迷幻 (original) (raw)

因为喜欢特里 吉列姆 (Terry Gilliam) 也喜欢约翰尼 德普 (Johnny Depp) 所以很久前 收藏了Fear and Loathing in Las Vegas ,他们俩合作的片子

终于在这个阴冷的下午 正如片头 johnny陈列的各种各类迷幻药: 大麻 LSD 可卡因....正如充斥整片的摇晃,狂乱,荒诞,离奇的镜头所让人晕眩迷乱的,我不知不觉的吞下了这片迷幻药

也许还因为片头就出现的那个留着长发白嫩的像个gay的搭车人-----就是日后成为spider man的托比 马圭尔 (Tobey Maguire)演的...

记者杜克和他的律师朋友——刚左博士（Dr.Gonzo）一起旅行，来到拉斯维加斯去寻找它们的“美国梦”。他们戴上大量的毒品和酒精，准备在路上享用。在路上，他们遇到形形色色的人，警察、记者、赌徒、比赛者和搭便车人。他们寻找的不确定的“美国梦”，最后由于毒品和酒精而演变成充满恐惧和憎恨的噩梦

能感受到讲述的是美国60 70年代大背景下的那种颓废与倾跨,肯尼迪遇刺,越战,嬉皮士,即使主角如何在药物中癫狂迷醉,这些内容也都无时无刻尖叫着,魔幻着以各种形式侵袭过来------电视,音乐,幻觉..等等

这种荒诞似乎很难引发一个21世纪中国青年的共鸣....但却为其中的台词所吸引

History is hard to know, because of all the hired bullshit, but even without being sure of "history" it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time — and which never explain, in retrospect, what actually happened.

不禁会想到现在上点年纪的人总会忍不住跟我们年轻人讲述中国60 70年代的癫狂迷离,感叹这个国家,这代人的不幸等等.

其实放眼望去,6,70年代的癫狂似乎是全体人类,整个世界的癫狂:冷战....世界贸易....文化碰撞...解放....

美国---越战、嬉皮、摇滚乐、雅皮(国际青年党)、学运、药物文化、反战、妇女运动、性解放...

欧洲------苏联的铁幕....东西德的墙瓦....东欧各国政权日夜交替似的变更,分裂,爆破,还有法国的红色巴黎...那像毛主席致敬的学生运动
(如果看过<<戏梦巴黎>>的话

中东----七次战争...耶路撒冷的叹息墙..离神最近的地方 也展开着最血腥,最野蛮的厮杀

非洲似乎也在各殖民地要求独立的枪炮声中慢慢醒来,在血与火中挣扎,曼德拉,伊迪·阿明...

历史的洪流总让人深处其中而不知所措,后知后觉 二战后 人类文明伤口的迸裂与镇痛 一痛就是二三十年...

比起人类古代的蛮荒与无知 现代文明的冷静与清醒 才使这一切让人无比撕裂的癫狂迷乱 贤者与暴君 愤青与杀戮...古老而轮回的历史命题..

也许扯远了 但正如台词所说nobody really understands at the time — and which never explain, in retrospect, what actually happened.

真正发生了什么 没有人知道 历史一经回味 就是片让人精神错乱的迷幻药

我很难理解johnny depp堂堂风流帅哥 竟然在此片中 是个秃头....还叼着带烟嘴的香烟, 扭曲着走着罗圈腿般的步伐

但这真的不是一部普通的电影 他来自于70年代最畅销的同名小说 小说来自真人真事 而这个真人又是滚石历史上最着名的记者，刚左新闻缔造者，极富传奇色彩的人生经历,被称为“Blog精神之父--Hunter S. Thompson

引用段资料

汤普森死后，西方媒体多将刚左新闻主义的词源归于《赌城恨憎》里面的萨摩亚律师刚左博士，但gonzo.org（小心！不要误入gonzo.com）的创办者克里丝汀·奥西蒂斯（Christine Othitis）在其文章《刚左新闻主义的发端与观念》中说，gonzo来自汤普森的朋友比尔·卡多索的一封信，是加拿大法语gonzeaux一词的误拼。

误拼也好，自创也罢，反正gonzo已经进入了《牛津英语词典》。性、毒品、暴力、体育和政治，特别是摇滚乐评，都是典型的刚左写作主题。在“刚左新闻主义”之中，没有预先设定的规则。“刚左新闻”将事实与虚构，真实与想象，借助毒品、药物和酒精的作用混为一处，作者主观的虚构和想象，作为自我体验的一部分，都成了新闻作品中加以报道的事实。汤普森说，一个好的刚左记者，“需要大记者的才华，画家/摄影家的眼光，以及演员的多变”，刚左的报道风格“基于福克纳的思想，即最好的小说远比任何一种形式的新闻更为真实”。

刚左新闻主义与同一时代兴起的“新新闻主义”（New Journalism）运动紧密相联，汤普森、盖伊·泰勒斯（GayTalese，曾多次来过中国）和汤姆·沃尔夫三人，被并称为新新闻主义的三驾马车。

新新闻主义因当年美国主流媒体对激进的左派社会运动（如反文化运动、反战游行、吸毒、嬉皮士现象）的漠视而兴起，号称反对新闻报道中虚伪的客观和自欺。新新闻主义对当代的文学和新闻实践，均有非常重大的影响。刚左新闻主义和新新闻主义，都注重写作者的主观感受和丰富的细节描写，但刚左新闻主义的要求更为彻底——甚至彻底到不可理喻的投入，完全追随自己现时的感受，而不讲任何规则。

汤普森的个性极为张狂，他酗酒，吸毒，遗愿之一，是将自己的骨灰填进炮膛，一炮轰掉。自杀前，他少见地把儿子和孙子请到了自己的农场。最后时刻，他还在与妻子通电话，心平气和，谈着谈着就朝自己开了枪。他活到了67岁，不算老弱，但很多朋友都说，他早晚都会走自杀这一步。

看了这段资料...只能感叹出"fear and loathin"是个人..药物..时代的共同作用下的产物这样句屁话

但真的 他有这样句话 很轻易的就打动了我

San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run . . . but no explanation, no mix of words or music or memories can touch that sense of knowing that you were here and alive in that corner of time and the world. Whatever it meant. . . .

我不自觉把句首的San Francisco in the middle sixties替换成大学生涯....那种突然的感觉一下涌上我的脊骨 刺激着我的脑神经 摇晃 ,茫然若失? 仿佛片尾那段沙漠中johnny 驾着车自言自语着在公路尽头那种感觉一样------狂乱 偏僻 安全

哦不 也许回忆的迷幻药真的在我体内发作了....

附上Fear and Loathing in Las Vegas中最负盛名的wave speech完整版

San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something. Maybe not, in the long run . . . but no explanation, no mix of words or music or memories can touch that sense of knowing that you were here and alive in that corner of time and the world. Whatever it meant. . . .
History is hard to know, because of all the hired bullshit, but even without being sure of "history" it seems entirely reasonable to think that every now and then the energy of a whole generation comes to a head in a long fine flash, for reasons that nobody really understands at the time — and which never explain, in retrospect, what actually happened.

My central memory of that time seems to hang on one or five or maybe forty nights — or very early mornings — when I left the Fillmore half-crazy and, instead of going home, aimed the big 650 Lightning across the Bay Bridge at a hundred miles an hour wearing L. L. Bean shorts and a Butte sheepherder's jacket . . . booming through the Treasure Island tunnel at the lights of Oakland and Berkeley and Richmond, not quite sure which turn-off to take when I got to the other end (always stalling at the toll-gate, too twisted to find neutral while I fumbled for change) . . . but being absolutely certain that no matter which way I went I would come to a place where people were just as high and wild as I was: No doubt at all about that. . . .

There was madness in any direction, at any hour. If not across the Bay, then up the Golden Gate or down 101 to Los Altos or La Honda. . . . You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning. . . .

And that, I think, was the handle — that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting — on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave. . . .

So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark — that place where the wave finally broke and rolled back.