No.5 第25届威尼斯电影节获奖名单

国王与国家 King and Country (1964)

Name: 国王与国家 King and Country
Genre: 剧情, 战争
Released: 1964-09-05
Duration: 1 h 23 min
Rating: 7.6
Cast: 德克·博加德 Dirk Bogarde, 汤姆·康特奈 Tom Courtenay, 莱奥·麦凯恩 Leo McKern, 巴里·福斯特 Barry Foster, 彼得·科普利 Peter Copley

导演: 约瑟夫·罗西
编剧: 伊万·琼斯 / John Wilson / J.L. Hodson / 德克·博加德 / A.E. Housman
主演: 德克·博加德 / 汤姆·康特奈 / 莱奥·麦凯恩 / 巴里·福斯特 / 彼得·科普利 / 詹姆斯·维利尔斯 / 杰瑞米·斯宾塞 / Barry Justice / Vivian Matalon / 基思·巴克利 / James Hunter / Larry Taylor
类型: 剧情 / 战争
制片国家/地区: 英国
语言: 英语
上映日期: 1964-09-05(威尼斯电影节) / 1964-12-03(英国)
片长: 83分钟
又名: 吾土吾王 / 国王和国家 / King and Country
IMDb: tt0058263

豆瓣评分

7.6

1569人评价

5星

18.5%

4星

48.2%

3星

29.2%

2星

1.8%

1星

2.4%

好于 39% 战争片

想看看过

评价:

国王与国家的剧情简介 · · · · · ·

　　The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely... (展开全部) 　　The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic.
　　'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices.
　　Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before.
　　This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff.
　　The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world.
　　The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'.
　　This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that.
　　The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War.
　　This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events.
　　This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight.
　　Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.

国王与国家的获奖情况 · · · · · · ( 全部 )

第25届威尼斯电影节
主竞赛单元金狮奖(提名)
约瑟夫·罗西

第25届威尼斯电影节
沃尔皮杯最佳男演员
汤姆·康特奈

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国王与国家的短评 · · · · · · ( 全部 55 条 )

6 有用火娃看过 2017-06-25 17:01:00

7/10。一队夸张的士兵从死马腹中取出老鼠、扔在水中以击石淹死老鼠，长官营内的镜子绑绳割裂开辩护人的脸，他们给犯人酒精和吗啡缓解精神暴力，行刑队故意把枪口抬高由辩护人亲自补上一枪，想起开头战争纪念墙的长镜头切到炮弹落下，代表正义的军事法庭直接否认污泥中那些腐烂尸首生前遭受的动物异化。 @2017-06-25 17:01:00

1 有用 vivi 看过 2022-10-22 23:29:52 广东

看“The Servant”的时候就一直想着Tom Courtenay的“The Dresser”，然后他们果然就合作上了。今天本来是芙芙的生日，现实却像至暗时刻。

1 有用荒也看过 2014-12-19 16:22:46

对牺牲少数服务于多数的政治的控诉。可以说是批判意识最强的罗西电影。因为审判的重头戏，台词和特写都较其他作品大幅度增加。审判之中不断插入士兵们对兵营老鼠的戏虐审判，讽刺和隐喻意味不言自明。关于博加德的演技，在站定后到移动的瞬间，上半身小幅度摆动，可以说其最大特点。《召使》中为极致。

2 有用长袜子看过 2023-03-24 23:44:52 广东

让我想到一年后吕美特的山丘战魂 The Hill (1965)，本质其实都是差不多，靠画面和演员撑起了枯燥的故事，虽然批判层面略有差异但核心直指军营的阴暗面。65

1 有用 OreoEmpanada 看过 2018-12-26 20:29:40

非常受用的一部，没想到Losey的精致优雅放在狭窄幽暗，仅由孤灯或烛火照明的战壕里非但不突兀，反而贴切无比。大爱局促的镜头中那些甚少直接交汇的目光，和透过残垣断壁展开的全景，最终远方的炮火也淹没在连绵的雷雨声里，只留下逝去的战士和无处不在的泥泞。始终无法完全理解的战争，归根到底也只是我们所面对的悖论的一种极端展现吧：为之倾其所有的是生命，而能够付出的全部依旧是终究会失去的生命，仿佛死亡才是唯一一视... 非常受用的一部，没想到Losey的精致优雅放在狭窄幽暗，仅由孤灯或烛火照明的战壕里非但不突兀，反而贴切无比。大爱局促的镜头中那些甚少直接交汇的目光，和透过残垣断壁展开的全景，最终远方的炮火也淹没在连绵的雷雨声里，只留下逝去的战士和无处不在的泥泞。始终无法完全理解的战争，归根到底也只是我们所面对的悖论的一种极端展现吧：为之倾其所有的是生命，而能够付出的全部依旧是终究会失去的生命，仿佛死亡才是唯一一视同仁的奖赏，只是年轻的我们永远来不及整理好自己的行装。 (展开)

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国王与国家的影评 · · · · · · ( 全部 1 条 )

King and Country

We fight, we die, for what? For king and country! Hargreaves: Why did you volunteer? Hamp: King and country. 片名无法不让人联想到欧文的战争诗篇：The old Lie: Dulce et decorum est-Pro patria mori. 片头引用了A.E.豪斯曼的战争诗篇： Here dead we lie, becaus... (展开)