www.40081122.com www.40081122.com 真正的末代皇上,戏演的久了

真正的末代皇上,戏演的久了

   人乃血肉之躯,有七情六欲。有时候,好人刻意地堕落,久了,也就自然而然地成了那些放纵的人。有人故作清高,装的久了,自也沾染了些文人之气。伤心的人装快乐,幸福的人无病呻吟,久了,就成了你所装的那些人。
  可是,谁又说得清,真实的自己到底是哪一个?大家闺秀心中也隐藏着邪恶念头,而哪怕是出来卖的偶尔也会露出圣母的光辉。这就是人,可恨又可爱,时而崇高,时而狡诈。人性之美,莫过于此。

      有许多人评论说不能接受这部电影,认为影片是对中国和对中国人的丑化。我想对这些人说:人家老外拍这部电影从没想冒犯过你。是你自己的民族情节太重,却拒绝了一部好电影。只是你内心不够自信,过于敏感的自尊,你认为这部电影的目的就是给中国一个大大的讽刺,这电影要是中国人拍的你估计还嫌不够呢〜不过我也理解大家这种感情。妈妈骂儿子一下不觉得什么,别人骂他我肯定不干。说实话,我觉得导演就是客观的讲述了一个末代皇帝的一生,这其中甚至有些同情,中间肯定有讽刺,比如文革,比如无知和封建王朝的权利。但我觉得这个人不论怎么拍,不论谁去拍都会有讽刺的意味,但这绝不是主旋律,为什么接受不了?那你去看「活着」不更受不了?
     事实上我还庆幸导演的手下留情,我们看到银幕上的溥仪,长的还挺英俊,大家翻翻影视资料,溥仪的长相并不好看。在影片中,对溥仪的负面描写非常少了已经,甚至还表现出了对他的同情,事实上,离开了紫金城的溥仪几乎生活不能自理,且懦弱胆小,贪生怕死。我说这些绝不夸张,他在劳改的时候还不能自立,需要家人伺候吃喝,有人问他宫里有多少太监,他都说不清,因为不会数数。他还及其的迷信,迷恋占卜和丹药,对文秀和婉容也非常差劲,文秀之所以会提出离婚是因为婉容占有欲很强,经常压制她,又得不到丈夫的爱。出狱后似乎文秀还见过溥仪一面,这个我记不清了。溥仪在张圆的时候经常虐待仆人,那些下人都是些孤儿,溥仪对他们又打又骂。
     我想说,导演有把溥仪的这些形象放进电影么?如果人家真要接你的短,唯怕你们看不到这些呢。
    话说过来,我对溥仪抱有的是理解和同情。他之所以会成为这样的人是因为周围的大臣亲属把他捧得太高,一个人从小被灌输唯我独尊的思想,让他洗脑是很难的!他也是一个受害者啊,即使他最后认罪,谁又知道他的内心是怎么想的?也许到死他还有一个皇帝梦。这是别人给他的梦,也正是因为这个梦,他被日本人利用,变成傀儡。我只能说溥仪只是不够伟大,但也不可对他有过多地谴责!还记得他一边浇花一边对狱长说么,他说,我对一切负责。他不用对一切负责!我们不能把悲剧都推卸到一个个人身上,即使他是个傀儡皇帝。我们也不能把所有的成功都归结到一个个人身上,即使他是个毛主席。

The film “the Last Emperor” shows how the Western pedagogies, mentioned
in Hevia’s “English Lessons”, challenge and interact with the Confucian
orders in the imperial palace, as well as Manchu people’s mind. Through
the depiction of the life in the imperial palace, the director presents
a decayed and backward Qing China, which later is awakened by Western
imperialism. When the old Dowager Cixi summoned Puyi, and decided to
make him the next emperor of Qing China, the director uses dark colors
and the weird voice of Cixi to create a gloomy atmosphere. The fate of
China, a magnificent country with vast territory and large population,
is in the hands of a flakey and ignorant old lady, who is going to hand
the responsibility of ruling China over to a three-year old baby. People
in the palace do not have independent mind, they do everything according
to the Confucian ethnic codes, and obey everything their masters demand.
However, the atmosphere of the imperial palace starts to change when the
foreign tutor Johnston comes. Although the film directly points out the
teacher-student relationship between the Westerners and the Qing court
through the interaction between Johnston, a Scottish academic, diplomat,
and Puyi, the last emperor of China, it approaches the influence of
Western pedagogies from a different angle. While Hevia’s book generally
analyzes how Western imperialism, especially the Great Britain,
“produced a series of deterritorializations that penetrated ever deeper
into the Chinese body politic, while the ancillary apparatuses of law
courts, custom collection procedures, and treaty revision
reterritorialized China anew” (Hevia 22), Bertolucci ‘s film focuses on
the particular influences Western pedagogies exerted on individuals’
mind. For instance, when he finds that he has no right to choose the
empress for himself, he complains to Johnston, “She’s very old,
seventeenth years old…I want a modern wife, Johnston, who speaks
English and French, and who can dance the quick step!” (01:29:50). From
this detail, we can see that Puyi no longer thinks as a traditional
Manchu ruler, he starts to develop his own perspectives about what kind
of woman he wants. The film also reveals the influence of Western ideas
have on women. As a traditional Manchu lady, Wenxiu has received
Confucian education from an early age. However, when she feels
unsatisfied about her marriage, she is brave enough to ask for a divorce
with Puyi. As she says“Youn can only have one wife in the West. I want a
divorce” (02:15:11), she no longer accepts the polygamy system, and
wants to pursue a western style marriage, in which husband and wife are
exclusive to each other.
Although the film may have intentionally glamorized the image of the
Western imperialism in China, by implying the Western contributions to
the modernization and transformation of China, it also suggest a more
important point that the influence of the West is limited, and the real
modernization of China still has a long way to go. As the film flash
forward to the cultural revolution in China, Puyi is no longer the chief
figure, but only a witness like everyone else. The formal superintendent
of the jail, where Puyi used to stay in, is caught by the students and
defied as a counter-revolutionary. Just like Puyi himself, anyone at the
top can suddenly becomes nothing in the times of social unrest. The
distinctions between right and wrong, innocent and guilty, revolutionary
and counter-revolutionary are constantly changing. China, although a
socialist republic now, does not have much change compared to the Qing
dynasty. In addition, the film presents a performance of the Red Guards,
who shouts “Revolution is not a sin, and it’s our right to rebel!” while
doing an awkward and mechanized dance. It’s another ceremony like how
the officials kowtow to the new emperor at the beginning of the film.
Although the people, who are doing the ceremonies, and the people that
they are doing it for are different, the essence has not changed. China
is still about orders, about obeying and answering to the sole ruler of
the country. People within this country are still in a strict and
backward social hierarchy. The director shows the circulation of history
through the comparison and contrast between the late Qing and the new
socialist China, revealing the fact the transformation of China requires
not only the impacts of Western imperialism, but more importantly a
intrinsic self-awakening.

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