天外来客1976

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).

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 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

这可能是罗伊格最好的电影，它带有一种独特的、在他的另外作品中缺乏的美国气质：一种近乎朴素的自我意识，一种不被文本绑架的自由度——甚至可以说，一种民主。惠特曼最先描述了这些气质；如同惠特曼的作品，这部电影几乎会唤起我们的乡愁，尽管我们并未离开什么地方（这使我想起有一篇关于大卫 · 林奇的文章写道，看他的电影就像体验失去我们从未拥有过的事物）。地球就是这样的世界，一个有着浮士德式力量的符号帝国，外星人通过电视和广播遥望着它并被打动——完全是这样，因为它的表象就是它最深刻的内涵。这些内涵事实上如此深刻，以至于当我们思考它时我们会像Newton那样几乎精神错乱，但随即却奇异地坚定了活下去的欲望。日本元素尤其象征着Newton在地球上不能理解却奇异地被其吸引（cf. 他造的房子）的这一切，也就是人类文明本质中的超现实性。作为电影来看，罗伊格有时近乎病态（我是说MV化）的英国式花哨镜头风格被惠特曼气质调和成崭新的事物，现在来看仍然几乎从不流于庸俗，或因为强有力的语境而不会显得流于庸俗（cf. 戈达尔电影中不可之间戈达尔化的那些元素，比如说风景）；在其他作品中呈现为怪癖的导演习惯，例如喜爱闲笔刻画“反面人物”天真无辜的家庭生活，还有时而很严重、也许可以被称为博尔赫斯—爱伦·坡病（片中有一个侍者确实非常像坡）的夸张手法，在这里似乎并不突兀，甚至带来了某种罗伯特 · 奥特曼式的温暖。相比之下，Bad Timing几乎具备完全同样的元素，却是一部完全失败、不可救药的电影。当然，仍然存在一些过分愚蠢的片段需要剪除；虽然我确实极为欣赏（如果不是沉迷于）David Bowie的裸体，但床上开枪那一大段胡闹还是不要这么长为好。罗伊格的电影充满了听觉引文，其依赖音乐的程度或许开塔伦蒂诺之先河（待考证）。在此方面，他（总体而言）品味粗糙，但达到的效果时而奇妙地准确；不过，他从来不在意场景间音乐的连接——肯定也是因为他的作品不可预测的剪辑方式阻止了与配乐家更紧密流畅的合作——这让我相当痛苦。这大概不重要。这是一部美好的电影；它还有一个童话般的结尾，而且，Bowie戴着那顶帽子看上去是如此美妙。

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看评论多是差评，第一次写点东西：

越思考越觉得有意思…给我整睡不着了……女主没办法和汤米本来的样子doi，但在后来他穿上人皮后两人做得很开心，就有一种悲剧感在里面…两人爱恨纠缠的关系通过枪和空弹和sex来体现，在这看似很嗨又很悲的doi结束后，是戒指戴不上去的隐喻…

玛丽卢又天真又渴望冒险和有趣，她天真地觉得只要汤米暴露本来面目就能离开囚禁室了，在她发现汤米的局限性（或者说不像她幻想中那样厉害和特别，并让她的生活也特别后）突然选择离开他…女主的性格真是很有意思，在她开头陪了汤米一晚上，离开的时候导演就交代了她对于冒险的追逐，听见汤米是traveler眼睛就发亮了。所以她建议男主好好享受地球的一切叫他别回去，又在男主无法抗争时突然放弃他……人性啊太现实了…

汤米呢，一个充满矛盾的脆弱的外星人，想回去救他的妻儿但是又情不自禁地留恋地球，被囚禁起来就像所有普通人类一样只能望着天空…

短评都说喜欢手枪那段，我最喜欢的还是这一段安静的唯美的绝望的不成功doi：他摘掉人皮后一动不动地躺在床上那段太打动我了…他花了多大勇气剖开自己啊，好像在等玛丽的审判…玛丽也很勇敢地尝试抚摸他了，但最后还是做不到……

还有关于tv和radio的讨论，tv已经说的很清楚了，tv不告诉人们任何事情只是向宇宙招手。radio呢，最后汤米回不去，出了专辑说希望妻子（在外星也能听）通过radio听见他的歌…科学家说是的人们现在在哪都能听radio……radio看似连接了人们但实际上人们没法接触

还有男主最后对于科学家的嘲讽，他说你是科学家所以如果你去到我们的星球被这样对待了一定会有办法的…哇，这个讽刺又有礼貌又很一针见血，能对应上很多现实里站在道德制高点指责别人的人咧…而且我怀疑他知道科学家和玛丽在一起………真精彩，真精彩啊

刚才又看了一遍《天外来客》，因为没有现成的可播资源，就是用的百度云。翻译真的是一言难尽，（ ’ - ’ * )期间还有十分钟左右给我停字幕了，好在讲的不是很难吧……勉强听懂（如果谁有高清的，或者双英字幕，麻烦分享，谢谢啦） 这是第二次看，第一次看完只觉得David Bowie太帅了●ｖ● 怎么讲呢，本来觉得玛丽·卢她是个很悲情的人，喜欢上了一个不值得去喜欢的人。一开始就觉得汤尼就是个孩子一样的人，他会耍脾气很任性。再看下去，他很善良呀，从来没有骗过人，且对每一个人都挺好的。他对那个科学家说：“虽然我眼睛不好，但是我还是有很多钱，如果你需要来找我”

爱情这个感情线还是很完整的，可是其他的线个人认为就不是很好了。 所以我就讲讲感情线吧。 汤尼肯定是喜欢过她的。最后他把他妻子的戒指（虽然有好多一模一样的，估计都当了●ｖ●）送给玛丽，玛丽试了好几个手之后发现不合适，哭着扔了。 “我不想让她孤单”第一次看觉得是爱情，后来再看我觉得就是感激这人的存在。就像他第一次见到她，晚上和她道别一直在说谢谢。但是一开始不就是这女的主动的么ヾ(°ｰ°ヾ)^？？？

然后个人困惑点。是不是司机亚瑟背叛了汤尼泄露身份？汤尼最后是死了么还是低头沉思？他眼睛是因为最后那次x光把他眼睛永远停留在人的形态了么？ 个人觉得主角是因为思念家园却留恋地球，有负于家庭却向往自由（他对科学家讲过：男人就该呆在家人身边），所以他该是个很复杂的旅客吧，他至始至终都……

看了几个关于该片的评论，全是驴唇不对马嘴，对影片分析完全没有穿透力，对看影片的人是否用心存疑，莫非“豆瓣”是个儿童网站？但这无关紧要。
这片子套着科幻外衣，其实是个伤感的故事，很中国。
分析该片实质，有几个关键词，作为市场的世界，遭到背叛的友情，演变成生理性需要的爱情，当然最后，一个没有随地球规律而改变的面孔，怀念着另一个世界里，充满温情的故园的心灵。
如果我说的不是影片真实表达的，我愿意被遭到我批判的受害者们燃起热情的火炬，把我烧死，我还会在火中大喊：“让火焰来得更猛烈些吧！”

"I want to go home…I want to go home… Please don't do, you don't understand… Mary Lou!Help me!Don't! No…no! It's stuck…It's stuck. I'll never get'em off. " 孤独、迷惘、又迷人。 他不属于这个世界，他与所有人相异。 借用《Carol》里的一句话："My angel. Flung out of space. "我的天使，飘渺宇宙，天使逡巡。 剪辑真的挺意识流的哈哈哈，细枝末节多，为了大家宝贵的时间，非宝爷粉或者科幻粉我稍稍拦你们一下。 其实我更希望影片在宝爷出逃，拐进小巷里就结束；亦或是在那个圣诞节之夜就戛然而止。 PS:看了139分钟未删减版，宝爷那么多赤裸镜头给我吓傻了…感觉让我看宝爷的裸体是对他的亵渎了_(:з」∠)_