如果愿意,可以将其视作一篇对以“哈姆雷特”为名的存在问题的电影论文,从开篇的76次掷硬币游戏到片尾“we are on the same boat”的象征实体,总是言过其实却不惊波澜的冷笑话总是带来一股被戏剧叙事要求所不断催动的森然寒意,那道我们用以区隔戏剧与真实的边线:真正的存在与真正的死亡,也就被不断挑战与模糊,方法是用戏剧团来连接哈姆雷特所寄身的戏剧逻辑及吉罗二人所寄身的“真实”逻辑,当诡异的76次硬币朝上介入他们的也就是我们的现实之后,哈姆雷特最终的被戏剧所拯救,以及他们的死
Really a middle-brow film with lots of fun and play, but not without some eeriness, especially when the uncanny presence of the Shakespearean dialogues punctuates the duo’s absurdist exchanges. They are thrown into the play and involved in the events that they half witness and half forget. When events are encountered in medias res, there are moments of disorientation, of doubting and groping for their selfhood. Here I am reminded of Rivette’s Celine and Julie Go Boating,
闲来无事,便翻着豆瓣的电影榜,被名字吸引,觉着诙谐幽默又讽刺,就找了来看。我看电影又不喜欢先看简介再看正片,所以代入感没有,30分钟的样子才渐渐觉得意思起来,最后连着看了两遍才罢休。
罗森和吉尔本是莎士比亚笔下两个小配角,电影以他们为切入点、主线讲述哈姆雷特的故事,既是主角也是配角,是看故事的人某方面说也是故事的部分创造者。他们之所以进入这个故事的原因有两点:
1、两人是和哈姆雷特是一起长大的朋友,所以国王找他们过来开解王子;
2、去城堡的路上遇到了个剧团并推荐给了哈姆雷特
Best tragedy ever presents, we always forget about the no-ones, and there were eight people died in Hamlet, including Rosensrantz&Guildenstern.
“君臣人子小命呜呼”汤姆·斯托帕德新作,生之荒诞可笑,死之在劫难逃
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