Mother and Son : Sokurov and Tarkovksy 9/03/2010 01:19
今晚看了一部 Mother and Son, 得了许多奖, 收到很高的评价.

从前看过, 记得画面不记得结局. 今晚再看, 发现表现手法与Tarkovsky的非常相象, 比如, 自然景色远镜头和近镜头, 用自然的声音, 非常慢节奏的镜头, 火苗的运用等等. 其实除了这些感觉尚好, 故事内容我不是非常认同, 反到觉得母子关系不是非常健康. 也不喜欢阴暗和沉闷. 仿佛有病将死的母亲要把儿子也带向病态和死亡. 除非这是导演的初衷, 但评价仿佛都是赞美母子关系.

出于好奇, 我查了一下导演是 Alexander Sokurov, 俄国人1951年生, 根据维基字典, 他果然认识Tarkovsky (后者是1932年生).

另一个网站 (http://users.hal-pc.org/~questers/Sokurov.html) 也指出有人拿他和Tarkovsky做比较, 又引用了他自己的一段话:

his film "Mother and Son" can be considered to be the pinnacle of his output so far. Sokurov's style of filmmaking is often compared to that of Andrei Tarkovsky. However, Sokurov himself, while not resenting the comparison, does resist this linkage:
"I would say that we had a very close friendship rather than collegial creative collaboration. I don't know why he liked what I was doing."
(Alexander Sokurov, Film Comment Nov/Dec 1997)

如果他真的说过这句话, 他似乎不是非常诚恳. “I don’t know why he liked what I was doing.” 任何一个看过Tarkovsky电影的人, 或读过他写的<雕刻时光>, 就会明白为什么拿Sokurov和Tarkovsky比较. 但因为这里有个时间上的前后关系, Mother and Son was made in 1996. Tarkovsky’s Mirror was made in 1975. And because Tarkovsky passed away in 1986, his book Sculpting in Time has to be before 1986 and therefore it is before 1996, 我认为在表现手法上是Sokurov在模仿Tarkovsky.

Sokurov如果真认识Tarkovsky, T的电影和T的书, S应该非常明白为什么别人拿他和后者比较. 当他竟然说. I don't know why he liked what I was doing. 就显得有点荒唐了. 其实他虽然表现手法上象Tarkovsky, 至少在<母子>里, 他是没有后者的精神所能达到的层次的. Tarkovsky是很难有人能比的, 因为他想表现的是超越他的表现手法的, 很少有人能把精神带到离具象那么远的空间. Tarkovsky电影的结尾永远是超越的和回味无穷的, 但<母子>并不是.

从这个意义上讲, 他们俩除了在手法上相象, 其实在内容上是非常不同的. 在精神地层面我感觉不能相提并论, 如果竟然被一起提起, 他应该是能够解释不同之处的.

我会继续看他其他电影并更多去了解一下这个人, 如果直觉有错. 以后补充更正.

在Bergman的Magic Lantern. 他这样评价Tarkovsky:“When film is not a document, it is a dream. That is why Tarkovsky is the greatest of them all. he moves with such naturalness in the room of dreams. He doesn’t explain. What should he explain anyhow? He is a spectator, capable of staging his visions in the most unwieldy but, in a way, the most willing of media. All my life I have hammered on the doors of the rooms in which he moves so naturally. Only a few times have I managed to creep inside. Most of my conscious efforts have ended in embarrassing failure – The Serpent’s Egg, The Touch, Face to Face and so on.
Fellini, Kurosawa and Bunuel move in the same fields as Tarkovsky. Antonioni was on his way, but expired, ….” (p73).
http://www.horschamp.qc.ca/9809/offscreen_reviews/sokurov.html

在这里有Sokurov的一张像片, 简直从神态, 胡子, 姿势都像塔可夫嘶基. Laughing

他可能是说不知道为什么塔对他评价很高吗? 要找到原文来读.
wildcrane at 9/03/2010 02:04 快速引用
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