太阳神

如果你正在犹豫要不要看，我可以告诉你：施隆多夫这部《太阳神》的叙事像一台冷峻的社会显微镜——没有煽情的配乐，镜头始终与人物保持距离，却把战后德国普通人那种被制度压得喘不过气的窒息感拍了出来。然而，他真正的意图藏在看似美好的表象之下，让当地居民陷入信任与怀疑的拉扯。没有大张旗鼓的戏剧冲突，而是靠琐碎的对话和沉默的停顿铺开张力。适合喜欢“新德国电影”反传统语境的影迷，或者对早期法斯宾德银幕形象感兴趣的人——你会看到他在成为后来的“法斯宾德”之前，那张尚未被神话的脸。法斯宾德饰演的邮差处处透着压抑的焦躁，汉娜·许古拉则把一个母亲从希望到绝望的转变演得丝丝入扣，连眼神的明暗都带着戏。法斯宾德演得特别松弛，像不演戏似的，就站那儿抽烟都能让你觉得他心里有事儿。

　　Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’
　　The film takes youthful impetuousness and hatred of oppression as its subject and also ponders the cult of genius and sexual morals. Rainer Werner Fassbinder simultaneously plays both Baal and himself and is surrounded by many actors who were later to perform in his own films. After the film was broadcast on West German television, Brecht’s widow Helene Weigel prohibited any further screenings, arguing that the social circumstances engendering Baal’s rebelliousness had not been adequately explained.

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