“我坐在窗前，徒然地望著外面，我年復(fù)一年地坐在那里，經(jīng)常有個(gè)聲音對我說，也許下一刻我會(huì)發(fā)瘋，可是我沒有瘋掉，我也不害怕發(fā)瘋，我希望我們離開這骯臟的地方?！?/p>

克萊爾一直款款而談，女歌手則一直吃著餅干聽著，這是他倆在一起僅有的快樂時(shí)光。

1955年出生的匈牙利電影大師貝拉·塔爾，被譽(yù)為“獨(dú)立年代的唯美主義者”。他于1987年執(zhí)導(dǎo)了電影《詛咒》（又譯《天譴》和《煉獄人間》），一如他所有的電影，黑白與長鏡頭沉緩微移的運(yùn)用，厚重、凝思又開闊，把個(gè)看似平靜人的孤絕和悲憫推向灰暗凜冽的極致。

2008年4月2日，貝拉·塔爾來到香港參加《倫敦來客》（2007年）的放映會(huì)。當(dāng)有人問及長鏡頭時(shí)，他說“我喜歡長鏡頭。在現(xiàn)實(shí)生活，你一定要經(jīng)過中間過程才能達(dá)到最后一步。于是，我希望電影時(shí)空，讓觀眾思考一下。長鏡頭在某種程度上也能捕捉到最真實(shí)的生活。”在此，電影語言的圣境，經(jīng)茂瑙、德萊葉和布萊松等電影大師的之手再傳到了貝拉·塔爾的手心。

2004年，我看到了他的“社會(huì)現(xiàn)實(shí)三部曲”之《家庭公寓》、《局外人》和《預(yù)制人生》，2005年看到《鯨魚馬戲團(tuán)》（又譯《殘缺的和聲》2000年）和《詛咒》，2007年終于看到《撒旦探戈》（1993年）。這些電影，這些年都會(huì)如美食般拿出來靜靜品嘗一下，生怕自己一不小心就破壞了它的美味。這真是種奇妙而少有的觀影體驗(yàn)。2012年又看到了他的新作《都靈之馬》（2011年）。對于我來說，看他的電影，是一種人生的恩典，而非只有感傷。

癡迷哲學(xué)的貝拉·塔爾10歲那年，出演了一部電視劇中的角色。16歲，他拍攝了一部反映吉普賽工人的影片，招致當(dāng)局的不滿，繼而被他想入讀的大學(xué)拒之門外，從此，拍電影就成了他唯一突破自身的可能性。早期作品多以紀(jì)錄片為主，寫實(shí)風(fēng)格強(qiáng)烈。22歲，拍攝了第一部真正意義上的電影《家庭公寓》（1977年）。

他一直信奉“電影是表達(dá)靈魂的媒介”，而永不妥協(xié)。他要真實(shí)地表現(xiàn)那些邊緣的人絕望的人。雖然他如此執(zhí)著，但他特別尊重與他合作的人。他說過“電影、劇情和音樂，是完全不同的三種語言，只有恰當(dāng)?shù)娜诤?，才能讓電影本身鮮活、生動(dòng)和自然?！?/p>

因而，他與作家蘭斯洛的合作早已成為影壇佳話，《都靈之馬》的劇情就是在貝拉·塔爾人生低潮時(shí)，二人共同合作的結(jié)晶。他說蘭斯洛點(diǎn)醒了我，讓我重新振作。而電影配樂又起到了錦上添花的烘托作用。一如艾蓮妮·卡蘭德諾和安哲羅普若斯，亦如茲比格涅夫·普賴斯納和基耶斯若夫斯基，米哈伊·維格和貝拉·塔爾的合作，從1985年拍攝的《秋天年鑒》就開始了。

貝拉·塔爾本身就是一個(gè)音樂功底特別深厚的人。他說過“我喜歡把一部電影比喻為一個(gè)管弦樂隊(duì)的和奏，每一個(gè)電影語言單位就像一種樂器”。他既是一個(gè)古典音樂迷，喜歡瓦格納、勃拉姆斯和拉威爾，又特別欣賞五十年代到七十年代的歐美音樂，喜歡史密斯和洛里這樣的流行歌手。恰好維格就擅用節(jié)奏有度的音樂，能準(zhǔn)確無誤地應(yīng)和著他電影中的人生殘缺和深深憂郁。

在《詛咒》中，手風(fēng)琴的悠揚(yáng)和激越，總是滲透著人們的莫明失落感，尤其是克萊爾的靜默和黯然。其中女歌手酒吧所唱的歌曲，磁性而感傷，這是一種融合的美，雖然彌漫著淡淡的哀愁。舞廳中的舞曲，即是三個(gè)手風(fēng)琴演奏者的現(xiàn)場演奏，自始至終和緩而意味深長，配合著畫面上的人群翩翩起舞，也暗合著坐在桌前那些茫然的眼神，還有靠墻打盹入夢的某張臉。從對舞到集體舞再到人去場空，唯獨(dú)老太拿起外套緩緩離開。

一位說過“我死了就不會(huì)和她再見”的小伙，正踏著雨水踢噠獨(dú)舞。維格總是用簡單的配器、電子合成、吉它、手風(fēng)琴、鋼琴直至最終的深沉大提琴低音，帶領(lǐng)我們進(jìn)入到電影所要闡釋的情境。因而，我總有一種久久忘了下咽而一直咀嚼的美妙感覺。這或許就是無以釋懷的一種共鳴吧。

其實(shí)，拍攝該片之前，導(dǎo)演一直籌拍《撒旦探戈》，礙于片子太長，遇到資金問題，正好趁此空檔期趕拍了這部近似《撒旦探戈》的《詛咒》，亦為巨作《撒旦探戈》探好了路徑。值得玩味的是，影片拍攝完成后不久即1989年后，匈牙利政治風(fēng)云突變，蘇聯(lián)和整個(gè)東歐社會(huì)主義陣營解體。從1987年當(dāng)時(shí)的現(xiàn)實(shí)境地，不難看出貝拉·塔松的所思所想。借片中主人公所說的“生活很糟糕，現(xiàn)實(shí)在崩潰”。無疑，這是一部預(yù)言式的電影。單看片中老太引用《圣經(jīng)》中的話，就耐人尋味。貝拉·塔爾本身就是位深具哲學(xué)思維的思想家。雖然他那年他才32歲。

《詛咒》中的主人公克萊爾生活在礦山小鎮(zhèn)，這個(gè)無所事事的中年男人，除了愛坐在窗前凝視窗外，就是喜歡站在隔街靜靜注視著對面的酒吧。野狗是與他相對映的另一晃蕩的行尸走肉。其中幾只狗從雨中酒吧前如飛馬般獵獵而過的場景，特別震撼。雨，即是這部影片的自然注腳，總是來去無蹤，正如克萊爾傾心的酒吧女歌手。恰好女歌手最喜歡雨。

在一次會(huì)面中，她說過“我喜歡雨，它能讓我平靜，我什么也不會(huì)想，只想著雨，因?yàn)檫@兒一切都不穩(wěn)定，我只想著離開這個(gè)小鎮(zhèn)?！庇腥さ氖?，所有二人對話中，一人表達(dá)，一人則必須傾聽，不會(huì)有真正意義上的對話，這讓整個(gè)電影的質(zhì)感極為有序和靜謐，哪怕激烈的爭吵，也是如此。而現(xiàn)實(shí)是，酒吧老板對克萊爾說“你一無所有，只剩下這副軀殼”。于是老板提議讓克萊爾幫他去外地拿批貨，三天時(shí)限，拿回來后，有兩成提成?？巳R爾說“你為何不叫別人”?！拔抑幌霂湍?，我不相信別人?！薄拔乙膊幌嘈艅e人”。足見信任已在這個(gè)社會(huì)淪陷。

當(dāng)女歌手唱起《over and done》這首既銷魂落魄又落寞塵紅的憂傷歌曲，克萊爾的心在流血。他愛著她，卻被她的丈夫塞巴斯蒂安私下警告別勾引我妻子，除非你想被扭斷脖子。克萊爾說你誤會(huì)了。消除所謂誤會(huì)的辦法就是把酒吧老板交待的生意，轉(zhuǎn)讓給這個(gè)吃醋的男人。這個(gè)男人欣然接受。

之后的三天，克萊爾如愿以償，但感情無法持續(xù)，她心比天高。巫山云雨后，她說“我會(huì)在塵霧中看到你疲憊的額頭”，了無牽掛，就此打住，一如她之前斬釘截鐵地拒絕，他的苦苦哀求已變得如喪家之犬，這跟之前他乞求已身處寂寞時(shí)的她有天壤地別，她不缺崇拜者。亦如同舞會(huì)中，她要跟著拿了貨回來的丈夫跳，還得跟她的酒吧老板跳，而克萊爾只能一直冷冷地坐著看。之后，女歌手趁她丈夫酒醉之際，跟著酒吧老板出來上了小車激吻。

有趣的是，每當(dāng)克萊爾悵惘失落之時(shí)，一位神秘的老太總會(huì)出現(xiàn)在他的眼前，然后跟他絮叨一陣形而上的哲思神語，活脫脫的一個(gè)智者。但深處絕望的人，對這些全當(dāng)耳邊風(fēng)，他要報(bào)復(fù)。最好的詛咒辦法，就是走進(jìn)警察局。他報(bào)告了酒吧老板指使人走私的內(nèi)情，他說這是為了社會(huì)的秩序和公義。

出來后，他滿身泥污，孤零零地走在死水一潭的河邊和垃圾場。一條野狗突然竄出對他狂吠，他趴下身子學(xué)著狗樣與之對吠，無奈的狗倒奈他不何，認(rèn)輸般地歪歪頭看著他。他離開了。大雨滂沱，這或是天譴。在煉獄人間，他繼續(xù)走在泥濘又骯臟的曠野上，直至消失。一垛荒丘突兀而立，一如每個(gè)人的終點(diǎn)，一切都該結(jié)束了。

2013、11、27

選自海天出版社出版的影評集《看不見的電影》

一個(gè)矛盾。對虛無真理的迷信（對主角來說是愛，對其他人來說是金錢和所謂的秩序）。

——“我不想離開你，因?yàn)槲覍δ莻€(gè)世界一無所知；而你就是那個(gè)世界，我永遠(yuǎn)都沒辦法懂。

你是對的，你是正確的，而我是真的愛你?！保◥劬褪钳偪竦恼胬淼菇鹱炙?，瘋狂的悖論）

第二個(gè)矛盾。對真理是否虛無的不確定（酒吧老板對他的反駁：“你的問題是你認(rèn)為你和別人之間存在不同。世界有秩序，不能被打亂”）。

最后真理沒了，人也瘋了，朋友的感情也背叛了，其實(shí)或許也早該背叛。

就是沒把自己和世界維系起來，（可能是）沒看出來每個(gè)人，不管如何平凡，都在獨(dú)自跳舞。

長鏡頭美不勝收，沒有一個(gè)瞬間無意義。聲音也是很不錯(cuò)的。纜車和狗，世界無意義的循環(huán)。雨的長鏡頭之后女人第一句話就是她喜歡雨，男主跟她說他如何虐待那個(gè)自殺了的前女友之后女人就和他說“我丈夫馬上就要回來了”，說完了就是惡意的微笑。

主角可能是個(gè)哲學(xué)家。已經(jīng)看出來都靈之馬的痕跡了。不過這個(gè)電影不知道能不能證明這么一個(gè)問題：讀了哲學(xué)之后，只能讓導(dǎo)演的提問更玄乎，而答案無非還是那么幾個(gè)，只跟共同的情感有關(guān)。

就像看著暴雨中的地面一點(diǎn)點(diǎn)擠滿水，牆壁一點(diǎn)點(diǎn)濕透一樣，貝拉塔爾依然用它的鏡頭向我們展示了虛無之感如雨水穿過衣物打濕身體後進(jìn)入我們體內(nèi)。纜車的重複運(yùn)行，人群的重複，繞圈，出口，拯救，我們依然在追尋真理或是虛無的生活中看雨水落下來，在雨中行走，在人群中飲酒舞蹈，試圖尋找一處地方或者一個(gè)人讓我們的目光停留，依戀與，我是一隻雨中的犬。

I was sitting at home, and the sound of the decoration came from upstairs. I could feel the weight of the sawdust falling through the ceiling. The computer is playing Bella Tarr's Damnation, and the man at the bar gets up to leave. The afternoon became very thick, with one second chasing the next and then intertwining. The men hide their faces in the shadow of the brim of their hats. In the background, only the music is still moving. There was thunder outside, and the rain was coming, and my eyes rested on the side of a sad man's face. A drop of rain cracked the French window. Two seconds later, a female voice.

“Készazegész”(over and done)

Damnation

This is Bela Tarr. This is Bela Tarr's movie. One might say it is poetry; one might say it is a philosophical work; one might say it is a tremendous hypnotic; some believe it is spiritual introspection. Maybe Bela Tarr's films have all these characteristics, or maybe they do not. However, that does not deny their existence, so deeply embedded in our world that they attack any numb and blind soul to life. If there is a specific category for Bela Tarr and his film, I would call them cinematic humanists, and sincerity is their motto.

Although the master still has a lot of creative energy and talent, we will likely never see his new work again. Bela Tarr's film The Turin Horse, released in Germany in 2011, became his closing work. His explanation for his behavior was: I already speak all that I need, this is undoubtedly a significant spirit loss for fans, this decision also directly cause some of the dissatisfaction of his fans, of course, we can think of Bela Tarr's retirement in a way is a waste of his talent, but this just once again confirmed Bela Tarr's loyalty to his principle.

When we trace this back to the original, we find that it all comes from Bela Tarr's very essential intention for film, from the coincidence that set him on his path as a filmmaker, from his original intention: understand life itself through the manifestation of the real world.

For understanding Bela Tarr's films, we have to understand his insight about films first. Bela Tarr is a strong supporter of Bazin's theory, and in his films, the long-shot takes up a large proportion. This particular approach to filmmaking points to Bela Tarr's humble attitude toward the object itself. He does not see himself as "the original giant". He sees himself as a "filmmaker who wants to make his film." That is to say, in Bela Tal's creation, the authenticity of the object itself is his creation standard.

He does not distort the simplicity of the material for his particular expressive desire. When his camera focuses on his characters' lives, the cinematic images become an excellent example of the humanitarianism of movies. He does not deliberately emphasize a right or wrong moral idea but faithfully depicts the people and the world as they are, even if they are no beautiful.

This humility and respect for the object is the core of Bela Tarr's film. In his films, we can hardly see any specific emotional output or vast doctrinal propaganda, and this mixed ambiguity is precisely the original appearance of reality. Another example is Bella Taal's attitude towards color in films. His works are mostly black and white; he considered the color black and white are the most purified color, and other colors are fake and insincere.

Some people question Bela Tarr's application of color, questioning that he only pursues a specific artistic effect and gives up the natural appearance we are familiar with, which disrespects the object he was filming. This questioning is due to a misreading of Bela tarr's ideas. If one knows enough about the film's authenticity nature, he/she should realize that every cinematic image is real. Black and white images are reality without color.

When we are aware of its inherent realism, color regenerates in our minds. In the cinematic image, the change of tone pointed to by black and white is exactly the original appearance of the world of light and shadow, which is the calmest and objective world. Bela Tarr captures the essence of this reality with great precision. Therefore, in today's increasingly commercialized film market, we can also appreciate such a film culture directly related to the film's authenticity. This is due to Bela Tarr's humility and respect for his filming object

Another revelation of Bella Taal's cinematic philosophy is his choice of lens. He is best known for his long takes and the use of film sound effects. Bela Tarr regards film as the carrier and container of time in a form, and film as the possible solution of truth and human nature in terms of object.

We can guess that when Bela Tal is shooting, he is in the same state as the audience. They all tried to find the truth that he craved in the movie. This is precisely the vision Shared by almost all realistic directors. They don't look for self-expression; they look for cinematic reproductions. They are eager to reproduce reality on the screen; they are confused and hope to find the film's answer. One might argue that if a film represents reality, then the truth offered by the film is not necessarily much "truther" than reality, so why take the time to make a film? Bela Tarr offers the answer with his cinematic philosophy: time.

Why do people take the trouble to watch realistic movies if they only need to go out into the world to see this world's harshness?

Because of the time, in Bela Tarr's films, time is mostly frozen and sticky. The length of his long-shot is reflected in the slowness of his time. In The Turin Horse, the little girl and her father repeat similar routines and behaviors day after day. The repetition of events points to the solidification of time. In almost all of Bela Tarr's films, we could perceive the solidification and rigidity of the characters' expressions. As our memories are consumed by time, and as the flood of time fades away and is forgotten, Bela Tarr's films solidify into a slow, drawling melody. At last, solidified into a stone, standing in the rush of time.

Perhaps the best example is the take of a walking scene that often appears in Bela Tarr's films. The long march stifled the restlessness of our minds, and a profound silence swept over us. Time seems to disappear because we don't know what will appear in the next second. We know that people are walking, they are still walking, and they will walk. A sense of peace and ease takes over our mind. Some people think this is a form of poetry, maybe this feeling comes from the graceful music itself, but I think this feeling comes from a form of sublime's arrival. When humans finally found a way to resist time at some point, we were ecstatic. Although this effect is necessarily transient, it does not prevent the establishment of a cinematic myth.

Bela Tarr is the narrator of this cinematic myth. Perhaps his quest for truth and humanity is hidden in this stone of time, or perhaps the film The Turin Horse contains the last piece of what he seeks, and he decides to retire after all.

Bela Tarr's sincere vision of cinema brings the eternal power of his cinematic form. Moreover, his experiences eventually become the object of his films, embodied in his film's theme. Bela Tarr's creative career is divided into two stages: the angry youth stage and the mature director stage. In his youth, Bela Tarr was banned from making films for political reasons. Censors have blocked some of his films in Hungary.

The Hungarian Communist authorities also blacklisted him. The significant discrepancy between the Hungarian political establishment's promises and realities also influenced Bela Tal's early creative thinking. This kind of social situation has always been lurking in Bella Taal's films. As Bela Tarr's state of mind and thoughts gradually matured, he got rid of the intuitive influence brought by this social situation. His cinematic images have also shifted from reproductions of a single social phenomenon to descriptions of the human condition as a whole.

However, lurking at the heart of Bella Taar's creation may have been the original contradiction, the political authorities' over-commitment, and under-realism. This set of contradictions eventually morphed into the human contradictions that Bela Tal thought about: the sublime and the reality. In Bela Tarr's films, sublime power is everywhere. In Damnation, the sublime is the old man who symbolizes the prophet, who watches Clare's gradual destruction. In Werckmeister Harmonies Sublime is a dead whale and a prince whose arrival changes everyone in town. In satantango, the sublime is Ilimias, an interloper whose characters in the town see as the savior, and the bell tolls from nowhere as a warning of the coming of Satan. In The Turin Horse, the sublime is the opposite of God, the end of the world.。

For Bela Tarr, these sublime forces were necessary. It is almost written in the gene of his inspiration. However, he believed in Nietzsche and rejected religion. He also claimed that God was dead and that human should be their own God. His films do not contradict his ideas. In the Curse, the symbolic noumenon with the power of prophecy is still human. She also has plenty of sympathies, such as pity for the revelers. In Satantango, Ilimias is nothing more but a shrewd crook. Even though he is a metonymy for Satan, what he did is just seeing through the townspeople's fool nature. His selfish human nature lay bare.

The tendency to drag the sublime back to reality is even more pronounced in Werckmeister Harmonies and The Turin Horse. Instead of focusing on the prince and the whale, the film focuses on the kind of Janos. The film also has two remarkable what. During the first long take of celestial motion, the camera pulls back and rises as Janos speaks in silence. Suddenly a resource of light appeared in the picture as if a sublime force were enveloping the tavern. Only later did the audience realize that it was just another light hanging in the tavern, nothing special. The second one is the famous scene that mob attack the hospital, the man who finally stops the mob appears to be a naked, wizened old man. It was the older man's sublime message of transcendence that scared the mobs away. We know very well under the protection of the sublime; he is still a human being just like the others in the hospital.

Moreover, in The Turin Horse, we do not see any doomsday coming, even though the doomsday prophecy must come from some sublime force. All we could perceive is a dry well, a horse that refuses to walk, a dying wind, and the last sound of silence.

Bela Tarr drags the sublime back to reality, telling us repeatedly that the film's focus should be on the human being itself. So when someone suggests that there is an absolute pessimism in Bela Tarr's work, Bella Tarr counters that. As bad as it may be, Bela Tarr's movies will always have a magic touch. So that the audience, after watching, would gain a kind of courage that helps them keep willing to believe in human beings. Perhaps like Satantango, the lofty death knell ultimately points to an infinite cycle of human failure, repeated in numbness.

The sublime entrance and the curtain call, human numbness, or wakefulness. In any case, this is a human's problem, and we are not entirely wiped out. When Bela Tarr's film exists in our lives as a phenomenon, as a vehicle for the time, it continually reminds us. We will also keep staring at Bela Tarr's world. With him, in the solidity of the long take and the length of the music, find a truth, a fact, and a self-testimony.