并非人人喜爱这部电影。武汉华中师范大学文学院教授、作家晓苏在市“两会”的一次会议上批评《泰囧》“低俗、庸俗、媚俗”。他还说中国电影“不能只紧盯票房,而应该注重文化导向,注重提高老百姓的文化素质和品味”。广州报纸《21世纪经济报道》的专栏评论称这一批评是精英主义的表现,剥夺了普通人看轻松电影找乐子的权利。该报纸的编辑祝乃娟写道:“一些自认为精英化的知识分子充斥着极大的优越感,他们(对《泰囧》)的批评,让人不由自主想到以往一些‘专家’断言农民缺乏现代民主需要的基本素养”。
The film has been largely well received in Thailand, which has cringed at the portrayal of over-the-top Bangkok nightlife in films like The Hangover Part II. But because of Chinese censorship, Lost in Thailand couldn’t get that crazy even if the filmmakers wanted to. So ladyboys are the subject of just one joke that cracks more fun at the wild imaginations of the Chinese characters than at Thai transvestites. A Bangkok Post columnist wrote that while it was easy to assume Lost in Thailand was “a mindless, lowbrow slapstick comedy with calamity, insensitive jokes against other people (and sometimes other countries),” it turned out “the movie is comparatively culturally sensitive.” A lesson, perhaps, for Hollywood.
这部电影在泰国非常受欢迎。它对泰国夜生活的描绘打了折扣,并不像《宿醉2》表现得那样没有节制。考虑到中国的审查制度,制片人即使有心,也不可能把《泰囧》拍得那么疯狂。所以人妖只是一个笑点,让观众对中国的主角们产生更多搞笑的遐想,而不是停在泰国人妖身上。《曼谷邮报》一个专栏作家评论道虽然人们很容易把《泰囧》看作“一部肤浅、粗俗的打闹喜剧,其中充斥着囧事,以及不顾及他人(有的是对其他国家)感受的笑话”,但是事实证明,“该片对其他文化还是很敏感和尊重的”,这一点,也许是好莱坞应该借鉴的地方。
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