群众1928

在2019年最后一天写下这部一百年前的电影的影评。影片中，令人晕厥的高阁，攘攘熙熙的人群，我坐在双层巴士的前排，都是日常的仰俯所见。我来到这座七百万人的城市即将踏入第三个年头，依然是陌生又熟悉。这一年，就像影片中的Johney一样，我和我的Mary住进了城堡，带她去看田野上的日出，野餐和摆拍；听静夜里的海潮，抚慰和温存。我也许下了豪言壮语，终有一天能财务自由，生两个娃，远赴明信片中的异域风景。格子间里，我用电脑做着同样的算术题，工资缓慢的增加，身边的同事组成团体，学着讨好上司，逐渐都变得一摸一样。我尝试努力却陷入平庸。我想找寻自己的独特，打开这一部黑白默片，惊讶的发现，原来自己的生活和百年前的人们的经历，没有什么本质的区别。

虽然我是一个现实的人，但看完这部电影，仍然被现实主义狠狠的打了一拳。

最重要的两点是：

1、不要轻易结婚

2、结了婚之后不要轻易辞职

一、如何追求异性

1、对她说甜言蜜语，对她说花言巧语，让她觉得你是一个浪漫的人；

2、时不时说一些目空一切的大话，让她觉得你是一个有思想的人；

3、带她去游乐园、去沙滩、去瀑布，在合适的时候亲吻她，同时，不要忘记前两条：说甜言蜜语和大话。当然，主要是甜言蜜语，大话可不能为你赢得亲吻；

4、为她拍照，为她弹琴唱歌，让她觉得你是一个有趣而非乏味的人；

5、时机成熟，请主动表白。

二、结婚以后的小贴士

1、努力工作，为了未来的孩子存钱；

2、平常也做些家务

三、把女朋友/老婆惹生气了怎么办

主动承认错误，送她一些小礼物请求原谅，一定要主动承认错误！并且一定要注意以后少犯错误，错误越多，道歉越多；道歉越多，阈值越高；阈值越高，和好成本越高，所以嘛…

四、在没有特殊技能的时候找工作不要眼高手低，而且，找到了工作之后请认真钻研本职，力求做好。

五、想要升职，不仅工作要做好，和领导的关系也要搞好。

电影版的《一地鸡毛》，好看

1. 第一部分主角父亲逝世时 摄像机在楼梯的顶端 小男孩出现在一楼门口 典型的新英格兰地区别墅的狭窄楼梯 俯视显得很长；向下的视角是人看起来更渺小无助；人群停在门外 小男孩独自走上来 这个镜头真棒。可惜看电影的时候不老实刷了豆瓣 被剧透了产房那个构图 失去了第一印象的震撼。

2. 第二部分开始表现纽约的“人群”的一连串镜头极有才华 沿着纽约摩天大楼一路爬升的镜头和几百张办公桌里推到主角的镜头都是经典 在这两个镜头之前还有一个仰拍摩天大楼的镜头 本来是很平常的 但是维多让镜头旋转起来 这个画面忽然就活了 很漂亮。

3.这个故事让人透不过气，即使结尾刻意回避了问题 但是问题没有被解决。镜头一路向后拉 他们消失在千篇一律的观众里 没有谁是不一样的，一如开始的时候镜头从千篇一律的办公桌里找到主角 没有谁是不一样的。

The interwoven play

Basically the story is about an ordinary, fallen myth of “everyday failure”—a mix of family melodrama and romantic comedy. Surprisingly, though, there exists a dialectical parallelism against the closing-in narration of continuity of the former, which shows the iconography or spectacle of modern capital and ever-growing population. Some of the sequences remind me of Man with a Movie Camera. The insertion of such sequences refers to the dynamic and automation of modernity: the clock, the train, the skyscrapers and the crowd rushing endlessly…a machinery world that works independently of humanity.

The hero and heroine are paradoxically staged as “one of the crowd”, and the desire of whom is at all times linked to exterior material. For example, John’s longing & fantasy of “home” is explicitly stimulated and mediated by an advertisement that he notices on the train (Plus the fact that he works in advertising business); similarly, his appreciation for his wife Mary’s beauty is “scoped” by a camera lens (After taking a picture of her he “realizes” that “You are the most beautiful girl in all the worlds.”). It seems that the drive toward living a life no longer emits from the inside of the characters (as in romantic literature); instead, the reason they are living is that they are MADE to live, by something from the outside.

the advertisement on the train

The staircase

Another fine example of the melodramatic use of staircase:

(1) As the mediation of hierarchical order of paternity. It’s a high-angle long shot from the top of the staircase when John’s father died. Young little John walks up the staircase, pauses, toward his mission to become “the man of the family”, which he found constantly incapable to suit later years in the modern capital.

young John on the staircase

(2) As the mise-en-scène of sexuality and the suture of male-gaze. When the two girls on date climb up the staircase to the top of the sightseeing bus in low-angle shots, cut in the reverse close-up of the man’s expression—twice—an intentional appealing to the viewer’s sensation.

Playing with the staircase, “going up” embodies the POV of the “high-hat”—not only the deceiving ideology of the American Dream, moreover, universally, the kite-flying ideal of “progress” that promises each individual her/his value while the numerator of the masses less and less counts in a society of individualization. The young John’s condescending mockery of “the sandwich man” only predicts his own future, and, ironically, it is his descending from the illusion of “the top” that saved his marriage -- for a while.

Man and woman

Is it as usual a typical American story that told by men, leans on men and weeps for men? — even if it’s about their incompetence. Viewing a story based on a particular historical epoch, let us be aware that men and women who were “liberated” by modern capitalism into labour force for big corporations, to some extent, are equally free and equally trapped.

What impressed me about female desire in this film is the honeymoon sequence on the train. A parallel comes into being in terms of the representation of sexuality. It gets very detailed coloring the atmosphere of the “first night”, not just from the perspective of the husband. The wife as a sexual subject is truly THERE, which is rare in later classic Hollywood narrative, even though conveyed in a gendered touch.

Also, the women’s condition is clear. She works all the time and gets no credit while he sits around bragging about his “ship coming in”. However, what gives this film a certain egalitarianist perspective is that the woman has no burden of fame and false pride and has always her side of family to retreat to. That makes her easier to be happy, while the man, always chasing, never manages to fit in the world, nor sees his ship come in.

The indication of something bigger — the organization of modern society — takes charge of the fate of the man and woman in the family melodrama and romantic comedy. Looking from a hyper-distance provided by the consciousness of modern photography, the man and the woman are equally sad, as one of the crowd.

印象比较深的是电影的几个重复的隐喻

1、John父亲死去时 梯形的楼梯空间 人群在后面 孩子在正前方 然后是John第一个孩子降生的医院病房 也是梯形空间 似乎是生命的轮回

2、同样关于生死的还有与人群的关联 John父亲死去时 人群集中在家的楼梯口 与死去的人保持距离 John的孩子车祸离世也是一样 人群与死者保持了围观的距离

3、John和Mary在房子窗口的命运变化 从相爱到争吵到心如死灰

4、John的办公室也是 从融入到离职 不过办公室百人不会因为他的离去发生任何变化 现实主义的残酷 镜头中纽约的繁华和压抑 从这部电影开始 关于街道的人群车流 关于高楼大厦的拥挤重复 关于人的相似 对机会的渴望

5、John初入职场镜头是从人群瞄准到他个人 结局部分镜头从John的近景移回人群 算是点题了

我倾向于导演想表达的是 主角也不过是人群中并不特殊的一个 总有人会取代他的工作 但不要因为平庸放弃生命 每个人的生活是不同的 爱人家庭 总有希望在彼方