无限春光27

文_发不沾霓 1967年三月八日，一位名叫海尔·托马斯·汉森的年轻人，为了找点乐子，开着一架私人飞机从菲尼克斯的天港国际机场，飞到了亚利桑那州的图森市。第二天早上，当他降落天港国际机场时，被全副武装的菲尼克斯警察当场击毙，年仅20岁。安东尼奥尼对这则新闻大为震惊，他后来以这个事件为原型，创作了［扎布里斯基角］的剧本。而美国，也成了他同米高梅那“三片合约”中的第二站。 安东尼奥尼的左翼倾向，让电影从开拍起就命途多舛——有人称他为“反美主义者”；FBI开始对剧组人员进行跟踪；一些拍摄地点还一度被右翼人士包围。此外，安东尼奥尼还因为美国和欧洲截然不同的拍片观念而头疼不已——“在这里，我很难即兴发挥。”末了，他还得面对发行方米高梅的审查。电影原先的结尾，是一个飞机在空中写出“Fuck you, America”的镜头，可想而知，这个镜头毫无悬念地被砍了。影片在上映后更是一场灾难，700万的拍摄成本却收不回两成。 安东尼奥尼总能紧跟世界的转动，记录下时代的风貌。在早期的［爱的谎言］和［不戴茶花的茶花女］里，他都是这么干的。在［蚀］里，他提到了原子弹；在［放大］里，他拍出了“摇摆伦敦”的味道；到了［扎布里斯基角］，他栖身于嬉皮士运动的高潮。他还请来“感恩而死”和“滚石”为影片献声，请“平克·弗洛伊德”为电影配乐。他永远是时代的弄潮儿。 电影以代入感极强的手持特写开场，将人领进一场关于革命的辩论之中。因为受不了“满口空话”而起身离去的男主角，被屋里的反动青年们贴上“中产阶级个人主义者”的标签。年轻人的浮躁和冲动在拘留所和枪战两场戏里被反复强调，但影片随后上演的悲剧似乎又告诉我们这不是一出独角戏——无论对机场的工作人员，还是警察而言，当交流无望的时候，暴力会轻而易举地取代徒劳的表达。这种无力感让人想起一整代人无因的反叛，以及［铁窗喋血］里保罗·纽曼那句经典的台词：“我们的问题在于，没法沟通。” ［扎布里斯基角］也许是安东尼奥尼的作品里比较容易被忽视的一部，但这部电影又是如此地特殊，它切实影响了安东尼奥尼的认知和表达：“美国改变了我……在我的其他影片中，我把性看作是爱之病。而我现在却明白了，性只是爱的一部分。”在那场100多人参与的“荒丘上的放纵”场景里，性用来表达愉悦的爱意，而不再是安东尼奥尼原先作品里那些痛苦的欲望。在后来的［一个女人的身份证明］以及［云上的日子］里，这种转变更为明显。但一切的转变，都是从这部电影开始的。 电影结尾房屋爆炸的场景尤其著名，哈内克在［第七大陆］的最后也有一段类似的“摧毁场景”。为了拍这个镜头，剧组制作了一个同比缩小的模型，在爆炸的同时，17架摄影机在不同角度拍摄这个爆炸场面。影片最后用重复和升格的镜头，将精神上的宣泄替换为物质上的毁灭，女孩在脑海里把资本主义炸了一个粉碎后，世界仿佛再次生机勃勃。 （原载于《看电影》）

With the final scene of Zabriskie Point, Michelangelo Antonioni made film

history. The main character Daria drives away from the villa into the desert.

Fantasy is overheating. Daria stops, gets out, and looks back angrily at this

stronghold of consumerism and commerce, now engulfed in a ball of fire.

Then the villa reappears and the spectacle repeats itself over and over again.

The embellishments of modern prosperity go up in the burning mushroom

cloud. The detonation of the outside world is the explosion of the imaginary.

Antonioni shows himself to be a resourceful “blaster,” staging a slow-motion

aesthetic of destruction. Freezer and television, clothes and whole interiors

disintegrate in one surreal movement. Through Daria’s eyes, the audience

experiences the transformation of functional objects into useless fragments,

which rearrange themselves in bright spaces into wonderful images with

instinctive precision. The explosive effect is sublimated into an immaculate

execution of colors and forms. Several minutes later, the time-suspended

apocalypse reverts back to the desert landscape. Daria glances at the smoking

ruins, turns, starts the motor, and drives away into a red sunset.

Zabriskie Point was released in spring 1970 and was supposed to be

Antonioni’s commercial triumph in the United States. Instead, it was a complete

disaster. It came to a conflict after the Metro Goldwyn Mayer film company

intervened in the soundtrack—which was especially important for the

director—adding the sugary Roy Orbison song “So Young” to the final scene,

with the car driving away against the red horizon. The contrast to Antonioni’s

original intention to show an airplane writing “Fuck You America!” in the sky

at the end could not have been greater. In addition to this artistic nightmare,

the film was also a commercial flop. In 1968, at the start of filming, the images

had been in tune with the current mood, but by 1970 they no longer were.

The film encountered a wave of rejection and ridicule among the counterculture

and New Left, whose psychographics Antonioni had wanted to

express in emotional images. The accusation that Antonioni had copied elements

of avant-garde films and commercialized the counterculture’s aesthetic

potential for Hollywood cut deep. The establishment also reproached

the film for its anti-American statements and filed several lawsuits, albeit

unsuccessfully.

Source: Jacob Tanner "Motion and Emotions" from "1968 in Europe: A Histroy of Protest and Activism, 1956-1977"