关键协议

澳大利亚西部片，我有史以来看过的最血腥的片（日本片除外）。白人杀黑人、黑人杀黑人、白人杀白人三部分组成。那种神也救不了你的感觉，英系的沉重，和以前看的“风吹稻浪”、“稻草狗”挺像。可最后那个讨厌的政客还是没有死！音乐很棒，尤其是开头的提琴女童声：There is happy land far far away~~

暴力，血腥，污秽；
粗砺，蛮荒，冷冽；
荒野，落日，骑士；
优美，抒情，诗意……
女人是不合时宜的干净和优雅；
男人是暴力之后的悲哀与孤独。
这是一个善良的人讲述的暴力的故事，
历史尘封背后难以尽述的黑与白，好与坏。
 
看完这部电影，对《末日危途》又有了更多期待……
 
 
月亮对星星说：何时？
伴随他回家的风说：很快。
开始哭泣的乌云说：是谁？
形如枯骨的骑士说：是我。
熔化大地的太阳说：怎样？
拒绝流动的河流说：为何？
一声不响的雷神说：哪里？
拿出手枪的骑士说：这里。

记者（以下简称“记”）：《关键协议》是怎么成型的？
Nick Cave（以下简称“NC”）：我和导演John Hillcoat认识有20来年了，在这20年里有18年他都在想着去拍一拍澳大利亚西部，并且由我来负责做音乐部分。我和他一起工作已经18年了，到最后，他拿了个从美国西部故事改编成的澳大利亚西部片剧本给我，其实我们都知道这根本不是我们想要的东西。他说：“好了，滚【文明用语】蛋，你来写。”就这样，我就开始干了并且在三周内完成了剧本。当时我并不想花很多时间，因为我不想花时间在我自己认为根本不可能成功的事上。但是在经过多年的困难之后，John还是成功了。

记：写这个剧本时，你受美国西部片的影响大吗？
NC：我认为John受70年代的那股反西部片风潮的影响很大。一般澳大利亚人对自己的历史的看法和美国人看待自己历史有很大不同。我们没有接触诸如黑人问题或者恶棍与英雄之类的东西。我们对历史更加有抵触心理，而且感觉到一种不确定性甚至羞耻。我认为我们基本上可以把自己的历史看成是一个失败和无能的过程。我对凯利党的印象很深。《关键协议》里的英雄比较阴暗，你可能会同情某个人物，同时觉得另一个人物是罪有应得的，但到最后，你却分不清哪个人是值得同情的，而哪个人是罪有应得的。有时候你会觉得自己和某个角色的想法一致，但后来又觉得和另一个角色的想法一致了。这些角色都在被他们的愚蠢所慢慢毁灭。

记：能不能再多谈一些澳大利亚人对自己历史的理解？
NC：恩……不知道你有没有看过那些在美国的黑人接受私刑的照片，那些白人就站在那那么看着，甚至还带着他们的孩子，就好象把看私刑当成了一种娱乐。我不认为他们的这种行为说明他们就没希望了。但是从这部电影所要表达的中心意义来说，这是一群本不该待在这片土地上的人的故事，也许地球上本来就该有一些地方不该被人类占据。我发现那种在看鞭打刑罚时挂在人们脸上的对暴力的入迷是我们最原始的本能。我认为，我们越进步，实际上得到的结果却是相反的。这是你的本性，也是我的本性。种族仇恨、种族仇杀、谋杀都是人类最基本的本性。实际上我觉得人类做得比这些还要多，我们手中所拥有的科技手段越发达，也就意味着我们学会了更快更有效的毁灭人的方法。

记：你为什么没演个角色？
NC：这是JOHN的意思。（笑）

记：作为一名剧本创作者，你都受了什么影响呢？
NC：我不是特别爱电影的那种，但是我看了很多很多电影。我对电影的爱好不能和我对音乐或者文学的爱好相提并论。比如说，当我听一首歌的时候我通常会带着分析的眼光来听，我会对这首歌发问，为什么会这样进行？歌词为什么会这样？我对文学也是一样。我对语言及其运用非常感兴趣。对待电影我则比较随意了，来到DVD商店，买4张DVD，回家坐下开始看，不用动脑子。我可能会觉得某部伟大的作品很傻。你只是打开屏幕，开始看，无论好坏通吃。现在我脑子里有一大堆烂片、一般电影和佳片的储备，他们都影响了我。我经常在看电影时发问“他们干嘛要这样拍？”，“这样进行会更有趣嘛”

记：你给《关键协议》写剧本时也在同时制作影片的背景音乐吗？
NC：是的，剧本和音乐的进程是同步的，我觉得这个剧本很音乐化。

记：你有没有让片中某个角色做你的代言？
NC:没有，但是我很同情他们。对我来说，片中唯一的恶棍是那个霸占小镇并且施加暴力的人。

记：那个很有权势架子的人？
NC：是的（笑），我想让其他的角色以不同的方式受到同情，不管他们多么邪恶。唯一能让你觉得同情的角色是那种能够影射到自己的角色。我认为，他们都在我们身上体现出来了。

记：你有没有去片场？
NC：没，但是在开拍前我曾去过一次，并和演员一起做了一次排练，重写了他们认为演起来不舒服的地方。

记：拍摄地看起来很热？
NC：是啊，非常热，接近50度，不是一般人能承受的。好多戏都是在室内完成的，就更热了。场景是在沙漠里建的，由于太热的原因吧，有些设备失灵了。我不太了解具体情况，但确实他妈太热了。

记：西部片是一种很具延展性的片种，你在写剧本时就知道哪些元素会出现在影片里吗？
NC：不，实际上我门也不知道在拍摄中会发生什么。基本上都是JOHN在工作室，而我在做乐队的唱片“No More Shall We Part”。他把一个关于澳大利亚西部的故事拿过来，我看了一下，我们俩都觉得不太理想。随后在录唱片时，我就想到“如果安排三个兄弟怎么样？”，所以之后我就有了故事的前提。我开始写了，很明显得，故事不会朝一个美好结局发展。

记：在《关键协议》里有很多对暴力的想象，这是谁的主意？
NC：JOHN对暴力很感兴趣，他的前两部电影都很暴力。我认为他对暴力的后果和暴力将带你何去何从这样的话题很感兴趣。当他拍摄关于暴力的东西的时候，就会拍得很快很野蛮。人们说这是一部很暴力的电影，但是我不以为然。你看很多HOLLYWOOD出来的片子都非常暴力，有些剧本写出来就是为了表现大量的暴力元素。比如说我一直不太喜欢看塔仑蒂诺的片子。所以我说JOHN处理暴力的方式还是很现实的，暴力其实也是一种讲故事的方式。

记：作曲比你写剧本花得时间长是吗？
NC：是的，给影片配乐是一件非常难的工作，不是简单地垒砖块那么容易。对我个人来说，这也许是最困难的部分。当别人都开始试着写歌的时候，我还坐在办公室里在苦想要写些什么好。我被自己那些累人的想法以及脑子里的乱七八糟的东西搞地很累。这种写歌的习惯很难跨越。但是当我写剧本的时候，我只需要坐在那，有人对我说：“写一个澳大利亚西部故事。”我不需要过分担心，我需要做得就是坐在那，创造一些角色，然后让故事进行下去就行。

这个电影豆瓣上的评论都不靠谱
导演的讲故事的能力有待提高
音乐很好，电影颜色也不赖，台词值得细细品
我根本就不明白一开始的枪战片是怎么回事
寻亲复仇似乎没有逻辑
到结尾杀掉Arthur更没有道理
The Burn's Family三兄弟就这样莫名其妙地被残杀
貌似王家卫的风格，不过故事连不成串
一个叫Eliza Hopkins的poor woman
had a child in her belly
不知道谁是凶手死了
剧中暗示Micky是rapist
可是又说Arthur是一个abomination
so Charlie被派去杀他的哥哥Arthur
中间还有一个疯疯癫癫的老头
不管怎么地，冲着音乐也值得一看。

"When?" said the moon to the stars in the sky.
"Soon," said the wind that followed him home.
"Who?" said the cloud that started to cry.
"Me," said the rider, as dry as a bone.
"How?" said the sun that melted the ground.
"Why?" said the river that refused to run.
"Where?" said the thunder without a sound.
"Here," said the rider, and took up his gun.

"No," said the stars to the moon in the sky
"No," said the trees that started to moan
"No," said the dust that blinded his eyes
"Yes," said the rider and pointed his gun.
"No," said the moon that rose from his sleep
"No," said the cry of the dying sun
"No," said the planets that started to weep
"Yes," said the rider and laid down his gun.

"Adieu," said the bird in the branch of a tree
"Farewell," said the snake to the dying light
"Adieu," said the fish in the river of sleep
"Goodby," said the rider, "Goodbye and goodnight"

关键协议
tags: Nick Cave Guy Pearce 西部

本来是冲着Guy Pearce去的,看完以后发现,好久没看到这么干净的电影了.一直对西部片很有爱~广袤的景色,漫天扬起的黄沙,在荒凉的情境设定下,人物故事性就显得非常强了.

说到Guy Pearce,洛城机密中亦正亦邪的年轻警察,factory girl中"真实"的安迪沃霍尔,新片death defying acts中不温不火的魔术师,更不必提记忆碎片中遍布纹身的姣好身材...相信也是大多数此片粉丝的热情来源~ ~像这样外形演技超出同龄演员一大截,但由于其定位终究不能大红的新生代或中生代气质型帅哥,当然被我列为狂追的对象范围.(对早年的brad pitt, johnny depp不再痴迷,开始追guy pearce, ryan gosling, ethan hawke, 小罗伯特唐尼等埋头于独立电影,风味另类且独特的男演员,莫非我真的向装B文艺青年靠拢了- -汗一个...走题了)

回到影片的内容,很简单,身为黑帮的弟弟在打砸抢烧时被小镇警察的A方人物虏获并达成协议,后者要挟其强奸妇女的弱小兄弟作为筹码,与弟弟达成一份协议:让弟弟带回更加"臭名昭著"的哥哥.期限未过,弟弟的兄弟被违反协议的警察B方人物以鞭笞示众维持治安的理由残酷折磨至死.哥哥大怒,和弟弟回到小镇,将B方警察活活打死,欲将A方警察灭门时,弟弟闯入,将哥哥及其喽啰射杀.

Nick Cave的音乐乍一听平淡无奇,仔细品来却恰到好处,与影片氛围相得益彰.此片的主题也是一样;平淡中蕴含着深刻.每一个人都有自己的角度,如果从这种角度坚持信仰,必然会触碰到别人的利益,成为别人眼中的罪恶.就像片中的弟弟,与小镇警察本来是对立的,为什么在最后时刻射杀了杀人不眨眼,自己一直很崇拜的亲哥哥?因为他们的行为超越道德底线,违背了自己的信仰.小镇警察A方从利益的角度出发,放长线钓大鱼,自己也极力反对B方警察毁约的行为,无奈寡不敌众,最后命悬一线.但是弟弟最后的"拯救"行动超越了他和哥哥之间的亲情,宽恕和道德超越了家庭.完全之于自身的信仰.B方警察则是官僚主义国家机器的代表,但是从其角度来说,"惩恶扬善",保卫小镇居民安全,就是错的吗?哥哥的位置就更不必讨论,家庭的责任让他变得高大起来,况且坏人做坏事还需要理由!?甚至哥哥手下那个阴阳怪气的喽啰,干坏事时哼起美妙的歌声,从那一刻来看,他也是相当可爱的~每个角色都无关善与恶,无关是与非,没有英雄,没有恶棍.故事的结局,人物的"下场",都在不断激化的矛盾中被无奈的催生出来.

还有一些细节的刻画,比如A方警察队长与其妻子的美好家庭生活,是对哥哥和弟弟残缺家庭模型的一个反衬,以及对最后结局的铺垫.还有对于暴力画面的描写,冷静的点到为止,非常的喜欢.

记忆最深的一段就是哥哥和弟弟坐在夕阳下,倾心的聊天.此情此景,不禁令人黯然泪下.还有最后一幕前哥哥说的那句台词,大意是这样:人与人之间是没有仇恨的.because we are families.无非是点睛之笔.

Set in the Australian outback in the 1880s, the movie follows the series of events following the horrific rape and murder of the Hopkins family, allegedly committed by the infamous Burns brothers gang.

The film opens in a brothel during a violent gunfight between the police and Charlie Burns' (Guy Pearce) gang, which ends with the deaths of all of the gang members except for Charlie and his younger brother Mikey. Captain Stanley (Ray Winstone) makes the proposition to Charlie: he and Mikey can go free of the crimes they have committed if Charlie kills his older brother, Arthur (Danny Huston). Arthur is a mercurial psychopath who has become something of a legend and is so vicious that the Aboriginal tribes refer to him as "The Dog Man" and both the police and the Aboriginals refuse to go near his camp. Captain Stanley muses that perhaps the bounty hunters will kill Arthur in time and then states his intention to civilize the harsh Australian wilderness by bringing Arthur to justice and using Mikey as leverage. Charlie has nine days to find and kill Arthur, or else Mikey will be hanged from the gallows on Christmas Day.

We discover why Captain Stanley is intent on taming Australia: he has been forced to move there with his delicate wife, Martha Stanley (Emily Watson), and apparently wants to make it an appropriate place for them to live. The Stanleys were also friends of the Hopkins family, leading Martha to have nightmares about her dead friends and the unborn child one of them is revealed to have carried. Word spreads of Stanley's deal with Charlie, primarily from Stanley's corrupt subordinate, Sergeant Lawrence (Robert Morgan), causing disgust among the townspeople.

Shortly thereafter, Eden Fletcher (David Wenham), for whom Captain Stanley works, orders that Mikey be given one hundred lashes as punishment for the rape and murder of the Hopkins family. Stanley is aghast at this, not only because he believes that Mikey is innocent and the flogging will surely kill him, but because it would also break his deal with Charlie and thus put him and his wife in grave danger. Stanley sends Sergeant Lawrence away with tracker Jacko (David Gulpillil) and other men to "investigate" the reported slaying of Dan O'Riley by a group of Aborigines. Captain Stanley attempts to defend Mikey by gunpoint from the bloodthirsty townspeople, but is overruled once Martha arrives, insisting on revenge for her dead friends. Mikey is then brutally flogged, and horrifically wounded. The formerly excited townspeople slowly become disgusted and Martha faints at the ghastly display. After 40 lashes, Mikey has collapsed and the whip is soaked with blood. Captain Stanley grabs the whip and throws it at Fletcher, staining his face and suit with blood, who in turn fires Stanley.

Meanwhile, Charlie rides a great distance in search of Arthur, drinking and apparently reflecting on what he will do. Along the way, he encounters an inebriated old man named Jellon Lamb (John Hurt). In the course of conversation, Charlie realizes that Lamb is a bounty hunter in pursuit of the Burns brothers and knocks him out. Later on, after sleeping on a rock bed, Charlie awakes and, before he can gather what's going on, is speared in the chest by a group of Aboriginal men standing over him. Seconds later a gunshot is heard and the head of the man who threw the spear explodes. Charlie then passes out.

Charlie wakes up in the camp of his brother Arthur, which is located in caves among desolate mountains. Arthur's gang consists of Samuel Stoat (Tom Budge), who shot the Aboriginal man who had speared Charlie; a woman named Queenie (Leah Purcell) who tends to Charlie's wound; and a muscular Aboriginal man called Two-Bob (Tom E. Lewis). As he recovers from his wounds, Charlie has several opportunities to kill his brother, but does not. Not too far away from Arthur's camp, Sergeant Lawrence and his men have found and butchered a group of Aborigines. Arthur and Two-Bob find Lawrence's group while they sleep, ostensibly to get a horse for Charlie, and proceed to kill Jacko and Sergeant Lawrence. Before Arthur stomps Lawrence to death with his boot, Lawrence tells Arthur that Charlie has been sent to kill him. While this occurs, Jellon Lamb enters Arthur's camp and ties up Samuel and Charlie, both of whom are sleeping. Without his realizing it, Lamb is shot from behind by the returning Arthur. Arthur then proceeds to begin torturing the still-living Lamb with a knife, but Charlie instead performs a mercy-killing.

Charlie decides that he wants to break out Mikey and informs Arthur. Arthur, Samuel and Charlie ride into town dressed in the clothes taken from the officers Arthur and Two-Bob had killed, pulling behind them Two-Bob, posing as an Aborigine that they've captured. Once at the jail, the men free Mikey, and Charlie and Two-Bob ride off with him. Arthur and Samuel remain to slaughter the two officers inside the jail. The badly injured Mikey, who has never recovered from the flogging, dies in Charlie's arms. As they bury Mikey, Two-Bob tells Charlie that all of this is Charlie's fault: "You should never have left us."

Captain Stanley and Martha, who had become increasingly paranoid as they were ostracized by the townspeople after the flogging, let their guard down to have a peaceful, civilized Christmas dinner. Immediately following their conclusion of grace, Arthur and Samuel shoot open the door and invade their home. Arthur pulls Captain Stanley into the other room and brutally beats him, while Samuel taunts his wife. Arthur then calls Samuel to the room. Samuel drags Martha inside, and Arthur shoots Captain Stanley through the shoulder. As Samuel rapes Martha, Charlie walks in and informs Arthur of Mikey's death; Arthur ignores the news and encourages Charlie to listen to Samuel's beautiful singing. Charlie walks up to the unsuspecting Samuel and shoots him point blank in the head, then shoots Arthur twice, saying afterward, "No more." After this Arthur staggers out of the house. Charlie looks at a gun on the table that could potentially be picked up to shoot him, and then tells Captain Stanley "I want to be with my brother." Charlie leaves the house and follows a trail of blood to find Arthur hunched over on a hill nearby and sits down next to him. Arthur states that Charlie has finally stopped him and asks what he will do now, to no answer, and then slowly dies as his brother watches the blood red sunset of the outback.