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    迷失Z城

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    主演:查理·汉纳姆,罗伯特·帕丁森,西耶娜·米勒,汤姆·赫兰德,爱德华·阿什利,安古斯·麦克菲登,伊恩·麦克迪阿梅德,克莱夫·弗朗西斯,马修·桑德兰,亚历山大·约瓦诺维奇,叶莲娜·索洛维,鲍比·斯莫德里奇 

    导演:詹姆斯·格雷 

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     剧照

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    剧情介绍

    英国探险家珀西·福斯特(查理·汉纳姆 Charlie Hunnam 饰)深入神秘的南美洲亚马逊丛林探险,竟发现未知的文明生活迹象,他回到英国公开这个意义深远的重大发现,却被当成笑话嘲弄,没有人愿意相信他的话。在爱妻尼娜(西耶娜·米勒 Sienna Miller 饰)无怨无悔的支持下,福斯特决心带领儿子杰克(汤姆·霍兰德 Tom Holland 饰)重返亚马逊丛林,寻找古文明存在的证据,一行人却离奇消失,从此再无任何音讯,成为史上最神秘又悬疑的失踪事件。

     长篇影评

     1 ) 一部对理想主义者的解读

    今天看了一部电影,名字叫做《迷失Z城》。在我的理解当中,它探讨的是一个有关理想主义的主题。我很喜欢。

    故事发生在一战前后的英国,主角Percy是个英国少校,因为接受了去南美测绘地图的任务而走上探险家之旅。他在亚马逊流域的丛林里发现了人类文明的遗迹,因而坚信这里曾经存在过一个遗失的文明。为向世人证明自己的发现,他再三重返亚马逊。最终,在与长子共同前往的第三次探寻中,他们丧生于一个原始部落。

    我非常喜欢这部电影所给的结局,这也是它对于理想主义者的命运所给出的一种理解。在影片最后,主角Percy和他的儿子被原始部落的印第安人围困,死亡已是注定。在观看的那个时刻,其实我很紧张,因为我不知道编剧会给出他们怎样的一个结局。内心深处我其实很害怕这时出现一路天降的奇兵,把父子解救,最终寻梦者荣归故土,出现一派大团圆的喜乐景象。因为这样的结局,不是超级英雄,就是童话。但我也同样害怕看到理想主义的灵魂就这样赴死,让影片在墓碑、眼泪与阴霾中收场。那样未免太过悲伤,对理想主义这个信条本身而言,也太过残忍。

    而这部影片在结局上的高明之处就在于,它既承认了现实,也展现了美——影片既没拍Percy和儿子遇害的不幸画面,也没给出家人悼念的哀痛场景。它是这样展现的,Percy和他的儿子安详地接受了印第安人在将他们献祭前所做的一系列宗教仪式,随后他们二人被众人抬起前往火堆。在广袤苍穹下高举火把的微光里,在举目旷野中林间吹过的清风里,在地球远端亚马逊部落的神秘文明里。这一刻,我的解读是,这才是理想主义者可以接受的结局。理想主义者一生都走在朝圣的路上,连死亡也最终成为了他们朝圣的一部分。在非理想主义者看来,这死亡的结局或许是不幸的,但对于理想的圣徒而言,路途本身即目的,这样的人生已经无憾了,不是吗?

    这部电影当中,除了大主题的诠释非常精彩之外,由充满理想主义的主人公与周围环境所牵发的冲突中展现出的诸多子题也同样精彩。

    第一个是家庭。一个受到远方强烈召唤的人要怎么和家庭妥协,这是每一个与理想主义有关的故事都逃不过的话题。在影片的中后部分,不仅仅是男主人公Percy本人要再次前往荒原,连他的儿子也提出要一同前往。这对一个妻子和母亲来说,不太残忍了吗?但他的妻子却同意了,点头时她说了一句话,至少这句话让我明白了这对矛盾要怎么化解。她的这句话是—— “难道我还有其他选择吗?” 没错,她其实是没有选择的。这是她的聪慧,因为她知道,当自己拥有的是一个被上帝选中与被梦想击中的丈夫时,她哪里有选择。远方是他的destiny,这就好像是基因里写定的密码子,无法变更。所以我觉得,这对矛盾的真正解决,不应该再是哪一方所谓的牺牲,而应该是彼此对事实的承认。

    第二个子题是文明。这部影片赤裸裸地将文明的脆弱与人性的不堪展现在了观众眼前。在探险团队第二次进入荒林时,队伍中加入了一个投机主义的英国官员。他本想通过此行扬名立万,但不料途中险象丛生。在其他成员还能坚守文明的底线,绝境中尚能互相帮助时,他却一个人偷光了其他队员所有的储备。本该是“人与人”之间的对垒,在这极限的境遇中却倒退成霍布斯笔下“狼与狼”的厮杀。本该是代表人类最高文明的团队,去寻找更低等的原始文明,在这个过程中,“文明人”自身却堕落成了“野蛮人”,莫不是一个巨大的讽刺。

    第三个子题是理想主义者的锋芒。对过于耀眼的东西,人们捧不了的时候,便去挖,鲁迅讲的一点也不错。Percy之于前述的英国官员便是这样一个捧不了,就开始挖的对象。这似乎是很难想象的,面对一个在绝境中仍愿对自己出手相救、仁至义尽的对象,人怎能做到抛却良心反咬一口?其实不是人心太坏,是理想主义者的光芒太耀眼。对于这个世界上大多数的人而言,理想主义者无非是他们的一面照妖镜,前者越是鞠躬尽瘁,后者越是被衬托得体无完肤。这或许会是理想主义者在人性发展尚不健全的社会中不得不承受的反扑。

    但这部影片,还不是我今天最深切的感悟。因为,如果说黑土代表的是眼前,而麦田代表的是远方的话,《迷失Z城》还只展现了麦田,即理想这一个维度。现实生活中,不是每个人都会成为上帝的选民;相反,在更多的情况下,黑土才是我们每个人的人生题里给定的题干。

    那在必须深耕黑土的人生里,麦田的存在有意义吗?

    当然有。

    同样是在今天,我还听了黑土麦田的创始人秦玥飞的一场讲座。我知道如今的他很有影响力,从社会认可度这个层面来说,也很成功,但今天这些都不曾令我惊诧。令我惊诧的始于下面这张图片,

    秦玥飞在哈佛论坛上的演讲


    这时他在去中国农村前,也是他在离开耶鲁前,所拍的最后一张照片。原来他过去是这样一个fancy的留美青年!原来他在耶鲁曾是一支摇滚乐队的drummer,一个典型的美国嬉皮士!我感叹的是,一个人该有多大的弹性,才能在两种截然不同的生活方式与职业角色中切换自如,并各持本色。

    而这样的人,我相信他们的心中一定既有黑土,也有麦田。

    我们是处在如此长尾的一个时代,以致很多选择的结果要在多年以后才能初现回报。所以很多人更愿意,甚至说是只关注短期回报,结果我们不停地奔跑,不断地焦虑。如果人生能够多一个维度,坚信一件自己做的事情有价值,我猜想绝不济在时代中这么奔命。

    我还是羡慕理想主义者的,因为时间好像在他们的身上走得特别稳定,也特别缓慢。

     2 ) 迷失Z城

    电影生动而深情地诠释了什么是“魂牵梦绕”。本来过度浪漫化这种直男历险、白人拓荒的电影不算是好事甚至是雷区,但格雷很完美地闪避了这些,用自己娓娓道来的节奏把一个神秘而传奇的故事完全复原,我身临其境无法自拔。而且本身有些遗憾的收尾,被最后一个镜头全部挽回,看完真是恍如隔世般感动。

    第一次看James Gray,没想到居然是一部古典韵味浓厚的浪漫主义史诗,剪辑摄影都太太太优秀,每场戏都看得如醉如痴,最后五分钟更是格外震慑人心,结尾一镜回味无穷。

     3 ) 都在说这个电影和传记和实际出入很大

    The Lost City of Z is a very long way from a true story — and I should know
    A new Hollywood film hypes Percy Fawcett as a great explorer. In fact, he was a racist incompetent who achieved very little

    The new film The Lost City of Z is being advertised as based on the true story of one of Britain’s greatest explorers. It is about Lt-Col Percy Fawcett. Greatest explorer? Fawcett? He was a surveyor who never discovered anything, a nutter, a racist, and so incompetent that the only expedition he organised was a five-week disaster. Calling him one of our greatest explorers is like calling Eddie the Eagle one of our greatest sportsmen. It is an insult to the huge roster of true explorers. Had the advertisement been about a soap powder, it would fall foul of the Trade Descriptions Act.

    Percy Fawcett joined the army immediately after school, with a commission in the artillery in 1886. The next 20 years involved garrison duty in Ceylon and postings in Malta and England. The only significant events were getting married and becoming a devotee (like many others) of the charlatan psychic Madame Blavatsky. Fawcett’s game-changer came in 1906, when he was 40. The army let him take the Royal Geographical Society’s course on frontier surveying. Far away in South America, Bolivia had just sold its rubber-rich province of Acre to Brazil, so it needed its new north-western boundary mapped. The Bolivians approached the RGS for a mature surveyor to do this. The society’s secretary asked the newly qualified Fawcett whether he wanted to go; he accepted, reported for duty in La Paz and was at work on the new Amazonian frontier by the end of the year. This survey was the best thing Fawcett did. But he described it as boring, because the new frontier was all along rivers. This was the height of the great Amazon rubber boom, so he and his team cruised from one comfortable rubber barraca to the next, taking their regular measurements.

    Fawcett’s only publications were a series of papers in the Geographical Journal about his mapping work. But he kept a journal, and in 1953 his son Brian edited this and other papers into a book called Exploration Fawcett. He emerges from it as a typical Edwardian colonial officer — friendly with South Americans but looking down on them, appalled by the cruelty at some rubber stations, full of gossip about life on this remote but boom-rich backwater, and uninterested in nature apart from banalities about dangerous snakes and irritating insects.

    In 1908, the Bolivians asked Fawcett to survey another of their frontiers with Brazil: a small river called Verde, far away at the north-eastern corner of the large landlocked country. The preparations were appalling. Fawcett took minimal supplies, since he was accustomed to being fed by rubber stations. This was the end of the dry season with the river at its lowest. So they soon had to abandon their boat and continue on foot. After only a week, all food was exhausted and they were really starving. Fawcett casually remarked that five out of his six peons died from the effects of this five-week disaster. This was the only expedition he led into unexplored territory.

    The Bolivians invited Fawcett back in 1910, this time to map part of their boundary with Peru. It involved paddling up a frontier river called Heath and two meetings with indigenous peoples on the banks. The first group fired arrows and guns over their heads. But Fawcett waded ashore with presents and shouting a few words of ‘Chuncho’ (the Peruvian word for all forest peoples) that he had memorised but did not understand. That was the only time that Fawcett attempted any language other than Spanish. Further up the Heath river, Fawcett met a tribe he called Ecocha (now Ese Eja) whom he really liked. They were ‘embarrassingly hospitable’ with their food, so Fawcett spent a few days with them and recorded something of their ethnography. He returned for a second visit in 1911.

    After a final survey for the Bolivian government in 1913, of the upper Beni river in the Andes, Fawcett went sightseeing in central Bolivia. He and two companions were paddled down the big Guaporé river. They stopped at Mequens on its Brazilian bank to visit the Swedish anthropologist Baron Erland Nordenskiöld and his attractive wife, who provided guides to take them on a walk inland to visit a people they called Maxubi (now Makurap). The Maxubi were friendly and hospitable, but continuing on a forest trail Fawcett met another tribe (probably Sakurabiat) to whom he took a violent dislike. When one aimed a drawn bow at him, Fawcett shot the man with a Mauser revolver — absolutely forbidden by Brazil’s Indian Service. He described them as he imagined Neanderthals or Piltdown Man to have looked: ‘large hairy men, with exceptionally long arms, and foreheads sloping back from pronounced eye ridges… villainous savages, hideous ape men with pig-like eyes.’ No Amazonian Indian has body hair or looks remotely like this — I know, because I have spent time with over 40 different peoples. These two groups, and the two on the Heath, were the only tribal people seen by Fawcett. He liked two of them. So it was strange that he wrote racist gibberish that ‘there are three kinds of Indians. The first are docile and miserable people, easily tamed; the second, dangerous, repulsive cannibals very rarely seen; the third, a robust and fair people, who must have a civilised origin.’

    When Fawcett was in the cattle country of central Bolivia in September 1914, news came of the outbreak of war. So he hurried home and by January 1915 was back in the artillery. In his late forties, he was too old for frontline service; but he fought a good war, ending as Lieutenant-Colonel.

    In one of his pre-war lectures to the RGS, Fawcett had spoken of possible ancient ruins in the Amazon forests. He was now told about a scrap of paper dated 1743 in which bandeirantes imagined that they had seen a deserted city in the jungles. (The bandeirantes were slavers who scoured the interior of Brazil for Indians to capture. Although most of these thugs were illiterate, others did write reports about their travels — none of which said a word about seeing ruins.) Fawcett gave this imaginary ‘lost city’ the codename Z, and finding it became an obsession.

    The easiest forest tribes to visit in Brazil were on the headwaters of one of the Amazon’s southern tributaries, the Xingu. A German anthropologist had contacted a dozen amiable peoples there in 1884; and since then they had been visited by seven groups of anthropologists or Indian Service officials. All had walked in by the same trail. So in 1920 Fawcett tried to follow this route — even though it was nowhere near where the chimera city might have been. His plans went wrong, so he got no further than a ranch halfway along the trail. In 1921 he searched for the mythical city down on the Atlantic coast, by train inland from Salvador da Bahia; but, hardly surprisingly, the miners there knew nothing.

    In 1925, by now penniless but desperate, Fawcett tried again to reach the upper Xingu tribes. He now took two inexperienced ex-public schoolboys, his son Jack and Jack’s friend Raleigh Rimmel. The old surveyor made two suicidal pronouncements. One was that the trio should travel light, with nothing more than small packs. Everyone in Amazonia knew that you could not cut trails and keep your team fed with fewer than eight men. (I can confirm this, having done months of such cutting and carrying.) But Fawcett sent their pack animals and porters back, and continued with only his two novices. His other dictum was that Indians would look after them. This was equally dangerous. The Xingu tribes pride themselves on generosity; but they expect visitors to reciprocate. All expeditions in the past four decades had brought plenty of presents such as machetes, knives and beads. Fawcett had none. He committed other blunders that antagonised their hosts. So it was only a matter of days before they were all dead.

    Twenty years later, Chief Comatsi of the Kalapalo tribe gave a very detailed account of Fawcett’s visit, reminding his assembled people of exactly how they had killed the unwelcome strangers. But the German anthropologist Max Schmidt, who was there in 1926, thought that they had plunged into the forests, got lost and starved to death; this was also the view of a missionary couple called Young who were on another Xingu headwater. The Brazilian Indian Service regretted that Fawcett, who was obsessively secretive, had not asked for their help in dealing with the Indians. They felt he was killed because of the harshness and lack of tact that all recognised in him.

    Such was the sad tale of this incompetent, whose only skill was in surveying. But the disappearance of an English colonel while searching for a mythical ancient city in tropical rain forests was a media sensation. Two expeditions went to try to learn more. There was revived interest in the 1950s with the publication of Exploration Fawcett and the Kalapalo chief’s account of how they killed the Englishmen. Then it was forgotten until 2009 when David Grann, a talented writer, published The Lost City of Z. Unfortunately, Grann hyped the story out of all proportion and wrongly depicted Fawcett as a great explorer.

    As he cheerfully admitted, Grann had no experience of rainforests. But he let his imagination run riot, with pages about ferocious piranhas, huge anacondas, electric eels (actually a fish that has never killed a man), frogs ‘with enough toxins to kill 100 people’, ‘predator’ pig-like peccary, ‘sauba ants that could reduce the men’s clothes to threads in a single night, ticks that attached like leeches (another scourge) and the red hairy chiggers that consumed human tissue. The cyanide-squirting millipedes. The parasitic worms that caused blindness…’ and so on. Everyone who know tropical forests, including me, knows that almost every word of this is nonsense.

    Fawcett himself gave a simple account of his four surveying journeys for the Bolivian government. But for Grann, ‘in expedition after expedition… he explored thousands of square miles of the Amazon and helped redraw the map of South America’. Fawcett admitted that he was ‘a greenhorn in the jungle’ and knew nothing about nature. But Grann wrote that he moved ‘inch by inch through the jungle, tracing rivers and mountains, cataloguing exotic species… [until] he had explored as much of the region as anyone’.

    For Grann, Fawcett was competing against other explorers ‘who were racing into the interior of South America’. The only study that Fawcett made after leaving school in 1886 was his RGS surveying course. He never mentioned any library research. But for Grann he was ‘almost unique’ in viewing 16th- and 17th-century chronicles ignored by other scholars; he re–evaluated El Dorado chronicles and consulted ‘archival records’ and ‘tribesmen’ in ‘piecing together his theory of Z’. Not a word of this was true, either.

    Grann wrote that, as an author, he would have been lost without my three-volume, 2,100-page history of Brazilian Indians and five centuries of exploration. He quotes quite often from my books. So he had no excuse for describing Fawcett’s brief visits to three indigenous villages as the ‘discovery of so many previously unknown Indians’, from whom ‘he learned to speak myriad indigenous languages’, and adopted ‘herbal medicines and native methods of hunting [so that he] was better able to survive off the land’. Equally absurd was his rubbish about cannibalistic tribes, blow guns with poisoned darts, or Kuikuro menacing him with ‘gleaming spears flickering’ from the undergrowth (they never used spears, or had metal even, before their contact 130 years ago).

    When the colonel vanished, Grann writes that ‘scores’ of explorers tried to find him, and that ‘one recent estimate put the death toll from these expeditions as high as 100.’ Actually, only one search expedition reached the Xingu, led by George Dyott in 1928. (It found that the three Englishmen had been killed by Indians.) The only other expedition was in 1932, but it got only as far as the Araguaia river far to the east. The death toll from these two attempts was zero. In 1935 a ridiculous actor called Albert de Winton went by himself to the Xingu and was killed by Indians who wanted his gun. So if we count him, the death toll is one — well short of Grann’s 100.

    These and a great many other passages are artistic licence and hype of an absurd order. Hollywood believed everything Grann wrote, and then hyped it up more. People wishing to learn about the maverick colonel should consult his own fairly modest memoir — not the recent fantasy book and film about him. But I could recommend scores of writings by real explorers.

    John Hemming is a Canadian explorer; the three volumes of his history of Brazilian Indians are Red Gold (1978), Amazon Frontier (1985) and Die If You Must (2004)

     4 ) 真英雄不該有真票房

    个人评分: 4.5分

    個人很喜歡

    通常“英雄”是一個電影類型,但認真甩出一個真實存在的英雄來,愛好者們往往都很失望。因為他們需要的是視覺、聽覺裡的“英雄”的陪伴,遠非實打實引發代入和想像的活人。

    觀眾的“奶頭”是青樓、毒品、遊戲,以及電影。川端康成、海子、海明威的自殺並不會且永遠也不可能會阻擋、阻礙乃至略微抵消下大眾對奶頭的依賴。所以不太符合“奶頭”的作品通常票房、銷量不佳。

    傳記電影、音樂電影、體育電影、特殊身份電影。從社會學、人文主義、電影史學講都是值得、需要,乃至必須去拍的類型。但在此之前有個更大的前提:市場規律。電影只是市場的一隻前帆,類型片不過帆上風一股。當電影之船才啟航遠未進入深水區時,最需要的水面、指南針、不出問題的船體和船員。只有當船足夠大、行駛足夠遠、經歷足夠多以後,才有能力、眼力、體力捕捉到每一縷新風。

    那時,真實的英雄就不再使你畏懼,讓你抽離,害你莫名其妙。

    那時,你所在的城市的票房構成也會與現在大不相同。

     5 ) 请不要因为被删就抵制优秀且有厚度的影片!

    伟大的探险家,伟大的女性,伟大的文明,伟大的人类,伟大的梦想。

    片头的狩猎就流露出地道的英伦气息;男主为了家族荣誉踏上冒险之旅;妻子的爱与送别;征途的险恶与发现文明的欣喜;凯旋后被皇家学院与民众的不信任;再次踏上征途;与印第安文明的友好碰触;被同伴陷害,人性的阴暗;不得已返程后与儿子的冲突;战争;与儿子一起踏上征途;被土著抓住,”灵魂安歇“;妻子的守候与坚强……

    有人说卡司弱,但我认为主演都非常非常给力啊。从肢体动作到每一个眼神,极其专业。话说我最后才认出来可爱忠诚的亨利是我们吸血鬼帕丁森演的~
    总之,地道的伦敦腔,有厚度的表演。

    从前不理解探险和考古的意义,小时候读鲁冰逊是当读书笔记的任务完成,背哥伦布的航海图也是为了考试,可今天观完影片却非常动容并有了些理解。

    现代社会的我们,用用谷歌,整个星球上的地点都能确定。出门用GPS,再也不存在未知的路和领域(我指的是大部分)。但影片中,十八世纪的世界里文明最发达的国度,他们的世界地图仍有一些板块是未知的,有一些异域文明是神秘的。所以,具有高学识与胆识的探险家出征了。他们牺牲了青春与天伦之乐,冒生命之险发现了其他文明的存在,他们为此激动澎湃,却还得背负不被大家信任与承认的压力。

    还有女主的眼泪和笑容,坚强与柔情,独立与修养。最后她出门走入雨林的镜头太让人动容了。虽然影片没有催泪元素,但给人留下了久久的感动与理想的力量。

    最后,这是一部至少值得8星的电影。那些因为被删减所以抵制影片并给一星的行为,没有任何意义!

    要删减的需求是局子提出来的,但操刀cut的仍然是迷失Z城的团队啊!虽然我也觉得第一次进亚马逊的段落有些短,但整部电影的剧情仍是完整的,影片是优秀而有厚度的!

    再强调一遍,影片是非常优秀而有厚度的!

     6 ) 探险家的危险旅程

    探险家Percy Fawcett生于1867年,深入亚马逊河谷5次直至最后一次消失在密林之中。影片改编自他的故事。
            佛斯特的父亲生于印度殖民地,哥哥是登山家与冒险小说家。佛斯特自己一心想从事更加冒险有趣的职业,所以佛斯特几乎不假思索地就接受了去南美画地图这样的使命,也开始了他的冒险人生。
           看到一张冒险家本人1911年的照片,那时候他已经成功地完成了几次亚马逊河域的旅程,照片上的他紧蹙眉头,神情严肃,并没有那种轻松喜悦的神色。
           影片中的福斯特梳着一丝不苟的油头,绅士气十足。他在途中读妻子写下的歌颂英雄主义的诗歌。佛斯特第一次探险归来的时候得到了热烈的欢迎。他与怀抱幼子的妻子在人群中拥吻。英格兰歌舞升平,生活惬意,波澜不惊,与密林丛生,四处是未知的野兽以及印第安部落的亚马逊形成了鲜明的对比。可是佛斯特坚信自己发现了失落的文明,执意要再次踏上旅途。妻子看着佛斯特在高堂上神色坚定地号召人们去寻找Z文明,又骄傲又担心。终于他和妻子爆发了争吵。可是争吵后,他还是和同伴踏上了九死一生的旅途。不过这次他们铩羽而归,并没能到达Z。
         时光到了一战,年近50的佛斯特自愿到前线服役。在战场,一个女巫对佛斯特说,你所发现的,远比你想象的更加伟大,你要再去寻找他们,这就是你的命运。佛斯特与曾经一同探险的伙伴在同一军营服役,在一场战斗中,几乎命丧德军毒气战。在病床上,佛斯特说自己梦到了亚马逊的从林,可是医生说介于身体状况佛斯特不可能再踏上那样的征途了。佛斯特的长子Jake看着在病榻上痛哭流涕的父亲,却默默与这位缺席家庭生活多年的父亲和解了。
         最后,Jake鼓励父亲再次踏上征途,也许是战争与缺乏父爱的童年让Jake对人生的意义充满质疑,Jake坚持要与父亲同去。他们一路上都受到高度关注,在火车站为他们喝彩的人不计其数。可是这次终究是一次致命之旅,父子俩在丛林里走过之前的那些路,发现曾经人烟兴盛的城市已荒废,终将父子俩也成了迷失的一部分,都没能再回来。
         维基百科上提供了福斯特父子结局的很多说法,但没有一个说法能够被证实。有一个说法是佛斯特丧失了记忆,在一个食人部落里生活并成为了首领。又有很多其他的说法表示父子已被杀害。
         影片并没有英雄主义式的煽情。全片色彩古典,更像是流畅的叙事。里面间或的南美片段,也让人想起马尔克斯的小说。
         不管是探险,还是一战,佛斯特度过了那样危险重重的一生。在那些濒死时刻,他想起的都是恍如隔世般的英格兰,可这些却是他放弃的生活。他曾经幸运地找到过Z的一些遗迹,却终其一生再没能踏上Z。
          但是你能说,佛斯特的一生都是无用功吗?用佛斯特自己的话说,这就是他的命运,他们完成了别人无法想象的旅程。

          看完电影出来,里昂正是暮色降至的时刻,看着平静美好的街道与河流,想想有人能够放弃这样的生活,坚持去完成那件十分危险的使命,又觉得其实世界是属于有勇气的人的,我们今天对世界的很多认知,都是由这些勇敢的古典旅行者缔造出来的。

     7 ) 迷失雨林

    “隐藏之物,去找寻吧。去那山峦之后吧。

    山峦之后有失落之处;失落却等你而来。前去吧!”——吉卜林《探险者》

    "Something hidden. Go and find it. Go and look behind the Ranges -- "Something lost behind the Ranges. Lost and wating for you. Go!"

    《迷失Z城》由真实事件改编,讲述英国探险家佛西特坚持寻找传说中的Z城的故事。早在2009年,皮特的Plan B 就买下了该纪实著作的版权,主演人选也从皮特到BC(因妻子怀孕取消)到查理·汉纳姆,电影也在2017年才与观众见面(之前在电影节露面)。再考虑到剧组要去雨林中取景,电影的制作过程就如探险经历般艰难啊。

    上映前,每次电影节放映都会引发影评人和观众的热烈讨论,从亚马逊投放的预告片来看,他们很有信心。我想看这部电影,大概是对探险题材感兴趣吧。也随着电影认识一位作品不多,但是很用心的导演:詹姆斯·格雷。结合他在《电影评论》还有其他杂志上的采访,他还是挺狂的个性导演,批评戛纳老套的审美、为奥逊·威尔斯鸣不平。

    《迷》的故事让我想起了《印第安纳琼斯》(佛西特也是琼斯博士的人物原型),还有像《所罗门王的宝藏》、《失落的世界》等维多利亚-爱德华时代流行的冒险故事。不过并非如此。记者表示,“他不是去探索这个充满了美好的世界,他仅仅是出于个人兴趣,最终也是探险改变了他。”格雷则评价道:“佛西特不是一个英雄,他并不是去拯救任何人的。”佛西特曾受邀为巴西和玻利维亚划定分界线,偶然发现一些陶器碎片,根据印第安向导的话,得知一个可能存在的古代文明;妻子查证相关资料、发现一些线索后,他决定带队去寻找这个文明,用实际行动反击地理学会的老顽固。这个文明不是传说中的黄金城,而是Z城。他以追逐白鲸一般的执念冒险。无论在舒适的乡下小宅中,还是在索姆河的枪炮和毒气中,还是在“文明人”的“学术殿堂”中,魂牵梦萦的还是神秘的Z城。就连被毒气击倒,暂时失明,梦中浮现的还是雨林。不禁想到一句话,“昨夜,我梦见自己又回到了亚马逊雨林。”就如同战场上的神婆所言,“这是你的使命。”在镜头下,仿佛能感受到亚马逊的潮湿的绿色,如徐徐展开的自然画卷,探险家是脆弱渺小的闯入者,在绿色的荒漠中寻找文明的踪迹,在大自然和古代文明前只能保持沉默。沉默的土著不再是臣服于白人闯入者前的蒙昧的人群,不再奉他们为神灵,而是视他们为过客;白人面对敌意的目光和弓箭,不再选择贸然回击,而是示意和平,对他们表现敬畏。就像之前的印第安向导所说,你们白人将会困在雨林中,而他是自由的。格雷评价到:“展现土著人完全不同的生活方式。他们不需要一个白人男性的帮助,他们可以生活得很好。如果他们真的需要帮助,便是我们可以帮他们一下。”另一形象是佛西特夫人。她是位坚强的女性,她的丈夫总是在海外冒险,几乎不照料她和孩子,只是在回程充当一下英雄;她和孩子们是佛西特执念的受害者,又因为生理的弱势无法同他一同冒险,因此她无法左右着悲剧性的命运。她选择接受这一命运,以至同意长子与丈夫一同实现这一执念,并在两人失踪后仍保有希望。米勒小姐的表演很是出色(相比较而言,更显得汉纳姆拿腔作调)。长子选择与父亲和解,知道不可能劝阻固执的父亲,宁愿伴他同行,陪伴父亲实现他的梦想。副手(帕丁森留起大胡子,真认不出是当年那个清秀少年)曾经和他并肩作战,一同在雨林中、在战场上冒险;但岁月和生活磨平了他骨子中的冒险精神,他宁愿陪伴家人,佛西特也表示理解,并愿友谊长存,因为有的人属于冒险的荒野、丛林,有的人流浪许久之后,只希望有家庭的慰藉。格雷认为,这个故事“最关键的是他内心的斗争,驱使他去寻找‘人’的定义,去确定文化的等级划分、种族主义或是阶级、性别的粗暴性都不能定义‘人’。”

    佛西特尽管发现所谓“吉光片羽”般的碎片,但终究未能找到迷失的Z城。父子二人其实在雨林中失踪了,没人知道真正发生了什么。格雷想象了一个优美的结尾:父子二人在恍惚中仿佛看到了某种文明的存在,他们回归了自然和古代文明。与儿子同行的佛西特不再狂热、偏执,而是趋向平和;也许他和儿子找到了探险的真正原因。“最重要的便是探索研究的过程,这个过程可以带你找到你在灵魂深处萌生的问题的答案。”对虚构的电影,格雷真正享受的是创作和拍摄本身,大概是一个道理吧。另一方面,佛西特夫人仍不放弃希望,仍相信一些传言,如丈夫和儿子在巴西融入了印第安人的生活;走进学会的植物园时,仿佛也走进雨林,走进光明。尽管考古界一度认为佛西特是疯子,但近年的考古发现发现了Z城的可能遗迹。也许他不曾错过,也许他真的在此生活过。

    这么一个传统的冒险故事,以传统的35mm拍摄,讲述了一个优美的“古典主义”电影,带领观众重回神秘的雨林,见证一个人偏执到平和的冒险,和他一起以敬畏之心,在自然中寻找文明和人的定义,甚是美好。

    “啊,人总要追求力所不及之物——不然天堂为何存在?”罗伯特-勃朗宁,《 安德烈·德尔·萨托 》

    "Ah, but a man's reach should exceed his grasp -- or what's a heaven for?"

    2017.6.3 补充

    大陆没想到公映了,可惜是个大幅的删减版,竟生生砍去近40分钟(虽然《云图》更惨)。怎么说,看还是能看的,但是对崇尚古典主义、独立电影人格雷来说很不公平(记得昆丁因为被砍几分钟就大发雷霆)。剧情就像剧情梗概(虽然很多剧情也不记得了,何况北美院线不加字幕),原先舒缓的节奏被加快了很多,虽然对大体剧情没影响,但是细节不能忽略不计啊! (我记得亚马逊影业也投资了,结果片头根本没他们事)不过还是能感受到如诗如画的摄影以及优美的配乐。

     短评

    事实被改编成非虚构文字作品,这其中就不勉存在对真实的删改,再到被改编成电影,又是更多的删改,现在又在这样的电影基础上剪掉三十几分钟那又能怎样?如果让大卫·柯南伯格拍多好,拍成像危险方法那样。关于这部电影我比较喜欢的一点是,许多场景非常适合配上德彪西印象主义音乐。

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