Landscape with the Fall of Icarus Pieter Breughel c. 1558; Oil on canvas, mounted on wood, 73.5 x 112 cm; Musees royaux des Beaux-Arts de Belgique, Brussels <Musée des Beaux Arts> About suffering they were never wrong, The Old Masters: how well they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer’s horse Scratches its innocent behind on a tree. In Breughel’s Icarus, for instance: how everything turns away Quite leisurely from the disaster; the plowman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on. W.H. Auden 1940

畢竟大衛(wèi)鮑伊的美貌就會感覺值回票價(jià)，很少見這么蒼白消瘦的luo體，真的感覺白的發(fā)光，女主的身體也好看，總之我lsp了就喜歡這款的

順便其實(shí)這部電影人設(shè)挺有意思的，啊，雖然是我自己理解的有意思，外網(wǎng)有些同人文里塑造的這個(gè)角色很有意思，我推薦對這部電影有興趣的人可以去看看（就是那個(gè)因?yàn)閤x而被墻了的國外最大免費(fèi)同人網(wǎng)站）

順便就我久遠(yuǎn)的看紀(jì)錄片和大衛(wèi)鮑伊自傳小說的模糊記憶來看

寶爺當(dāng)時(shí)精神狀態(tài)有點(diǎn)不太好，導(dǎo)演是看了紀(jì)錄片cracked actor才選他主演的，紀(jì)錄片里蒼白消瘦略微神經(jīng)質(zhì)的真我吸引住了導(dǎo)演，然后導(dǎo)演和他說，你不用演，就做自己就好了，然后寶爺就去了，一邊演戲一邊調(diào)整自己的狀態(tài)，雖然說電影拍完了之后也沒調(diào)整好……ummmm

后來接受采訪的時(shí)候看起來還是微微焦慮的壓抑，但別誤會，寶爺腦子很好，說話條理非常清晰并不會胡言亂語，就是看起來有點(diǎn)壓抑，而且過于瘦了

A male alien disguises himself as a British citizen Thomas Jerome Newton (Bowie, in his first movie role), who crash-lands on earth in hope of transporting water back to his draught-plagued home planet, but in iconoclast Nicolas Roeg’s thrall, THE MAN WHO FELL TO EARTH is much less a heartstring-tugging inter-species tale à la STARMAN (1984) than a rhapsodic welter of total corporeal abandon and existential chaos.

Shot and edited in a desultory but blistering, wired fashion that leaves large portions of elision in its sprawling plot, Mr. Newton is a quick adapter of earthling mannerism and capitalistic canniness, cashes in lucrative patents he immediately accrues masses of fortune and becomes the reclusive wirepuller behind a technology conglomerate, with a figurehead personified by lawyer Mr. Farnsworth (Henry), an implicit gay character whose loyalty is too inflexible for his own good.

While Newton shacks up with an unsophisticated hotel maid Mary-Lou (Clark) in New Mexico, who introduces commonplace human diet to him, booze, church-going and sex, worts and all; a tributary pivots around a skirt-chasing college professor Dr. Nathan Bryce (Torn, in a rapturously predatory mode) merges into the main stream when he is hired as a key technician in fulfilling Newton’s home-returning project, only Bryce soon begins to suspect Newton’s alienness. After revealing his real form to Mary-Lou (which leaves her incontinent and horror-stricken) and leveling with Bryce, a naive Newton is snatched and immured by government agents nearly before his home-returning journey and put under close scientific examination (who tips off the tidings? Bryce or Mary-Lou? We have no clue, maybe Newton is spotted as early as he first emerges, as we glance a suit-attired figure near the commencement).

Marooned on earth and having no means to return to his wife and children, who are languishing on a remote, desert-looking planet, deadly or alive, the television-addicted Newton stays youthful as time wears on, a reunion with an aged Mary-Lou years later blatantly celebrates the film’s most rousing set piece, the “sex and pistol” manifesto in human flesh, copulation and blank gunshots, a heady delirium capturing the epoch’s ethos. A final encounter with Bryce, on the other hand, reveals that earth-stranded Newton might have already assimilated and acculturated to the life as we know it, a sad sack burdened with eternal youth.

An emaciated, auburn-haired Bowie aptly embodies his cult alter ego under pallor, lethargy and an amusing air of self-awareness, his alien comes across as urbane, benevolent, vulnerable, even in front of a dainty Candy Clark, but also strangely disinterested, inscrutable and sexy; Rip Torn and Candy Clark, represent human race’s different sexes, tangibly establish a triangle tie-in with Bowie, though each’s character arc is dismembered and perfunctorily strewn into the scramble which doesn’t go anywhere eventually. When its deadening clamor anticlimactically settles (the foley artists invent a cacophony of noise through the narrative), Roeg’s bash into Sci-Fi sphere is much more self-revealing than horizon-broadening, for what it is worth, it is a hot mess salted with glint of ingenuity.

referential entries: Roeg’s PERFORMANCE (1970, 6.9/10), BAD TIMING (1980, 7.5/10), DON’T LOOK NOW (1973, 8.3/10).

剛才又看了一遍《天外來客》，因?yàn)闆]有現(xiàn)成的可播資源，就是用的百度云。翻譯真的是一言難盡，（ ’ - ’ * )期間還有十分鐘左右給我停字幕了，好在講的不是很難吧……勉強(qiáng)聽懂（如果誰有高清的，或者雙英字幕，麻煩分享，謝謝啦） 這是第二次看，第一次看完只覺得David Bowie太帥了●ｖ● 怎么講呢，本來覺得瑪麗·盧她是個(gè)很悲情的人，喜歡上了一個(gè)不值得去喜歡的人。一開始就覺得湯尼就是個(gè)孩子一樣的人，他會耍脾氣很任性。再看下去，他很善良呀，從來沒有騙過人，且對每一個(gè)人都挺好的。他對那個(gè)科學(xué)家說：“雖然我眼睛不好，但是我還是有很多錢，如果你需要來找我”

愛情這個(gè)感情線還是很完整的，可是其他的線個(gè)人認(rèn)為就不是很好了。 所以我就講講感情線吧。 湯尼肯定是喜歡過她的。最后他把他妻子的戒指（雖然有好多一模一樣的，估計(jì)都當(dāng)了●ｖ●）送給瑪麗，瑪麗試了好幾個(gè)手之后發(fā)現(xiàn)不合適，哭著扔了。 “我不想讓她孤單”第一次看覺得是愛情，后來再看我覺得就是感激這人的存在。就像他第一次見到她，晚上和她道別一直在說謝謝。但是一開始不就是這女的主動的么ヾ(°?°ヾ)^？？？

然后個(gè)人困惑點(diǎn)。是不是司機(jī)亞瑟背叛了湯尼泄露身份？湯尼最后是死了么還是低頭沉思？他眼睛是因?yàn)樽詈竽谴蝬光把他眼睛永遠(yuǎn)停留在人的形態(tài)了么？ 個(gè)人覺得主角是因?yàn)樗寄罴覉@卻留戀地球，有負(fù)于家庭卻向往自由（他對科學(xué)家講過：男人就該呆在家人身邊），所以他該是個(gè)很復(fù)雜的旅客吧，他至始至終都……