诅咒1988

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李安谈及他在看了伯格曼《处女泉》之后的感受时说出了那句著名的“我看不懂，但我大受震撼。”在看《诅咒》之后，我第一次明显地察觉到了这是一种什么样的感觉。 我无法精准概括《诅咒》到底想谈及和展现什么，我只能说出来非常多的词语，虽然它们对于《诅咒》来说也可能是表意不明的：疏离、背叛、压抑、悠远、荒芜、超脱、隔离、废墟、缠绵、质感、牢笼、孔洞、游荡、淡漠、孤魂和浑浑噩噩。 不知是身旁的人身上的味道还是木质座椅散发出的味道，在放映《诅咒》的全过程里，我的嗅觉和视觉与听觉一起构成了一种奇妙的互文，以后再想起贝拉·塔尔，首先想到的一定是这部有味道的《诅咒》。 事实上，作为观众的我们坐在台下看荧幕上的主人公模仿一条狗并且对着真的狗互相狂吠的时候，这事本身就挺艺术的。

I was sitting at home, and the sound of the decoration came from upstairs. I could feel the weight of the sawdust falling through the ceiling. The computer is playing Bella Tarr's Damnation, and the man at the bar gets up to leave. The afternoon became very thick, with one second chasing the next and then intertwining. The men hide their faces in the shadow of the brim of their hats. In the background, only the music is still moving. There was thunder outside, and the rain was coming, and my eyes rested on the side of a sad man's face. A drop of rain cracked the French window. Two seconds later, a female voice.

“Készazegész”(over and done)

Damnation

This is Bela Tarr. This is Bela Tarr's movie. One might say it is poetry; one might say it is a philosophical work; one might say it is a tremendous hypnotic; some believe it is spiritual introspection. Maybe Bela Tarr's films have all these characteristics, or maybe they do not. However, that does not deny their existence, so deeply embedded in our world that they attack any numb and blind soul to life. If there is a specific category for Bela Tarr and his film, I would call them cinematic humanists, and sincerity is their motto.

Although the master still has a lot of creative energy and talent, we will likely never see his new work again. Bela Tarr's film The Turin Horse, released in Germany in 2011, became his closing work. His explanation for his behavior was: I already speak all that I need, this is undoubtedly a significant spirit loss for fans, this decision also directly cause some of the dissatisfaction of his fans, of course, we can think of Bela Tarr's retirement in a way is a waste of his talent, but this just once again confirmed Bela Tarr's loyalty to his principle.

When we trace this back to the original, we find that it all comes from Bela Tarr's very essential intention for film, from the coincidence that set him on his path as a filmmaker, from his original intention: understand life itself through the manifestation of the real world.

For understanding Bela Tarr's films, we have to understand his insight about films first. Bela Tarr is a strong supporter of Bazin's theory, and in his films, the long-shot takes up a large proportion. This particular approach to filmmaking points to Bela Tarr's humble attitude toward the object itself. He does not see himself as "the original giant". He sees himself as a "filmmaker who wants to make his film." That is to say, in Bela Tal's creation, the authenticity of the object itself is his creation standard.

He does not distort the simplicity of the material for his particular expressive desire. When his camera focuses on his characters' lives, the cinematic images become an excellent example of the humanitarianism of movies. He does not deliberately emphasize a right or wrong moral idea but faithfully depicts the people and the world as they are, even if they are no beautiful.

This humility and respect for the object is the core of Bela Tarr's film. In his films, we can hardly see any specific emotional output or vast doctrinal propaganda, and this mixed ambiguity is precisely the original appearance of reality. Another example is Bella Taal's attitude towards color in films. His works are mostly black and white; he considered the color black and white are the most purified color, and other colors are fake and insincere.

Some people question Bela Tarr's application of color, questioning that he only pursues a specific artistic effect and gives up the natural appearance we are familiar with, which disrespects the object he was filming. This questioning is due to a misreading of Bela tarr's ideas. If one knows enough about the film's authenticity nature, he/she should realize that every cinematic image is real. Black and white images are reality without color.

When we are aware of its inherent realism, color regenerates in our minds. In the cinematic image, the change of tone pointed to by black and white is exactly the original appearance of the world of light and shadow, which is the calmest and objective world. Bela Tarr captures the essence of this reality with great precision. Therefore, in today's increasingly commercialized film market, we can also appreciate such a film culture directly related to the film's authenticity. This is due to Bela Tarr's humility and respect for his filming object

Another revelation of Bella Taal's cinematic philosophy is his choice of lens. He is best known for his long takes and the use of film sound effects. Bela Tarr regards film as the carrier and container of time in a form, and film as the possible solution of truth and human nature in terms of object.

We can guess that when Bela Tal is shooting, he is in the same state as the audience. They all tried to find the truth that he craved in the movie. This is precisely the vision Shared by almost all realistic directors. They don't look for self-expression; they look for cinematic reproductions. They are eager to reproduce reality on the screen; they are confused and hope to find the film's answer. One might argue that if a film represents reality, then the truth offered by the film is not necessarily much "truther" than reality, so why take the time to make a film? Bela Tarr offers the answer with his cinematic philosophy: time.

Why do people take the trouble to watch realistic movies if they only need to go out into the world to see this world's harshness?

Because of the time, in Bela Tarr's films, time is mostly frozen and sticky. The length of his long-shot is reflected in the slowness of his time. In The Turin Horse, the little girl and her father repeat similar routines and behaviors day after day. The repetition of events points to the solidification of time. In almost all of Bela Tarr's films, we could perceive the solidification and rigidity of the characters' expressions. As our memories are consumed by time, and as the flood of time fades away and is forgotten, Bela Tarr's films solidify into a slow, drawling melody. At last, solidified into a stone, standing in the rush of time.

Perhaps the best example is the take of a walking scene that often appears in Bela Tarr's films. The long march stifled the restlessness of our minds, and a profound silence swept over us. Time seems to disappear because we don't know what will appear in the next second. We know that people are walking, they are still walking, and they will walk. A sense of peace and ease takes over our mind. Some people think this is a form of poetry, maybe this feeling comes from the graceful music itself, but I think this feeling comes from a form of sublime's arrival. When humans finally found a way to resist time at some point, we were ecstatic. Although this effect is necessarily transient, it does not prevent the establishment of a cinematic myth.

Bela Tarr is the narrator of this cinematic myth. Perhaps his quest for truth and humanity is hidden in this stone of time, or perhaps the film The Turin Horse contains the last piece of what he seeks, and he decides to retire after all.

Bela Tarr's sincere vision of cinema brings the eternal power of his cinematic form. Moreover, his experiences eventually become the object of his films, embodied in his film's theme. Bela Tarr's creative career is divided into two stages: the angry youth stage and the mature director stage. In his youth, Bela Tarr was banned from making films for political reasons. Censors have blocked some of his films in Hungary.

The Hungarian Communist authorities also blacklisted him. The significant discrepancy between the Hungarian political establishment's promises and realities also influenced Bela Tal's early creative thinking. This kind of social situation has always been lurking in Bella Taal's films. As Bela Tarr's state of mind and thoughts gradually matured, he got rid of the intuitive influence brought by this social situation. His cinematic images have also shifted from reproductions of a single social phenomenon to descriptions of the human condition as a whole.

However, lurking at the heart of Bella Taar's creation may have been the original contradiction, the political authorities' over-commitment, and under-realism. This set of contradictions eventually morphed into the human contradictions that Bela Tal thought about: the sublime and the reality. In Bela Tarr's films, sublime power is everywhere. In Damnation, the sublime is the old man who symbolizes the prophet, who watches Clare's gradual destruction. In Werckmeister Harmonies Sublime is a dead whale and a prince whose arrival changes everyone in town. In satantango, the sublime is Ilimias, an interloper whose characters in the town see as the savior, and the bell tolls from nowhere as a warning of the coming of Satan. In The Turin Horse, the sublime is the opposite of God, the end of the world.。

For Bela Tarr, these sublime forces were necessary. It is almost written in the gene of his inspiration. However, he believed in Nietzsche and rejected religion. He also claimed that God was dead and that human should be their own God. His films do not contradict his ideas. In the Curse, the symbolic noumenon with the power of prophecy is still human. She also has plenty of sympathies, such as pity for the revelers. In Satantango, Ilimias is nothing more but a shrewd crook. Even though he is a metonymy for Satan, what he did is just seeing through the townspeople's fool nature. His selfish human nature lay bare.

The tendency to drag the sublime back to reality is even more pronounced in Werckmeister Harmonies and The Turin Horse. Instead of focusing on the prince and the whale, the film focuses on the kind of Janos. The film also has two remarkable what. During the first long take of celestial motion, the camera pulls back and rises as Janos speaks in silence. Suddenly a resource of light appeared in the picture as if a sublime force were enveloping the tavern. Only later did the audience realize that it was just another light hanging in the tavern, nothing special. The second one is the famous scene that mob attack the hospital, the man who finally stops the mob appears to be a naked, wizened old man. It was the older man's sublime message of transcendence that scared the mobs away. We know very well under the protection of the sublime; he is still a human being just like the others in the hospital.

Moreover, in The Turin Horse, we do not see any doomsday coming, even though the doomsday prophecy must come from some sublime force. All we could perceive is a dry well, a horse that refuses to walk, a dying wind, and the last sound of silence.

Bela Tarr drags the sublime back to reality, telling us repeatedly that the film's focus should be on the human being itself. So when someone suggests that there is an absolute pessimism in Bela Tarr's work, Bella Tarr counters that. As bad as it may be, Bela Tarr's movies will always have a magic touch. So that the audience, after watching, would gain a kind of courage that helps them keep willing to believe in human beings. Perhaps like Satantango, the lofty death knell ultimately points to an infinite cycle of human failure, repeated in numbness.

The sublime entrance and the curtain call, human numbness, or wakefulness. In any case, this is a human's problem, and we are not entirely wiped out. When Bela Tarr's film exists in our lives as a phenomenon, as a vehicle for the time, it continually reminds us. We will also keep staring at Bela Tarr's world. With him, in the solidity of the long take and the length of the music, find a truth, a fact, and a self-testimony.

贝拉塔尔的《诅咒》，会让人有一种塔克夫斯基式的观感。

不论是二人对于长镜头的热爱，还是对于时间-影像的理解，都可见一斑。二人此处的长镜头，并非侯孝贤-蔡明亮式的场景长镜头（旨在空间感），或者是扬索式的复杂场面调度和如同舞蹈般的镜头运动式长镜头。

二人的长镜头，真正形成了一种以非人的角度对空间进行观察（而非纪录）的使用范式，在对于摄影机作用的理解上，不说此种美学范式是最高级或是最好的，但此种范式，无疑是最适合创造一种体验、氛围、情绪、流动时间观感的。

除此之外，二人在意象的使用上，也似乎有着许多共同之处，例如对于潮湿的物候环境来创造体验的执着，同样破败如废墟般的城市钢筋裸露的城市，同样倏忽出现又悄然消失的狗，同样对于诗意台词的偏爱。

观影时在想一个问题，同样是喜欢使用大段大段诗意台词，为何唯独老塔成为了“诗影像”的代表，为何这些诗句，在塔克夫斯基和贝拉塔尔的电影中，看起来并不突兀，甚至成为电影中一个不可或缺的、构成情景极为重要的元素之一？而在另外一些电影（如《地球最后的夜晚》）中，则让人看着膈应难耐，急于快进？

原因，恐怕不是来自于对于母语和外语的感官偏差。而是来自于影片是否构成了与“诗语言”所相符的情景。

在《地球》中，如此热爱侯孝贤和塔克夫斯基的毕赣，恐怕也是极力想要创造一种体验和情境的。但无疑也是失败的。这种失败是多方面的失败，但归根到底，在于没有创造一种体验和氛围，在于空间感的崩塌，在于场景建筑浓厚的塑料式的搭景感。例如，那在零零散散站在废墟上接客的妓女们，让人膈应无比，尽管所有人都知道毕赣在致敬塔克夫斯基。

不以纪录为目的，而已观察为目的的，对于摄影机运动的理解，恐怕是许多电影人毕生也无法达到和理解的内在美学特质。毕竟，要是每个导演都能理解，然后加以模仿和运用，电影大师也就不值钱了。

看到很多人在现场昏昏欲睡，20分钟后开始玩手机，相信一定是被贝拉塔尔闷到了，下面就从普通影迷角度来谈下我对这个片子的理解。

理解贝拉塔尔的电影，首先要理解他的价值观——生活是无意义的，包括你所遭受的苦难，试图摆脱那些痛苦与虚无，也只能无功而返。

一句话来梗概它——这是一个男人沦丧为狗的故事。

这是一个末日景象的小镇，男主是一位颓废的酗酒者，终日无所事事，或许之前喜欢哲学或是个作家，唯一支撑他的是他还有一个坚定的爱的人，这是他无法去了解的世界，也是他无意义生活的唯一一点希望。而她是位不安于现状的已婚酒吧歌女， 他用一份走私的工作支开了歌女丈夫，在一次次打破自己的道德和理性底线后，发现酒吧歌女为了离开小镇而与酒吧老板私通，在对歌女的爱恋幻灭后，他终于彻底沦丧，向警察告发了一切，最终变为一条野狗。

下面来说这部电影的三个重要元素：

1、缆车——重复的，无意义的存在。

《诅咒》的第一个镜头非常精妙，一个长时间的缆车镜头配合往复且刺耳的噪音，让你从生理上就能感受那种无意义感，整个小镇就是如此。随着镜头缓缓拉远，你会发现原来这是男主的视角，也代表着男主的生活状态。

第二次出现在男女主事后，也同样反映出女主的状态——性爱与这个男人对她来说也是无意义的。同样，男主离开家后，依然注视着缆车，又回到了这样的状态。

第三次出现则是在一场味如嚼蜡的床戏时，配合缆车发出的噪音，将二人关系的无意义感烘托到极致。

2、老妇人——道德与理性。

这个老妇人每次的出现都是非常突兀的，而且整体气质与台词也与小镇格格不入，可以理解为是男主道德和理性的映射。在洗衣店、女主家门口、酒吧出现了3次，象征着男主在道德和理性上的自我挣扎。最终，男主幻灭，老妇人穿衣离开，男主抛弃了最后的底线，向警察告密，在结尾处沦为狗。

3、狗——彻底无意义的为存在而存在。

贯穿了整部电影，很有意思的一点——除了一个横移镜头出现了眼神空洞的三群人外，在这个小镇的外景只有狗出现，其实也象征着整个小镇的人早已像男主一样沦丧为了狗。

“上帝已死”充斥着《都灵之马》与《诅咒》，试图赋予自己存在的任何意义，是最无意义的。人间有可能并非“中性”的存在，而就是地狱——来，就是错。

来，就是诅咒。