又名: 移民 / The Emigrants
导演: 扬·特洛尔
主演: 马克斯·冯·叙多夫 丽芙·乌尔曼 埃迪·阿克斯贝里 艾伦·埃德渥 莫妮卡·泽特伦德 汉斯·阿尔弗莱德森 Sven-Olof Bern Aina Alfredsson Pierre Lindstedt Ulla Smidje Eva-Lena Zetterlund Gustaf Färingborg 奥克·弗里德尔 昂内塔·普吕茨 哈尔瓦德·比约克 阿诺尔德·阿尔弗雷德松 Bror Englund Tom C. Fouts Peter Høimark Erik Johansson
制片国家/地区: 瑞典
上映日期: 1971-03-08(瑞典)
片长: 192分钟 IMDb: tt0067919 豆瓣评分:8 下载地址:迅雷下载
上周第一次尝试了港村三俗之wakesurfing。开船的教练晒得油光锃亮,像一只走地鸡,肌肉上覆盖着一层鲜美肥油。每次他趴在船尾调整造浪机,我都强忍伸手挠他脚底板的冲动(怕他踹我)。其实他全程只是在船上大喊大叫,并没有下水,我心想没准他也是装的他根本就不会呢。
大海灌进我的鼻子和脑子里,好咸,晚餐少吃点盐。当晚我熄灯躺下,还觉得床在我身下微微摇摆起伏,好像这张两百块的二手床垫正带着我在吐露港漂流。
想起之前看扬特洛尔的《大移民》,瑞典农民为了逃荒乘船迁往明尼苏达。丽芙乌曼演的大美女农妇,在空气污浊的船舱里染上败血症、生了虱子。十周后船终于抵达,她迫不及待地在蓝天和草地之间躺下,希望在坚实的陆地上得到片刻休息。
然而她刚闭上眼,就感到大地在自己身下如水起伏,风吹草地掀起阵阵海浪声。她立刻呼吸急促,只有紧紧抓住身侧的草皮寻求安慰,提醒自己已经着陆。
Swedish filmmaker Jan Troell’s categoricalpièces-de-résistance, a diptych, 7-hours long saga based on his fellow countryman, the literature titan Vilhelm Moberg’s THE EMIGRANTS ensemble.
Divided into THE EMIGRANTS and THE NEW LAND, this 19th-century epic holds a dear look at the travails of an ordinary Swedish household, the Nilsson family, resides in the Småland hinterland, when (mostly natural) adversity mounts against their livelihood, the eldest son Karl Oskar (von Sydow) mulls over the prospect of emigrating to the United States. A proposition deprecated by his wife Kristina (Ullmann) initially, but when poverty and hunger is aggravated by the premature death of one of their brood, she eventually accedes, joining their emigrating pack are Karl Oskar’syounger brother Robert (Axberg), his farmhand friend Arvid (Lindstedt), the family of Kristina’s uncle Pastor Daniel Andreasson (Edwall, a straight-up hard-hitter, brilliantly bringing about an air of smug virtuosity that treacherously verges on hubris), who is at loggerheads with the supercilious local parish clergy for preaching to the fallen ones (viz. those who are deemed not worthy of Christian gospel), among whom a former prostitute Ulrika (jazz chanteuseMonica Zetterlund), now a reborn woman, also partakes in the trek with her teenage daughter Elin (played by Monica's own daughter Eva-Lena Zetterlund).
THE EMIGRANTS itself can be bisected into two halves, before and after the family’s embarkment for the state of Freedom, during the former, Troell introduces the hardship and inequity (religious parochialism and mistreatment) with a pastoral equanimity (occasionally lard with invigorating drumbeats) and purveys his main characters with sufficient impetus for their longing for a reset button in an idealized country where everyone is (purportedly) being treated equally and fairly, especially for the young Robert, it is the California gold rush beckons him, and supports him against the cavalier abuse he receives on a daily base when working as a farmhand.
Once their journey kick-starts, a looming nostalgia begins to sweep the cohort, Troell (who is also presiding over the cinematography department) fixes the valediction shot with a subdued solemnity, no goodbyes, tear-infused eyes, lingering looks are deployed, just a long-shot of the elderly parents seeing their children off in front of their house, incorporating the place into their final adieu, and the impact is ineffable.
Tellingly, THE EMIGRANTS' most accomplished passage is theten-weeks trans-Atlantic voyageon a wooden brig, and Troell valiantly re-enacts its sordid state of affairs with swingeing maritime verisimilitude when most passengers are fallen victims of sea-sick, life is snuffed within a two-by-four space, by scurvy or even quinsy (a pertinent reference to today’s illegal immigrants’ ordeal on the sea). Here Liv Ullmann holds court in two magnificent scenes, one is Kristina'saltercation with Ulrika, both actress are emotively unsparing, and letting out their prejudice and retorts once for all, which also presciently serves as a catalyst for their eventually best-friends transition; the other is when Kristina, apparently in extremis, exchanges with Karl Oskar their fondness, as if for the last time, by confessing that they are each other’s best friends, a superlative affirmation that true love does exist thanks to the two players’ most poignant delivery.
Once the survivors touches the terra firma but incognita, they are still miles away from where they will start life anew, hopping on the train and later a steamer, than on foot, when they finally reach their destination in Minnesota, their first dream is dashed by a boastful liar who never expect his lie will be debunked in his face, and THE EMIGRANTS finishes when Karl Oskar finds their new land under their new identities, American homesteaders.
Right picking up where its predecessor leaves,THE NEW LAND takes place entirely in the new land, where the Swedish emigrants forming a somewhat enclave, mostly living among themselves, which brings about a problematic issue about the story’s sense of locality and Troell’s inaction of alleviate this anonymity, if it is not for the random appearances of the indigenous Indians, one can safely surmise that the household is still live in their homeland, with very similar sylvan exuberance and harsh winter-time, and not much foreignness to interact with, in a way, it takes the shine off one of the story’s focal points: displacement.
Yet, what THE NEW LAND excels in, is that oater flashback of Robert, who manages to stay alive just long enough after a futile gold-digging attempt with Arvid, a sounding slap in the face to the wide-eyed daydreamers, the pair is saddled with the same drudgery and hardship (not to mention Robert'spotluck is rooked by deception)that ultimate will cost them both their young lives, here Troell launches a more hallucinogenic experiment in accentuating the pair’s delirium and exhaustion when wandering in the desert, to admirable effect.Eddie Axberg has weathered convincingly in honing up Robert’s tale of woe, and his final resignation with fate effectually brings a lump in one’s throat.
Life goes on, as Karl Oskar’s household finally prospers, a God-fearing Kristina turns out to be benighted enough to risk her own life for the sake of procreation, indoctrinated as a wife’s sacrosanct duty, even after receiving the doctor’s warning that another pregnancy would become her undoing, together with a less disinterested depiction of a wanton slaughter during the Sioux Uprising, by suggestion that it is at the expense of those white homesteaders’ hospitality upon which the Indians conducts their retaliation, THE NEW LAND’s luster starts to ebb away, notwithstanding a show-stopping Max von Sydow consistently radiates with plebeian bonhomie, sympathy and mettle from stem to stern of the entire roman-fleuve.
referential film: Ingmar Bergman’s FANNY AND ALEXANDER (1982, 8.5/10).
瑞典1971年拍摄的电影《大移民》,该片反映了1840年代瑞典农民向美洲进行大迁徏的历史。整部影片长达190分钟,三个小时,对许多观众来说的确有些长。但对于喜欢移民题材的观众来说,这确是一部非常难得的影片。
整个影片将焦点集中在奥斯卡一家。卡尔·奥斯卡是瑞典斯曼兰省的一户农民,拥有自己的土地,世代靠耕作为生。但瑞典是个多山的国家,可耕作的土地原本就少,并且土层较薄而多石,长年耕作后,土地特别贫瘠,再加上瑞典地处高纬度的寒冷地区,作物生长周期短,因此,土地中的作物收成可说是随着年岁的增加而变得越来越少。影片中地里长出的麦子稀稀疏疏的,有些像秃子的头,东一棵西一束地倒在地里。然而,当时的瑞典,在奥斯卡一世的皇权统治下,层层盘剥,税收很重。因此,卡尔·奥斯卡一家辛苦一年,反而负债累累。但是,天灾人祸同时降临到了奥斯卡一家。本来收成不多的粮食,堆在粮仓里,却被雷电劈中,在大火中烧得颗粒不剩。而家中不断出生的人口,更是加重了整个家庭的生存危机,全家人长期处于缺粮少吃的状况。幼小的女儿因饥饿偷吃了大量未脱壳的谷物,结果导致腹胀而死。弟弟外出给人当雇农,结果受到虐待,背部被打伤,一只耳朵的耳膜被打破,经常耳鸣痛疼,并还受到警察的通揖抓捕。面对一连串的打击和无法生存的困境,奥斯卡一家最终决定移民到大西洋彼岸的美国。——电影的整个前半部分都在说述奥斯卡一家的生活困境,为下半部分的移民做足的铺垫。
影片的下半部分又主要分成两个部分,一是讲述奥斯卡一家在海上的经历,另一是讲奥斯卡一家踏上美国土地后的经历。奥斯卡变卖了家中大部分的财产和土地,只留下年老残疾的父亲和母亲,他带着已经怀孕的妻子和四个孩子,以及弟弟,一家七口坐上马车,终于踏上移民的征途,汇入了移民的大潮。与他们同行的还有丹尼尔牧师一家。丹尼尔牧师在家中传教,被掌握着宗教大权的布鲁桑德神父驱逐出境。另外同行的还有弟弟在当雇农时结识一位低智商的朋友。而与丹尼尔牧师一同移民的还有一名前妓女及其女儿。此外,还有奥斯卡的一房亲戚的老俩口,他们的儿子已经移民到了美国的明尼苏达州,因此,明尼苏达州就成了他们此次移民的最终目的地。
到了海港后,他们终于登上一艘空间狭小的帆船。船舱里面装满了移民的人,特别拥挤,虽然男女隔开,但空气污浊不堪,让人难以忍受。航行初期,还风平浪静,移民们还经常坐在甲板上晒太阳,妇女们做着针线活。但不久,虱子开始漫延,传播到每一名的乘客的身上,引发了奥斯卡的妻子克里斯蒂娜与妓女的冲突。然而航程变得越来越漫长,终于遭遇了暴风雨,整只帆船像被不停翻倒的盒子,上下颠簸晃动不停。移民们被封闭在船舱内,反复呕吐不止。而同时,因食物的变质和蔬菜的缺乏,败血症开始出现,随后开始有人死亡。先是一名原本有病的女孩去世了,接着与奥斯卡同行的亲属老俩口中,丈夫因年老体弱,在颠簸中因心藏病发作而死去。接着牧师的妻子,因败血症便血而死亡。而奥斯卡的妻子克里斯蒂娜也出现鼻子流血不止的危险情况,差点死在船上。但克里斯蒂娜最终战胜了死亡,活了下来。在经历了10个星期的航行之后,他们终于到达了美国,踏上了新大陆的土地。
在这个新的国度里,他们终于喝上了牛奶,吃上了新鲜的面包,还有新鲜的苹果。而美国的一切对他们来说都是新鲜的,一幢幢用砖切的楼房,熙熙攘攘的人群,各种买卖的商品,包括钱币上对上帝的格言,这些与瑞典贫瘠的乡村相比,可说是天差地别。随后他们坐了一辆西去火车——这是他们有生以来第一次坐火车。其中克里斯蒂娜刚坐上火车的那种坐立不安的恐惧神态,让我印象深刻。我猜测这很可能是坐帆船给克里斯蒂娜带来的后遗症,担忧坐火车也同坐帆船一样会给她带来一场巨大的不幸。但随着火车的启动,一直都很平稳地前进着,克里斯蒂娜的担忧终于被放下了,她拿出面包,分给了大家,也分给了已经无钱的牧师一家,还分给了与她发生过冲突的妓女。
接着,他们又要换乘一艘蒸汽机轮船,沿着一条宽阔而平静的河流继续前行。在临上船之时,奥斯卡的一个女儿因在河滩上贫玩,差点走失,是妓女把她找了回来。在船上,他们见到了被铁链拴着的黑人奴隶,也见到有钱人在豪华舱中富足的生活。在船上,奥斯卡最小的还在襁褓中的儿子因感染霍乱而去世了,这让大家都非常伤心。下船后,正逢大雨,他们在一家陌生家中避雨时,虽然语言不通,但房主人仍将热情地款待他们,将烤熟的肉一大块一大块地分给他们,分肉时,他们一个个地用惊奇的眼神望着房主人,——这是他们许多年来从未有过的享受。雨停后,他们又步行了三天,终于来到了目的地——泰勒大瀑布。奥斯卡见到了这位写信给他们的移民亲戚,虽然这位亲戚住在一所破旧的木屋内,让他们有些失望。但当这位亲戚带着奥斯卡去看那原始丛林中那广阔而肥沃,并可以由他们任意开垦的土地时,奥斯卡从一群飞过的人字形的大雁中看到了新的希望。他用斧子在一棵大树上砍去了一块皮,在露出的白色树心上写上奥斯卡的名字,标记上这是属于他自己的土地。而他的弟弟,则打算到更远的加州,加入到淘金的队伍中。
在看完这部影片后,我在思考一个问题,为什么自美国建立之后,至今两百余年了,世界各国的人仍旧选择美国作为他们最佳的移民之地?我想这是因为美国建立起世界上第一个现代民主政治体制,一个倡导人人平等的民主社会,即便是地狱也能变成天堂,而一个极权专制的政治体制,则刚好相反,在极权的统治下,天堂也能变成地狱,比如斯大林时代的乌克兰,比如红色高棉下的柬埔寨。影片中,奥斯卡这群移民自从踏上美国的土地之后,虽然遇到了丧子的不幸,也见到了一些不公平,但总的来说,与他们在瑞典极其恶劣的生存环境相比,这块新的大陆更像是一个天堂。在这片新大陆上,他们虽然一切从零开始,也将面临开垦的艰辛,还将面临印弟安人的报复,但这片土地给他们带来了新的希望。