"It's tiring! But you won 6 points in the first game. So we are far from even!
" By the way, I talked to Maggie. I told her everything about you. She likes it."
"What do
you like?" "I was so scared that you were so scared. So scared that you wet your crotch. Scared that you fainted. In the past. She said to me:'Do you mean really fainted?' I said:'Dead, he was scared to death! Like a flash of light disappeared.' She was laughing so hard, I thought she was going to die. Incidentally. Mention, she wants to come back to me."
"Really?"
"Yes."
"Do you know what she said about you?"
"How?"
"She said:'A weak heart can never win a beautiful heart. ' "
" that is true? " "
Yes. "
......
......
such a dialogue, people feel that they are watching a wonderful dialogue drama theater in the theater, but it comes from one of Jude The movie "Footprints" (Sleuth, 2007) starring Judy Law and Michael Caine. The script of the film is written by Harold Pinter, the famous drama master.
A handsome young man knocked on the door, and the one who opened the door was Andrew Wyke, an old man with gray hair but a charming charm. As an accomplished crime novelist, he has a mansion and a spoiled wife. The young man who came to visit was called Melo Teddle, who claimed to be a second-rate actor and had only played in infamous roles such as murderer and rapist, but he firmly believed that one day he could have a real masterpiece.
The purpose of the young man's visit was to ask Andrew to sign the divorce agreement so that his young wife could be "let out". Andrew told Melo that his wife is used to enjoying life, and the best way to make money for her is to steal a million-dollar diamond necklace from him and resell it. And Andrew can also get full compensation. The next day, Melo arrived as scheduled. Andrew pulled the gun behind him.
A few days later, a plainclothes who claimed to be a policeman came to Andrew's house to investigate the case. Andrew couldn't figure out that the plan he had made went wrong. At the moment of anxiety, plain clothes tore off the mask, and the one who came was actually Mai Luo!
Melo didn't mean to retreat. In Andrew's mansion, the two played a game of "cat and mouse". In the witty confrontation back and forth, two thoughtful and diligent men staged a psychological contest in that airtight room.
When endless personal attacks and male provocative language elements permeate the entire space, I firmly believe that it must be a damn good work!
Even if this is not a drama, but a movie, the strong Pinter style runs through the whole process-enclosed space, panic atmosphere, plot driven by dialogue, and the uncertainty of plot development.
The setting of "Footprint" is "a room" that Pinter is good at. In the room, the characters are inexplicably scared and afraid, but what are they afraid of? Pinter gave an ambiguous explanation. It is like the plot design in his first play "The Room" (1957): an elderly woman lives in a room, she is convinced that this is the best room in the whole house, she refuses to know anything Regarding the situation in the basement downstairs. She said the basement was damp and dirty; the outside world was bitterly cold. In her warm and comfortable room, her safety is complete. However, this is of course not the case: the entry of an outsider broke the balance of everything, and his intrusion pierced the illusion of her life. "Obviously, they are afraid of what's outside the room. Outside the room is a world that puts pressure on them, it's frightening... We are all in this situation, all in the same room, the outside is like this A world... extremely mysterious and frightening, extremely curious and scary." Pinter said of The Room.
In "Footprints", Mellow's arrival disrupts Andrew's life. Although the "reason" for the two men's strength is Andrew's wife, in fact this mysterious woman has never been seen in the film. "She" is just any reason that can be called a reason, the purpose is to break the enclosed space and expose the illusion of calm on the surface. For "Room", "she" attracts strange outsiders; for "Footprint", "she" brings the visit of Mai Luo. In Pinter's story, human fear is no longer an abstract concept, no longer a surrealist magic slide, but a real, ordinary, accepted thing that happens every day.
But the artistic charm of Pinter's works is by no means these ordinary and real dialogues. The paradox of his artistic personality is precisely that the characters and dialogues are very real, everything is like what we see and hear on various occasions, but in general The effect is mysterious and full of uncertainty. The characters' inexplicable motives, ambiguous background, and suspicious identity make this peculiar paradox to be established, and allow his works to be free from reality.
"We still love each other, just like two love beans."
"Some people say that your wife has a lover."
"She does. Do you know him?"
"No, I've never seen him. He has Italian descent. He seems to be called Tan Duoli."
"Is Bombay Tan Duoli?"
"Yes."
"You know? I've never met a thief before.
" That’s wonderful."
"What's your background?"
"Me?"
"You, Ireland, Connemara. Spanish descent, via Uganda. My grandparents used to be slaves. My mother is a black-eyed, dark-skinned beauty. "
You grew up eating mother's milk?"
"Yes, like a baby."
Isn't Andrew's wife already having an affair with Mellow, they are still in love? Where did Melo come from, Italy? Ireland? He fooled Andrew with his superb acting skills. Is he an ordinary second-rate actor?
Pinter did not play with mystery and fool the audience, nor did he deliberately prevent the audience from knowing the necessary information and information about the characters in the play. After all, the way to get cheap suspense by falsifying mystery is really not something Pinter can admire!
In an interview, Pinter said: "The clear form of drama that was widely adopted in the 20th century is...deception. The playwright assumes that he has a lot of information about all the characters in his pen, and these characters explain themselves to the audience. In fact. What they do most of the time is nothing more than succumbing to the author’s own ideology. In the process of moving forward, they did not create themselves. They were placed on the stage with only one purpose, which is to have a point of view. I want to convey the author’s endorsement. In my play, the curtain is raised and two people are sitting in the room. I don’t know them, just like I don’t know you sitting at this table. The world is full of surprises... …Do we often know what someone is thinking, or who this person is, or what makes him what he is now?"
In literature, Pinter disapproves of the omniscience and omnipotence of the characters. He categorically rejected it with an extremely sincere, uncompromising and radical attitude. In his view, "omniscience and omnipotence" is nothing but an extremely arrogant gesture displayed by the writer. What he completely abandoned is exactly the explanations and explanations often found in the story. And this explanation is likely to be the situation of the main characters, their origins, backgrounds, and motives that should be explained 10 minutes after the story happened.
Someone asked me, Andrew pulled the trigger and fired the first shot. Where did the so-called blank bullet go? If the kit is special, I replied: "Is this question important?" The
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