控制的极限

片名叫《控制的极限》，实在是测试你忍耐的极限。

片子有两种：故事性的和意象型的。

不幸的是，我是一个习惯把电影归为故事片的人，所以越看越糊涂，看完了更糊涂。

原来这是一个意象型的片子，意识流，这种片子你不看大量的介绍和影评，基本看不懂。

本片导演剔除了故事性，一切的角色都是不同意念的代表，在构筑一种文化冲突下的矛盾，手法是艺术爱好者诚惶诚恐的接头、被绑架和杀掉。

展示它，并表达导演深藏的意图：弘扬自由的艺术理想，干掉现实对艺术的束缚。

表现的手法，主要靠被宰的老大说的最后一段话“你以为杀了我，就能干掉现实吗”。

如果换成“你以为杀了我，人民币就能战胜美元们吗”，那么电影主题就成了“世界两大国货币战争”了。

主角是《鬼狗杀手》的配角，这次转正啦。

主角接到任务，干掉一个代表现实约束的老大。

主角前后与艺术家、电影爱好者、音乐家、舞蹈家、科学人士接触交换情报。

最后莫名的进入重兵守护的别墅干掉了老大。

从故事性的逻辑上来说，好多不合逻辑。

看别人的影评得悉，导演就是要拿掉这对电影艺术“控制的极限”，只留下艺术。

镜头很美，美工、服装都很到位，那位西班牙舞娘，跳的真好。

对白不多，装酷到底，味道真的很赞。

没这点我早看不下去了，片子沉闷，确实碰触到了我忍耐的极限了。

« TRIBECA '09 PODCAST: Damien Chazelle | Main | TRIBECA '09 REVIEWS: Here and There, Seven Minutes in Heaven »May 1, 2009http://daily.greencine.com/archives/007443.html#moreFILM OF THE WEEK (AND INTERVIEW): The Limits of ControlJim Jarmusch, THE LIMITS OF CONTROL Who knew that a Jim Jarmusch film could be the most divisive of the year thus far? I'm not ready to address The Limits of Control and all the knee-jerk, unconstructive naysayings I've read that don't actually engage with what the film is or how it does (or doesn't) work, at least until I see it a second time, since I was too mesmerized by the experience to take many notes. In lieu of that, I present to you the extended version of an interview I did with Jarmusch for IFC.com, the first part of which can be found here.GREENCINE DAILY: Wong Kar-Wai once told me that when working with cinematographer Christopher Doyle, they share a largely unspoken, instinctual shorthand with one another. Was your relationship with Doyle similar?JIM JARMUSCH: We were more the opposite, man. We talked and talked and talked incessantly. When I was preparing, he would come to New York for a week and a half at a time, maybe three times. We spent every day together for eight hours, just talking about the film, not about the film, about things we saw on the street, about photographs Chris had taken, looking at unrelated things, and listening to music. I've known Chris quite a long time, 12 or 15 years. I love just talking to him about anything. He's very quick, so sometimes he'll say things to me, philosophical things we're discussing that I don't understand what his point is, and then a few days later when I'm not with him, I'll be thinking it over and be like, "Oh! I see what he meant." I don't know if I'm just slow, or if his ideas are hard to enter sometimes.Isaach De Bankolé, THE LIMITS OF CONTROL Speaking of music, I'm a big Boris fan, who is all over the soundtrack. I read that you had already planned to fill the film with this conceptual Japanese noise-rock while still sketching it out. What's your process of matching image to music?When I'm writing or trying to think up an idea for a film, I hone in on music that seems to open up my imagination for that particular world in my head. That happens very early over and over, like Neil Young for Dead Man, or [for Ghost Dog,] RZA's beats and instrumental tracks on the B-sides of vinyl Wu-Tang stuff I was collecting. Or Mulatu Astatge in Broken Flowers was inspiring me, and I was like, "How the hell do I get Ethiopian music in a film about a guy in the suburbs?" So then it led me to have Jeffrey Wright's character be of Ethiopian origin. In this case, it was Boris and Sunn 0))), and that electric feedback-y soundscape stuff they make that I love so much. Those things came very early, while I was even just writing the 25-page treatment—well, it was more like a prose short story that we started from. So they were sort of in a little boat I was in, going down the river. I had them inspiring me. Then I got Earth in the movie and a lot of great stuff. I love the Black Angels, but I only used a little instrumental piece at the end of their song, "You on the Run." Anyway, those things were there very early, but the music always leads me. That's always happened.Tilda Swinton, on the set of THE LIMITS OF CONTROLI stay abreast of new music by geeking out on music blogs, but how do you find all this cool music? Do you still go to a lot of record stores, or do friends keep you tuned in to new artists?I'm not a Web guy because I don't have a computer, although I often ask people to look stuff up for me. I don't know, it's sort of a general antenna because I love music. You know, there are music stores that in the past I depended on a lot, like Final Vinyl, that used to be great to order things anywhere in the world that were in print, or what's his name, that little shop on Bowery just south of 8th street. Damn, I love that guy. He's always been really cool. There's Other Music, and in New Paltz, there's Rhino Records that is really run unlike any kind of Rhino chain—the guy there, Rick, is amazing. Those record stores are important, but they've been less so for me recently, maybe because I haven't stopped in very much. I always read the British music press, and I try to listen to what underground radio exists, or college-type radio. I'm just always scanning, and I've always been that way, like, music, music, music. I love to get playlists off of [Jersey City's] WFMU or WVKR in Poughkeepsie—Vassar has a good radio station. WFUV has a good morning show in New York, and there's some underground hip-hop shows on WKCR, the Columbia station. There's the beautiful Sunday morning country shows that I listen to, classic country.I love radio, and I love finding things randomly. Like, I don't have TiVO for TV because I keep thinking, "Well, then I'll just program everything and I won't scan," and scanning is when you find things you weren't expecting. Not that TV isn't, for the most part, a big wasteland of garbage. But you do learn things if you scan around, more than if you have a programmed idea of what you're going to watch. I don't watch that much TV. I watch Turner Classic Movies, science shows and Antiques Roadshow, you know this one? I love Antiques Roadshow. I have this thing I always imagine. Okay, they think suddenly, they have some vase and it's worth $8,000, you know? I always equate it to: what kind of a used car could they buy with it? [Jarmusch makes a sad horn noise] "You can buy a 1986 Honda Civic!" I don't know why I do that... I'm going off in stupid places.Bill Murray, surrogate Dick Cheney No, I appreciate it. Now, I know why Bill Murray is so great in your films, but what's so great about working with him? In the press notes for this film, you mentioned that you two liked to "talk around the character."Yeah, we like to talk about it in the past. What's really fascinating about Bill is that, since I've known him, his procedure is always evolving. When I first worked with him in Coffee and Cigarettes, he wanted to pretty much improvise everything, and he didn't want to talk about it or rehearse it. Then with Broken Flowers, no rehearsing, no specifics, but we would take long, long walks for hours at a time, and talk about things that eventually affected our idea of that character. I thought he would improvise a lot, and he said, "I want to stick close to the script." Then in this film, he said, "I want to rehearse, and I want to do the dialogue as written. I don't want to add anything." So that was even a different step. He's just an interesting work in progress. I'm always a little surprised, like, "How does he want to approach it this time?"That's fun, and I learn a lot from Bill about a lot of things, especially human nature. His capacity to observe and feel what people are feeling, even strangers, is uncanny. I've seen him numerous times run out of his way to help somebody try to get something out of the trunk of their car, or help with their luggage at the airport, or in a restaurant, talk to someone he doesn't even know that looks sort of down. He'll go over and respond to that: "Hey, the world hasn't ended yet, what's going on?" Amazing. He's really observant with compassion, so I love to just hang out with Bill and see how he's going to react to what we encounter in the world. I learn more from that, maybe, than anything specifically about acting, preparing or filmmaking, because it's all intertwined in the end. I really liked having him play somebody with not an ounce of humor this time, which might be frustrating for people's expectations. I don't know, that's not my problem. I choose the actors I want for the best collaboration to create something, and I really liked him being nasty and condescending. Every fucking school principal or authority figure I've ever had in my life has always, at some point, said, "You just don't understand how the world really works." Hearing Bill's character say those lines for me, I don't know. I certainly heard that a lot in my life.The Limits of Control opens today in New York and Los Angeles, then expands to more cities beginning May 8. For more information, visit the official website.

尽管从细枝末节可以琢磨出大鼻孔硬线条男的杀手身份，甚至能够理解他为虾米那么沉默那么经得起诱惑（好吧，从金发眼镜骚货出现以后，我就一直在等，期待了近一个小时的H画面啊啊啊啊），也能看懂他在练太极（tmd，画面重复出现了三次，我才大胆地猜测那是太极，不是神马该死的非洲健身操），总而言之，这人物严肃严谨谨慎不苟言笑，喜欢音乐和辣妹，喜欢imagination/yy。

tmd，我就是不能理解为什么非得拍的这样沉闷，给点h会死啊。

贾木许的电影经常被误解成一种酷甚至是装13， 这种观点是完全可以理解的，因为他本人的音乐品味和那些音乐圈的朋友们，以及他电影里经常涉及和引用流行文化。

我们不能说这种观点是错误的，但是它并不准确，或者说远不能概括贾木许作为一名导演的特点，他的电影里有更多更有意思的东西值得我们去关注，比如如何去讲一个关于人的故事。

他的电影主题一般有人与生具有的孤独和死亡，对平淡的日常生活的描述，以及对艺术和想象力的赞美。

他甚至比他前辈罗伯特奥特曼还要反类型。

这部电影和他另一部《鬼狗杀手》一样，完全是“反杀手电影”的。

杀手没有和蛇蝎女发生关系，吉他里藏的不是枪，杀手也没有一路杀进堡垒。

贾木许除了是个导演，也是个音乐家和诗人，所以可以理解他不在乎电影故事情节，这部电影里甚至主角性格特征都不屑于过多刻画。

和他很多其它电影一样，故事是片段式的，他与各类人接暗号的片段也并没有对故事情节有很大推动作用。

画面的构图和质感，画面里出现的建筑，主角的行走，生活里仪式性的重复，人物之间的关系，这些才是他感兴趣的点。

理解贾木许的故事必须透过现象看本质，能看到各种物体和情节的隐喻。

从马德里都市到塞维利亚小镇再到阿尔梅里亚沙漠，似乎是一个人从青年到成年再到老年的演变。

结尾空白的字条和画和小津墓志铭“无”对应。

贾木许认为人一生下来就与死亡为伴，但是人的一生中有太多美好的东西值得去赞美与享受，艺术就是这么一类东西，所以他的电影永远是忧伤却美丽的。

影片讲了一个杀手的任务之旅，充满诗意。

依然是反戏剧性的设计。

当迷幻喜剧片看的话就挺不错。

基本就是讲这个杀手和一个又一个的人接头的过程，最终杀掉目标，然后踏上下一段任务之旅。

这部影片有非常重的后面《唯爱永生》、《帕特森》甚至是《丧尸未至》的影子。

但想讲的可能跟这三部比都少多了。

感觉像是在实验用影像配合迷幻乐表达那些感受。

但真的很棒。

比如几次主角看画、一次下地铁与一个坐着的老人对视、喝咖啡的时候看路人等。

充满诗意…（这种表达也在后面《帕特森》里达到一种顶峰）配乐上非常像唯爱永生，用了大量小调五声的迷幻乐，以吉他为主。

用法也和唯爱永生的相似。

加强人物感受的张力，非常有贾木许的风格，特别喜欢。

摄影上也像唯爱永生，但不得不说和唯爱永生比差多了。

这部影片和早期的也挺不同，开始用了不少特写。

但个人感觉确实差点意思，感觉像是后面风格的萌芽阶段。

杀个人真的需要拍俩小时吗？

作为吉姆贾木许的脑残粉这部片子我都有些吃不消。

这大概是最另类的一部杀手电影了。

与其说电影的意义是杀死比尔莫瑞不如说是让杀手先生领略人生的真谛。

最后是想象力杀死了生活本身，生活的傲慢和狭隘、无趣和乏味。

就像村上春树在小说里写过的人类最大的敌人是想象力枯竭。

在电影晦涩不明的情节里代表着生活中一切美好事情的人物那些美女被除掉，性、电影、科学、艺术...这些生活中真正美好的东西。

另一方面，这也是贾导在讲自己电影的技巧，控制的极限也正在于电影所展现的缓慢，就像最后那空白的纸条和被白布罩起来的画作，生活本无意义，这部电影大部分确实是在浪费时间，用浪费时间来告诉我们其中的玄妙，充满想象力的杰作。

电影的张力并不仅限于华丽的镜头和紧凑的情节，这样出奇的缓慢就像太极一样。

杀手先生对着镜头打太极，导演和我们打太极，雇主和杀手打太极，生活和每个人打太极...而这借力打力的功夫令人回味无穷，妙！

加之杜可风的摄影，嚯，贾导也过了回王家卫的瘾吧。

电影开始说“一切事物都是主观的，可以代表任何意义，不要想得太复杂了”，那我则认为，贾木许是将对人生、生死、价值、现实、虚幻、艺术、文学、沉默、缓慢、旅途、穿行等等的思考，散文诗歌片段式的嫁接在一个杀手的故事里。

控制的极限，或许就是不控制，这次，或许贾木许只是给观者做了一个思考的引子。

这是吉姆·贾木许对于创作本体论的一个自我表达。

是他的一个梦。

因为他在影片中说，一部好的电影跟梦是分不开的。

这会让人想起梦的解析家费里尼说的，“梦的象征意味是跟电影密不可分的。

”当习惯了黑白摄影的贾木许去到西班牙，决定往他的赛璐珞上泼洒绚丽的色彩时，他必然是小心翼翼的，在让颜色丰富他的梦境的同时，又让它变得异常简单。

作为贾木许的一个关键作品，《控制的极限》实际上保持着一种活跃的简单性，主题上的阐述也尽力向电影这一门艺术的本质靠拢，因此它是纯粹的，像诗歌，像音乐。

贾木许不是讲得太多，从而让观众变得不耐烦，而是说得过于易懂，使得他的读者惊异，甚至质疑，这会不会是那个拍摄了《离魂异客》的作者最不应该拿出手的作品。

它的经典有赖于从一个全景式的视角审视他的电影：缺少了它，他的电影不会因此模糊，但有它的存在，托起贾木许电影的那一套自足的美学会像岩石一样更加坚实。

《控制的极限》才是原意的合适翻译与其说片子整体在虚幻和现实交织 不如说整个片子都是落在虚幻的时间或臆想的空间是思想的争斗或生活的选择主角的两杯咖啡表现着 主角对争论结果确定的渴望 但是每当有人想要喝另一杯咖啡 总是被主角的态度制止了 说明他还不能接受这样的观点 他还要继续争斗哪个才是正确的最终的杀人任务 是一个强迫的结果 是一个现实 不管你的选择有多么艰难 现实生活过程中你必须选择一个方向 否则你只能停步不前 结尾不表明哪个选择占了上风 只是表明无论多艰难的选择 你还是一定要选择 不断的衡量和思想争斗在行动面前显得并不是最重要了 选择了你才能向前走 才知道到底是对是错 和行动相比较 思想争论和结果的对错都显得微不足道了 主角最后脱下正装 换上便装 也是这种情绪解脱一种表现片子的主题表现大概是生命中的一种常态现象 控制的极限就是要突破这种仅是停留在思想争论控制阶段 只有行动才是能让生命继续前进的真实动力 生命的意义在于实践的过程这点主题导演倒是做到了 不过表现的手法上显得有些生硬和单调 荒诞的情节和对话只是想表现思想斗争的复杂 这点让我觉得满遗憾的

#ICA 好怪的影片，片中暗杀任务作为表象明显不是重点，电影想讨论的也绝不是任务，所以以公路片的形式反推感觉电影可能是对波西米亚精神的一种解构，自律（内在自由）与自由，规则与反叛精神和生活与艺术的对照贯穿整部电影，对比于波西米亚的传统观念影片中的“自律即自由”更像是从康德的哲学角度出发强调通过自我约束和道德法则实现自由，这与波西米亚的随性和不受约束形成了一种对比。

电影的结尾还是挺有意思的，尤其是对于这类高概念的作品，对身份的剥离似乎预示着重启人生，这似乎是一种生活方式，当然也可能是放弃，总体感觉还是方式，结果其实并不重要，火车沿路的风景和这一路遇到的人才是。

风格上，明显有着他自己的公路片的特点，角色上则是带有《独行杀手》的设计，慢节奏和角色间的距离感也很熟悉，整体的呈现还是蛮喜欢的。

视听上好多都遗忘了，视觉呈现没有特别不是的地方，长镜头和固定镜头蛮多的，还有重复性的疑问和沉默，印象最深的还是俯拍的规则和太极拳时的消音，那个消音效果太好了，冥想时摒弃一切的感觉。

不过这……打太极说着“阿弥陀佛”这种佛道双修的情况让我想起了郭德纲相声中那个手在胸口画个十字大喊“弥陀佛”的道士。