十五岁的伊戈成长的世界,奸恶无大碍、台底交易是正常秩序。一天,父亲雇用的西非籍非法劳工堕楼垂危;父亲为免官非让他流血致死,且设法隐瞒真相。雇工临死前,伊戈许下承诺要照顾他的孤儿寡妇。自此,他无忧的世界崩溃,对父纯粹的效忠不再,罪疚感正义感又阳光又阴霾。达登内兄弟以欧洲当前时弊为剧情框架:移民潮、多种族杂居、非法劳工等。一段简单的道德醒觉,透过强烈的质感、细节及流畅的手摇摄影,把观众领进比利时边境的边缘人世界,重新焕发出写实主义的光辉。
热播电视剧最新电影QB坏男孩和我朋友不老踩界法庭我们不说再见妖幻三重奏欢迎光临自助洗衣店橄榄球传奇人鬼狐新传爱国还是爱我鬼娃娃舞台恋曲兔儿爷我是狂怒展旦召与君初相识邪魔入侵克丽欧的红色复仇 第二季六人视线边城浪子婚礼在纽约湖中女人铁拳2012一代枭雄小淘气1994援交天使通往火星之路风暴 風暴罪恶名单整蛊专家情感至少有两个层次,一个是父子关系,细节显示了满满的父子之爱。送对戒很浪漫,刺青很酷,还有带儿子去享受力比多。在物质和精神上尽自己最大的努力关爱和帮助儿子。然而,恰恰是这个深爱构成了戏剧冲突的关键之一。
另一个层次就是儿子本能对正义的维护,这个维护是剧情推进的核心,围绕维护才能展开行动。于是就能看到比利时劳工的艰难处境,还有种族歧视达到了怎样一种可怖的程度。同时还很好地拍出了非洲女主体,这个女性有尊严,聪明,坚强。从眼神到姿态到说话,每一个细节都处理得相当到位。比如最后一个镜头,她得知丈夫死亡的真相,沉默了那么十几秒后迅速调整好去做自己最应该(良知)和想做(自由意志)的事情——安葬自己的丈夫。(而不是崩溃和跑掉)。导演很尊重人还体现在,拍非洲巫术,不会让我感觉到迷信和诡异,因为每次巫术都是准的,同时镜头扫到小主人公的表情,呈现出他紧张的心理状态。
正义和血缘反复冲突的线索很清晰的情况下。小主人公才有理由不相信他爸爸,才有资格把他爸爸锁起来以免他爸爸干出更可怕的事情。这就是导演的立场。
THE PROMISE is Dardenne Brothers’ third feature, which heralds their incredible rising into the stratosphere of cinematic auteur-land, and reaping coveted top-shelf international awards almost with every each feature henceforward.
Starring a 14-year-old Jérémie Renier in his breakthrough role as the young Belgian boy Igor, an apprentice mechanic often at beck and call of his single father Roger (Gourmet, also a bonanza due to the brothers’ discovery), THE PROMISE plays its realism trump card implacably through DP Alain Marcoen’s handheld camera, staying ultra-close to the involving incidents, mostly inside a mangy tenement house dwelled all sorts of immigrants in Belgium.
Setting the story in an unnamed city’s twilight zone with a subdued palette, Dardenne Brothers resolutely eschews any imagery that betrays a semblance of a developed Western country, Roger is a stony-faced backdoor organizer of illegal immigration, in a purely business manner, all he cares is the money (transportation fee and rent), meantime, employing several immigrants to refurbish his own house, also it is not above him to sell any of them down the river when situation demands.
During a police raiding, one of the African immigrants Amidou (Rasmane Ouedraogo) accidentally falls from the scaffold and is mortally wounded, naturally Roger will not allow him to be taken to the hospital, against Igor’s supplication, and before Amidou kicks up the bucket, he solicits a promise from Igor to look after his wife Assita (Assita Ouedraogo) and their infant boy, who have newly arrived on the premise. So how far Igor, ridden with cumulative guilt, will go to keep this promise, when his inchoate moral righteousness doesn’t see eye to eye with Roger’s high-handed, callous directives?
Dardenne brothers’ no-frill narrative seldom takes our attention away from their characters, and withholds a stamina of matter-of-factness so pertinacious that the story never slumps into mushiness, for instance, Assita’s hardened hostility towards the father-son duo hardly ever relents (she appears more bemused than touched when Igor impulsively embraces her), even in the film’s most emotive moment, a simple gesture of gratitude is more than enough. In a typically veiled case of mollifying a white person’s own guilt, that is as good as that person can expect.
Both Renier and Assita Ouedraogo exude an unalloyed rawness from a novice performer that befits their characters, from a street-smart, small-time crook to a brave adolescent rebelling against his violent, amoral father, Igor’s rite-of-passage is rendered with steely conviction and persuasion from Renier’s simmering, unshowy, tender presence. As for an unprepossessing Gourmet, combing an elemental savagery with a soupçon of canniness, he becomes a lodestone on the screen, and serves as a self-reflexive vector for some viewers to muse upon his outrageousness, which isn’t at all far from reality.
Also THE PROMISE has a killer ending, Dardenne brothers is judicious enough to bring down the curtain right after Igor finally makes a clean breast of that gnawing whopper (with both actors’ muted reaction and a final and finally static shot gazing at the duo walking back to grasp the nettle), and leave its aftermath merely to audience’s own imagination, yet what will happen is fairly clear, certainly no requirement of a justice-prevailing denouement to flog a feeling of satisfaction to death, since the story is hinged upon Igor, when his moral compass is set in the right direction, that is where it should end.
20-odd years after, one can feel a shade dispirited to see that THE PROMISE and its thematic refrain are still painfully topical today, but for Dardenne brothers’ unique stock-in-trade and immense humanity blossoming from their canon, we should all tip our hats to them with a this-world-doesn’t-deserve-you postscript.
referential entries: Dardenne Brothers’ THE SON (2002, 7.9/10); THE KID WITH A BIKE (2011, 8.0/10); TWO DAYS, ONE NIGHT (2014, 8.6/10).
她摘下了头巾
露出许久没洗的头发
背上的孩子因为母亲驼背
掉到了腰间
她的丈夫死了
15岁的少年因为一句承诺
什么也做不了
除了掩埋真相
就是说出真相
面对父亲的毒打
他懂得敏捷地蜷缩
但是命运无法抗拒的丑恶
已成为闪着金光的戒指
在拳头上对弱者讥笑
谁能告诉他什么是长大
摩托车穿梭在风中
快感从未带他
找出生命的答案
只有
来自善良的恐惧
让剪断的戒指戳伤了皮肤
螺丝钻进神像断裂的头颅
少年悔过的泪水
洗刷干净女人
头顶洒落的尿液
剧本后半段不如前半段洗练,但技术层面的无情弥补了这一点。自然光、长镜头、无配乐和手提摄影,把这四种技巧合而为一的结果是消灭技巧,只留下灰色的比利时小镇。而最具决定性的要素其实是Jérémie Renier。只要注视着他那受阿波罗祝福的金发,我便永远无法说出「这是一部写实主义电影」之类的蠢话。
替父辈赎罪的小小少年
达内兄弟是比利时的良心
达内电影世界更多是一种人性的演绎【它带有既定道德和价值立场】,而非是对道德自身界限和标准探讨。在这个框架内,他们已经把对剧作打磨和对演员控制推到了某种精确极致。这种表面上的自然主义恰恰是搭建在一种极其细致工作之上。达内的小成本是可以通过长年努力习得的。
被震到九霄云外短期之内回不来了。
估计因为这个没拍过瘾,所以后来又有了《罗尔娜的沉默》,如果再拍同类题材,导演还可以给出第三种结局吗?达内的细节张力总是这样,时时转折,处处变奏。
娄烨都比不上达内的手持...
不动声色间点滴渗透直至巨变,有如重击。
达内兄弟的电影都有浓郁的DOGMA95范儿,也喜欢专注屌丝题材,没有配乐了反而增加了写实感。想起不久前和朋友闲聊电影,无意中说出一句,“假如90%的恐怖片没有了配乐,那岂不都成了逗逼片了。”想想也是。
@达内兄弟回顾展奔忙的人生,在路上开始,路上结束。非常凝练,车,戒指,眼泪等等都成为线索,越拴越紧。被忽视的社会问题终究内化到个人身上,甚至代际传承。千金的是直面,承担,无畏,最终能看着受害者的眼睛说出真相。工业机器能补好雕像吗?
【5】太厉害了。从情节到矛盾,从道德困境到人物弧光,一切是精密设计的,但一切又完美的融入这般自然的现实主义风格之中。在迅捷的剪辑下,观看紧密到失去了喘息,直到这个即是结局又是新漩涡的终点,我们方才有时间大口呼吸,自然力度无穷。
达内兄弟太好了,剧作完美。他们的故事都像一根紧绷的弦,牵动到影片的最后一秒,越来越紧。片子太沉重,比“诺言”本身更沉重。雷尼耶金发飘逸的样子真是太好看。恶爸竟然是他人之子的男主,两个完全不同的角色,骨灰级演员啊。。
虽然少年突然从冷血随从变身温暖天使有些让人摸不着头脑,可剧本依然是一顶一的好,原本只是个社会新闻版块的普通边缘人物的故事,被流畅的手摇镜头,些许饱满的长镜头,还有通篇的自然光打磨得惊心动魄。达内兄弟部部如一部却部部精彩,从后往前看,真是十几年如一啊。此时的Jérémie Reni真是水嫩…
达内兄弟的片子在我这儿只有一个作用,那就是不断刷新TOP榜单
尽管西非神秘主义仪式有些噱头的嫌疑,尽管少年忽然变成了天使,但剧作仍是惊心动魄地好。手持摄影机+长镜头+自然光(效),长镜头捕捉激烈的动作,结尾的那个长镜头饱含情感强度。扮演恶魔父亲的Gourmet之后凭借《儿子》里上帝一般的表演拿下戛纳影帝,两部影片造型判若两人
当年的达内兄弟风格尚未像其后的作品那样风格统一而保留了相对较多的剪辑和景别的变换。优点在于,在达内的作品里,关键性的台词总是以毫不煽情的方式自然流露。然而由于一贯的片段叙事,故事起因仍旧显得突然。最大的问题则在于,作为影片名的“诺言”在片中缺乏强调或无足轻重,丝毫不影响其后剧情。
达内的片总是犹如一碗没有味精的料理,却依然盛满了生活的况味。
颓废青春转至道德坚守。1.达内兄弟奠定题材与风格的成名作:关怀底层人物境遇的写实主义,手持摄影,自然声光,粗粝质感,毫不炫技。2.聚焦非法移民与种族歧视。3.碾破的雕像接起来了,然而父子裂痕,贫富差距与阶级鸿沟何时能弥合?4.一个人如果在祖先的墓地上没有坟墓,他会死在异乡。5.收尾干脆。(8.5/10)
作为纪念的第1234部,是一直留着没看的达内兄弟。没有多余的形容词,我就是想拍这样的电影。
飞驰吧,少年!看到那个在小摩托上奔驰的金色头发的男孩,心中忍不住的雀跃与惊叹。他的生活虽充满欺骗、奸恶、丑陋,但是他本身却又保有责任、诚实、纯真。最爱场景:老爸跟儿子在酒吧中的和声演出,愿时间留驻。这些美好的永存于电影的灵魂。