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18 December
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观《姨妈的后现代生活》的几点体会

这部影片讲的是社会底层知识分子的理想主义在上海幻灭的故事。

某影评写得精辟:高娃老师拎着菜篮去恋爱,最后则成竹篮打水。

难得看到周润发演文艺片,忒灵了!活生生一个上海滩市井老骗子。最后一个风衣镜头是恶搞还是致敬,留给观众无尽想象空间。

这部戏里赵薇牺牲比较大,演一个全无形象气质可言的厨子,一边埋怨老妈抛下她和老爸回上海,一边又向往着有朝一日能逃离鞍山。在饭店后门抽空抽口烟那段演得相当传神。

史可出场时脸上那道刀口比较可怖,但她饮泣着摘去维持孩子生命的氧气管那一段则不再可怖,因为那股冲击力教人来不及感觉恐怖。

卢燕说话不断在京片子与上海话间切换,搞不懂她的路数。

方青卓演的小贩看见姨妈找来城管理论,吓得手足无措。但姨妈一走,城管没做任何处罚也跟着走了。方青卓呆了片刻,突然想起炉子上的鱼做了一半,赶紧跳起来去炒——很夸张,很咂劲!

姨妈手织的红色毛线泳衣在游泳池里褪色,一池碧水顿成红菱艳。不知就里的救生员埋怨姨妈那句话教人喷饭!

周润发忽悠姨妈买墓地,姨妈非常冰雪地彻悟道:“投资墓地啊?我心里有数了,这是期货呀!”

这部片让人很难不注意到其配乐,优雅得简直令我怀疑是直接用的古典音乐唱片,后来隐隐估计是久石让——果不其然。

影片结尾,姨妈在鞍山摆地摊,就着咸菜啃干馒头,耳畔传来贯穿全剧的《锁麟囊》。

回头想想,人生真的很残酷(或者说编剧真的很残酷),把经历上山下乡、好不容易回到上海、苦苦追求生活品位的姨妈再次赶出上海,终老于粗鄙苦寒之地,把她一生的挣扎努力都打回原点。

“一霎时把七情俱已昧尽,参透了酸辛处泪湿衣襟。我只道铁富贵一生铸定,又谁知祸福事倾刻分明。想当年我也曾绮装衣锦,到今朝只落得破衣旧裙。”

每念及此,心中萧瑟之情,难以言表。

 
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