来自陀螺的twitter
https://twitter.com/RealGDT/status/1084701184110153729
肯定有雷 最后还提了一下Alfonso Cuaron执导《地心引力》时 对结局表现手法的坚持
碍于本人中英文的程度不足以翻译全文 只能坐等神人
喜欢《罗马》的朋友可以看一下导演的好麻吉是如何解读这部片
有些观察跟切入点的确很有意思
10 personal musings about ROMA.
1) The opening shot suggests that earth (the shit-infested ground) and heaven
(the plane) are irreconcilably far even if they are joined -momentarily- and
revealed, by water (the reflection). All truths in ROMA are revealed by water.
2) These planes of existence, like the separation within classes in the
household cannot be broached. The moments the family comes "closer" are
fleeting... "She saved our lives" is promptly followed by "Can you make me a
banana shake?"
3) In my view, Cleo's "silence" is used as a tool for her dramatic arch- that
leads to her most intimate pain being revealed, by water - again- after the
Ocean rescue: "I didn't want her to be born" Cleo surpasses and holds her
emotions in silence until they finally pour out.
4) One key moment, precisely crafted is Cuaron's choice to have Cleo's water
break just as the violence explodes and her boyfriend breaks into the store
holding both a gun and a "Love Is..." T shirt. The baby will be stillborn.
5) In every sense, ROMA is a Fresco, a Mural, not a portrait. Not only the
way it is lensed but the way it "scrolls" with long lateral dollies. The
audio visual information (context, social unrest, factions & politics /
morals of the time) exists within the frame to be read.
6) It seems to me that the fact that Cuaron and Eugenio Caballero BUILT
several blocks (!) of Mexico City in a giant backlot (sidewalk, lampposts,
stores, asphalted streets, etc) is not well-known. This is a titanic
achievement.
7) The Class stratas are represented in the film not only in the family but
within the family and the land-owning relatives and even between Fermin and
Cleo- when he insults her in the practice field.
8) ROMA cyphers much of its filmic storytelling through image and sound.
When viewed in a theatre, it has one of the most dynamic surround mixes.
Subtle but precise.
9) Everything is cyclical. That's why Pepe remembers past lives in which he
has belonged to different classes, different professions. Things come and
go- life, solidarity, love. In our loneliness we can only embrace oh, so
briefly by the sea.
10) The final image rhymes perfectly with the opening. Once again, earth and
heaven. Only Cleo can transit between both. Like she demonstrates in the
Zovek scene, only she has grace. We open the film looking down, we close
looking up- but the sky, the plane, is always far away.
Cuaron often uses the Ocean in a metaphorical way: Children of Men, Roma,
Y Tu Mama Tambien, etc.
Cuaron经常使用海洋来隐喻：《人类之子》、《罗马》、《你他妈的也是》...等。
And the great ending of Gravity... The studio was pressuring Alfonso to
"show" helicopters in the sky, coming to rescue Sandra Bullock's character.
He said "no". Emerging from the water was the triumph, touching the earth-
standing...
还有《地心引力》的精彩结局...。电影公司曾试着说服Alfonso让直升机入镜，前来
救援Sandra Bullock的角色。他说:“不行”。从水面浮出已经展现获救的可能性。
The studio then said: "Ok what about hearing the helicopters?" Alfonso, once
more, said "no". The studio then suggested adding a radio giving her
coordinates, promising help. Alfonso said "no". Once more an ending made of
Air, land and water.
电影公司说：“好，那不然改成听到直升机的声音？”Alfonso再次的说：“不行”。
电影公司接着建议让Sandra Bullock回报座标来暗示即将获救。Alfonso说：“不行”。
再一次地，我们看到了一个由天空、陆地、以及海洋构筑出来的结局。