t believe
everything you hear about ‘Call Me by Your
Name’):

Explore the homosexual pussyfooting in an enlightened environment from movie Call Me By Your Name

The caution and obscure between the 24-year-old man and the 17-year-old
boy is almost close to the traditional love, 7 year’s gap did disturb
their attitude towards the emotion. Age is an obstacle. But their beautiful friendship still
showed especial intercourse gestures. As their love heat up, I conclude
four kinds of senses to describe the process.

A. Implicit expression:

This kind of emotion began before Elio and Oliver confirmed their
relation, I called the process as tentative processes.In the tentative
processes, they always used some instruments or other media or even some
detailed actions to show a sense or a response. And I found 3 plots in
this movie, which can lead us to feel the ambiguity.

  1. Bronze Hand:

Before going to the seaside, Elio made Oliver angry deliberately. But
immediately, Elio actively withdrawed, then they made peace by shaking
bronze’s hand at the seaside — Oliver carried the bronze hand and Elio
fit in it.

In this plot, bronze hand was a media, or in other words, was a bridge.
Before confirmed the love, they were both too shy to touch each other’s
hands. That’s the magic of calf love, partial emotion made they be more
cautious.

  1. Hexagram Necklace:

Elio wore the same necklace as Oliver’s, which hadn’t worn in a long
time after the relationship grew. People who are falling in love always
want to have more in common with those they like, so that they can
integrate into each other’s world. It’s like calling each other by their
names.

  1. www68399com皇家赌场,Anxiety:

After the cold war ended with a note, Oliver’s note was rubbed on Elio’s
lips continually. In the long waiting, camera gave close-up shots of
watch twice, In first case, Elio carefully removed the watch and placed
it on the table before making out with Marzia in the attic. In second
case, after Elio playing the piano, he’s father gave the watch back to
him. Elio looked at the watch to see the time again and again, a total
of 7 times, showing a subtle impatience with the passage of time. Even
though Elio spent the afternoon making out with Marzia, he was
distracted by his frequent watch reading, as if he just pretended to
date her to suffer the long wait.

B. Over-Sensitivity

Loves make man over-sensitivity. Drown into the love river, just like
the earth spinning over lover. A rush, a glance, a touch, a dance, they
always like to guess the real meaning under the face, even although
there is nothing special.

  1. Before driving to the seaside, Elio used Chiara (a girl dancing with
    Oliver last night) to stimulate Oliver, saying “great body”. However,
    because Elio also secretly liked Elio, he was angry when Elio tried to
    set Chiara up with him. When they walked to the beach, Elio privately
    laughed because he was happy that Oliver was angry. Because that means
    Oliver cared about him. Tricks always are the approaches to express
    love, although Oliver was already 24 years old, he can’t help to be
    tricked by Elio. Passion makes man childish and over-sensitivity.

C. Sense of unstable:

Because same-sex love is so special, you have to be careful enough in
case of disturbing your partner when expressing it. And you will be
swayed by considerations of gain and loss after you own it. Because it
is so rare and precious that no one can bear what it looked like when it
died, and it is so beautiful that one cannot believe why it happened to
themselves.

  1. When Elio first saw Oliver dancing with others, Elio rushed into the
    dance floor in silence and found another girl to dance crazily for the
    night. When Elio set the girl on fire, they took off their clothes by
    the river. But Elio finally chose to swim in the river. That’s not means
    Elio flinched, but means he was complaining in his young heart, he’s
    jealous. He wanted to revenge, but every time he got the chance he found
    that he was binded by fidelity.

  2. On the night before their departure, Elio saw Oliver and strange
    women dancing by the roadside. He crouched down and vomited violently.
    Vomiting is because the feeling of separation is coming right into your
    heart. It’s because you’re watching a loved one and a stranger dance
    happily. Moment you may realize that the person you love, after all,
    some parts are not belong to you, and he’ll be gone, so he has suddenly
    wanted to give the heart all out with the miserable feeling. Of course,
    Elio drank a lot of wine that night, and it may have been too much for
    him to vomit. But the real reason, we can never know.

D. Fiercely passion:

They were keeping pursuing a powerful way to experience love, they used
their passion as if the relationship was fleeting.

  1. Elio confessed when he had a bloody nose at lunch that day. The novel
    is written because Oliver was poking Elio’s feet with his foot. The
    reason for Elio’s nosebleeds is not clear, as it was not filmed under
    the table. However, it is precisely the director’s treatment that
    reminds us of more, to guess what filled in Elio’s heart and what made
    him so energetic.

  2. The Peach. Peach also becomes a verb after this movie. Because it
    shows the most daring and erotic scenes of the whole movie —— have sex
    with a peach.

After the sexual behavior, Elio lay on the sofa in attic, at the next
moment, Oliver came and found it. Then suddenly Elio started to cry.
First of all, I think it’s because of shame, like a child caught doing
something wrong. Oliver found that the tone of jokes made Elio think it
was teasing him. Meanwhile Elio always felt that oliver’s love was just
a concern for him. Then Oliver’s crazy performance immediately proved
how much he loved Elio, so I think it was shame and tears of joy. It is
the other person who is not related by blood who is so accepting of
Elio.

I think Elio and Oliver’s story should be regarded as the closest
meta-text to the essence of love, rather than just as the representative
of another beautiful homosexual relationship. Meanwhile, there is a
passage in the novel where Elio asks himself: “Did I want to be like
him? Did I want to be him? Or did I just want to have him?” This
question applies to all types of love rather than only this one. It’s a
video for Oliver, because he had known what love is and in his rest
life, Elio may be his mind time to time. And it’s visions of Gideon for
Elio, because he suffered it and grown up, then they will never do
interact.


In Robert Sternberg’s opinion, love consists of three components: passion, intimacy, and commitment.

Among them, passion is the
emotional component of love, which refers to emotional obsession, mainly
including deep emotion and sexual desire. Intimacy is the motivation component
of love, which refers to the feeling of psychological liking, mainly
including the feeling of connection and affection. Commitment is the cognitive component
of love. It refers to the expectation, both mentally and verbally. It
mainly refers to the decision to establish a long-term relationship with
another person.

When we get the general background knowledge, we can look back to the
movie. We have to judge the love between Oliver and Elio. What I am sure
is their love is grasped all the quality that the traditional love
possesses. But the degree of the love is fiercer, which means their
happiness, their sadness, their fear will be enlarged. There is no
denying that they possessed the passion and the intimacy in love, such
as the vigorous bleed nose and the hormonal peach. But they lose an
important part, commitment, which made their love become romantic love.
Romantic love means don’t care about eternity, only care about the past.
Just like running in the summer heavy rain hand in hand, just feel the
cold on the skin, never care about the possible fever. But the little
diseases will grow, finally break the love stone. It’s certain.

We can blame the leave of Oliver to the lack of commitment, just like
the calf love we had in our childhood, when we were in it, we’re too
young to think about the future, and the tedious thoughts bother our
feelings of love itself.

When we lay in an enlightened environment, the pussyfooting is not
limited in the homosexual, but just like any other love, it’s a practice
of passion, intimacy and commitment. And more important is, all three
parts is necessary, otherwise lover will cry alone.

© 本文版权归作者  梦境发生器
 所有,任何形式转载请联系作者。

Q: Your films are very beautiful, but you’ve
said you despise beauty. What do you mean?
你的电影非常美,但你说过你厌恶美丽。这是什么意思?

A: Think of the German architect
Albert Speer, during the Nazi regime. His buildings were beautiful, but
what were they signifiers of? I am interested in the beauty that lies in
our actions. I’m thinking of the scene in which Elio is watching Oliver
dancing. We are in a dingy club. It’s not a beautiful place. Elio is a
normal-looking boy, in normal-looking clothes.
试想一下纳粹时期的德国建筑师Albert
Speer。他的建筑很漂亮,但是它们意味着什么呢?我感兴趣的是存在于我们行动中的美。我想到电影中有一幕是Elio看着Oliver跳舞。我们身处一个昏暗的俱乐部。这可不是什么漂亮的地方。Elio是一个长相平平的男孩,身着普普通通的衣服。

Q: But isn’t Elio beautiful?
但是Elio难道不美吗?

A: He becomes beautiful. You are mistaking
youth for beauty. The transport of his desire for Oliver is so deep that
you can see beyond the physicality of the actor, beyond his age and into
the depth of the character. That’s the kind of beauty I’m interested in.
他变得美丽。你把青春错当成了美丽。他对Oliver的渴望太强烈了,以至于你看到的不再仅仅局限于演员的样貌、他的年龄,你可以感受到这个角色的深度。那种美才是我感兴趣的。

所以这就是为什么我总是无法从电影中走出来,喜爱角色永远多过演员本身。

看完Call Me By Your
Name已过一周,整个人却依然被笼罩在那层阴郁中无法逃脱。这段时间我根本看不进去其他任何一部超过60分钟的电影。尽管看第一遍(第一次看分了两个晚上才看完,第二个晚上直接看到凌晨四点,看完倒头就睡甚至都来不及有什么太大感想)的时候也没有觉得它有多完美,比如突兀的剪辑总略显奇怪,但第二天醒来整部电影却一直在脑海中挥之不去,之后几天每次醒来就会想起Elio难受得要命。后来重看的时候发现了更多小细节,原本困扰我的那些(我以为的)小瑕疵相比之下也就不再重要了。这几天迫使自己转移注意力,不再循环原声,开始听别的音乐,心情才稍好一点。克制自己不再重看电影,试图抽离。不敢看,一看就会想起那个回不去的夏天,那段如幻影一般的罗马时光,会想起最后一句话都说不出的离别,更会想起书里由时间跨度带来的绵延不绝的遗憾。看电影的时候觉得永远无法原谅Oliver,难以想象Elio在他离开后的日子里都要如何度过。只要一想起那个目送火车驶离的背影,就会紧接着想起前一天晚上他俩还在一起。

I can, from the distance of years now, still think I’m hearing the
voices of two young men singing these words in Neapolitan toward
daybreak, neither realizing, as they held each other and kissed again
and again on the dark lanes of old Rome, that this was the last night
they would ever make love again.
经过了这么许多年,如今我仍然觉得我听到两个年轻人在即将破晓的时候,用那不勒斯语唱这些字句的声音。他们在古罗马的暗巷里相拥,一次一次吻着彼此,不知道那是他们能够做爱的最后一次。(中译本)

在感情最炙热的时候分别实在太过残忍。如果两个灵魂真正相爱,那么无论如何总有一种办法吧?世界上,整个世界上,到底有什么能阻止得了他们在一起呢?这让我困惑和心碎。后来看书看到这么一段:”Rome
was a final bash before school and travel took us away, just a way of
putting things off and extending the party long past closing time.
Perhaps, without thinking, we had taken more than a brief vacation; we
were eloping together with return-trip tickets to separate destinations.
Perhaps it was his gift to me.”
看到”eloping”这个词的时候心跳漏了半拍,天啊。心情有一瞬间仿佛释然。罗马一行就是他们的私奔吧——一场带着回程票的私奔,虽然终点不同。Armie
Hammer在CNN采访时提到: “Don’t cry because it’s over. Smile because it
happened.”
这样想心里就好受一点。原著中两人离别后,故事还在继续。想象一个32岁的Elio和一个39岁的Oliver,读着读着就麻木了,仿佛一针一针扎下来逐渐就习惯了这种痛苦,也回忆不起来在此之前“不难受不伤心”是怎样的感觉了,因为那个80年代的夏天已经过去好久好久久到分不清是真实还是虚幻。丧失了感知力。产生了一种伤痛是会被时间抚平的错觉。”We
belonged to each other, but had lived so far apart that we belonged to
others now.” 读着这样的句子只剩苦笑。

往往对于特别特别喜爱的作品,我都不知道讲什么。每次脑海里冒出来的都是那句——我有很多话未曾讲。是啊,还是什么都说不出。在2017年的尾巴看了这部叫Call
Me By Your
Name的电影,它直接毁了我接下来一周的节奏和情绪,但活着能看到这样的电影真好啊。这是2017年我遇到的最好的一件事了。另外不得不说,对于这部作品来说,先看电影再看书会更合适。庆幸自己当初忍住了没有先看书。各位演员的出色表现(特别是Timothée
Chalamet的表演真的太厉害了值得所有的赞美!关于他的演技这儿放一个评论:Words
are futile devices: On Timothée Chalamet in Call Me by Your
Name),音乐画面的氛围渲染,让你在阅读原著的时候会更容易代入。而反过来,书又为电影增加了一份厚重感。如果先看了书再去看电影这份厚重感大概会有所缺失。电影与原著最显要的区别——离别后的部分,很多人已经提及,这里就不多说了。我印象比较深的是一开始Elio和Oliver生气后在书中有很长篇幅的叙述——We
stopped
talking。这种处境持续了很久。想象一下明明爱得要死,却憋着很多很多天,什么话都不能同对方讲的煎熬吧。而电影里由于片长等各种客观因素限制处理得就相对潦草。还有一处就是两人初夜后Elio的心情变化在原著里有很详细的解释。生理上的疼痛和不适可能会被视为导火索,但他冷淡的诱因并不仅止于此,在书中我们可以看到这个少年的思绪真的相当复杂,绝不是三言两语就可说清楚的。罗马的书友会也占了很大篇幅,有个诗人讲述他在泰国的经历很有意思。他讲到他在那儿遇见的陌生人——”The
twenty-four-year-old night clerk… stares and I stare back. His
features are a girl’s. But he looks like a girl who looks like a boy.
The girl at the American Express desk stares and I stare back. She looks
like a boy who looks like a girl and who’s therefore just a boy.”
这里,性别的模糊总带着些许深意。在我看来,作者借这位诗人的口述,把这部作品中“同性”这个标签又一次淡化。因为我们得承认并允许在同一个人身上可以同时存在着两种性别的特质,脱离了肉身的限制,一个人可以既像男孩又像女孩,而这并不是什么奇怪的事。到头来,我们都只是人而已,我们的血液里都流淌着同一种欲望,一种爱与被爱的欲望。七情六欲如同柴米油盐一样稀松平常,不受性别之阻隔。“因为无论喜欢与否,等你明白过来,全人类都操着同样野蛮的语言。(中译本)”

补充一个细节:初夜第二天早餐桌上Oliver手中的这本书电影中可能一笔带过,但其实这本书就是原著中Elio送给Oliver的那本司汤达的《阿蒙丝》(原名:Armance)——

The bookseller had ordered two copies of Stendhal’s Armance, one a
paperback edition and the other an expensive hardbound. An impulse
made me say I’d take both and to put them on my father’s bill. I then
asked his assistant for a pen, opened up the hardbound edition, and
wrote, Zwischen Immer und Nie, for you in silence, somewhere in Italy
in the mid-eighties.
书店老板进了两本司汤达的《阿蒙丝》,一本是平装版,另一本是昂贵的精装版。一阵冲动让我脱口说我两本都要,并且记在父亲的账上。接着我请老板帮忙找笔,翻开精装版,我写下:在永恒与虚无之间。八十年代中于意大利某处,为你沉默。(中译本)

www68399com皇家赌场 1

电影截图:Oliver手中的《阿蒙丝》

这种没有明确说明却互相照应的细节真是安排得特别用心。赞美剧组!全片都是挖掘不完的点。

「插一段,油管子上这个饭制视频,我看了很多遍,想马克在这里:Is it a
video? [CMBYN]
自己也想剪来着,但和以往不同,这次想来想去,没找到合适的BGM,大概适合这个故事的音乐真的只有Sufjan
Stevens的歌了。泪目。(几个月后补充:其实二月初就剪了一个:Shiver,可还是觉得原声无敌。有精力了再捣鼓吧。)」

看电影的时候,那个夏天让我想到了故园风雨后,一样逝去的阿尔卡迪亚。

Elio和Oliver在深夜罗马的片段又让我想起爱在黎明破晓前,纯粹的只属于两个人的浪漫和梦幻。

在这部电影里,性别的界限变得越来越模糊,以至于在看的时候不知不觉就被忽略了。故事的内核再简单不过,但这种细腻与私密又如此真实,以至于你我无论何种性别何种性向都能共情,或至少有那么一瞬能感同身受。Elio搜寻追随的眼神,辗转反侧的身姿,掩饰不住的心绪,看着屏幕上的这些小表情小动作,体内无数个细胞仿佛都要挣脱呐喊:天啊……这就是我我我!我时常想到底是被爱幸福还是爱别人幸福呢?电影中Elio的种种小细节再次让我觉得还是爱别人更幸福啊,因为那样每一天都是鲜活的,每一天都好像有了能证明自己真实存在的痕迹,有在意的人,有期待的事,有可以暗自窃喜的瞬间,仿佛撞大运般无意间道破了什么天机,生命突然被赠予了神秘的意义。

www68399com皇家赌场 2

via

这一幕是我第一次看的时候全片留给我印象最深的,也最打动我的地方。尽管这个撞到胸口上的动作只持续了短短几秒,但在我眼中,却有着如同慢镜头一般直击人心的效果。在这场戏中,两个人终于得以在表明心迹的情况下坦诚相见,铺陈在他们面前的是一整个夜晚的独处时间。当Elio带着紧张而又果决的神色转了一圈,一头撞向Oliver的时候,我的心都融化了。我料不到他会这样做,但他的举动是当下最最合理的反应,以至于我回过神来时觉得没有比这更真实的表达方式了。那一瞬间,Elio完全释放了自己。尽管他很无措,并不清楚自己具体该做什么,但他知道面前是自己爱的人,他没有什么需要隐藏,也没有什么需要害怕的。在Oliver面前,他是安全的。这一刻,他可以放下所有的防备与武装,完完全全把自己暴露在爱人面前。这一刻,他是脆弱的,如果此前的他还有一丝展露在其他角色前的小傲气或者说男子汉气概,那现在的他就好像缴械投降的士兵,而Oliver是他的整个世界是他的庇护所是他的家,Oliver的怀抱是他可以毫无顾虑地倚靠的港湾。当初第一次看的时候我就告诉自己:换作我,我也是同样的反应。我也会卸下一切,咬噬你的肩膀,直直地撞向你的胸口,不用担心趔趄或摔倒,因为我知道你就在那儿不会躲开,我也会张开双臂,扑上去,抓住你,把身体的整个重量交付给你,挂着你的脖颈,赖着你,感受你,永远不放手。

因为“you are my homecoming”.

标题出自原著:

Over the years I’d lodged him in the permanent past, my pluperfect
lover, put him on ice, stuffed him with memories and mothballs like a
hunted ornament confabulating with the ghost of all my evenings. I’d
dust him off from time to time and then put him back on the
mantelpiece. He no longer belonged to earth or to life. All I was
likely to discover at this point wasn’t just how distant were the
paths we’d taken, it was the measure of loss that was going to strike
me–a loss I didn’t mind thinking about in abstract terms but which
would hurt when stared at in the face, the way nostalgia hurts long
after we’ve stopped thinking of things we’ve lost and may never have
cared for.
过去几年来,我一直把他放在永恒的过去,视他为我过去完成式的情人、悬在夜晚暗影里的兽首标本,将他冰存,以回忆和樟脑丸填满他。我偶尔把他拿出来掸掸灰尘,再放回壁炉架上。他不再属于尘世或生活。此时我发现,不只是我们选择的路相距多远,还有即将打击我的失落有多大,无非是这些东西而已。我不介意用抽象词语去思考这些失落的东西,但被正眼盯着瞧却令人心痛。在我们停止想念已经失去、或许可能也从不在乎的事物很久很久以后,怀旧之情仍然令人心痛。(中译本)

My pluperfect lover.

“pluperfect”,没有比这个词更致命的了。

套用伊夫林·沃的话:“If it could only be like this always – always
summer, always alone, the fruit always
ripe…”,如果Perlman夫妇都没有老去,如果Anchise和Mafalda一直都在,如果1983年的夏天永远不会结束,如果意大利的阳光永远那么明媚,那该多好啊。可是在我们还来不及知道的时候,这一切都无可挽回地成了过去完成式。

© 本文版权归作者  steve&joe
 所有,任何形式转载请联系作者。

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