捕鼠者1999

这是一个容易在回忆里退色的夏日午后，东中街明晃的太阳下，脑中阴凉的潮水泛起。想起这部电影。 70年代的夏天，苏格兰的格拉斯哥。垃圾工人罢工，垃圾袋侵入了门前的领地与人们的生活。大人们忙碌生计，或许做着搬进新房的美梦。孩童在恶臭的池塘边混乱垃圾堆上玩耍。混混叼着香烟，嘴角弯起嘲弄的笑，近视的女孩乖从地褪去衣服。傻子幻想他的雪球白鼠能飞上月球，在那里愉快地繁衍生息。James 是一个掌扣在此般氛围中生长的孩子。对这一切有着似懂非懂的眼神和忧郁的天真。有对玩伴意外死亡的阴影。有与同一屋檐下父母姐妹的疏离。对傻孩子的友善。对安妮温暖的向往。偷拿了父亲口袋里的钱，搭上莫名其妙的公车，去探寻自己的小小出口——彼岸某地，窗外一望无际的麦田。远离肮脏污秽的城镇，远离病态阴郁的现实。

In the two short films, it’s very impressive how simple the settings are, especially in SMALL DEATHS. Lynne made a bold choice to put three moments together to make a short film. These are three tiny moments at different stages of a girl’s life. But there’s a cohesion between these moments. As Lynne said in the interview, these are tiny moments when things will never be the same for kids. These kind of tiny moments play big roles in everyone’s childhood, as they influenced how we see the world, what kind of person we will become. It touches the audience in the short because they are so authentic, personal and emotional and people feel connected, even though Lynne cares nothing about rules such as “character’s wants/problems/arc” or “active protagonist”. The short focus only on the three moments, elaborating the moments and simplifying the settings as much as possible. If in a traditional way to tell the story, it would start much earlier to introduce the characters, show informations, back stories, set up conflicts. It shows the director’s confidence to just show what’s really necessary to tell the story. And it works very well.

GASMAN is told in a more traditional way with beginning, middle and end. It’s engaging throughout the whole film, focusing on the kid’s perspective, as the conflict progresses. I like how the conflict peaks at the middle part when the two girls fight for daddy’s knee. Lynn didn’t dramatized the conflict but it feels real and authentic with the two girls’ natural performance. I like the beautiful images in the end when they are on their way home and both the two girls are on daddy’s shoulder, and when the two complicated families walk toward opposite directions on the railway. Everything seems back to normal again but the visual and the girl’s attempt to throw the rock tells so much about the situation and the dynamic under it. I also think the beginning scene when the two kids were asked by their mom to dress at home is a smart way to level the story up, even the story is completed without it. It shows how the family looks like normally before the discovery. It could start when the father and two kids coming out from the house but seeing and getting an idea of the origin family raises the stake when the protagonist girl found that another girl is taking her father away from her. And Lynne’s choice to show the scene partly in the frame is also smart to give the audience just the enough information.

RATCATCHER maintains the subjectivity from kid’s perspective, the use of details. But as a feature film it raises the topic to social problems includes people’s living condition. I think the environment of the neighborhood is built up very efficiently in the movie and becomes a crucial character itself. The main spaces include the polluted river, yard full of black garbages and rats, and the street in front of houses where kids play together. The whole film goes back to these three spaces a lot of times and conflicts happen at these places to show how people’s lives are around and influenced by these pollution, garbages and rats. The only other space shown in the movie is the newly built houses James went by buses, as a comparison. Those scenes on the buses as James move around excitedly also works meaningfully as a transition to the new world.

But I think it doesn’t work as good as in the shorts in terms of building the protagonist emotional journey. It sacrifices when the director wants to tell the story from a bigger scale. The character is not as authentic as in the shorts. Some of his action feels out of the filmmaker’s intention. For example I don’t think James’s desire to live in the new house, and his motivation to take suicide is built up authentically in the film. I think the story is already strong enough to show these characters’ lives, including how James looks for help from an older girl who’s bullied by other kids after accidentally killing another boy, and his friendship with this idealistic boy named Kenny, and the complicated relationship of James’ parents. All these are amazing characters with believable problems and emotion. In the end when it cuts from the dream house to James suicide, it looks like an artistic but political image to show the comparison purposefully. But I don’t feel connected well with the characters. I would prefer the film end with the parents’ relationship and James and the girl’s relationship, kept within the characters, while life will keep going without significant change.

这不是一部闷片，而是一部直击心灵的影片。“无助、孤独、暴力、贫穷、性...”并不是每个人的童年都过的很美好，大多数人因为年少时做过错事而困扰一生，影片中一直用很平淡的社会手法拍摄，除了男主回来看一窝的老鼠以外，片中只有几处有背景音乐现在我还记得最深的是小男主坐在没有一人的公交车上望着车外，还有小男主在新房子里看着窗外好大一片草地在上面打滚，然后天快黑色一个人走在路上踢着空易拉罐回家，还有就是最后男主角选择自杀沉在河里幻想搬进新家的时候也是小男主全片唯一一次笑了的场景。 不仅是在国外，这种情况在中国有过很多，大人太忙或有自己重要的事情做而忽略了自己孩子，我也有过一个人太孤独的时候搭着公交坐在窗户边上一个人坐到终点站又坐回来，然而就像影片里的主要不是出现生命上的危险大人是不会管你的。“太阳和人心是我永远都不敢直视的。”

梦想中金灿灿的生活，和恶臭腐坏的现实之间的距离，可能比死与生之间的距离大得多。电影中阴雨不绝的格拉斯哥，垃圾遍地、老鼠四窜的居住环境，让偶尔的几个想象镜头显得尤其宝贵。镜头暗下去的时候我心一直揪着，喊着快起来啊！还好结尾看到了麦田中他的笑脸，一切美好的像什么也没发生过一样。男主角的演绎不错，给他点赞哦。