看完《去里斯本的夜車》，和片中的鐵叔一樣對(duì)《文字煉金師》中的描寫(xiě)段落著迷，跟著鐵叔極具磁性的嗓音，邊聽(tīng)邊看就像去遠(yuǎn)方神游了一番，完成了一趟電影旅途后又回到現(xiàn)實(shí)之中。其中有太多精妙優(yōu)美的句子和我自己對(duì)生活的感悟不謀而合，大有被寫(xiě)出心中共鳴之感，于是挑了自己覺(jué)得最值得欣賞品味的語(yǔ)段，摘錄于下，和友人們分享：

（圖文：http://www.douban.com/note/325383183/）


What could, what should be done with all the time that lies ahead of us, open and unshaped, feather-light in its freedom and lead-heavy in its uncertainty?
Is it a wish? Dream-like and nostalgic, to stand once again at that point in life, and be able to take a completely different direction to the one which has made us who we are?



We leave something of ourselves behind when we leave a place; we stay there, even though we go away. And there are things in us that we can find again only by going back there. We travel to our souls when we go to a place that we have covered a stretch of our life, no matter how brief it may have been.
But by traveling to ourselves, we must confront our own loneliness. And isn't it so that everything we do is done out of fear of loneliness. Isn't that why we renounce all the things we'll regret at the end of our life?



Is it ultimately a question of self-image, the determining idea one has made for oneself of what one has to have accomplished and experienced so that one can approve of the life one has lived?
If the certainty befalls us that it will never be achieved this wholeness, we suddenly don't know how to live the time that can no longer be part of the whole life.



The real director of life is accident, a director full of cruelty, compassion and bewitching charm.



The decisive moments of life, when its direction changes forever, are not always marked by loud and shrill dramatics. In truth, the dramatic moments of a life-determining experience are often unbelievable low-key. When it unfolds its revolutionary effect and make sure that life that it revealed in a brand-new light. It does that silently, and in this wonderful silence resides its special nobility.



I would not like to live in a world without cathedrals. I need their beauty
and grandeur against the dirty colors of military uniforms. I love the powerful words of the Bible. I need the force of its poetry. I need it against the decay of language and the dictatorship of worthless slogans.
But there is another world I do not wish to live in. A world in which independent thinking is disparaged, and the finest things we can
experience denounced as sin. A world in which our love is demanded by tyrants, oppressors and assassin. And most absurdly, people are exhorted from the pulpit to forgive these creatures and even to love them.
It is for this reason we cannot just put the Bible aside. We have to throw it away completely, for it speaks only of vain holier-than-thou. In his omnipresent, the Lord observes us day and night. He takes note of our acts and thoughts. But what is a man without secrets? Without thoughts and wishes that he, and he alone, knows? Does the Lord our God
not consider He's stealing our soul with his unbridled curiosity, a soul that should be immortal?
But who would in all seriousness want to be immortal? How boring to know that what happens today, this month, this year, does not matter?
Nothing would count.
No one here knows what it would be like to live eternally. And it's a blessing we never will. One thing I can assure you, it would be hell,
this endless paradise of immortality. It is death and only death, that gives each moment beauty and horror. Only through death is time living thing. Why does the Lord not noticed? Why does He threaten us
with a... endlessness that can only be unbearably desolate?

I would not want to live in a world without cathedrals. I need the luster
of their windows, their cool stillness, their imperious silence. I need the holiness of words, the grandeur of great poetry. But just as much I need the freedom to rebel against everything that is cruel in this world. For the one is nothing without the other. And no one may force me to choose.




Imagination/Intimacy is our last sanctuary.



In youth, we live as if we were immortal. Knowledge of mortality dances around us like a brittle paper ribbon that barely touches our skin. When in life does that change? When does the ribbon tighten until finally it strangles us?

57歲的Gregorius是一名在中學(xué)教拉丁語(yǔ)，希臘語(yǔ)和希伯來(lái)語(yǔ)的語(yǔ)言學(xué)教師，他每天過(guò)著枯燥無(wú)味的生活，生活對(duì)于他來(lái)說(shuō)也沒(méi)有太多的色彩。但就在一個(gè)雷雨交加的早上，他邂逅了一個(gè)試圖想要跳河自殺的紅衣少女，這突如其來(lái)的邂逅竟然讓他放棄了原本的生活，踏上了開(kāi)往里斯本的列車，開(kāi)始了一段審視靈魂的旅程。

百轉(zhuǎn)千回的述說(shuō)著每一個(gè)內(nèi)心隱秘的渴望-釋放靈魂。

起初，以為可能是在描述一個(gè)現(xiàn)實(shí)生活中的壓抑，然后，認(rèn)為借由一本書(shū)中浪漫哲學(xué)的文字，說(shuō)出過(guò)去時(shí)光的旁白，后來(lái)，開(kāi)始了一段有點(diǎn)點(diǎn)執(zhí)意的追尋，帶著些命運(yùn)和反抗，心靈被卷入一個(gè)陌生國(guó)度的黑暗歷史中，再后來(lái)，在那些充滿勇氣的過(guò)去選擇中，去反思人生的意義與當(dāng)下的虛無(wú)，最后，在多年之后，去的去，留的留，死的死，生的生，還能在回憶的文字或口述中，一切都那么值得。因?yàn)槲覀冊(cè)?jīng)不顧一切選擇離開(kāi)創(chuàng)造新生活，也曾因?yàn)闊o(wú)法承受對(duì)方靈魂之重而分別，生活如此瘋狂，所以，生命如此值得。

“我們會(huì)留下一部分的自己，當(dāng)我們離開(kāi)一個(gè)地方的時(shí)候。有些在心里的東西，唯有重游舊地，方可再次相聚。我們?cè)谔剿髯晕业臅r(shí)候，會(huì)前往某處生活，即使只是短暫的停泊?！痹?shī)一樣的對(duì)白，夢(mèng)中的里斯本，輕輕敲醒茫然與膽怯，這是一部十年以后會(huì)更加感動(dòng)的片子。

影片是蠻哲理的，片中大段的引用原著作中的精辟的詞句。真是需要反復(fù)咀嚼咀嚼，才能有所感悟的。影院里，聽(tīng)個(gè)一遍是很難領(lǐng)會(huì)的。這也是影片本身的一種局限性，導(dǎo)演沒(méi)做好也是可以理解。給個(gè)4星也就不算過(guò)分了。

影片通過(guò)男主角教師Raimund的偶然獲得了限量版書(shū)開(kāi)始(發(fā)行總量100本)。他被作者帥哥Amadeu(簡(jiǎn)稱A男)的書(shū)所吸引。開(kāi)始抽絲剝繭般的調(diào)查，也把一個(gè)離奇的愛(ài)情故事給展現(xiàn)了出來(lái)。

當(dāng)然看完片后，會(huì)覺(jué)得這場(chǎng)轟轟烈烈的愛(ài)情是如何如何的可歌可泣。但讓我們分析一下人物關(guān)系，又不得不讓我倒吸一口冷氣。

4角關(guān)系中的中心人物， 革命女青年Estefania(簡(jiǎn)稱E女)，貌美如花，有著超人的記憶能力，過(guò)目不忘。年輕時(shí)，因?yàn)樾枰Ｗo(hù)，嫁給了Joao(原配夫妻)。
Joao看似粗糙些，但他在被捕之前的那段優(yōu)美的鋼琴曲演奏，實(shí)在是讓人刮目相看。他身材挺結(jié)實(shí)，與妻子E女也有了孩子，相信他不會(huì)是性功能障礙的廢人吧?

情人1號(hào):Jorge O'Kelly，帥哥Amadeu的同學(xué)，大約比A男年長(zhǎng)2歲。被E女深深吸引，直接就成了E女的小三。毫不知廉恥的，當(dāng)著她丈夫Joao的面，對(duì)E女動(dòng)手動(dòng)腳的。這Joao倒也真是縮頭烏龜，被戴上的綠帽子，卻也毫無(wú)脾氣，這算是哪門(mén)子革命夫妻嘛?!

情人2號(hào): 帥哥Amadeu(A男)，絕對(duì)的高富帥。老爸是法官，在當(dāng)?shù)刈顕?yán)格的教會(huì)學(xué)校就讀，以優(yōu)異成績(jī)跳了兩級(jí)，進(jìn)入高班，與Jorge成為好朋友。畢業(yè)后，分別成為了持牌醫(yī)師和藥店老板(藥劑師，A男買(mǎi)下藥店后，送給了Jorge)。

當(dāng)E女第一次遇到A男，就愛(ài)上了。她比Jorge更不要臉，當(dāng)著丈夫Joao還有小三Jorge的面，就把魔爪伸向了純情無(wú)比的A男。 未經(jīng)人事的A男(估計(jì)還是個(gè)雛)，哪里經(jīng)受得住這樣美色的誘惑。為民服務(wù)的診所，也被E女一次又一次的闖入，成為了兩人幽會(huì)的場(chǎng)所。A男徹底迷失了自我，甘心情愿的成為了情場(chǎng)老手E女的第三個(gè)獵物。

E女成為了這場(chǎng)不光彩的狗血戀情的中心。與丈夫保持良好的關(guān)系，為他生了孩子，照料家務(wù)的同時(shí)，半公開(kāi)的保持著與小三Jorge的不正當(dāng)性關(guān)系。也絲毫不影響與A男的秘密交往。這樣錯(cuò)綜復(fù)雜的4角關(guān)系，三個(gè)優(yōu)秀的男人被E女玩弄于股掌之間。 當(dāng)革命出現(xiàn)危機(jī)時(shí)，E女毅然拋下了丈夫和小三，逃入小四的豪宅內(nèi)尋求庇護(hù)。小三為了革命的成功聯(lián)合E女的丈夫，決心大義滅親，而小四卻已死相拼，PK掉了小三，又冒死罪闖關(guān)成功。滿心期望新生活的高富帥A男，在車?yán)锴樯钜忾L(zhǎng)的向E女描繪著未來(lái)幸福的兩人生活后，而E女冷冷的回了一句，“這是你要的生活，你就把我當(dāng)老婆就完了嘛？這不是我要的生活啊”?？蓱z的A男，瞬間淚奔... ...

E女，還真是奇葩啊，毀了3個(gè)男人的一輩子。 A男血管瘤，英年早逝。另兩個(gè)，終身未娶，一個(gè)長(zhǎng)期住院，另一個(gè)以下棋打發(fā)時(shí)間。當(dāng)男主找上門(mén)時(shí)，E女風(fēng)姿猶存，緊身褲外穿條超短裙，坐在沙發(fā)上侃侃而談時(shí)，我真想一唾沫上去，我呸你這不要臉的東西... ...




......純娛樂(lè)，別當(dāng)真啊...

我一向?qū)F族+女性+革命+愛(ài)情+歷史的電影著迷，這部里斯本的夜車就是如此。一位瑞士中年教師，因?yàn)橐徊课膶W(xué)作品而前往里斯本尋找作者生平，因而掀開(kāi)了一位高富帥走向民主左翼并加入反對(duì)派支持革命的心路與生命歷程，一生如畫(huà)卷般展開(kāi)與凋謝。

這部電影的畫(huà)面，囊括了南歐燦爛的大海、陽(yáng)光和里斯本蜿蜒的風(fēng)光。而且音樂(lè)動(dòng)人，明星云集，譬如蘭普林扮演的年老的安德林娜，即使是本場(chǎng)龍?zhí)椎腟arah Spale-Buhlmann，也是這么迷人優(yōu)雅，還有當(dāng)紅的Mélanie Laurent。

當(dāng)然，電影的主角還是越老越性感的杰瑞米·艾恩斯，這位生活非常boring的教師因?yàn)闆_動(dòng)而走進(jìn)里斯本，追尋到別人故事的精彩，自己的旅程卻。。。。

【里斯本夜車】改編自 Pascal Mercier 的同名原著，寫(xiě)一位踏入暮年的教授，因?yàn)橐晃簧衩氐募t衣女郎和一本書(shū)，毅然拋下熟悉的生活，到里斯本追尋書(shū)本作者的下落。在旅途上，老教授不單了解到那位作者的過(guò)去，更明白到自己過(guò)往的生活如何單調(diào)乏味?？墒?，他會(huì)否有勇氣將這個(gè)短暫的旅程延續(xù)下去？

看電影的時(shí)候，頗能感受到編導(dǎo)的用心。他們?yōu)楣适绿砑恿瞬簧偕衩貧庀?，又嘗試將老教授的旅程，與書(shū)本作者的過(guò)去扣上關(guān)係，交替在銀幕上呈現(xiàn)，無(wú)奈最終出來(lái)的效果依然是差強(qiáng)人意。首先，現(xiàn)在與過(guò)去那兩條線，關(guān)係薄弱至極；硬要加句：「知道他的經(jīng)歷，才明白到自己的人生是多麼的蒼白」，讓栗哭笑不得；其次，原著的佳句摘錄，在電影中所起的作用幾近無(wú)──單聽(tīng)又不及看動(dòng)人，而事後回望，所選的句子其實(shí)跟所說(shuō)的故事，完全沾不上邊。不錯(cuò)，片首拍得富有電影感，可是栗又忍不住想，如果沒(méi)看過(guò)原著，會(huì)否覺(jué)得故事奇怪呢？

一向不同情那些眼高手底的編導(dǎo)，但今次的失敗，除了因?yàn)榫帉?dǎo)未夠功力以外，還因?yàn)樵菍凫恫灰伺某呻娪爸?。其?shí)以現(xiàn)在那個(gè)劇本框架去寫(xiě)另一個(gè)故事，效果應(yīng)該不俗。但若是將原著改至面目全非，又何必要硬與它扯上關(guān)係呢？不過(guò)，書(shū)與電影的交纏，就跟別人的家事一樣，我們這些小觀眾無(wú)從置喙！