今天有朋友推荐近来上海很红的周力波的《笑侃三十年》海派清口。

后找来一看果然不错，钓起很多小时候的记忆。

周力波似乎小学时候听到过不少，应该算是80年代的上海小滑稽之一。

原本快要被各种娱乐方式挤掉的上海滑稽戏就这样复燃了。

上海的朋友就不说了，我刚刚听说这件事，说出来都没面子。 如果还有谁没听说想看看的话，youtube 上有全套 友情推荐一下： http://www.youtube.com/results?feature=moby&search_query=笑侃三十年&search_type=&aq=f

大家一起笑笑。

这种曲艺形式美国也有，法国也有，和以前独角戏讲故事不完全一样。

当然每个地方，每个艺人都有自己特色。

enjoy!

JULES:

There's a passage I got memorized, seems appropriate for this situation: Ezekiel 25:17.

"The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children.  And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers.  And you will know my name is the Lord when I lay my vengeance upon you."

There is an unforgettable scene in Dogville. It is unconventional, risky, unsettling, and it sums up writer/director Lars von Trier's rage against human hard-heartedness. In a wordless moment, the camera, the actors, the stage and the silence offer us a sobering observation. All that comes before it has set the stage for this moment, when the movie makes its chilling revelation.

I am not repeating the Lars Von Trier's story here,

I guess this film ain't a pleasant film, and it was not supposed to please everyone, especially not the Americans.

Lars demonstrated a picture of the American's belief during the depression period,

however any american "patriot" will be so so fucked up after a 3hs torture.

As far as I know, "Dogville" received bunches of critisms when it was shown in the US.

Well, the definition of morality has no means in Dogville. People are greedy, self-protective...

Nevertheless, the critisms to American is not so persuading.

We are living in a world full of evils, no real charity, is it a sin city?

So the gansters represent GOD here to defend the order and wipe out the scums.

As BIG MAN said, the dog could be taught, but eh scums could only be eliminated...

Dogville is a theatre based film, all the setting were made in a small square where the house, the furnitures were imaginarily replaced by the line, the figure, and... the air. Whick might mean that the wall and any seperators are not necessary, because the thoughts, the minds, even the malice are the same in this small Dogville.

Lars was always taking his routine as a DOGMA director, trying to say his thoughts and forced the audience to have such thoughts.

Grace was the daughter of a BIG MAN of gansters, and she didn't want to be like her father (which means then Grace was the most innocent angel in the world).Sneaking up Dogville's mountain to escape gun-wielding gangstersn, she doesn't get far. The vigilant watchdog reveals her to the local philosopher, Tom Edison.

Sensing her innocence, Tom takes Grace into his care. But it's not just charity. Tom wants to teach his town a lesson. "I've got nothing to offer them," Grace protests. He disagrees: "No, I think you've got plenty to offer Dogville." Upon a second viewing of the film, that line becomes positively chilling.

Dogville seems a fine community at first glance—"Reserved but friendly, not without curiosity," says the narrator. But you can't trust this narrator. Von Trier, like David Lynch, zooms past the quaint exterior to reveal the evil at work behind closed doors. Dogville's insular community is populated with self-protective liars who behave with contempt and defensiveness when strangers come to town. Tom sees Grace's arrival as an opportunity to expose the selfishness of the townsfolk.

After Tom talks the town into giving Grace a chance, nobody seems to need her help with anything. She cannot find work. But she presses on, and soon finds a crack in Dogville's cold façade. First, Ma Ginger lets her tend gooseberry bushes outside the general store, and eventually she's invited into each home to serve some small purpose. She visits the local beauty, the sullen hard-working farmer, the farmer's wife, and Tom's hypochondriac father. Like Amelie, Grace even becomes the eyes of the local blind man.

That's when things get nasty and the dark side of human nature rears its ugly head. One by one, the people begin to exploit Grace's generosity. Viewers are sure to become quite uncomfortable with the extremes to which Grace must go to appease their baser appetites and keep her hiding place secret.

Here revelatory moment is played out. When one of these violations of Grace's dignity occurs, the camera pulls back to the edge of town … and we can still see the crime taking place in the distance.

The film opens with a "God's-eye view" (quite literally) of the town, complete with chalk outlines of homes, the shop, gardens, even the doghouse. When we see things from a human being's point of view, at eye-level, we can stare past the townsfolk as they putter about in their enclosed worlds. Von Trier captures a powerful truth: We are closer to each other than we think we are. The barriers that divide us are porous, insubstantial and misleading. None of our sins are private. One person's selfishness influences everything and everybody. The audience can see that, even if these characters can't.

Every one in Town are taking advantage of Grace. After that Tom found a Police Post looking for her, she had to double, triple her work in the daytime, and served as a sex machine for almost every fucking fags at the night. See now, Dogville is a sin village.

Still not understanding her situation, Grace tries to accuse every people who did shirts to her. Tom,

like everyone else, is assigned blame for the persecution of Grace.

Coz every guys in town had raped Grace, Tom, no long had to disguise his disire, tried to have sex with Grace (as a condition of helping her). Positive refusal from Grace, Tom did call the Gansters to take her away for the prime they promised.

In the end, Grace's father, the BIG MAN came to his daughter again. With furious anger, Grace commanded to kill all the village, eliminate this hell Dogville.

But anyone arguing that von Trier is merely representing human failings will have a hard time ignoring the parting shot of the end-credits sequence, which shows pictures of Americans suffering and causing others to suffer to the tune of David Bowie's "Young Americans."

ZZ:

“刀的锋刃很难越过，因此智者说，得救之道是难的。”对于拉斯·冯提尔的电影来说，这把很难越过的刀锋便是道德伦理。作为Dogme95的领军人物，他的电影语言能指是如此富于新鲜感和离经叛道的抗议精神，而他对传统道德伦理的批判与颠覆又是如此令人瞠目结舌乃至血脉贲张，尽管道德伦理宗教等等都已经是电影老妇长谈般的主题。

　　拉斯·冯提尔的努力告诉我们一个深藏在生活表象背后的，由人类共有的恶欲、虚伪、残忍而构成的另一个世界，并且毫无顾忌预言一个美丽的新世界是人类永远也不可能得到的，像一个圣徒般的受苦受难也根本是无用的。拉斯·冯提尔的方式不只是扯下人类赖以维系社会关系的遮羞布，而且他还要用一把迟钝而执著的剃刀将人类的阴毛全刮干净，而终于使那丑陋的欲望之源赤裸裸的、鲜血淋漓的展现出来。

　　《狗城》是一部考验人们心理承受能力的电影。当然，这不是说电影中有着多么出格的暴力血腥镜头，有多少神鬼异灵——这些是好莱坞的拿手好戏，拉斯·冯提尔学不来。《狗城》的电影张力是依靠在一个特定环境中对传统道德伦理的颠覆和解构，通过不断的将人物始料不及的心灵隐私公诸于众，使观众诧异、迷惑，同时他还不断地打破观众根据自身的主流文化语境而做出的预期，将观众自以为是的构建的美梦逐个无情的打碎，最终，愤懑已极的观众发现他们其实是在一面镜子前看着自己表演，剧中的男男女女正是他们自己——道貌岸然披着文明外衣的丑陋的野蛮人。

　　《狗城》的故事并不复杂，甚至开始的几幕让人觉得有些乏味。首先引起观众注意的肯定是影片奇怪的造型。这是一个摄影棚的场景，没有房屋四壁；“房屋”都没有门，开关门的时候，就依靠人物的手势加配音；屋内的家具非常简单，除了生活必需的床和桌椅，别无其他；墙与道路由水泥地面上的白线划定，名字则用大字直接写在地面上；醋栗树林和灌木丛也全是划在地上的示意图，昼夜的转换完全依靠灯光照明；影片中还多次用俯拍镜头把整个狗城展现为一张图纸。这样的布景意义是很明显的，虽然我们的社会建立了以家庭为最小单元的结构，虽然我们用一间间火柴盒式的房屋把自己禁闭起来，但我们对于他人却又是无可遮掩的透明，因为我们有着共同的文化背景，有着共同的道德心理，也有着同样的隐藏在内心的罪恶。而另一方面，虽然世界越来越小，社会人之间的联系越来越紧密，然而我们之间却又总是竖立着无形的四壁，如同那些被划定的道德伦理规范，让我们不可能逾越半步。


　　导演在摄影棚中构建了象征性的小世界，并且毫不掩饰它的无稽性，不过导演对剧中人的行事及心理却又回到了具象，甚至充满了喋喋不休的细节，尽管整个故事仍然显得荒诞不经，不过谁又能保证这不是我们最真实的处境？当我们发现世界不过是我的表象之时，已然揣测出了那表象背后的黑暗一面，只不过我们总是不愿意承认这一点。

　　汤姆是狗城中的一位不成功的作家，他也是狗城死水一样的生活中第一个感到厌倦的人，偶然中，他救下了被黑帮追逐的美丽女子格蕾丝，并建议走投无路的她留在狗城。格蕾丝的到来打破了狗城以往的平静，人们起初抱持的拒绝和敌意也被格蕾丝的勤快热情消融了，她熟悉了这里的游戏规则，并且也接受了汤姆的爱情。然而，警察局对她的一纸通缉令又使得众人开始了对她的猜忌，格蕾丝听从汤姆的建议，一刻不闲的工作来取得人们的好感，然而，人毕竟是精力有限的，整日的工作使得她疲惫不堪，不仅疏远了和汤姆之间的感情，而且增加了很多工作的失误，狗城人开始讨厌她，苛责她，格蕾丝也感觉到了荒谬，毕竟没有她，他们也照样可以完成各种工作，有了她，似乎所有的工作都在等着她去做。然而，格蕾丝还沉浸在对往日与众人友情的幻想之中，并不知道自己将要付出的代价。

　　久而久之，狗城人的真面目开始显现出来，先是在做家庭教师的时候，她先前以为很听话的孩子无缘无故的搞恶作剧，受到了她的惩罚，结果他的妈妈对她强烈不满，而后她被孩子的爸爸，一个早就垂涎她的美色的粗鲁工人查克强奸了，而这以前她一直以为虽然拒绝了他的追求，但是他们之间还有真诚的友谊。查克的老婆听到这件事之后则把她诬为第三者，恶狠狠的带着两个泼妇去教训她。格蕾丝感觉自己受够了，就与汤姆商量借机逃离这里，汤姆找到一向窝囊老实的货车司机本，让他把她藏在苹果中拉出城以逃过警方的监视，本提出要10美元酬劳，格蕾丝也答应了，然而，就在半途，本借口风险太大，要求再付报酬，并且他知道她没有钱，就强迫她用身体作了酬劳。格蕾丝万没有想到一向被认作最老实的老实人本也会做出这样的事情，她停止了反抗，俯拍镜头下是她呆滞的眼神望着镜头，而满身黑泥的本在她的躯体上运动……

　　悲惨的际遇并未结束，等到车子停下，她从苹果堆中爬出来，才发现车子又开回了狗城，狗城的15位居民正在那里等着审判这个“逃犯”。原来汤姆不舍得心爱的人离开，他仍幻想着让她融入这里的生活。狗城的人最初坚决拒绝她留在这里，而现在他们却不容许她离开了。城里的书呆子工程师打造了一个铁环套在她的脖子上，并拴上一个沉重的铸铁车轮，以防她逃跑。格蕾丝现在每天都要拖着这个重担赶往工作地点，晚上她则成为狗城男人的泄欲工具，就连狗城孤独的瞎老人也以猥亵她为乐。而懦弱的汤姆对这一切只能听之任之。他最后的像一个“男人”的行动就是在被狗城的人孤立之后，为了发泄自己的不满而企图占有格蕾丝，理由则是狗城的每一个男人都曾享用过她的身体，而只有他还没来得及。令人发指的罪恶终于结束了，汤姆曾经在救下格蕾丝的时候接受了黑帮老大递给他的一张名片，然而他当时没有出卖她，现在他拨通了黑帮的电话，然而，迎来的黑帮老大原来竟是格蕾丝的父亲，格蕾丝因为厌倦了黑帮的生活而离家出走，现在她终于见到了亲人，尽管她也为是否回到过去的生活而犹豫了许久，然而最终还是认为这里的生活更像地狱。黑手党徒将狗城所有的人全部射杀，连小孩子和残废者也没有放过，格蕾丝也亲手结束了汤姆的性命，在此之前，这个懦弱的幻想家还想着挽留格蕾丝成为狗城的一员。最后整个狗城只留下了一只惊恐狂吠的小狗，变成了真正的“狗城”。

　　拉斯·冯提尔似乎从来没有考虑过观众的心理承受能力，他用尖刻到极点的故事把道德逼向了底线甚至逼出了底线。甚至他要明白无误的告诉观众，根本不存在永恒道德这种东西，所谓道德伦理，只在人们幼稚的幻想中存在，而现实世界的道德不过是在文明的粉饰之下的价值交换，永恒的不过是人们蠢蠢欲动的私欲而已。

　　正如影片的解说：“善良都是相对的”。狗城的人拒绝格蕾丝入内，是出于自私，害怕这个来历不明的女子给狗城带来灾祸，而他们后来的友善则是格蕾丝用辛勤的劳动换来的。这种友善是如此脆弱，警察的一纸通缉令揭露了这些友善的真面目，人们的再度疑心证明了他们从来都不是因为格蕾丝的为人而接受她，而只是乐于接受一个劳动工具而已。汤姆企图让格蕾丝加倍的工作来换取人们的信任，这并非出汤姆的幼稚，而正是汤姆生长环境带给他的必然选择，汤姆到死都没有发觉这种用做苦工换来的善良是多么的荒谬。他设计让格蕾丝的逃跑计划落空，表面上是与爱人难分难舍，其实正是他在自发维护狗城的游戏规则，在奴役和被奴役的的游戏中是不允许有人缺席的。狗城中的人们发现了圈养一个奴隶的妙处，他们对于弱者提供的保护变成了他们赖以奴役别人的理由，所谓“恩情是债”正是如此。查克在警察来搜查之时强奸了格蕾丝，正是以他不说出她的所在作为交换。而更令人齿寒的是，查克的老婆以为格蕾丝勾引她的丈夫而大发雷霆，最终却又平息了她的愤怒，理由并不是她看清了事实的真相，而是发现格蕾丝并不只是和她丈夫有过肉体关系。市民阶层的妒嫉、虚伪、丑恶的真面目在这一情节中被剥得一丝不挂。格蕾丝为着换取狗城的人们的信任付出了劳动、肉体和尊严，而最终的命运却变成了一只拴在铁链上的狗，作为对殉道者的戏拟，这更是对宗教中那些受苦、清修思想的莫大讽刺，所谓受苦、殉难，其实不过是令别人受苦、殉难而已。狗城最后的覆灭，以及格蕾丝射杀汤姆的情节，则无疑表明了拉斯·冯提尔对爱、道德、伦理、宗教之类的泛意识形态的决绝态度。这种宁可选择直接的暴力而痛恶虚伪道德的态度经过影片117分钟的铺垫，似乎也变得可以接受了。

　　无论如何，这不是一部让人愉悦的电影。并非因为它拍得不好，事实上影片的叙事结构严谨、构思精巧、风格冷峻、造型布景令人耳目一新，同时还具有深刻的思想，妮可·基德曼(饰格蕾丝)的表演也非常精准。说它不能使人与愉悦，是因为它毫不客气并且不遗余力的打破了观众的道德心理防线，所有还相信真、善、美能够拯救世界或是期待救世主再次降临的观众都不适于观看此片。

http://www.haitian.cc/info/320.htm

 完全结婚手册

供单身美女们借鉴，也供单身贵族们借鉴