牺牲1986

油画 --娟娟流水声 大海 海鸟 ---声音
一定是每次潮来 潮退 ， 水留在弯岩里 逗留然后旋回着 在重力驱使下找寻
wait---- hope
======
What dwarf?
Oh, you know who I mean!
That hunchback!
Eh? The one Nietzsche mentioned.
-----
76
00:10:18,200 --> 00:10:20,998
And I've always felt as if...
as if the living I've done so far
hasn't actually been real life
but a long wait for it...
a long wait for something real,
something important!
What about you?
00:10:36,2
Yes, if that's what you mean.
00:10:38,
I just never knew you were
interested in that kind of problem.
00:10:
But I am! I most certainly am!
Unfortunately.
Sometimes I get
the most peculiar notions.
--------------
persona??? 前面对 not real
00:27:08,960 --> 00:27:13,272
For some reason, I started
feeling embarrassed on stage.
I was ashamed to impersonate someone
else, to play others' emotions.
But worst of all, I was ashamed
of being honest on stage.
It was a critic who first saw that.
But it wasn't sudden, not at all.
320
00:27:34,760 --> 00:27:39,276
So you mean that an actor
may not keep his ego intact?

That he must lose his identity?
322
00:27:42,440 --> 00:27:44,271
No, not quite.
What I mean is that an actor's
identity dissolves in his roles.
I didn't want my ego dissolved.
There was something in it
that struck me as sinful,
something feminine and weak.
327
00:28:02,840 --> 00:28:06,594
Aha! Feminine!
So that's what's sinful!
328
00:28:06,800 --> 00:28:10,270
I liked you as an actor, so you quit.
That's it!
===========
00:30:46,480 --> 00:30:50,268
But it's far too much!
Too much, Otto!

363
00:30:50,480 --> 00:30:53,278
I know it's no sacrifice, but...

364
00:30:53,480 --> 00:30:58,429
And why shouldn't it be?
Of course it's a sacrifice!

365
00:30:59,480 --> 00:31:02,756
Every gift involves a sacrifice.

366
00:31:02,960 --> 00:31:06,430
If not, what kind of gift
would it be?
====
From about 1478 to 1482, Leonardo had his own studio in Florence. During this time he got an important commission to paint a church altarpiece, now known as the 'Adoration of the Three Kings'. It is still not done today! The work has figures with only the light and dark areas visible as outlines. The 'Adoration of the Three Kings' shows three kings worshiping the Christ child. Leonardo changed the usual way this scene is usually viewed in the Christian faith.
Three leaders of the Chinese Christian Church[3] cite an alternate proposal for the origin of one of the Magi. They state that many Chinese Christians believe at least one of the Magi came from China. They cite anecdotal evidence about Liu Shang, the chief astrologer during the Han dynasty in China at the time that Jesus was born. Liu Shang discovered a new star the Chinese called the "king star" - which was associated with the birth of a new king. The disappearance of Liu Shang from China's imperial court for two years shortly after this star was discovered, they interpret as perhaps traveling the Silk Road to Bethlehem.
英语？？
00:58:03,360 --> 00:58:05,316
Alexander!
I can't bear it any more!
Please, please!
===========
653
01:02:44,080 --> 01:02:46,310
I think I know, now.
We simply don't want
to depend on anyone.
When two people love each other,
they don't love in the same way.
One of them is strong,
the other, weaker.
And the weaker is always the one
who loves without reckoning...
without reservation.
[卡比利亚之夜].Nights.Of.Cabiria
----1：13 oh , lord ~`
war~~ the fear of death
从此 他安然与死神下棋
拿枪 杀谁？ 孩子 风动的窗帘 一暗一明
裸体的女人 挺立的小乳房 在孩子的床 周围无目的地走动
我的镜头 如侯猎的豹子 慢慢走进 移动 平行移动
心是平静的 平静到极点
透过Adoration of the Three Kings 玻璃的 背影的走远 摄像机呢？
chance

Piero della Francesca 彼埃罗.德拉.夫朗彻斯卡 老头看的那本画册是谁的画？
again --Adoration of the Three King 映着大树 正面老头来
878
01:27:20,440 --> 01:27:24,319
Anyway, I prefer
Piero della Francesca!

879
01:28:24,320 --> 01:28:28,108
<i>As I understood Alexander's words,</i>
<i>he meant</i>
<i>that it is peculiar for a man</i>
<i>to change, of his own free will,</i>
<i>into a work of art.</i>
<i>Generally,</i>
<i>the result of all poetic striving</i>
<i>lies so far from its author</i>
<i>that one can hardly believe</i>
<i>that it is a man-made creation.</i>
<i>In the case of the actor, though,</i>
<i>the reverse is true.</i>
<i>The actor is, himself, his own</i>
<i>creation, his own work of art.</i>、
==persona 演员 actress acting drama--trauma
1：30 again 拿枪 从理疗盒 盒子中
prelude
-964
01:44:27,760 --> 01:44:31,719
put on fresh underwear,
a new jacket, even a tie.
Then I sat down in the chair
to see what I'd made,
through her eyes, as it were.
I...
I sat there...
and looked out through the window.
I had prepared myself
to enjoy the sight.
Anyway, I looked out the window
and saw...
What did I see?
Where had all the beauty gone?

All that was natural.

It was so disgusting.

All that evidence of violence!
戈黛娃夫人（Lady Godiva,或称Godgifu, 约990年—1067年9月10日）是一名英格兰盎格鲁—萨克逊的贵族妇女，依据传说，她为了争取减免丈夫强加于 ... 究竟这个故事中的戈黛娃夫人是称为Godiva还是Godgifu（「gift of God」上帝的礼物）在历史上仍是未知数。 ...
Godiva (or Godgifu) (c. 990?–September 10, 1067) was an Anglo-Saxon noblewoman who, according to legend, rode naked through the streets of Coventry in England in order to gain a remission of the oppressive toll imposed by her husband on his tenants. The name "peeping Tom" for a voyeur comes from later versions of this legend in which a man named Tom watched her ride and was stricken blind.
2007/4/24
迷失于GODIVA
1：49 花瓶振动 后面什么神动
01:48:40,400 --> 01:48:42,755
Save us, Maria!
But why?
You poor, poor man!
Why? No, not that way!
43 glasses 风铃一般
人行道 梦跑 again
1039
01:51:12,320 --> 01:51:18,077
I c-c-can't!

1040
01:51:19,960 --> 01:51:21,313
I can't!

1041
01:51:21,760 --> 01:51:23,512
Drink this.

1042
01:51:23,720 --> 01:51:25,392
No.

1043
01:51:25,600 --> 01:51:27,272
There...

1044
01:51:30,920 --> 01:51:33,275
It'll soon be over.

1045
01:51:41,520 --> 01:51:45,911
What's frightened you so, Alexander?

1046
01:52:35,320 --> 01:52:36,275
Mama!
裸舞的女人 谁 ？ 鸡
victor
1076
01:58:28,640 --> 01:58:33,395
The fact is, what I'm most tired of
is the lot of you.

1077
01:58:36,560 --> 01:58:39,120
Tired of being your nursemaid.

1078
01:58:43,520 --> 01:58:46,080
Your nursemaid and your warden.

1079
01:58:49,720 --> 01:58:51,756
Tired of wiping your noses.
============
japan
两次关的音乐？？
一段音乐 笙箫 呜呜
====
小孩在给japanese tree 浇水
10
00:05:59,200 --> 00:06:01,998
a monk named Ioann Kolov,
that he should water the tree
each day until it came to life.
Put a few stones there, will you?
Anyway, early every morning
Ioann filled a bucket
with water and went out.
He climbed up the mountain
and watered the withered tree
and in the evening
when darkness had fallen
he returned to the monastery.

18
00:06:33,200 --> 00:06:35,998
He did this for three years.
And one fine day, he climbed
up the mountain and saw
that the whole tree
was covered with blossoms!
Say what you will, but a method,
a system, has its virtues.

22
00:06:54,320 --> 00:07:00,156
You know, sometimes I say to myself,
if every single day,
at exactly the same
stroke of the clock,
one were to perform
the same single act,
like a ritual,
unchanging, systematic,
every day at the same time,
the world would be changed.
Yes, something would change.
It would have to.
==============
1176
02:20:28,000 --> 02:20:30,958
"In the beginning was the Word."

1177
02:20:33,080 --> 02:20:35,753
Why is that, Papa?

1178
02:22:17,320 --> 02:22:24,476
This film is dedicated
to my son Andriosha

1179
02:22:24,680 --> 02:22:31,836
with hope and confidence
Andrei Tarkovsky
=====
00:14:13,200 --> 00:14:15,156
Au revoir!

138
00:14:17,520 --> 00:14:18,475
What?

139
00:14:18,680 --> 00:14:20,477
What are you mumbling about?

140
00:14:20,680 --> 00:14:23,353
"In the beginning was the Word."

141
00:14:24,200 --> 00:14:27,476
But you are mute, mute as a fish.

142
00:14:27,680 --> 00:14:29,159
A little roach! (smelt)
02：05：04 回车
2.11.28----17.22
Most of the film takes place inside or around a house that was specially built for the production. The climactic scene at the end of the film is a long tracking shot in which Alexander burns his house and his possessions. It was done in a single, six minute, fifty second take, often misstated as Tarkovsky's longest shot.[
-
Sixtyish philosopher Alexander (Erland Josephson) lives in a beautiful house on an island off Sweden’s Baltic coast, with English wife Adelaide (Susan Fleetwood), teenage daughter Julia (Valerie Maitesse) and young son, known only as Gossen, or “Little Man” (Tommy Kjellvqist). It’s Alexander’s birthday, and he’s visited by eccentric bicycling postman Otto (Allan Erdawll) and smug doctor Viktor (Sven Wollter), who is “carrying on” with Adelaide. Out of the blue, a nuclear war is announced on TV - the telephones and electricity are cut off, and the air is filled with the deafening roar of passing jets. All looks bleak - but then Alexander fervently prays, asking God to avert the impending apocalypse, in return offering to turn his back on his home and family, and take a vow of silence. Next morning, he wakes to find that, somehow, the threat of annihilation has been lifted - and now it’s up to him to keep his side of the bargain...

The Sacrifice is like a compendium of all the ideas (faith, role of artist, power of nature, virtue of childhood) and images (love as levitation, a boy standing by a tree) from his previous six films. As usual, there’s a baffling rush of philosophical debate, stitched together with some of the most astonishing shots in all cinema. Watching this long film is an intermittently dazzling experience, but also somewhat unsatisfying. Just how much of what we’re watching is real, and how much is Alexander’s hallucination - we’re given clues along the way, such a bicycle being parked in a certain way, only to reappear in a slightly different place later on - is open to question. In Tarkovsky’s films, dreams are nothing if not cinematic. But piecing together the director’s “intention” seems to be missing the point. 　　费里尼的【Orchestra Rehearsal】是唯一没看完的，一群人唧唧刮刮地说话说得我头晕，流畅，太流畅了，而我亲近于涩而重的。
　　还有塔可夫斯基，我连关于他的记录片都找来了，【The Genius, The Man, the Legend--Andrei Tarkovsky】瑞典人Michal Leszczylowski拍的，大致是表现塔如何拍【牺牲】，感觉比看【雕刻时光】强多了，塔是个很在意细节和感受的人，凳子怎么摆，窗帘往哪儿飘都特讲究，讲道理却不行，【鲁伯廖夫】DVD里有他的访谈录，他居然爬到一棵树上去讲艺术和人生的意义，我脑子里蹦出两个字：耍猴。【第七封印】和【鲁伯廖夫】一比，柏格曼有必要买块豆腐一头撞死，但【雕刻时光】和【魔灯】一比，可以拔根头发上吊的是塔可夫斯基。当然，这只是我胡说。
The camera work is slow and contains all the hallmarks of Tarkovsky and Nykvist. The film features a haunting soundtrack which has three distinct pieces that stand out: the passionate aria Erbarme dich from Johann Sebastian Bach's Mattheus Passion, soothing Japanese flute music, and eerie traditional chants from the Swedish forests (in the old days farm girls used to call home the livestock from their forest pastures in this way). The film also contains several long closeups of Leonardo da Vinci's Adoration of the Magi.

The film uses long takes more than Tarkovsky's previous films. The opening, post-credits shot (a tracking shot of Alexander, Little Man, and Otto talking and walking) lasts nine minutes and twenty-six seconds, and is the longest take in all of Tarkovsky's work.[citation needed] Shots lasting between six and eight minutes are commonplace in the film, and there are only 115 shots in the entire film.[citation needed]
===========
It was out of such ideas that I decided to make The Sacrifice. The sole means of returning to a normal relationship with life is to restore one's independence vis-a-vis the material things of life and consequently reaffirm one's spiritual essence. In this film I deal with one of the aspects of this struggle for anyone living in society: the Christian concept of self-sacrifice. If one has never known such a feeling, never experienced such a desire, then, as far as I am concerned, one ceased to be a man, one begins to revert to the animal condition and becomes a strange machine, an object to be experimented with by society and the state. On the other hand, if one acquires a moral autonomy, one may discover within oneself a capacity for self-sacrifice.
不需要 妻子的hysteric
When one is hungry, one goes to a shop and buys something to eat; but when one is truly depressed, in a kind of spiritual crisis. there Is nowhere to go, except to sexologists and psychoanalysts who have no understanding of what is going on inside one. They are voyeurs and chatterboxes, who console you, soothe you and cost you the earth. They are charlatans, but terribly fashionable charlatans.
信息之奴
In my films one often finds the theme of language, whether present or absent. The fact is that the power of speech which has been given us has an absolutely extraordinary influence. It can inspire us to great or evil actions. And yet, these days, it has lost its value. The world is jam packed with empty chatter. All that information of which we pretend to have such need - consider radio and television - all those permanent infinite debates to be found in newspapers, all that is empty and meaningless. We imagine that, to survive, man has to know all kinds of things which in fact he does not need in the slightest; it's a strictly useless kind of knowledge. We shall all die beneath the weight of this garrulous information. In reality, it is better to act than to speak. As for the words, the phrases, with which we communicate - and this applies to art - they ought to be divested of all trace of passion. It is in the nostalgia that we feel for the Olympian principle, for its coldness, its classical sobriety, that resides the magic, the secret, of the great metaphysical masterpieces.
回到你自己introverted rather than the reverse.
Obviously, the artist himself is a creature of passion, but he dilutes that passion in the forms that he creates. In any case, inserting one's own emotions in a work of art is always vulgar. That's why I am so attracted to Oriental art; or else Bach, who is an ideal representative of art, or Leonardo da Vinci. Though each man most be Capable of expressing himself that he must channel his self-expression does not imply having publicly to produce a book or a film. It is this human vanity which is so typical of the West and which is not to be found in the Orient whose philosophy demands that man withdraw into himself, that he be introverted rather than the reverse.
=====================
I could see that he obviously was not very interested in lighting. To him, of primary importance were composition, camera movements, the literally moving image.
Close-ups are also strikingly rare in Tarkovskij's movies. He preferred to see the actors' movements at a distance, almost choreographed, and alway in the center of the frame.
We had special-effects people brought in from England as there was a requirement in place that the house burn down in eight minutes and ten seconds sharp. Otherwise the film cartridge would run out.
For an entire week this scene was meticulously rehearsed. We had decided to not shoot the scene under sunlit conditions, and so we were forced to get up at two o'clock in the morning, do a few test runs, and then to commence shooting the scene at a carefully selected moment just prior to sunrise.

Approximately half-way through the take, my assistant yells out, "Sven - the camera is losing speed! We got twenty..., now we're at sixteen frames per second! What shall we do?"


We received some additional funding through our Japanese co-producer, and in the end we all decided to give it another shot. Nothing is impossible, as Ingmar Bergman was fond of saying. It was his gang behind the camera here. The house was re-built!

Fortunately, it turned out just fantastic. As the smoke billowed forth from the house the sun shone right through it and generated some truly great shading on the ground. It was a lucky strike indeed that the sun appeared - entirely to our advantage, and Tarkovskij was exceedingly pleased when he saw the end result.
I also asked him why he never showed up in Rome. "I was too shy," he said, "Bergman and Fellini are way too big for me."
----------Sven Nykvist
On the Shooting of The Sacrifice

        第一天早上《安德烈•卢布廖夫》下午《牺牲》，塔可夫斯基的早期作品和遗作。和看完《乡愁》时一样难以言表的感受。就影片的气质来说，《牺牲》与《乡愁》无疑更为接近，这大概也是今天的两部中更喜欢《牺牲》的原因。
        放映的开头十多分钟字幕员姐姐一直没有调整好状态，导致我前十多分钟一直痛苦地和自己的英语速读能力和词汇量作斗争。好在后来正常了一些之后并无大碍。
        与《乡愁》类似，《牺牲》的故事被繁复的台词和冷涩的长镜头悬置起来。这样的个人风格总是让我疑心，能看懂塔可夫斯基的人，要么是诗人，要么是哲学家，要么是诗人和哲学家的交集——疯子。所以影片诗人的部分，有人在捕捉；哲学的部分，有人在沉睡；疯子的部分，有人在嘲笑。
        塔可夫斯基先有了《牺牲》的构想，接着拍摄了乡愁，最后拍出了和原先的构想截然不同的《牺牲》，他原先的构想暂不揣测，但两个故事的内在逻辑承接性却是毋庸置疑的。
        亚历山大和儿子种下了那棵枯树，枯树在消失了一整部影片后在最后回到视野之中，和给老塔孩子的"宽慰与希望"一起作结。枯树死寂的意象颇似鲁迅短篇里蜿蜒游过的蛇。同样代表着恶的毁灭中的重生背后，塔可夫斯基相比鲁迅的最大不同大概就是这种环绕型的救赎中浓厚的宗教色彩。第三次世界大战爆发的消息传来，亚历山大的精神国度战栗后垮塌，最终在上帝的先知神意"邮递"之下寻找"圣交"的解决，"应验"之后他发了疯，烧了房子，在水滩里跌倒，钻进救护车又逃出来拥抱......
        虔敬靠表白和牺牲来证明，毁灭又报答信仰，成为最后的牺牲。在哲学失去一切解开人的未完成性的可能之后，神再一次成为最终文明接续的咬合。《乡愁》里的一支蜡烛在《牺牲》中烧成了一整幢小屋的浓烟和烈焰。就像鲁迅笔下"孽风毒焰"下匍匐的苍白的新希望。
        而所谓的希望是否只是意味着鼓励下一代的人继续着上一代重复的轮回?
        潜行的蛇可以头尾相连形成无尽的圆，枯木假如会重新萌发是否也终将再次干涸，人类也总是重复着往日的悲辛和自嘲般的慰藉与期许。这种环形的意象在亚历山大穿的道服上再明显不过。太初有一，而道潜行天地，人类再兜兜转转都不得不回到“一”中。而另一个悲哀暗示则是亚历山大对自己和儿子“日本人”的自况，日本的“物哀”观与本片表达的思想显然也是可以契合的。因为自然和命运不可抗拒，所以人的一切挣扎都显得如此多余。
        对老塔还没有什么了解，只是掺入了过多的个人理解之后，信仰和牺牲的价值本身也在被重新悬置而后言说。最终，文明会否咬断自己的咽喉重新演绎，这样的矛盾大概是老塔最根源的乡愁和牺牲的悯然吧。
        以及这大概是我所看的仅有的不到两百部长片里的最佳了。

这个话题我高一时仰望的一女生就写过。当时愤世嫉俗的语文老师要我们写自己想写的任何话题，于是我当时就写了两双胞胎闹内讧的家庭问题，这个女生就写了世界毁灭的问题。

人和人之间境界的差别一下子就出来了。

她在作文里面写的是彗星撞地球，很有可能发生的命题，直到现在我发现包括如今日日折磨我的Poe在内居然有那么多的人思考过这个问题，而我当时对彗星用处的认识却还只停留在骂别人“扫把星”的层面上。她写道彗星撞向地球，地球面临灭亡，于是人们纷纷回到家里和自己亲爱的人共度在地球上最后的时光，即使有过矛盾的人也温情地拥抱在一起，冰释前嫌。然后呢？我问她。字数够了，她说，而且彗星撞地球了，还有什么然后？都要一同奔赴黄泉了，自然没有什么然后了，只是当时我想问的是，在彗星撞地球之前，人们然后只是一直都温情地拥抱着么？在这知道自己将完之后，那段确定又不确定地等待时间，就算是一家人围坐在点着蜡烛的餐桌边，那种短暂不确定的暗黑的压力和恐惧，是一直紧紧地温情地拥抱在一起就能够解决的么？这位女生分明吊着胃口在写悬疑片哪。

好吧，彗星向着地球飞撞过来，速度太快所以人们还没来得及有太多的反应时间就灰飞烟灭了，那如果久一些呢？

我一直喜欢看有力量的故事，而在重压之下人与人之间力量通过各种手段的竞争写得漂亮的话尤为精彩，到最后这种力量释放的霎那更是让人有如醍醐灌顶。这种释放，可以像Flannery O’Connor那样充满肢体或言语上的暴力，可以像Williams写Blanche一样扭曲又可怜。而什么样的压力能比世界毁灭来得更大？如果知道世界马上就要毁灭，但是你还得等那么不确定多久的一会儿呢？前一分钟还在谈论真相的缺失和生活的不满的Alexandra跪在地板上，发亮的眼睛像受惊的鹿一样来回闪动，他的眉毛拧在一起，眉际却又被高高地扯着。“I’ll relinquish everything that binds me to life, if Thou does restore everything as it was before,”他说，“Just let me be rid of this deadly, sickening, animal fear!”是的，对的，我向那位女生问的然后就是要这一句，那种排山倒海的恐惧，是亲情的堤岸守得住的么？这位充满思辨智慧的Alexandra竟然要把最爱的Little Boy也奉献给神，只为了停止住眼前无法守住的恐惧。

只是Andrei Tarkovsky一直都是那么的严肃和凝重，那位女生所坚信的温情在Tarkovsky的手中变为的宗教的悲悯，以一种近似魔幻的方式Alexandra在女仆Maria怀抱中得到救赎，贯穿其中的是对于精神的信仰的爱，为此能够自我牺牲的升华。

但是我仿佛更喜欢看着这群人在得知核战爆发在即后的反应。他们坐在空荡房间里，脸上闪过电视的荧光，这时Adelaide忽然站起来，大声质问其他人，然后哭着嚎着乱成一团，每个人反应都把各自的故事说得淋漓尽致，这个时候电影的张力扩大成了戏剧，我完全可以说我现在看的是Sartre的No Exit，或是Man and Superman做梦的桥段。

就是这么短一点点时间，把生活压缩成了戏剧，那如果再久一些呢？

室友睡觉前有时会叹气，问“你说我天天看这种东西，有意义么？等到最后地球灭亡了，什么都留不下来。”我会很无语，问“那你能干嘛？”他也不回答。

我给大一小孩上课，跟他们讲Carpe Diem，要抓住时光，只是看着他们的脸我就觉得时光飞逝，可是连根丝都没抓住。消亡的压力拖得太久，反而令人厌倦。如果像室友那样去想最后的问题，不会让人打起精神来，反而我会看到自己像表演烦透了的小丑一样，把手里转了无数次的球一个个狠狠地扔到观众席里面去，还有那个高帽子，还有那个红鼻子。我不知道最后要保留下来什么，我的室友他也不知道，我不知道我的学生里面有多少人知道，我不知道有多少人知道。

每个人都可以憋足了气力换来一次花火的绽放，但是又有多少人能够日复一日年复一年的隐忍？

我看到Tarkovsky在微笑，他是对的，他一直在提醒人们，只是他的答案，他的悲悯，我感受不到。