IMDb上有同感的一些话:本剧受关注,主要是由于its groundbreaking subject matter--gender fluidity and exploration, but it has the weak script and unsympathetic characters. This extraordinarily shallow, spoiled and obnoxious bunch of people are so relentlessly revolting. It may have been Soloway's intention to present a flawed family, but she forgot to give the kids a single redeeming quality. Her writing is mediocre at best. The dialogue among the characters is frequently stilted, and there appear to be many improvised moments that the actors simply fumble.
起初看这部剧是因为读到New Yorker上的一篇文章,讲这部剧中Ali去旁听女性研究课程的片段。冲着这点,勉强看完了全部,其中各种culture shock,对gender studies也没那么感兴趣了。美国人民真是闲的蛋疼了,各种trans,gay,lesbian,dirty words,drugs,酒后乱性,各种作,各种刷三观。一家人没几个正常的,一个比一个selfish/self-centered/self-regarding/self-conscious/self-absorbed/self-interested,一丁点问题就无限放大,声称自己多么的anxious,然后就用pot、sex来缓解,没有一点endure pain的耐性和承受力,如果他们来天朝呆一段时间还不疯了!他们到底是彰显了人的动物性呢,还是达到了自由的高级阶段呢?
直到最后一集funeral时,大家起初还都显得很正式,流露出对死者的一些respect, 随后就开始各顾自地开始吃,老大到卫生间里去疯狂大笑、和前夫调情,毫无哀悼氛围。子女对父母没有丝毫的敬意,认为养大他们是父母的责任,长大成人之后大家就两不相欠,最后一家人闹得分崩离析。大概post—modernism就是这样对所有的规则和传统不懈吧,不管是好的还是坏的。老美装得道貌岸然,享受得心安理得,在他们奢侈的物质生活背后,看到腐烂的内在。听说一些美国的年轻人根本不关心世界上正在发生什么,认为美国是世界上最好的地方,从这部剧种能看出一二,能够想象他们对第三世界的正在受苦受难的人们有多么的漠然,多么的缺少sympathy, 更别提empathy了。
连Rabbi这种代表God的角色,前面主持葬礼时还让人潸然泪下、主旋律呢,后面就开始各种F-word冒出来,整部剧没有一个正常人。这些奇葩人物冲淡了全剧想要真正探讨的主题——transgender的世界。其实,transgender是一个极少数群体,那种大部分时候与他人不同的孤独感、无归属感应该是少数群体所共同的体验,不过在这部剧中,共鸣很难发生。
像一部五小时的长电影 画面是灰青色的 虽然不是我一贯喜欢的色调但是却完全被吸引 每个人都在用自己的认知去建构整个家庭 可是家庭总是充满秘密 我们总以为已经足够了解终日陪伴于侧的家人 可是完整的真实的自我似乎并不存在于家庭之中 当有天家人决定要做回真实的自已时引起的种种角色冲突 认知失调的矛盾我们该如何处理呢?不断地回到家庭 不断地重新理解家庭 去寻找真相 这份真实可能会让人暂时心绪不宁 但我相信最终我们会更加平静
Great start, but looses steam towards the end of the season
Author: Nate Saint Ours
I was seriously moved by the first 3 or 4 episodes of Transparent. The style of the show attempts--and is successful--to portray people as they are in real life, more or less. It is made to seem unscripted and chaotic, and does. This alone makes the show worth watching, because few other TV shows or movies are capable of this effect.
First off, this show is exceptionally depressing. It is a very sad show and uses this sadness for its comedy and its drama. The first few episodes, I loved the balance between the sadness and the comedy. It was in no way overwhelming, and whenever it approached becoming overwhelming, a very real, quite good moment would keep you satisfied and moving forward. Towards the end of the series however, I felt that the good moments in the lives of this dis-functional family really dwindled, and I felt much less interested. It simply needed more good moments towards the end.
This show is about two things; 'coming out' and selfishness. Its strength comes with the acknowledgment that we all are pretending to be someone we are not in our daily lives. We bullshit constantly to those around us and any time we try and get serious, we complicate things immensely. Our true selves, whether it is a love-addict, a depressed and intelligent drop-out, a lesbian, or a woman in the body of a man, are all the complicated parts of our life that we usually keep suppressed in order to engage in the shallow activities of life. Each member of the Pfefferman family, who are by far the most Jewish family I have seen on TV in forever, are struggling with trying to express their most authentic selves, and it is brutal to watch what sh*t and sadness is handed to them for this basic desire.
In the pursuit of trying to 'come out' we are essentially placing the importance of our own identity above those around us, and this is portrayed many times in the show as the direct cause of trouble, pain, and alienation. Tambor's trans friend says that her family deserted her within 5 years of her coming out, and we are left with the ominous and real chance of this happening to him as well. The exceptional selfishness of each character, Tombor's included, is on full display and it is so difficult to watch because, let's face it, everyone in modern America can relate to this in some degree.
As much as we want to sympathize with those who 'come out,' life isn't that simple, and this is what the show is about. While one person tries to assert their authentic self by wearing certain clothes or identifying with a certain gender, everyone else cannot help but question their role and fight for their own authenticity in reaction to it. The LGBT community is not alone in their struggle in life to be accepted for who they are. We all struggle in a very similar way to be recognized as an authentic individual. However, the ultimate theme of this story may be a tough one to swallow--namely that what is much more important than individual authenticity is one's ability to compromise one's true self for those one loves. Being fake, letting go of the 'true self,' especially when a part of a family, can sometimes be the best way for everyone, as sad as this may be.
http://www.imdb.com/user/ur55481200/按,英文很简单所以不翻译了,给懒得看的朋友一个(夹带一点私货的)摘要:
在这个强调“个人”、“自我”和“身份/认同”的年代,渴望“活出真我”的柜中处境绝不仅仅为LGBTQ群体独有。但,“真我”(遑论其十分可疑的实在性、单一性和稳固性)是否理应凌驾于个人所有社会关系之上?“出柜”改变的其实是周遭所有人的角色定位和生存体验。
我真的深深讨厌又喜欢着里面每一个人(ps:只看了第一季 这些只是自己的一点感想)
为了大学时的同性恋人抛弃老公最后跟恋人在一起发现还是爱老公的大姐
儿时和保姆私通最后发现自己和她有一个快大学毕业的儿子同时还上了妹妹的好基友的二弟
永远什么都做不好乱说话滥交发现自己闺蜜一直爱着自己手足无措的三妹(超喜欢小ali,太太太可爱了)
以自己为中心因为藏在自己心里的女性部分纠结了一辈子现在开始勇敢穿女装的爸爸
同样一直自私就是想让别人同情自己根本不知道自己想要什么的妈妈
最后是台词最少 可是却是整个家庭里最不像这个家庭一员的Ed 没有什么想说的 直接上图
最后最后 还喜欢BGM和名字“透明家庭”与剧情的反差萌
[透明家庭]的最大成功处在于它真正贯彻了queer的叙事方式。没有喊口号式的高举大旗,没有哭天抢地的愤懑不平,甚至没有十分连贯的剧情线,但这个自带古灵精怪气场的家庭的生活状态确是百分百地传达出来了。留白是这个剧做的最棒的地方,传统意义上冲突最强烈的地方几乎都被留空。这符合queer的历史观。
又一个乱糟糟的家庭,trans反倒给了美国家庭抓马里最Cliche的父亲角色新元素。有些桥段真是跟选歌一样又indie又folk。
故事讲得特别好,但看剧的心情是极差的,之所以差不在于它过于悲伤的内核,而是这一家三个孩子,竟没有一个让人喜欢。为人父母在孩子的成长路上,去处理自己的问题尚且分身乏术,怎么去教育好孩子呢?人生真难。
缺憾是把性拍的太fancy了。闪光是阿兹海默线。这七八年这种类型的电视剧火起来了。宗旨就是活着挺讨厌的。
高端独立文艺版《Shameless》
用小清新反衬重口味,用喜感反衬伤悲,用治愈反衬绝望,用荒诞反衬真实。再一次感慨,美剧的黄金时代,文学感爆棚,连indie都在一路狂奔
太苦了,太苦了.这非常而边缘的虚构是由凡俗的失望琢磨而成,哀或怒它间隔薄薄的欢欣来袭,因为普通的共感星点含光普通的自利无度气壮而普通的漠然令人肝胆俱寒,这是我们自身的无常.剧本一开始有点束手束脚,往后放松了反而能显出力量.末回情境典型,但收束效果没充分发挥.个人偏好Ganatra执导回.选乐出彩.
以一个旁观者角度来看Ali这个自私自大狂一事无成又把过错全都堆在别人身上的loser,反倒是我全剧最爱的角色。还不是因为简直是自己的翻版?
话说电视剧这两年真的比电影发展得好太多,时长决定了剧比电影更深入真实,迷你剧用了电影的手法在drama与寻常生活中找寻完美平衡,并不断探索话题的边界,这部就是一个完美的代表。尤其第八集那个1994年的闪回简直一下子就让所有人物都力透纸背!这么juicy的话题去异化,把生活还给生活,牛逼
像一首散文诗。轻快又忧伤。漫不经心又有意染指自由的禁区。
这个剧可太神奇了,没有特别喜欢也没有特别讨厌哪个人,但组合在一起就格外的温柔,仿佛自己生活中那些小秘密都被人小心翼翼地触碰,会有一点不舒服但也有一种被聆听的释怀。
比《姿态》等剧集更加先行的性别观察与LGBT讨论,所以仍然佩服当年尚在流媒体初期的Amazon挑出这部剧所具备的勇气和鼓励。一大家子的风浪,“剪不断,理还乱”的爪马,在吵闹之中开始逐渐真正面对这个“透明”的自己。几个孩子中对大姐的角色有一种别样的偏爱。
八、九两集真的神了!肯定要二周目做好笔记。
第一集就已经显露了神剧潜质。各种嘲讽和黑色幽默的小段落信手拈来。人们隐藏的欲望、平日里在他人面前扮演的角色、内心的冲突和对抗,这些严肃的命题都被消解在让人会心一笑的细节里。举重若轻的功力不俗。演员极其生活化,故意摒弃帅哥美女。这么容易变得狗血的主题能有这样的控制力,确实难得。
看了三集,每集只有30分钟。有点亚历山大·佩恩电影的味道,人物都有些脆弱,有些蠢。有些台词像保罗·乔尔达诺的小说,个别地方像卡佛。音乐很出色。
Bob Dylan有些歌单独听无感,但一用对情景就都是神来之笔。
秘密缠身的一家人明枪暗炮地拥抱与捅刀,又被血缘关系玩笑一样捆绑着。说的是相处,又永远逃不过自私自利自暴自弃。再背上身份与性向的双重多元,各式冲突都有了色彩斑斓的状貌。向亲人说出隐衷太艰难了,是把脸皮上的创口加盐加辣地撕开那种,但人生一世,总在扮演别人又是多么煎熬的漫长酷刑。尽管每个人都有癖好,但想从对方心里讨一点共情,真是难于登天。想到1994年那个本该是天堂的避世营,谁曾想即便是异装,也非要分一个男女认同,党同伐异,性少数内部先杀个半死,真是悲哀。四星半。
把关于sexual role的典型情节粘合在一起,这个时期太讨喜的主题啦。特别喜欢一些毫无逻辑的对话和空白长镜头,像大嫂说的,许多不惊艳片段积聚在体内,慢慢消化和吸收。关于家庭关系,这个剧写得又潮湿又明媚,就像三月的天气,时而烟雨飘摇,时而如沐春风。没有标签可以贴,因为其本身就是一种标签。
2015.1.14 E01 5.19 109 110 之前开播就在微博首页上经常看到,还是拿了金球奖最佳喜剧才去看的。终于看完了 http://tieba.baidu.com/p/3562909658
配樂柔美,像打開音樂盒,舞姬美而孤寂,轉出盒裡千百家族秘密。