SHANE, adapted from Jack Schaefer’s popular novel, is George Steven’s eulogy of a bygone civilization, the West as we know it. Its rub is pivoted around the hard-pressed homesteaders against the grasping prior trailblazers, who cannot brook the land they have been fighting for with sweat and blood, to be shared with peace-loving late comers. It all comes down to a gunslinger, our titular hero Shane (Ladd) to solve the problem, once and for all.
Unlike other trigger-happy cowpokes, Shane is perversely reluctant to shoot, apparently afflicted by some unexplained past trauma, he comes off as rather shell-shocked and doesn’t even brings his six-shooter with him when he goes to town, much to the bewilderment of a 10-year-old boy Joey Starrett (De Wilde), who puts Shane on a pedestal ever since his advent to the Starretts’ turf.
Hired by Joey’s father Joe (Heflin) to work in their land, Shane literally becomes another member of the nuclear family, heightened by a tangible mutual feeling between him and Joe’s wife Marian (Arthur), neither of them acts improperly, but there is chemistry simmering underneath their restrained formalities, which even Joe descries but he is also prudent enough to keep the green-eyed monster at bay.
The conflict escalates when their nemesis, the Ryker brothers, going out of their ways to scare and harass homesteaders off the land for their cattle business, hires a notorious gunfighter Jack Wilson (Palance), who viciously baits and dispatches anyone who is hot-headed enough to draw the gun, Frank Torrey (Cook Jr.) falls to his victim, however, during his funeral, the homesteaders are held together by Joe and decide to stand on their grounds, which prompts the Ryker brothers to set a trap to liquidate Joe, after a dusty brotherly brawl amid skittish horses and Marian’s screaming, it is Shane who takes Joe’s place to attend the treacherous invitation, with Joey secretively tailing behind to witness the final showdown, executed with a quick-fire fashion that invites pause and rewind. When the dust settles, a wounded (mortally or not, Stevens leaves us to guess) Shane chooses to leave as he confesses there is no place for a man who has blood on his hands, with Joey’s wail “Come back, Shane” resounds in the crescendo,
A stoical Alan Ladd is forever enshrined in Shane’s laconic, reserved persona and he is the unlikely hero excels in rough-and-tumble with a short stature, but the truth is, Van Heflin offers a more well-rounded performance as the ultimately congenial and sympathetic Joe, as for Jean Arthur, in her first color movie and celluloid swan song, hampered by an unflattering wig and over-airbrushed effort of the make-up team, she, at the very least, hangs tough through the familial dissension as a dyed-in-the-wool nay-sayer of the gun violence, that particularly rings a bell in today’s climate.
Receiving 6 Oscar nominations in toto (including BEST PICTURE, SCREENPLAY and DIRECTOR), one for the amazing tween actor Brandon De Wilde (who would sadly perish in a car accident at an age of 30), who benefits from the fact that the meat of the story takes place from his idolized standpoint, persuasively visualizes a wide-eyed boy’s vicarious thrills and spills without becoming overtly cutesy or annoying, too many bratty kids in real life already, no one needs to see them throw a hissy fit on the big screen. Also Jack Palance cops a back-to-back Oscar nomination after his breakthrough in David Miller’s SUDDEN FEAR (1952), brimful of vice and danger, his villainous turn is a real spine-tingler.
Equipped with a divinely colorful Technicolor to render a beauteous natural landscape, SHANE judiciously deviates from the mainstream Western with its prescience of its westering future, yet proposes an auspicious prospect on the horizon of the pending modern age, while those who are passé get a melancholic solace that at any rate, some good deeds are done, a few good seeds are sowed and some bad apples are annihilated. Lastly, one advise, dialing down the volume can save yourself from the assault of Victor Young’s blaring, overblown aural accompaniment, which aids our appreciation of George Stevens’ deathless classic of a defiant hero named SHANE.
referential entries: George Stevens’ GIANT (1956, 8.3/10), Fred Zinnermann’s HIGH NOON (1952, 8.0/10).
没有印第安人,没有沙漠和小镇街道,没有铁路,复仇的牛仔反而是反派,让观众理解反派,牛仔和美人只跳舞和握手而没有抱得美人归的西部片…属于牛仔的蛮荒时代和自耕农安居乐业时代的价值观冲突,老牛仔也很不易,对反派角色做出立体塑造的西部片…格局很大,对一个时代的怀念和追忆,同时也认清现实,不沉溺其中,承认长江后浪推前浪的规律,西部片更有深度了,结尾的呼唤颇令人动容…发乎情止乎礼的关系,小男孩他爸也有点戴礼言的感觉,似乎想把妻儿托付给肖恩…结尾还是套路,肖恩用十分暴力的方式把属于他的一类人的老牛仔们都杀了,美人也没抱到,负伤孤独离去,其实是一个悲情的人物,他的到来也让人感觉他很忧郁,这和《关山飞渡》那种潇洒牛仔的确不同…牛仔的离去却是生死未卜…小男孩的演员才30岁就去世了…摄影好,反派大叔随便一坐都是黄金分割点,不禁让我思考电影语言的变迁,是什么造就了现在的电影语言和经典时代的有这么大的割裂感呢,更感叹法国新浪潮的敢搞,有一个镜头很有意思,众人跳完舞之后,拍了一个小女孩也站着弄裙子的镜头,时间还不短,这个镜头不是叙事的,而是表达一种气氛的,在以叙事为主的经典好莱坞的影片里出现这个镜头让我感觉很奇怪,是不是电影语言变革的一个先声…感叹一句美国人还是不会人民战争啊,一帮居民看着窝囊死了,就拥着一个斯图特让他上,果然是孤胆英雄吗
这竟然是一部1953年派拉蒙影业公司出品的西部牛仔片,1953年!真得竖个拇指!
片中处处洋溢着温情、温馨,没有沙漠风光,没有大批匪徒劫掠、杀戮,而是牧场、小溪、乡村聚会......片子节奏很慢,是需要慢慢品味的好片子。 是否我需要先介绍一下这部电影?因为有很多人包括我在内,有时候想看一部片子的时候先看一下评论,以确定是否值得花时间来看,那我先给过客们介绍一下大概:一个落寞的枪手肖恩路过斯塔雷特一家的农场,斯塔雷特邀请肖恩留在自己的农场帮忙,正欲退隐江湖、不知何去何从的肖恩留了下来。恰好雷克一伙为了吞并土地,骚扰斯塔雷特一家及村民,肖恩为了斯塔雷特一家(侠之大者,为国为民)又端起了枪,走向了未知的未来........
我觉得男孩乔伊的演出很精彩,穿越山林,小河,在泥泞中奔跑,很象我们那一代人小的时候,无拘无束,在家里没有太多的关注,不象今天的小孩,家长投入了太多的关注,以致于他们每行一步都有家长的身影,家长不知道他们何时能长大,孩子也不知道自己什么时候能获得自由(跑题了)....
男人之间的情大多是兄弟之情,也有为民族大义或共同目标而形成的感情(如韩国电影特工中两们男主的深厚情义)然而肖恩不知不觉间爱上了女主人玛莉安,这注定了肖恩归隐田园想法的失败,为了不打破他们平静的生活,肖恩只能选择离去,这也是一去成侠.......
这时的西部人们已经在受法律约束,不能随便去杀人,但正当防卫和决斗不算在内。这时代的西部牛仔就如同明治维新后的日本武士一样,面临着新的选择,“每个人都有适合自己的生活,无法彻底改变”,每个人都要面对自己的生活,为了生存不得不做一些改变,然而,真的能让一个武士蜕变成农民吗?可以低眉顺眼,风骨如何能变?西部牛仔只有化为尘土,这个时代才会终结,肖恩也只有离去......
长相痴傻的牙缝男童很抢镜,shane和marian的感情处理很有含蓄美,shane和scarret两个男人一块砍树桩对视一笑的画面很有暧昧喜感。以shane这么一个游侠牛仔逞强除恶主持正义的故事,表现牛仔英雄的神话,也暗含对西部牛仔时代终结的无奈和惋惜。结尾小儿子Joey目送英雄纵马远去,是美国影视经典镜头。Jean Arther出演
舒缓也激烈,又回味无穷。这是一部蕴含深厚情感的西部片,拥有冷静的叙事和完美的画面,极致抒情而又不拖泥带水,它让人感受到的是人心最底层的那一份真挚。电影演奏了一首关于时代和雄性的优美挽歌,雄浑寂静、不过分悲伤,但营造了出色的留恋氛围,并给观众以无穷的内在力量。
不是特别精彩的西部片,但是入选了"美国电影协会世纪百大"。能够入选,我猜是因为该片拥有最纯正的西部片DNA,完美诠释了建国初期的美国精神。
以西部片的类型存量上看,可以理解某些评论指出的缺陷,特别是艾伦拉德所塑造的肖恩,俊朗干净到不像西部游侠而更像都市男偶,缺乏与剧情描绘相匹配的体魄信服力:一拳就把高他半头的本约翰逊揍出屋外。而从类型变量上看,本片确有独到之处。小孩的视角与其母的暧昧被普遍提及,凡赫夫林的小孩父亲被明显忽视。斯蒂文斯花费相当篇幅去表现这位自耕农不输给甚至超越西部游侠的信念和勇气,某些关键桥段通过取景&占位有意将其置于画面中心,将肖恩挤在帧边。甚至整个自耕农群体,面对牧场主霸凌行径,在合理呈现出性格差异反应多样的同时,整体上却是朝着主动抗争的大方向平移,无一家逃离峡谷,更有人战死沙场!这点严重区隔于《正午》的懦弱小镇。在民众与英雄的关系上本片比正午更积极。它的英雄反而是疲惫倦战的,要靠残酷现实和大众豪情去再度激活。
不晓得咋说 哈哈哈哈 要是他们shane和他们一家都住一起那才叫好呢 他儿子都说 他爸需要他 他崇拜他 他妈需要他。。。。。。
Shane如同一个武侠小说中两肋插刀拔刀相助的大侠一般,是个非常浪漫而理想化的角色,作为一个枪法神准的高手,却没人知道他是哪里来(也没人问),最后挥一挥衣袖他悄悄地消失在地平线。难怪主角一家人都无可救药地爱上了他,不论男女😳。。
非常类型化的西部片,一系列二元对立,男主则是游走于两者之间的边缘人,是真正的“游侠”。对反派的逻辑也有呈现,让人看到归根结底,这就是一场从游牧到圈养的畜牧业升级过程中先进生产力与落后生产力之间的冲突。叙事精彩,不断铺垫冲突,暗示男主的身手,营造气氛,直到最后一泄如注。雇主Starret代表了诚实正直的小农场主,角色塑造得很到位。小男孩的视角有助于叙事,但太过絮叨,我恨不得掐死他。
1.《苍白骑士》的原版;2.肖恩,一个过客,没有过往,没有传说,随风而来,留下几声枪响与一丝血腥味,不求名利,独自离去;3.结尾小孩对肖恩的呼唤,正是对西部时代、对英雄主义的呐喊与追忆。
同样是开枪前话唠一大堆,莱昂内的节奏比这个好太多,同样是100多分钟不拿枪,约翰·韦恩比这个男主更压得住阵,艾伦·拉德还是太清瘦了【← ←正式沦为肌肉男爱好者了啊擦。。这也是我看过的最言情的西部片
太典型就是太传统,牧民与恶霸的土地之争来了为孤独的牛仔,节奏慢但是也不拖。结局不用想牛仔打死了恶霸又开始流浪。小孩子这个演员太不可爱演技不怎么样,因为这是个重要角色。琪恩·亚瑟仍是我最讨厌的女演员!
西部片的另一种变奏,失意流浪的牛仔试图去融入田园生活,这种生活又被野蛮的牛仔打破,他的背水一战是对于过去的一种诀别,也是对于自己身份的强烈的归属。电影更像是一部西部田园生活图景,不像以前西部片里的沙漠风光,人物总是居无定所和抢夺杀戮,这里是一种更加恬淡的乡村景象,小溪、财源、聚会、放牧,和西部片里的恶略的环境形成巨大的反差。这给居无定所的牛仔肖恩来说是充满巨大诱惑力的,他渴望用丢弃牛仔的身份去换取另一种生活,甚至他把枪都从腰间卸下去购买作为牧民的衣物。《金刚狼3》里的英雄迟暮寻求归属但又无处可去的矛盾,是对这个西部牛仔的再次演绎,充满了对于失去的那个辉煌时代的缅怀和无奈,人物面临着新的选择,但是总是徒劳的,“每个人都有适合自己的生活,无法彻底改变”,狼叔的死和肖恩的离去,都是一个时代的终结。
经典程式化的西部片,中间的剧情太拖沓,那个小男孩闹死了,问个不停也喊个不停。。。结尾算是对西部蛮荒社会&枪战解决问题的告别吧,进入法制时代。
A man has to be what he is. Can't break the mold.【狼3的整个剧情都base在这句台词上了.......
"I heard you are a low-down Yankee liar", The coming of Homesteaders with civilization and the end of the days of cattlemen and gunfighters.
介于传统西部片与修正型反西部片之间的作品(1952年的《正午》开启了后者的潮流)。影片拥有令人悦目的风光摄影(外景实拍)和动听的主题配乐,不过节奏偏慢。剧作上区别于此前经典西部片的地方主要有三点:1.开启了“从荒野来,回荒野去”、以拯救他人与自我放逐为己任的法外英雄传统(后启《搜索者》、莱昂内&伊斯特伍德西部片,以及一系列超级英雄电影)。2.开始反思过往西部片对印第安人的歪曲丑化(Joe Starrett反驳Ryker的台词)。3.设置了小男孩Joey这一从头至尾的旁观者形象,并借此结构起观影者的视点,Joey与观众对西部片的期待合一。影片其余部分则与传统西部片别无二致,无论是文明/野蛮、农耕/放牧、家庭(女人)/独行(男人)的二项对立式,还是酒吧中的挑衅与决斗,都可以满足经典西部片影迷的口味。(8.0/10)
小男孩的视角导入起到关键作用~在酒吧的肉搏和枪击战当中,小男孩是直接且唯一的目击者。与片头,小男孩透过鹿角窥见Shane一致,也与Shane说:你是一个善于观察的人,相呼应。更重要是,我们透过小孩视角=摄影机,进入一种对Shane男神的无限崇拜当中,Shane形象得以凸显,我们从而被同化。
小男孩好討人厭。
多年之后重看这部电影,愈发觉得肖恩不仅是西部片历史上最迷人的主人公,他更是战后美国电影的一个精神图腾,在经历了那些无法言说的血腥的杀戮之后,孤独地流浪在一个个偏僻的城镇中,而宿命的枷锁捆绑着看似无拘无束的牛仔,他没有办法,必须去在那些枪战中击败对手,让鲜血再次沾满双手,然后继续走入萧瑟的暮色里,正如他来时的那样,见证了战争中的残酷死亡真正地改变了史蒂文斯,他的肖恩不会提及过去,更无法希翼未来,美好的感情流淌在这部电影的每个细节中,让它反而不像是部西部电影,但观众仍然会被一种强大的忧伤笼罩,肖恩与玛利亚的爱注定没有出口,在告诫儿子不要太崇拜肖恩后,她快速熄灭了油灯,因为她自己似乎也深陷其中,唯有黑暗才能掩盖她已发红的脸颊,肖恩真的有选择吗?“杀戮的时代结束了”他最后对乔伊说,但真的如此吗?
小男孩对着马背上的肖恩深情的呼喊,可以看作对那个西部拓荒时代的召唤、对西部英雄的神往、对逝去时光的追忆。从放牧到农耕、从拓荒时代的枪手到捍卫自耕民土地的英雄,这最后一场枪战后那个时代已是传说。肖恩和玛丽安(乔伊的妻子)之间的感情(应该是以前就认识)处理的细腻美好、让人感慨。
为《金刚狼3》而来