God's Lonely Man
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这篇影评可能有剧透
Loneliness has followed my whole life, everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man.
一辆黄色的出租车缓缓穿过氤氲的下水井,接近两个小时的孤独之旅就此拉开帷幕。
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大特写下Travis微蹙着眉,泛着些许不安与迷失的双眼,配合着贯穿整部电影具有催眠效果的main theme,而后一段出租车司机视角的POV,那句all the animals come out的纽约的夜被展现的淋漓尽致。
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“孤独的人有他们自己的泥淖”。
Travis的孤独正如Betsy所引的那句歌词,partly truth, partly fiction, a walking contradiction,他是“与世隔绝”的,与同一圈子的其他司机始终保持距离;也不喜欢被任意一种名词所定义,killer、copper的绰号都会令Travis生厌;甚至与自己也格格不入,厌恶着周遭的污秽同时寄情于dirty movies,用烈酒而非牛奶浇灌面包。
而所谓泥淖,即是一种愈想挣脱反而陷得越深,欲罢不能的状态。Travis写日记时多次被情绪所“催眠“便是“沉醉”于泥淖的表现,而这也贯穿着整部电影。
They... cannot... touch ... her. 远观“洛水仙子”,Travis被Betsy天使般的素雅深深催眠。
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You’re only... as healthy... as... you... feel. 过于浓郁令人反胃的花香营造出爱而不得的物极必反。
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沉浸在初见Betsy后的美妙,Travis在车上偶遇Palantine时表现得爱屋及乌;被Betsy彻底拒绝后,Travis的“恨”由对个人上升到整个女性群体。而这种浮动的“情随事迁”也是感性孤独者的“通病”。
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在尝试将Betsy从工作中“解放”失败后,Travis在孤独与愤恨中萌芽出杀死“控制”Betsy的Palantine的念头。德尼罗对着镜子这段经典的improv,像是另一个世界对镜而舞的阿飞,镜中的自己成了孤独患者最好的陪伴。而这段“对话”和Travis与Betsy的第一次约会中的两句如出一辙,也是Travis将残存回忆转化成愤恨的写照。
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Listen, you fuckers, you screwheads. Here is a man who would not take it anymore. A man who stood up against the scum, the cunts, the dogs, the filth, the shit. Here is someone who stood up. 呓语般的宣誓后,电影的高潮便浓缩在日记本上Here is后面的省略号中。
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刺杀Palantine失败后,Travis利用对着镜子练习已久的枪法清理了Sports等一众污秽,完成了“解放”Iris的“使命”。在这组上帝视角的长镜头下,Travis瘫在沙发上,享受着杀戮饕餮的余味,也终于获得了从泥淖中短暂挣脱的释怀与平静。
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All my life needed was a sense of some place to go. 孤独与对周遭污秽的愤怒很好的诠释了Travis对异性的迷恋。孤独驱使他想从异性身上寻找到一份寄托,而对周遭的不满则让Travis抱有“英雄救美”的“使命”心态去跟异性交往。而整个电影的故事线似乎也是围绕这一举动:试图将Betsy从繁杂的工作中“解救”失败 -> 试图从源头上杀死控制Betsy的Palantine失败 -> 将Iris从周遭的污秽中救出 -> “功成名就”,与Betsy重逢。“解救”之所以带引号,是因为所谓的“救”的想法来自Travis的世界,属于孤独的空想,而Betsy与Iris也都表示了自己对现状满意的态度。除此外,与Iris的dating也好似与Betsy的镜像,一切都是那么的似曾相识。
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电影的结尾是浪漫而现实的。与Betsy如梦般短暂的“邂逅”后,Travis在后视镜慌张的避开自己的双眸,一组与电影伊始相仿的POV出现了,而这一切仿佛如一个循环,Travis也会继续在孤独、愤怒、挣扎的循环中踽踽独行,寻找属于他的那份归属。
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