看上去他是咬回去了,而姜文在他愤世嫉俗的道路上终究是做的太过了,他越发灵巧地刻画了追逐私利,愚昧不堪的大众人群——一如他之前的二战电影《鬼子来了》和《让子弹飞》里那样,是他带有取乐意味的特质。
Jiang's character in the film, Ma Zouri, carries a similar life trajectory to Yan Ruisheng, a middle-class man who plotted the murder of a prostitute in Shanghai in 1920.
姜文在电影中的角色马走日,原型就是阎瑞生——这个中产阶级男人在1920年于上海密谋杀害了一名妓女。
What makes Yan's case legendary is not the crime itself, but its fallout: the case at once scandalized and mesmerized the city's chattering classes, with the man's trial and subsequent execution leading to entrepreneurs staging plays, stand-up comedy shows, musicals and even making a film out of the incident. It's perhaps ironic that Jiang is to mock those transforming the so-called Yan Ruisheng affair into entertainment by, well, making a film which transforms the incident into a film comprising scenes reminiscent of stage plays, stand-up comedy and a musical.
让阎瑞生案名声大噪的不是因为这起犯罪本身,而是其附带后果:上海那些爱好八卦的中上级阶层马上被这个案件震惊和迷住了,由于这个案子,阎瑞生的审讯和随后的死刑被改编成企业家编排的舞台剧,单口相声表演,音乐剧甚至是电影。也许讽刺的就是,姜文想要嘲笑这些所谓的,把阎瑞生一案变成娱乐笑料的改编,将这起案子编成了由怀旧的舞台剧,单口相声和音乐剧的杂烩电影。
【外媒看中国:《一步之遥》用力过猛】相关文章:
最新
2020-09-15
2020-09-15
2020-09-15
2020-09-15
2020-09-15
2020-09-15