国王与国家

• 豆瓣评分：7.5
• 片长：Canada: 88 分钟 / USA: 86 分钟 / Argentina: 89 分钟
• 导演：约瑟夫·罗西
• 年代：1964
• 地区：英国
• 类型：剧情 / 战争
• 语言：英语
• 编剧：A.E. Housman / 伊万·琼斯 / J.L. Hodson
• 影片别名：吾土吾王 / 国王和国家
• 更新时间：2018-10-01
• 上映：1964-09-05
• 主演：德克·博加德 / 汤姆·康特奈

主演：德克·博加德 / 汤姆·康特奈导演：约瑟夫·罗西语言：英语 地区: 英国 编剧：A.E. Housman / 伊万·琼斯 / J.L. Hodson类型：剧情 / 战争上映时间：1964-09-05 别名：吾土吾王 / 国王和国家用户标签：约瑟夫·罗西,英国,英国电影,战争,DirkBogarde,黑白,Joseph_Losey,JosephLosey片长：Canada: 88 分钟 / USA: 86 分钟 / Argentina: 89 分钟imdb编号：tt0058263The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic. 　　'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices. 　　Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before. 　　This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff. 　　The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world. 　　The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'. 　　This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that. 　　The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War. 　　This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events. 　　This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight. 　　Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.《国王与国家》下载观后评论：探讨战场上士兵职责规范与个体精神失常的电影其实这部切口很小，但最大的亮点：声画关系。全片几乎无配乐音效贯穿全片，所以并无过多煽情段落，结尾巧妙的运用声画对位，宣告死刑信息后无不充斥着欢声笑语，面带笑容的脸庞，但胸口却越来越闷，被蒙上的双眼是他不知死活的迷茫，所有人都想为他秉持正义，但正义不适合战场有个隐喻部分也很喜欢，被无视被战争摧残的个体在集体意识里宛如弱小无助又无法发声且困在牢笼里的老鼠，周围是向他投石的权利者7/10。一队夸张的士兵从死马腹中取出老鼠、扔在水中以击石淹死老鼠，长官营内的镜子绑绳割裂开辩护人的脸，他们给犯人酒精和吗啡缓解精神暴力，行刑队故意把枪口抬高由辩护人亲自补上一枪，想起开头战争纪念墙的长镜头切到炮弹落下，代表正义的军事法庭直接否认污泥中那些腐烂尸首生前遭受的动物异化。最荒谬的是，急匆匆判Hamp死刑仅仅是因为上头要派他们这个营次日凌晨六点出发增援前线蒙斯特燧发枪手团的一个营，为了鼓舞士气，所以要赶着出发前执行枪决。然而真能鼓舞士气？恐怕没人相信。而一个年轻的被战争苦难摧残的生命就这样被轻轻易易抹掉了，像牲口老鼠一样在泥水中死去。战争机器里没有人。对牺牲少数服务于多数的政治的控诉。可以说是批判意识最强的罗西电影。因为审判的重头戏，台词和特写都较其他作品大幅度增加。审判之中不断插入士兵们对兵营老鼠的戏虐审判，讽刺和隐喻意味不言自明。关于博加德的演技，在站定后到移动的瞬间，上半身小幅度摆动，可以说其最大特点。《召使》中为极致。罗西这部话剧电影拍得极其精湛。剧本本身的左倾性质并没有电影的呈现那么强劲。有许多意义的传达、凝聚和明确是在导演部门完成的。这在一般的文学改编片中难以想象。罗西对劳工阶层的爱和批评在刑前醉酒那场精彩的披露出来。而当死囚吞下圣餐饼后呕吐出来，那已是让人想起爱森斯坦的十月对宗教的攻讦。10分 罗西是神 不光是技巧层面上流畅的室内调度和运镜 或是对庭审戏和审问老鼠的交叉剪辑 它比《光荣之路》要更有力 而《光荣之路》在我心中已经够得到满分了 归功于最后漫长的行刑环节给我带来的真真切切的痛苦 这是第一部让我从四岁半以来第二次因想到临终前的痛苦而上气不接下气的电影庭辩戏本身就很不错，中间还穿插几段士兵无聊逗弄老鼠的戏形成很妙的对应。这部可以排我最喜欢的“一战题材电影”前五，罗西应该是我喜欢的导演前50，甚至会有前30吧，没排过。Hargreaves辩护军官这个角色，甚至不亚于博加德在《受害者》里的那个律师。战争要求士兵保持一种非常状态，你能判一个表现出软弱常态的士兵有罪吗？话剧改编片，导演克制，表演精湛，选长跑者的孤独那个男主演被告很合适，面相单纯又有点可怜。壓抑陰暗的反戰電影，也是DB自己最愛的作品，Tom Courtenay的演技不錯/壓抑陰暗的反戰電影，也是DB自己最愛的作品，TomCourtenay的演技不錯/拼尽全力后的一败涂地。难过。Dirk 把那种挣扎矛盾的心境表现得很精准。?“英雄你可以不做，但志愿兵你非做不可！”个体又怎么跟战争机器讲理了？可能是布景最肮脏污秽的电影。简明的冲突，绝妙的气氛，高超的演技。