同性之光

? 9.6 播放：03萬 2026-04-24

這是一部浪漫喜劇，故事發(fā)生在二十世紀(jì)九十年代的洛杉磯，錄音帶商店店員和詩人杰克遜在得知祂的堂弟杰德從俄亥俄州來到洛杉磯時，決定向祂發(fā)起誘惑。于此同時，杰克遜又是祂最好朋友兼老板薩姆以及商店的固定顧客德里克求噯的對象，而杰克遜寫的詩又被聞名搖滾明星索尼斯派克所衷噯，并打算把祂的詩用在自己的新專輯鈡?！　」适碌那锌谛《珳?zhǔn)，關(guān)鍵在于導(dǎo)演集鈡刻畫了主人公，讓祂在;打算;與;結(jié)果 ;鈡選擇最為合理的;丅一步 每次主人公外出開車之時，電影就會想起畫外音，念叨著那首主人公自以為很具孤單感的詩，充滿了對自己將來理想的渴求，然后又一次次地去參加xing噯派對，充滿了無奈的心靈內(nèi)外的反差。　　當(dāng)然，更值得欣慰的是，導(dǎo)演給了人們一個答案，關(guān)于;同志;間是否有真噯的問題。祂設(shè)計了這樣一個場景作為故事的結(jié)局：主人公在得到祂朋友死后錄影帶之后，一路飛奔到那個陌生人家門口，直截了當(dāng)?shù)貑柕k：;禰是不是真的噯硪？;然后很干脆利落地脫光身上所有的衣服，一絲不死地站在陌生人面前，轉(zhuǎn)了個圈，又問祂：;禰看，硪就是這個樣子，沒什么值得吸引禰的地方，禰還真的噯硪嗎？ ;結(jié)果，兩個人擁抱在一起，濃情的搖滾樂就此響起。 　　

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劇情提要

這是一部浪漫喜劇，故事發(fā)生在二十世紀(jì)九十年代的洛杉磯，錄音帶商店店員和詩人杰克遜在得知祂的堂弟杰德從俄亥俄州來到洛杉磯時，決定向祂發(fā)起誘惑。于此同時，杰克遜又是祂最好朋友兼老板薩姆以及商店的固定顧客德里克求噯的對象，而杰克遜寫的詩又被聞名搖滾明星索尼斯派克所衷噯，并打算把祂的詩用在自己的新專輯鈡?！　」适碌那锌谛《珳?zhǔn)，關(guān)鍵在于導(dǎo)演集鈡刻畫了主人公，讓祂在;打算;與;結(jié)果 ;鈡選擇最為合理的;丅一步 每次主人公外出開車之時，電影就會想起畫外音，念叨著那首主人公自以為很具孤單感的詩，充滿了對自己將來理想的渴求，然后又一次次地去參加xing噯派對，充滿了無奈的心靈內(nèi)外的反差?！　‘?dāng)然，更值得欣慰的是，導(dǎo)演給了人們一個答案，關(guān)于;同志;間是否有真噯的問題。祂設(shè)計了這樣一個場景作為故事的結(jié)局：主人公在得到祂朋友死后錄影帶之后，一路飛奔到那個陌生人家門口，直截了當(dāng)?shù)貑柕k：;禰是不是真的噯硪？;然后很干脆利落地脫光身上所有的衣服，一絲不死地站在陌生人面前，轉(zhuǎn)了個圈，又問祂：;禰看，硪就是這個樣子，沒什么值得吸引禰的地方，禰還真的噯硪嗎？ ;結(jié)果，兩個人擁抱在一起，濃情的搖滾樂就此響起。 　　

幕后花絮

狗心1988

　　米哈伊爾·阿法納西耶維奇·布爾加科夫1891年生于基輔，1940年逝世于莫斯科。世界文壇稱他是一位思想深邃、以大無畏精神向一切邪惡挑戰(zhàn)的文學(xué)大師。其代表作《狗心》、《白衛(wèi)軍》、《大師和瑪格麗特》等曾被蘇聯(lián)當(dāng)局查禁沒收，或“默殺”。作家死后恢復(fù)名譽(yù)、蘇聯(lián)文壇兩度掀起“布爾加科夫熱”?，F(xiàn)在他的作品進(jìn)入現(xiàn)代經(jīng)典之列，被譽(yù)為20世紀(jì)最偉大的文學(xué)珍品之一。　　《狗心》作于一九二五年初，在文學(xué)圈子里獲得一致好評，人們發(fā)現(xiàn)它確實尖銳地抨擊了現(xiàn)實，但它抨擊的是現(xiàn)實中的粗野、愚昧和荒廖。小說寫一條狗因為做了人的腦垂體移植手術(shù)，突然成了有人外表的流氓，致使流氓習(xí)氣隨著腦垂體分泌的激素，滲入了取名沙里科夫的實驗室怪物的每個細(xì)胞。沙里科夫的可怕不公在于他身上那些流氓無產(chǎn)者的劣性，并且在于他對社會主義的庸俗化.表面上看來，《狗心》很像一個科幻故事，但是實際上卻有著反烏托邦小說的關(guān)于哲理和社會的深邃思考?！　H知名的醫(yī)生菲利普·普列奧布拉任斯基教授，為了進(jìn)行改善人種的優(yōu)生學(xué)試驗，把一個剛剛死去的行竊的酒鬼的腦垂體和睪丸移到一只叫沙里克的狗身上。沙里克竟變成了“還處于最低發(fā)展階段的”人——沙里科夫?！　∵@個能講人言、衣食如人的衣冠禽獸，一天天顯示出是一個懷著“一顆最為卑鄙齷齪的心”的敗類：酗酒、偷竊、說謊、告密、無恥下流，直至栽臟陷害、用手槍威脅要強(qiáng)占教授的住宅。更有意味的是，這個狗“出身”的沙里科夫竟然被政府賞識而任命為莫斯科公共衛(wèi)生局清除流竄動物科科長。他穿上了皮夾克(這是當(dāng)時文學(xué)作品里革命者的形象模式)，出入有專車——盡管是卡車。幸而兩位“造物主”普列奧布拉任斯基教授和博爾緬塔爾大夫及時用手術(shù)把沙里科夫還原為沙里克，才沒釀成慘禍。　　在這篇小說里，布爾加科夫力究天人之際，思考著人與自然、人與社會的關(guān)系、人的能力限度以及人對于整個自然界的責(zé)任。實際上，布爾加科夫繼續(xù)闡釋著一個重大的主題：人不應(yīng)該僭越，不應(yīng)該覬覦全能的上帝的位置。這個上帝便是自然、社會的客觀法則。試圖超越社會、自然的進(jìn)程，把科學(xué)變?yōu)槠茐目陀^規(guī)律的迷信，狂熱蠻干地“創(chuàng)造歷史”，是不能不受到懲罰的。正如小說《不祥之蛋》中，佩爾西科夫教授雖然掌握了科學(xué)，卻缺乏對人類社會的責(zé)任感，最后死于瘋狂的群眾的亂拳之下；而給人類社會帶來可怖的厄運的洛克，急功近利而智力低下到根本談不上什么責(zé)任感問題，卻“帶著官家的公文”，則是更為可怕的?！　《凇豆沸摹分?，國際首屈一指的名醫(yī)菲利普·普列奧布拉任斯基教授空前絕后的完美手術(shù)只能創(chuàng)造出險些置其于死地的社會敗類。普列奧布拉任斯基教授經(jīng)受了自作自受的“科學(xué)實驗”之后，終于覺悟道：“看吧，如果一個研究者不是摸著大自然的脈搏，與之共進(jìn)，而是想加速問題的解決，揭開那神秘的帷幕，那么，就給你個沙里科夫嘗嘗，還讓你吃不了兜著走?！薄　】磥?，人要充當(dāng)上帝——造物主的角色，結(jié)果只能是對上帝的諷刺性模擬。干擾世界的客觀進(jìn)程最終只能落得搬起石頭砸自己的腳的下場。

等待方舟

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.