为所应为

因为最近在很粗糙的听“个人主义与平民社会”，沉思录也快吃灰了，快看完了《人类简史》，当中有一个概念是这个样子的:

尤瓦尔赫拉利《人类简史》

疫情困在家很久了，我也经常出现很多烦躁的倾向，这部片子是两个月前看的了，今天突然想到是因为看到朋友圈有人提到斯派克李，我就想到了这部电影。

影片在人物角色设计、剧情元素都可圈可点，还有rap的加持~叙事上倒是不敢恭维，最近乔治·弗洛伊德的事引发了现在这么大的动静，也不好简简单单评论美国这个很复杂又多元的新生国家，只希望能有个好果子；六月是LGBT勇敢的一个月，但大多时候，他们要学会捉迷藏。

多元平权主义一直在努力~不管是种族还是两性平等，我们的世界总是吵吵嚷嚷的，这倒是很应景《为所应为》里不断出现的rap，斯派克李本身是一个黑人，他拍这样一部片子真的很刚很爷们，和“强权抗争”，和所有的偏见抗争。慵懒和荒谬的黑人社区日常生活就是影片的主线，高潮戏份是源自其中一条故事线的野蛮生长，这种慵懒有时候在享乐和虚无主义看来还是很受待见的~

whatever，真的很佩服这么一个在31年前的预测，真的很厉害，不过仔细想想，这也是必然事件的偶然发生，加油吧克里斯珀斯·阿塔克们!

这部片子是一部出色的群戏，Spike Lee控制群像的能力丝毫不逊于Robert Altman。且每个片断都独立成章、亲切幽默，如同优秀的短篇小说连作。更可贵的是整体感觉毫不松散，如此多的人物、场景，都是用同一种情绪串联在一起的。一整条街道的风貌就好像一个角色一般，这个角色就是Spike Lee扮演的，既是导演，又是主演，真的是属于他自己的电影。 看美国的独立电影总是有惊喜，因为这些导演有鲜明的作者感觉，能够去掉四平八稳的学院习气。黑人导演的电影没有新英格兰人那么掉书袋，没有扬基佬那种自己找抽的雅痞感，但是有黑人文化中固有的节奏感，跃动的节奏。整部片子画里画外都是疯狂的rap或是煽情的blues，所有人都是手里比比划划，说起话来像连珠炮般不停。同样在影片中，远景和中近景的结合仿佛有节拍般切换，或者干脆停住框住二三个人物展现出印象画般的质感。在这种蓝调般感觉中，人物的和活动也比较随性，角色并不是摆在画面中，而是自由的在场景中行动，甚至会不经意的跑出镜头外。但是镜头并不乱，只是随着节奏在移动、切换、变焦，就算是突然的拉焦，或者是倾斜的视角，都带着一种强烈的带入感。因此带来了自由的情绪，因为自由而在真实的抒写。 至于影片所要表达的思想，Spike Lee在他的作品中一直在重复同一母题。在《Malcolm X》中，他借用这个最理想的人物而达到了最充分的表达，即对暴力性的仇恨的反对，对黑人群体的弱势形成原因的自身反思。片中的时间仅有一天，场景也只限于一条街道，但形形色色的人物成为了很好的缩影，使得这最热的一天成为普通而又特殊的一天。Lee在这片中扮演的角色既是一个最好象征，自身的放纵和不思进取，毫无目的的冲动性的仇视，盲目的自尊和逃避的懦弱，成为了一个既不满足又不做出自身努力的黑人，在这个个体上显示了Lee对自己同胞的一种失望。忠厚善良的大市长，不停生事的ML，疯疯癫癫的Smiley，努力工作且满腹牢骚的Tina，还有播音的love Daddy，所有人都从事着琐碎的活动，成为某种社会人物的缩影。同样，其他族裔的美国移民也出现在影片的街区中，波多黎各人，意大利人，韩国人，勾画着这个移民社会一种混乱的声音。最后的高潮，萨姆的比萨店的骚动，更是对六十年代黑人民权运动的一种刻画与讽刺，莫名其妙的冲突，对有业者的仇视，骚乱过后的废墟，有一种荒诞的苍凉。King Jr.和X都成为过去社会的符号，Lee所寄望的是自己族裔的自我觉醒和与社会的相互理解与包容，换句话讲：不做亏心事。这种可贵的心态，倒是值得很多“愤青”们学习一下。

FEB 19, 2001

Leaving the theater after the tumultuous world premiere of Do the Right Thing at Cannes in May of 1989, I found myself too shaken to speak, and I avoided the clusters of people where arguments were already heating up. One American critic was so angry she chased me to the exit to inform me, “This film is a call to racial violence!” I thought not. I thought it was a call to empathy, which of all human qualities is the one this past century seemed most to need.

Perhaps I was too idealistic, but it seemed to me that any open-minded member of the audience would walk out of the movie able to understand the motivations of every character in the film—not forgive them, perhaps, but understand them. A black viewer would be able to understand the feelings of Sal, the Italian-American whose pizzeria is burned by a mob, and a white viewer would be able to understand why a black man—who Sal considered his friend—would perform the action that triggers the mob.

It is this evenhandedness that is at the center of Spike Lee’s work, and yet it is invisible to many of his viewers and critics. Because he is black and deals with anger, he has been categorized as an angry man. However, it is not anger, but rather a certain detached objectivity that I see in his best work. His subject is the way race affects the way lives are lived in America. More than any filmmaker before him, he has focused his stories on African-American characters, considering not how they relate to the white society, or it to them, but how they relate to each other. School Daze is no less about skin color because all of its characters are black. Jungle Fever is not only about a romance between black and white, but about all of the social, class and educational factors that race stands in for. Malcolm X is about a man who never abandons his outrage at racism, but comes to understand that skin color should not define who he can call his brother.

In Do the Right Thing, the subject is not simply a race riot, but the tragic dynamic of racism, racial tension, and miscommunication, seen in microcosm. The film is a virtuoso act of creation, a movie at once realistic and symbolic, lighthearted and tragic, funny and savage; one of the reasons we recoil at the end is that we thought, somehow, the people of this neighborhood, this street, whom we had come to know, would not be touched by the violence in the air all around them. We knew them all, Da Mayor and Radio Raheem, as well as Sal and his sons. And they knew each other. Surely nothing bad could come between them.

And yet something bad does happen. Radio Raheem is murdered; Sal’s Pizzeria is destroyed. Spike Lee has been clever enough to make us sympathize with Sal, to like him and his pizzeria, so that it is not an easy target but a shocking one. And Lee twists the story once again, making the instrument of Sal’s downfall not a “negative” character but the one we like the most, and identify with: Mookie, the delivery man played by Lee himself. The woman who found the movie a call to violence was most disturbed, I suspect, because it was Mookie who threw the trash can—Mookie, who the movie led her to like and trust. How could he do such a thing to Sal?

The answer to that question is right there on the screen, but was elusive for some viewers, who recoiled from the damage done to Sal’s property but hardly seemed to notice, or remember, that the events were set in motion by the death of a young black man at the hands of the police. Among the many devastating effects of Lee’s film, certainly the most subtle and effective is the way it leads some viewers (not racist, but thoughtless or inattentive or imbued with the unexamined values of our society) to realize that they have valued a pizzeria over a human life.

I have written here more about Lee’s ideas than about his style. To an unusual degree, you could not have one without the other: style is the magician’s left hand, distracting and entertaining us while the right hand produces the rabbit from the hat. It’s not what Lee does that makes his film so devastating, but how he does it. Do the Right Thing is one of the best-directed, best-made films of our time, a film in which the technical credits, the acting, and Lee’s brazenly fresh visual style all work together to make a statement about race in America that is all the more powerful because it blindsides us.

Do the Right Thing was the finest, the most controversial, most discussed and most important film of 1989. Of course, it was not nominated for an Academy Award as Best Picture (that award went to Driving Miss Daisy, which has a view of race in America that is rotated just 180 degrees from Lee’s). To an extent, I think some viewers have trouble seeing the film; it is blurred by their deep-seated ideas and emotions about race in America, which they project onto Lee, assuming he is angry or bitter. On the basis of this film it would be more accurate to call him sad, observant, realistic—or empathetic.

#二刷 #BFI #SightandSoundGreatestFilmsofAllTime2022 #03032023还是之前的看法，视角比较中立，以黑人社区构建了一个“白人社会”，把其他族裔加入其中来体现黑人困境，同时又以黑人社区为基点来批判黑人在美国的情况。这次注意到酒鬼与修女的这对儿的对照关系，最后似乎也代表着X和King，也是突出一个讽刺。

（手握一张《为所应为》的票和一张《雨中曲》的票的我站在了两个厅间，候场时跟朋友讨论电影时讨论到了《巴比伦》，让我对去二厅看《雨中曲》有一丝丝犹豫，最后被“拉”着一把太重要了！决定去看刚看完没两个月的《为所应为》，即使前排有看手机长达1小时的观众还是觉得大幕看这部比较值得）

#一刷 #DVD #14012023 这是一部值得拉片的电影，写实的故事搭配风格化的视听语言。Smiley在说X和King的理念我认为是点出了影片的主题Love&Hate，也是Raheem的指虎。整部电影只讲了一个一天的故事，却仿佛以中立的视角讲了一个无比深刻且真实的每天都在发生的故事。炎热的夏天，被堆积的情绪，倒下的生命，燃烧的披萨店，老中青三代黑人和其他种族的人在布鲁克林黑人街区上绘制了的一幅有预见性的真实图景。其实导演构建的一切非常好理解，以意大利一家在黑人街区的生活对照黑人在美国的生活，所以结尾处Raheem的死亡与皮萨店的燃烧仿佛也在讲述着一个故事。影片的视角会在寓意与现实中切换，这种构建也完全模糊了种族的边界，视角更加中立。

视觉上，镜头运用太成熟了，大量的使用仰拍和俯拍来凸显“权力”在这个“区域”的状态，尤其是俯拍Sal和仰拍的Roheem，搭配上大量的倾斜构图构建冲突感。直视镜头的对话和POV镜头的结合让很多情绪可以更好的传递。后拉镜头带来更多信息的同时很多时候也制造了喜剧效果。推焦的几场戏内容也是需要细细品味，尤其是父子谈心那场戏，运用得很好，属于片中少有的交心场景。还有几次的碰撞变焦那种不真实感，不光提高了戏剧张力也对照我说的寓意与现实间的切换。还有高饱和度配色让高温夏日的燥热和强节奏的配乐，让整部影片的人物都充满着焦躁情绪。

印象最深的几场戏，1.Buggin的鞋被白人弄脏了，正打仰拍男主的张狂，凸显权力，周围的人群代表着那一切诉诸暴力的“劝诫”，反打手持镜头拍摄白人小哥，凸显那种内心的紧张，把一切环境和问题放到了观众面前。2.男主与Raheem对话的那场戏，镜头切换，手持到POV那种仿佛直接与观众对话，紧接着他走进Sal店时使用的移动变焦镜头（Dolly Out+Zoom in让背景环境更加加速逼近观众），也预示了将要发生的冲突，之后更是倾斜构图和POV镜头结合视点音效的俯拍和仰拍正反打，都是权力的展现和冲突的展现，直视镜头更是把双方的火药味利用视觉体现出来。3.高潮戏，完全的转变视角，俯拍的Sal在视觉呈现上是弱势的一方，而Raheem一直处于强势角度，直至最后平拍诉诸暴力，也引来了惨剧，其实回到最根本，反对Sal是因为墙上没有黑人照片，而两个人的对话也是揭露了那个根本的社会问题。