控制的极限

这是一部反现代化的电影。黑人主人公崇尚东方的太极，不喜欢用手机，用吉他弦作为凶器，永远住在破旧的老房子里，火柴盒是他和同伴联络的媒介。最后，主人公杀死了那个自诩控制了世界的冰冷而森严的大人物，似乎宣告了反抗力量依然存在，以及对现代化的质疑。
音乐，电影，科学，和幻觉分段出现，被描述成一种与这个世界更本质的联系。主人公在漫长的蓄力，以期待最后一击。
这是一个类似于放弃理解真实世界的可能性，并寻求虚无的想象力统治世界的过程。所有的对话是电影的中心，多次出现了被布包住的画，生命是尘土，而世界是不可知的。只有想象力才能自我拯救。
最后，认为能控制世界固然是一种很愚蠢的思路，但认为能够夺回这种控制权同样的简单粗暴，哪怕有虚无主义做武器。
从完全控制到无可控制，现代化只是一个牺牲品，再一次证明了我们的无知。
被虚无主义征服了的现代化，就是后现代。

《控制的极限》才是原意的合适翻译

与其说片子整体在虚幻和现实交织 不如说整个片子都是落在虚幻的时间或臆想的空间

是思想的争斗或生活的选择
主角的两杯咖啡表现着 主角对争论结果确定的渴望 但是每当有人想要喝另一杯咖啡 总是被主角的态度制止了 说明他还不能接受这样的观点 他还要继续争斗哪个才是正确的

最终的杀人任务 是一个强迫的结果 是一个现实 不管你的选择有多么艰难 现实生活过程中你必须选择一个方向 否则你只能停步不前

结尾不表明哪个选择占了上风 只是表明无论多艰难的选择 你还是一定要选择 不断的衡量和思想争斗在行动面前显得并不是最重要了 选择了你才能向前走 才知道到底是对是错 和行动相比较 思想争论和结果的对错都显得微不足道了 主角最后脱下正装 换上便装 也是这种情绪解脱一种表现

片子的主题表现大概是生命中的一种常态现象 控制的极限就是要突破这种仅是停留在思想争论控制阶段 只有行动才是能让生命继续前进的真实动力 生命的意义在于实践的过程

这点主题导演倒是做到了 不过表现的手法上显得有些生硬和单调 荒诞的情节和对话只是想表现思想斗争的复杂 这点让我觉得满遗憾的

而是还没玩够。整个电影很简单，讲的就是艺术与现实的对抗。在最后艺术居然如此轻巧地战胜了现实，既不符合实际，也显得过于乐观。略显做作的是，贾木许过于死板地让每个与主角见面的线人在见到主角之后都要说一段与艺术有关的话，这些段落一两次尚可，越到后面越感觉别扭，有没话找话的感觉。不禁让人疑问，贾木许凭什么认为在这样的情境下将话题猛地转换到艺术并开始自说自话是很自然的呢？当然，也许他就是为了做得不自然。 然而，主角观看弹吉他跳舞唱歌的桥段仍然值得回味。而在最后，主角在与现实的角力中获胜之后，再回到艺术馆，这才可以真正悠闲地观看一幅白布做成的艺术品。这样的场景虽然过于乐观，但也确实让人欣慰。

一个杀手，或许根本不是杀手的一个人的一次内心净化之旅。音乐，电影，性欲，科学，药品都是诱惑，而现实是丑恶的，最后“杀手”运用“imagination”杀死了作为“现实” 的黑帮老大。

看过ghost dog 的人能更加理解这个电影，从很长时间起，jarmusch开始关注内心，ghost dog和现在说的‘控制的极限’都表达他对东方哲学的一种理解，即物质是虚幻的，完成内心的修炼就可以改变整个世界，杀手完成了内心的修炼，脱下工作服换上轻松的运动装完成涅槃。

所谓控制的极限，控制的极限便是控制内心。

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May 1, 2009


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FILM OF THE WEEK (AND INTERVIEW): The Limits of Control
Jim Jarmusch, THE LIMITS OF CONTROL Who knew that a Jim Jarmusch film could be the most divisive of the year thus far? I'm not ready to address The Limits of Control and all the knee-jerk, unconstructive naysayings I've read that don't actually engage with what the film is or how it does (or doesn't) work, at least until I see it a second time, since I was too mesmerized by the experience to take many notes. In lieu of that, I present to you the extended version of an interview I did with Jarmusch for IFC.com, the first part of which can be found here.

GREENCINE DAILY: Wong Kar-Wai once told me that when working with cinematographer Christopher Doyle, they share a largely unspoken, instinctual shorthand with one another. Was your relationship with Doyle similar?

JIM JARMUSCH: We were more the opposite, man. We talked and talked and talked incessantly. When I was preparing, he would come to New York for a week and a half at a time, maybe three times. We spent every day together for eight hours, just talking about the film, not about the film, about things we saw on the street, about photographs Chris had taken, looking at unrelated things, and listening to music. I've known Chris quite a long time, 12 or 15 years. I love just talking to him about anything. He's very quick, so sometimes he'll say things to me, philosophical things we're discussing that I don't understand what his point is, and then a few days later when I'm not with him, I'll be thinking it over and be like, "Oh! I see what he meant." I don't know if I'm just slow, or if his ideas are hard to enter sometimes.

Isaach De Bankolé, THE LIMITS OF CONTROL Speaking of music, I'm a big Boris fan, who is all over the soundtrack. I read that you had already planned to fill the film with this conceptual Japanese noise-rock while still sketching it out. What's your process of matching image to music?

When I'm writing or trying to think up an idea for a film, I hone in on music that seems to open up my imagination for that particular world in my head. That happens very early over and over, like Neil Young for Dead Man, or [for Ghost Dog,] RZA's beats and instrumental tracks on the B-sides of vinyl Wu-Tang stuff I was collecting. Or Mulatu Astatge in Broken Flowers was inspiring me, and I was like, "How the hell do I get Ethiopian music in a film about a guy in the suburbs?" So then it led me to have Jeffrey Wright's character be of Ethiopian origin. In this case, it was Boris and Sunn 0))), and that electric feedback-y soundscape stuff they make that I love so much. Those things came very early, while I was even just writing the 25-page treatment—well, it was more like a prose short story that we started from. So they were sort of in a little boat I was in, going down the river. I had them inspiring me. Then I got Earth in the movie and a lot of great stuff. I love the Black Angels, but I only used a little instrumental piece at the end of their song, "You on the Run." Anyway, those things were there very early, but the music always leads me. That's always happened.

Tilda Swinton, on the set of THE LIMITS OF CONTROLI stay abreast of new music by geeking out on music blogs, but how do you find all this cool music? Do you still go to a lot of record stores, or do friends keep you tuned in to new artists?

I'm not a Web guy because I don't have a computer, although I often ask people to look stuff up for me. I don't know, it's sort of a general antenna because I love music. You know, there are music stores that in the past I depended on a lot, like Final Vinyl, that used to be great to order things anywhere in the world that were in print, or what's his name, that little shop on Bowery just south of 8th street. Damn, I love that guy. He's always been really cool. There's Other Music, and in New Paltz, there's Rhino Records that is really run unlike any kind of Rhino chain—the guy there, Rick, is amazing. Those record stores are important, but they've been less so for me recently, maybe because I haven't stopped in very much. I always read the British music press, and I try to listen to what underground radio exists, or college-type radio. I'm just always scanning, and I've always been that way, like, music, music, music. I love to get playlists off of [Jersey City's] WFMU or WVKR in Poughkeepsie—Vassar has a good radio station. WFUV has a good morning show in New York, and there's some underground hip-hop shows on WKCR, the Columbia station. There's the beautiful Sunday morning country shows that I listen to, classic country.

I love radio, and I love finding things randomly. Like, I don't have TiVO for TV because I keep thinking, "Well, then I'll just program everything and I won't scan," and scanning is when you find things you weren't expecting. Not that TV isn't, for the most part, a big wasteland of garbage. But you do learn things if you scan around, more than if you have a programmed idea of what you're going to watch. I don't watch that much TV. I watch Turner Classic Movies, science shows and Antiques Roadshow, you know this one? I love Antiques Roadshow. I have this thing I always imagine. Okay, they think suddenly, they have some vase and it's worth $8,000, you know? I always equate it to: what kind of a used car could they buy with it? [Jarmusch makes a sad horn noise] "You can buy a 1986 Honda Civic!" I don't know why I do that... I'm going off in stupid places.

Bill Murray, surrogate Dick Cheney No, I appreciate it. Now, I know why Bill Murray is so great in your films, but what's so great about working with him? In the press notes for this film, you mentioned that you two liked to "talk around the character."

Yeah, we like to talk about it in the past. What's really fascinating about Bill is that, since I've known him, his procedure is always evolving. When I first worked with him in Coffee and Cigarettes, he wanted to pretty much improvise everything, and he didn't want to talk about it or rehearse it. Then with Broken Flowers, no rehearsing, no specifics, but we would take long, long walks for hours at a time, and talk about things that eventually affected our idea of that character. I thought he would improvise a lot, and he said, "I want to stick close to the script." Then in this film, he said, "I want to rehearse, and I want to do the dialogue as written. I don't want to add anything." So that was even a different step. He's just an interesting work in progress. I'm always a little surprised, like, "How does he want to approach it this time?"

That's fun, and I learn a lot from Bill about a lot of things, especially human nature. His capacity to observe and feel what people are feeling, even strangers, is uncanny. I've seen him numerous times run out of his way to help somebody try to get something out of the trunk of their car, or help with their luggage at the airport, or in a restaurant, talk to someone he doesn't even know that looks sort of down. He'll go over and respond to that: "Hey, the world hasn't ended yet, what's going on?" Amazing. He's really observant with compassion, so I love to just hang out with Bill and see how he's going to react to what we encounter in the world. I learn more from that, maybe, than anything specifically about acting, preparing or filmmaking, because it's all intertwined in the end. I really liked having him play somebody with not an ounce of humor this time, which might be frustrating for people's expectations. I don't know, that's not my problem. I choose the actors I want for the best collaboration to create something, and I really liked him being nasty and condescending. Every fucking school principal or authority figure I've ever had in my life has always, at some point, said, "You just don't understand how the world really works." Hearing Bill's character say those lines for me, I don't know. I certainly heard that a lot in my life.

The Limits of Control opens today in New York and Los Angeles, then expands to more cities beginning May 8. For more information, visit the official website.

这是吉姆·贾木许对于创作本体论的一个自我表达。是他的一个梦。因为他在影片中说，一部好的电影跟梦是分不开的。这会让人想起梦的解析家费里尼说的，“梦的象征意味是跟电影密不可分的。”当习惯了黑白摄影的贾木许去到西班牙，决定往他的赛璐珞上泼洒绚丽的色彩时，他必然是小心翼翼的，在让颜色丰富他的梦境的同时，又让它变得异常简单。作为贾木许的一个关键作品，《控制的极限》实际上保持着一种活跃的简单性，主题上的阐述也尽力向电影这一门艺术的本质靠拢，因此它是纯粹的，像诗歌，像音乐。贾木许不是讲得太多，从而让观众变得不耐烦，而是说得过于易懂，使得他的读者惊异，甚至质疑，这会不会是那个拍摄了《离魂异客》的作者最不应该拿出手的作品。它的经典有赖于从一个全景式的视角审视他的电影：缺少了它，他的电影不会因此模糊，但有它的存在，托起贾木许电影的那一套自足的美学会像岩石一样更加坚实。