鲍比

Remarks of Senator Robert F. Kennedy to the Cleveland City Club, Cleveland, Ohio, April 5, 1968

April 4, 1968 马丁·路德·金遇刺身亡。

This is a time of shame and sorrow. It is not a day for politics. I have saved this one opportunity to speak briefly to you about this mindless menace of violence in America which again stains our land and every one of our lives.

It is not the concern of any one race. The victims of the violence are black and white, rich and poor, young and old, famous and unknown. They are, most important of all, human beings whom other human beings loved and needed. No one – no matter where he lives or what he does – can be certain who will suffer from some senseless act of bloodshed. And yet it goes on and on.

Why? What has violence ever accomplished? What has it ever created? No martyr’s cause has ever been stilled by his assassin’s bullet.

No wrongs have ever been righted by riots and civil disorders. A sniper is only a coward, not a hero; and an uncontrolled, uncontrollable mob is only the voice of madness, not the voice of the people.

Whenever any American’s life is taken by another American unnecessarily – whether it is done in the name of the law or in the defiance of law, by one man or a gang, in cold blood or in passion, in an attack of violence or in response to violence – whenever we tear at the fabric of life which another man has painfully and clumsily woven for himself and his children, the whole nation is degraded.

"Among free men,” said Abraham Lincoln, “there can be no successful appeal from the ballot to the bullet; and those who take such appeal are sure to lose their cause and pay the costs.”

Yet we seemingly tolerate a rising level of violence that ignores our common humanity and our claims to civilization alike. We calmly accept newspaper reports of civilian slaughter in far off lands. We glorify killing on movie and television screens and call it entertainment. We make it easy for men of all shades of sanity to acquire weapons and ammunition they desire.

Too often we honor swagger and bluster and the wielders of force; too often we excuse those who are willing to build their own lives on the shattered dreams of others. Some Americans who preach nonviolence abroad fail to practice it here at home. Some who accuse others of inciting riots have by their own conduct invited them.

Some looks for scapegoats, others look for conspiracies, but this much is clear; violence breeds violence, repression brings retaliation, and only a cleaning of our whole society can remove this sickness from our soul.

For there is another kind of violence, slower but just as deadly, destructive as the shot or the bomb in the night. This is the violence of institutions; indifference and inaction and slow decay. This is the violence that afflicts the poor, that poisons relations between men because their skin has different colors. This is a slow destruction of a child by hunger, and schools without books and homes without heat in the winter.

This is the breaking of a man’s spirit by denying him the chance to stand as a father and as a man among other men. And this too afflicts us all. I have not come here to propose a set of specific remedies nor is there a single set. For a broad and adequate outline we known what must be done. “When you teach a man to hate and fear his brother, when you teach that he is a lesser man because of his color or his beliefs or the policies he pursues, when you teach that those who differ from you threaten your freedom or your job or your family, then you also learn to confront others not as fellow citizens but as enemies – to be met not with cooperation but with conquest, to be subjugated and mastered.

We learn, at the last, to look at our bothers as aliens, men with whom we share a city, but not a community, men bound to us in common dwelling, but not in common effort. We learn to share only a common fear – only a common desire to retreat from each other – only a common impulse to meet disagreement with force. For all this there are no final answers.

Yet we know what we must do. It is to achieve true justice among our fellow citizens. The question is now what programs we should seek to enact. The question is whether we can find in our own midst and in our own hearts that leadership of human purpose that will recognize the terrible truths of our existence.

We must admit the vanity of our false distinctions among men and learn to find our own advancement in the search for the advancement of all. We must admit in ourselves that our own children’s future cannot be built on the misfortunes of others. We must recognize that this short life can neither be ennobled or enriched by hatred or revenge.

Our lives on this planet are too short and the work to be done too great to let this spirit flourish any longer in our land. Of course we cannot vanish it with a program, nor with a resolution.

But we can perhaps remember – even if only for a time – that those who live with us are our brothers, that they share with us the same short movement of life, that they seek – as we do – nothing but the chance to live out their lives in purpose and happiness, winning what satisfaction and fulfillment they can.

Surely this bond of common faith, this bond of common goal, can begin to teach us something. Surely we can learn, at least, to look at those around us as fellow men and surely we can begin to work a little harder to bind up the wounds among us and to become in our hearts brothers and countrymen once again.

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But if you are looking for "Robert F. Kennedy's speech on the Death of Martin Luther King "
http://votetrustusa.org/index.php?option=com_content&task=view&id=2808&Itemid=26

很震撼人的电影 穿插着很多当时的珍贵的画面 肯尼迪 一个伟人 一个时代 一个国家 如果他要是没死的话 不知道美国乃至世界的今天会是什么样子

Bobby是个人名，和我最喜欢的政治电影《JFK》如出一辄，这部在国内被译为《五星级谋杀》的电影原名也来自于人名。而且是兄弟俩——jone.F.Kennedy和robert.F.Kennedy。一个是在总统任期，一个是在总统初选期，五年之内兄弟俩都在公众场合死于非命。也许是为了向世人证明在那个国家中可以捍卫信仰的不止这一对儿兄弟，马丁路德金也步约翰肯尼迪后尘，在小肯尼迪死前几个月见了上帝。对于谋杀路德金凶手的追捕和审判同样像是闹剧，不过一切终归被时间尘封，当越战结束，大多公众忘切掉这些曾经为了自己的信念而战最终死去的人后，他们的一切若干年后也许更多的只能出现在了格林尼治村的某个角落，当然，偶尔也会在这里再现——大屏幕之上。
 
与《JFK》纷繁复杂、环环相扣的叙事相比，这部同样以信仰为主题的《bobby》线索就松散的多，或是说干脆就没有线索。在这部两小时电影中95%的时间里，导演都在刻画着在总统竞选班底驻地酒店里二十多个小人物的众生像。和电话接线员偷情的酒店经理，看似开朗实则一直痛苦生活的经理发妻、发廊老板，种族主义倾向严重的餐厅经理，苦中作乐的墨西哥裔和黑人后厨，过气女星和经纪人丈夫，黄昏恋中的女画家和股票经纪人，在酒店假婚以逃避越南兵役的毕业生，当然还有代表着美国六零年代迷茫的、不知所以便支持着肯尼迪的年轻志愿者……不过小人物背后可都是大腕压阵：全世界演员中最值钱最有魅力的老头儿——安东尼霍普金斯；生死时速里的反一号，美国的老戏骨——丹尼斯霍珀，老女人俱乐部里永远的话题——莎朗斯通和黛米摩尔，单但是把这些名字放在一部戏里就不是随便谁都能干的买卖。
 
回到电影本身，将许多毫无关联的人物在小肯尼迪遇刺前十几个小时的生活放在一起讲故事，给导演带来了不小的困难，加之带着表现主义的略微夸张手法，在大部分时间中电影着实让人看的不知所云。要不是穿插在众生相中小肯尼迪的散碎纪录片镜头，恐怕用不了多久你就会把这片子当成温情剧情片来看——事实上以篇幅来看也确实可以如此看待。不过一切都在最后20分钟改变，虽然与《JFK》里凯文科斯特纳奉献的电影史上最出色的法庭抗辩相比，bobby中最后一场肯尼迪遇刺的戏还略显稚嫩（毕竟奥立弗·斯通经过无数政治电影历练出的功底不是一般人可以企及的），可在前面戏码中隐藏着的小小包袱都在最后点燃，让情绪的升华顺理成章，毫无拖拽之感。让观者真切感受到，小人物们的生活，无论如何都逃不开时代背景的牵涉，他们的种种不快都在那几声枪响后瞬间变作最渺小的卑微，一切干戈也都在那一刻化为无形。在之前或真心或假意或附和为肯尼迪助威的人们都在那一刻绝望哭泣——因为也许，肯尼迪并不是真正的自由民主的战士，但他却是那时代人们唯一留下的关乎信仰和理想的象征，当他倒下的一刻，所有烦恼于自己生活中不如意的人们才发现，曾经信奉却许淡忘了的关于自由、平等、民生的信仰和那些看似不合适宜的理想主义原来才是一直支撑着他们生活下去的东西。那样的象征倒下了，信仰也就倒下了。当生活失去了支柱，琐事中苦乐也就无所谓了吧。

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way.
（那是最美好的时代，那是最糟糕的时代；那是智慧的年头，那是愚昧的年头；那是信仰的时期，那是怀疑的时期；那是光明的季节，那是黑暗的季节；那是希望的春天，那是失望的冬天；我们全都在直奔天堂，我们全都在直奔相反的方向。）
——查尔斯•狄肯斯《双城记》


罗伯特•F•肯尼迪（RFK）在1968年初宣布竞选美国总统。那一年距离他的兄长约翰•F•肯尼迪（JFK）遇刺身亡已经有四年多时间。那一年越战还在继续。美国国会虽然已经通过了反种族隔离以及反种族歧视的法案，民权斗争依然激烈。年轻一代精神苦闷，在天堂和地狱之间彷徨。
如果Bobby（RFK的另一个称呼）赢得大选，他的热情、才干和政治理想或许能够带领美国人民走出混乱、失望和愤怒的困境。我们永远无从得知如果Bobby成为了这个超级大国的领袖，美国的历史是不是会变得更好。
1968年4月4日，美国黑人民权运动领袖马丁•路德•金被刺杀，盍然长辞。两个月之后，1968年6月4日，曾经是1963年非裔美国人民权运动的领袖之一的RFK获得了民主党党内加州初选的胜利。这意味他将可能顺利地赢得党内初选的最终胜利，成为民主党推选的候选人，参加总统大选。
就在这个消息宣布的不久之后，RFK在竞选总部大使酒店被人群中一位名叫Sirhan B. Sirhan的24岁巴勒斯坦青年开枪近距离击中头部。那是6月5日的凌晨。次日，RFK在医院伤重不治，结束了42岁的生命。

这部电影讲述的便是1968年6月4日到5日凌晨之间，大使酒店里发生的故事。二十二位人物依次出场，在毫无准备的情况下见证了美国历史上又一个黑暗的时刻。
他们中有墨西哥移民，黑人老厨师，年轻的酒店电话接线员，歧视有色人种的白人主管，酗酒的女歌手和她的丈夫，竞选总部的年轻人，想成为明星的美女服务生，来自上层社会的有钱人，厌恶和恐惧越南战事的大学生等等。他们都怀抱着各自的烦恼和忧伤。
光是看着这串演员名单，我就激动得不得了：Anthony Hopkins, William H. Macy, Freddy Rodríguez, Harry Belafonte, Heather Graham, Laurence Fishburne, Christian Slater, Helen Hunt, Martin Sheen, Lindsay Lohan, Sharon Stone , Elijah Wood, Ashton Kutcher, Demi Moore,以及集本片编剧、导演、演员于一身的Emilio Estevez。
真正亮闪闪的演技派加偶像派阵容，一起演绎美国梦的死亡。
这种多线索、多角色的叙事方式往往会遇到重点模糊、布局繁冗的难题。演员阵容的庞大和华丽也让故事变得难以驾驭。导演很明显地限制每一个角色的戏份，以免喧宾夺主。其中，Sharon Stone, Demi Moore以及Martin Sheen的表演给我的印象特别深刻。
Sharon Stone在剧中饰演酒店美容院的造型师。她嫁给了酒店的主管保罗，婚姻平静而幸福。但是这一天她却发现保罗与年轻美丽的接线员发生不轨的关系，幸福的表象突然崩溃。Demi Moore则饰演一位风情万种的歌手。严重的酗酒、狂躁的脾气以及日渐衰老的身体是她无法摆脱的阴影。她的丈夫是曾经很有名气的鼓手，可是现在却变成一个唯唯诺诺看起来萎靡懦弱的中年人。Sharon Stone和Demi Moore对角色的把握无可挑剔，令人赏心悦目。
至于Martin Sheen的台词和眼神依然是无懈可击。看着电影里面两鬓霜白的他，我老是会想起已经去世的马兰•白兰度。他们当年合演《现代启示录》（1979年出品），距今已经是二十七年了。
这二十二个角色虽然是个体命运的主角，但他们都是历史的过客，唯有间杂影片中的大量历史影像记录片断所反映的时代主题才是电影的真正聚焦点。
昨日重现。我们看到年轻的Michael Wallace（美国著名的新闻记者）在电视里面报道新闻，游行中的学生们用身体去阻挡警察的警棍和步枪，愤怒的黑人们跳上汽车，Dortor King在华盛顿广场发表演讲，还有RFK在贫民区、学校、荒置的旧工业城市走访。黑白的片断一再地出现，提醒我们那个年代的故事。当那首熟悉的《The Sound of Silence》响起的时候，我坐在黑暗的电影大厅中唏嘘不已。
最坏的时代也是最好的时代。梦想和阴谋，热情和迷惘，战争和反抗，迷幻剂和子弹……当时间跨入七十年代，美国人突然从不完美的斗士变成了庸俗的大叔或颓废的逃匿者。
光明和黑暗的对立止于六十年代。只有在那个时代，美国人才当得起RFK演讲中的那段话：
We are a great country.
We are a selfless country.
We are a passionate country.
当美国政府陷入伊战的沼泽潭中的今天，我们不妨和美国人一起回顾上个世纪六十年代的美国，缅怀一个黄金时代的消逝。
或者，也开始见证一个大国的衰败。

《Bobby》，一部看似记述Rober F.Kennedy在1968年竞选中遇刺的记录性质的电影，本以为充满了悬疑，紧张，暴力的电影，不曾想竟是如此的"平淡"，几乎写意而模糊的RFK的镜头，只是在不断提醒观众，这将是一个重要时刻的重演。但充斥整个情节的，确实普通或者不普通的22个局外人在短短三天中的生活，对于洛杉矶大使饭店来说寻常但不平静的三天。

是的，吸引我走进影院的并不是政治噱头和预想紧张而精彩的情节，而是这长长的闪烁着无比璀璨星光的演员名单，华丽到可以遮挡住任何类似题材记录性电影的光芒。

Antoony Hopkins 安东尼.霍普金斯 (《沉默的羔羊》)， William H. Macy 威廉姆.H.梅西 (冰血暴，不羁夜，木兰花，美国丽人，空军一号，侏罗纪公园，太多)，Emilio Estevez 艾米利奥，艾斯特维兹 (本片导演，编剧)， Demi Moore 黛米。摩尔（也许你曾经为当年的人鬼情未了感动过）， Sharon Stone 莎朗.斯通(不介绍)， Elijah Wood 伊利亚.伍德 （指环王，是的，就是Frodo），Hellen Hunt 海伦.亨特 (龙卷风的女主)，Shia Labeouf (哦，如果你在看变3，那么这张和主角一样的脸一定很熟悉)， Laurence Fishburne 劳伦斯.菲什伯恩 (The Matrix中的Neo的拯救者，决胜21点的赌场专家)，Martin Sheen 马丁.辛 (电视剧The West Wing的主角，经典).

如此阵容，在两个小时的影片中却丝丝入扣，每个人的表演到位而精准。群戏虽然必定从一开始的独立的世界，走到大事件中突然的人生轨迹的碰撞，但人生就是在被看不见得丝线拉扯，有时冥冥中际会于一处又匆匆别离，不同的人生，不同的理解，不同的方向，突然的碰撞下仍会保持自己独特的轨迹。而影片中穿插着RFK模糊的身影，真实纪录片中的影像，演讲的旁白，以及那个时代的动荡和不安，JFK, 马丁路德.金被刺杀，一个曾经的黄金时代坠入黑暗，取而代之的是战争，颓废，暴力和混乱。"The make a desert and call it peace", 影片开首引用了塔西佗的话来描述当时的美国，而一部典型意义上美式的憧憬中，光明和正义总是存在并引领着人们，但没有人会预见到一个纯真信仰的时代最终的一去不返。

当The Sound Of Silence响起，一首曾经在《毕业生》中挑起多少人对青春懵懂无限回忆的舒缓歌曲，在这里似乎预示着纯真年代的惆怅。在RFK即兄长遇刺后遭受了同样的命运，似乎一种不可名状的诅咒萦绕在肯尼迪家族，鲜血，慌乱的人群，悲伤，失望，不仅仅是对一个人，而是对于命运和未来。但不管怎样，人们都会坚强的活下去，以这样或者那样，光荣或者卑微的方式，也总有人会再次激起沉默人们的希望...

影片最后RFK的演讲词，将影片的情节和观众的情感推向高潮，简短的旧记录片镜头中，RFK的随和，理想化，对贫穷者的同情，和对社会问题的正视，是人们对他热爱的佐证。这不是一种简单的煽情，而是在人们心中或多或少存在的纯真火焰，在风中闪耀出更明亮的火光。

奥斯卡提名影片《鲍比》，好片，并不一定好玩，现在很少有那些煽情成分的好片了，我挺需要的！这片也是平淡得很，是个很好的电影，可是并不一定所有人都很喜欢，怎么说，就象毕加索的东西，不是随时都是能喜欢得来的。

言归正传：故事围绕1968年6月6日美国参议员罗伯特·F·肯尼迪的遇刺展开，那颗致命的子弹不但要了鲍比的性命，也令当时身处"大使酒店"的22个人的命运发生了转变，更进一步说，这颗子弹消灭了整个美国的纯真…… 在由埃米里奥·埃丝泰威兹导演并担纲主演的这部戏中，22个人成为了二十世纪六十年代悲剧性、决定性的一幕的不知情的见证人。推荐30以上的男人看看！