大卫·科波菲尔的个人史

大卫小时候曾寄养在米考伯家，一个的有趣的人物，每天各种人来家里要债，因欠债还进了监狱。放出来后装成教授到学校招摇撞骗讨工作，后又流落街头。善良的大卫一直是同情米考伯的，为他辩护说他人畜无害，看到米考伯被揭穿不得不离开时，即使知道米考伯想多骗点路费也主动给他。

喜欢米考伯大概是因为真实，人对真实的东西时很敏感的。觉得生活中这样的小人物很多，自己又何曾不是这样的，偶尔撒点小谎，骗点小钱，但人畜无害，在身出困境时依然不忘幽默自嘲，被问到你们流落街头了吗时，回答时我们目前主要生存于户外，这样的小人物，有点像科恩兄弟的谋杀绿脚趾里的主角酷哥，懒散随意无所谓的态度应对所有的情况。用简单生活应对一切牛鬼蛇神。

算不上影评，表达看法。

牛逼的点在于这部电影勇敢的摒弃了一个千年历史概念：人种。

这部电影里没有"人种"这个概念。

人就是人，每个人是每个人。

你是谁是谁是他是她是她是谁是谁就是谁。

演员就就以自己的角色表演、讲故事，讲属于ta自己角色的故事。

大咖很多，都以自己的专业素养当好了自己的角色，讲好了自己的故事。

表演好多地方很夸张，但这是全片整体的格调，定位就是这样的类型。

冷笑点超多，绝大多数还是会“过一会儿会笑一下”。

冷笑话也是笑话哈哈哈。

故事讲的很流畅。

场景画面很精美。

配乐音效很合格。

卡斯很好很喜欢。

这样的电影还不算好电影吗？

......

想到了【云图】。

云图也试图挑战人种的概念，把黑人变白人，西方变东方，技术流用化妆。

这部对于人种的概念就不只是挑战了：人种？什么鬼？莫名其妙！

戴夫·帕特尔领衔的庞大演员阵容是这部改编电影的一大亮点。

阿尔曼多·伊安努奇出色的恐怖历史喜剧《斯大林之死》，从片名开始，就像殡仪馆的葬礼一样病态。作为一种口味的净化，导演将在他的下一部电影——改编自狄更斯的《大卫·科波菲尔的个人史》——中以一个出生的快乐时刻作为开场是有道理的。

于是，强壮的辟果提端来了热水，而预言的姨祖母贝齐·特拉伍德向即将到来的大卫欢呼:“女孩来了!”

这场混乱实际上离1953年的克里姆林宫不远。

气氛完全是愉快的——实际上，就像一袋无底的哈瑞宝一样愉快。在狄更斯的作品中，悲伤的结局总是有可能的，但通常满嘴脏话的伊安努奇，在谈到斯大林之前很久就用《幕后危机》讽刺了英国政治，现在却变成了令人眼花缭乱的欢欣鼓舞者。露齿而笑，嬉戏是狂躁的。虽然小说的乐趣在于重新讲述一段杂乱无章的生活，但在屏幕上，我们可以快速浏览。

故事情节就像雅茅斯海港早晨的渔获，年轻的大卫在命运的快速转折中短暂地走了出来。在短时间内，他被安置到伦敦，在那里他变成了戴夫·帕特尔。

演员们是这部电影的集体王牌，一个伟大的动物园，他们的智慧治愈了观众的旅途劳顿。

即使在如此轻快的叙述中，演员阵容也是庞大的——其中一些引人注目的角色是本尼迪克特·王饰演的醉生梦死的威克菲尔先生，他坚不可耐的女儿艾格尼丝由罗莎琳德·以利亚撒巧妙饰演，尤赖亚·希普的滑头由本·威士肖饰演。史温顿是惟妙惟肖的，休·劳瑞饰演的困惑的迪克先生也是如此，他被推到了故事的前台。

帕特尔就在这中间。要扮演狄更斯笔下的英雄，就意味着退回到平淡无奇中，以抵消周围的怪癖。如果有一个场景可以代表整部电影，那就是帕特尔从特拉伍德的住所里走出来，手里拿着锅碗瓢盆，咆哮着，咔嗒咔嗒地吓唬路过的驴子。我们都是驴。除了喧嚣之外，还有视觉上的混乱——巨大的手闯入场景，默片的模仿——就好像这部电影执意要分散我们的注意力。

不是每个21世纪的狄更斯都需要效仿BBC最近的华丽现实主义《圣诞颂歌》，但科波菲尔怎么能成为一个PG，而且仍然是科波菲尔呢?在苦行僧般的步伐和不知疲倦的生活乐趣之间，没有任何威胁被给予足够长的时间，让我们在它被征服时感到宽慰。

相反，最强烈的感觉是被抓住肩膀，在原地旋转两个小时。

By：Danny Leigh

A one-two punch of two feature films from Scottish satirist Armando Iannucci, THE DEATH OF STALIN is an irreverent satire of the power struggle between the party leader Nikita Khrushchev (Buscemi) and the chief of the People's Commissariat for Internal Affairs (NKVD), Lavrentiy Beria (Beale) in the aftermath of Stalin’s demise in 1953, mustering an Anglophone ensemble to play Russians and retaining each player’s distinctive accent, TDoS is openly ahistorical and scramble a hodgepodge of historical events to show up USSR Communist party’s treacherous political intrigues and draconian executions, with mockery as its ballast, after all the film’s source is a French graphic novel rather than any orthodox biography.

THE PERSONAL HISTORY OF DAVID COPPERFIELD, on the other hand, is Iannucci’s revisionist take on the famous novel and its Victorian milieu, corralling a colorblind cast and enlivening the palette even when our hero is in his absolute rock-bottom, its uncharacteristic comical tone and striking brightness are anything but Dickensian.

Mordant wits and biting repartees are Iannucci’s forte, and in TDoS, they are aplenty, the whole Politburo is made up of the targets of ridicule and contempt: Tambor’s deputy chairman Georgy Malenkov is a tinpot dunderhead; Beria, a sadistic wheeler-dealer who are prone to hectoring; Khrushchev has that particular political acumen, and cunningly adept in conniving and conspiring; Palin’s Foreign Minister Vyacheslav Molotov is a party maximalist, but barely has any say-so in the game. As for Stalin’s two heirs, Svetlana (Riseborough) is at the end of her tether, and the plastered Vasily (Friend), a lost cause liable to nonsensical babbling, they are not veritable successors of their father’s legacy.

The movie is irrefutably offensive to the people of USSR by omitting any humane traits of the erstwhile powers that be, portraying the whole polity of communism and collectivism as a laughing stock, it only betrays Iannucci and co.’s nationalistic mean-spiritedness of squeezing every inch of laughter out of harrowing events to entertain their core audience, and they can easily get off the hook by claiming artistic licenses, those events were factual what they have done is to coax them together to represent an occidental, pejorative outlook on Western democracy’s old adversary.

That said, Both Beale and Buscemi are fantastic thespians, their at-loggerheads political gamesmanship is immensely gratifying to watch, Beale acts like a savage porcupine, those quills are bristling with venom and cruelty whereas Buscemi has a weasel-like disarming facade, but he can be equally ruthless in a pinch. Also Issacs’ Marshal Georgy Zhukov enters the feeding frenzy late but he has that panache to impress, not least with his umpteen bedazzling decorations.

Iannucci shows his shortcoming in scenes of action, the Moscow massacre sequences are rather sloppily wrought, and his control of an ensemble piece isn’t exactly can be called fluid or artistic, especially when things pan out in a fanatic commotion, audience may feel being manhandled just to keep up with the ongoing mess.

Things are ameliorated in TPHoDC, for one thing, the fabulous period art production is a remedy for sore eyes, and young David’s (Patel) misadventure is often offset by the quirkiness of supporting characters, like Capaldi’s buoyant Mr. Micawber, or Laurie’s certifiable Mr. Dick. Everything is arranged in a fairy-tale fashion, like the dainty boat house or the liberating kite-flying expansiveness, tragedy is merely a plot devise, it crops up and vanishes in the next breath.

Patel has grown up to a more competent leading man stature, he can be credibly romantic and sensibly virtuous, his David holds on his own against a kaleidoscope of scene stealers, my preference is a delectably sinister Whishaw as Uriah Heep, whose slapping bouts with Swinton’s auntie Betsy is a humdinger of cartoonish delight.

David’s to-be-a-gentleman-cum-author rite of passage could be written off as a stiff and insular idée fixe, but Iannucci and Blackwell’s script updates it with a more universally appealing, like his irrational infatuation and final realization of who is a more suitable match of matrimony, the whimsical and ladylike Dora Spenlow (Clark, who also moonlights as David’s mother Clara), or Agnes Wickfield (Eleazar), the unassuming but courageous daughter of Mr. Wickfield (Wong), a tippled lawyer.

Collectively, TPHoDC reaches a much happier coda than the novel with David’s extended family grows and settles down with a big hearty smile, the “personal” in the title indicates Iannucci’s own predilection for finding a different color in existent materials, if TDoS is a tad off-color in its taste, TPHoDC, conversely, is a glowing tonic that re-introduces a timeworn classic.

referential entries: Iannucci’s IN THE LOOP (2009, 7.1/10); Garth Davis’ LION (2016, 7.1/10).

Title: The Death of Stalin

Year: 2017

Country: UK, France, Belgium, Canada, USA

Language: English

Genre: Comedy, Drama, History

Director: Armando Iannucci

Writers: Armando Iannucci, David Schneider, Ian Martin, Fabien Nury

based on the comic book by Fabien Nury and Thierry Robin

Music: Christopher Willis

Cinematography: Zac Nicholson

Editing: Peter Lambert

Cast:

Simon Russell Beale

Steve Buscemi

Jeffrey Tambor

Andrea Riseborough

Jason Isaacs

Michael Palin

Olga Kurylenko

Rupert Friend

Paul Chahidi

Dermot Crowley

Paul Whitehouse

Adrain McLoughlin

Paddy Considine

Nicholas Woodeson

Diana Quick

Jonathan Aris

Roger Ashton-Griffiths

Rating: 6.3/10

Title: The Personal History of David Copperfield

Year: 2019

Country: UK, USA

Language: English

Genre: Comedy, Drama

Director: Armando Iannucci

Screenwriters: Armando Iannucci, Simon Blackwell

based on the novel by Charles Dickens

Music: Christopher Willis

Cinematography: Zac Nicholson

Editing: Peter Lambert, Mick Audsley

Cast:

Dev Patel

Tilda Swinton

Hugh Laurie

Ben Whishaw

Peter Capaldi

Morfydd Clark

Daisy May Cooper

Aneurin Barnard

Rosalind Eleazar

Benedict Wong

Jairaj Varsani

Gwendoline Christie

Darren Boyd

Aimée Kelly

Anthony Welsh

Bronagh Gallagher

Anna Maxwell Martin

Paul Whitehouse

Nikki Amuka-Bird

Victor McGuire

Peter Singh

Sophie McShera

Matthew Cottle

Rating: 7.3/10

里面错乱的人种关系，与其说是对市场的讨好，或是我不能呼吸的妥协，更像是对狄更斯原著的讽刺。

两个白人的后代是印度人，大卫科波菲尔更像是他妈和印度医生偷情生下的,完全毁坏了我的三观。 温柔娴熟白皙的阿格尼斯，居然是老成沧桑的黑妇人，主要演员选角就像讨好所有人的一个大杂烩笑话。就像中国人看西游记里面的 唐僧是女人，孙悟空是欧洲人一样搞笑。

可爱美丽的朵拉看着大卫科波菲尔，一句话就结束了两个人的关系的剧改，更像是莫大的讽刺，爱的那么痴狂的大卫居然头也没回。整个电影，虎头蛇尾，草草收场。

剧中唯一的亮点，我觉得相反是那些不重要的配角，选角和演的很好。比如 姨婆 米考伯 甚至艾米与哈姆 以及女佣 都非常出色。朵拉 选角和演技也挺出色。

有时候认为，写作能力能靠训练得来，但看完觉得，天生的观察家和文字玩家才是作家的先机。

David随着社会身份的变化得到好几个名字，davy baby，trotwood，daisy，davidson，但没有一个人愿意呼唤他的真名，连他自己都吐槽说，我爱人们给我起名。本我和超我的抗争就在名字这得到了巨大的体现。

小时候就喜欢和保姆一起，a face of wax和a face of durch cheese, 其中的厉害只能自行体会。多么生动而又真实啊。那些大象一样的活塞，红日一般的眼睛，谁又能无时无刻闪过这样的灵感并记录下来，藏在随身携带的古董盒子？那些声称自己是作家的人，多少能体会到这样的快乐和艰辛？

虽然是理想化的形象，但还是愿意去相信这样一个故事。再工整再做作，也不过是艺术的升华。

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