Dead Man
片名: | Dead Man |
---|---|
其它片名: | 离魂异客 |
导演: | Jim Jarmusch |
编剧: | Jim Jarmusch |
制片人: | Demetra J. MacBride, Karen Koch |
摄影: | Robby Müller |
美术: | Ted Berner |
声音: | Todd Pfeiffer |
剪辑: | Jay Rabinowitz |
主演: | Johnny Depp, Gary Farmer, Crispin Glover, Lance Henriksen, Michael Wincott, Eugene Byrd |
音乐: | Neil Young |
片长: | 121分钟 |
年份: | 1995年 |
类型: | |
国别: | 美国 德国 日本 |
语言: | 英语 |
格式: | |
制作机构: | Pandora Filmproduktion |
影片概述 . . . . . .
Please...if you think there is no plot and no meaning....visit a few Indian Pueblos, study some American history, read more William Blake. This journey into the fire of hell has the most beautiful and moving ending ever filmed. A train to hell...Have you ever had a dead end job? What is the connection to Nobody? Why is his name Nobody? What happened at the General Store? Why wouldn't the guy sell the Indian (Native American) tobacco? Please reconsider. This movie is not the best ever made, but it doe's have a powerful meaning as it looks into the hell that Native American's were put through. Depp is a messenger. I saw the film six months ago and felt that Depp's performance was superb. I felt that there was a powerful symbolism in the film related to our concepts of life, death, and dying. The ending is the journey into the other world. The questions the film brings up relate to our concepts on premonitions, rebirth, death, life, and dying. Isn't it amazing that a fellow was named William Blake only to be discovered by a man named Nobody? And, after all we put Native American people through, isn't it amazing that someone with the name of Nobody would venture to help a Dead Man, that is one who is sure to become dead. And what of the prophecy, when bullets become words....oh, the meanings may not be clear, but the provocation to thought is at a very extreme level. Joy to all. Live this life and remember, this is a sacred journey. Every step counts!
十九世纪末,来自克利夫兰的小伙子威廉·布雷克,应聘到西部的一家工厂做会计,熟料班没有上成,还稀里糊涂地杀了当地头号人物迪金生先生的儿子,身负重伤的他因此成为了悬赏追拿的逃犯。在逃亡的过程中,他遇到了一个小时候被掠到英国的印第安人Nobody。Nobody误认为这个被通缉的逃犯是他心目中的偶像——诗人威廉·布雷克,于是两个人开始了一起逃亡。Nobody说着一些迷离难懂的话,教布雷克学会西部的规则本片是被独立电影爱好者尊为“美国独立电影宗师”的导演吉姆·贾木许代表作品。贾木许使用了西部片惯用的场景与气氛,全片的黑白摄影与尼尔·扬的音乐使影片更见苍凉。 影片的开头引用法国超现实主义诗人兼画家亨利米素的一句话:最好别和死人一起旅行。对白中也经常会出现一些印第安谚语或先知预言以及诗句等等。影片可谓是一个存在主义的寓言,以简洁而赤裸的手法,反映了人性的绝望。影片没有紧凑的情节或统一的步调,
十九世纪末,来自克利夫兰的小伙子威廉·布雷克,应聘到西部的一家工厂做会计,熟料班没有上成,还稀里糊涂地杀了当地头号人物迪金生先生的儿子,身负重伤的他因此成为了悬赏追拿的逃犯。在逃亡的过程中,他遇到了一个小时候被掠到英国的印第安人Nobody。Nobody误认为这个被通缉的逃犯是他心目中的偶像——诗人威廉·布雷克,于是两个人开始了一起逃亡。Nobody说着一些迷离难懂的话,教布雷克学会西部的规则本片是被独立电影爱好者尊为“美国独立电影宗师”的导演吉姆·贾木许代表作品。贾木许使用了西部片惯用的场景与气氛,全片的黑白摄影与尼尔·扬的音乐使影片更见苍凉。 影片的开头引用法国超现实主义诗人兼画家亨利米素的一句话:最好别和死人一起旅行。对白中也经常会出现一些印第安谚语或先知预言以及诗句等等。影片可谓是一个存在主义的寓言,以简洁而赤裸的手法,反映了人性的绝望。影片没有紧凑的情节或统一的步调,
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