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《贫民窟的百万富翁》(后简称《贫民富翁》)在今年的奥斯卡颁奖典礼上一举囊获八项大奖,而丹尼·鲍伊尔在继让他名声大振的《猜火车》后又一次让全世界倾倒。《贫民富翁》这个怪名字的聪明之处在于它能概括剧情:始于潦倒和凌辱,终于甜蜜和完满,而贯穿全片的倒叙并不断闪回的叙述方式,让所有情节几乎都是可预料的——开场十分钟后你就能猜到最后十分钟是怎么回事。普通导演把电影拍成这样,早被烂番茄砸翻了,丹尼·鲍伊尔却用这个恶俗的故事横扫全世界。他到底是怎么做到的?1、极端的真实;2、极端的情绪化。影片一方面是现实主义的,镜头下的孟买就像狄更斯笔下的伦敦,一座嘈杂、险恶、肮脏的罪恶之城;另一方面,这片子讲了一个全然浪漫主义的故事,爱情和通过问答游戏一夜成名的白日梦成了情节发展的内在驱动力(注意:不是点缀,而是驱动力)。问题又来了:现实主义教导我们避免情绪化,但浪漫和情绪化又是脱离现实的典型,他怎么能在同一部作品里抵达两者?因为他是——丹尼·鲍伊尔。
Slumdog Millionaire (hereinafter referred to as the “Slumdog Millionaire”) won eight awards at this year’s Oscars, and Danny Bauer following his famed “guess train” Let the world fall over. The strange thing about the Slumdog Millionaire is its cleverness: it summarizes the story: a story that begins and ends in sweat, sweetness and perfection, and flashbacks throughout the film, giving almost all of the plot predictable - Ten minutes after opening you can guess what happened to the last ten minutes. Ordinary directors made the movie so badly smashed by Rotten Tomatoes, and Danny Powell swept the world with this vulgar story. How did he do it? 1, extreme truth; 2, extreme emotional. On the one hand, the film is realistic, and Mumbai under the lens is like the city of Dickens’s London, a noisy, sinister and dirty city of sin. On the other hand, the film tells a totally romantic story, Daydreaming of the fame of the game became the intrinsic driving force behind the development of the plot (Note: not embellishment, but the driving force). The question is over again: Realism teaches us to avoid emotionalization, but romanticism and emotionalization are examples of reality. How could he reach both in the same work? Because he is - Danny Bowl.