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命中注定的选择：《贫民窟的百万富翁》
看完这部电影，由心的发出一句感叹：“WOW”！
很特别的电影，特别的、特别的印度。电影不是来自“宝莱坞”，而是出自《猜火车》的导演丹尼·博伊尔之手。
选择这部电影的理由很肤浅，因为影片介绍中加注了“在第33届多伦多国际电影节上，该片夺得最高奖‘人民选择奖’；英国独立电影奖最佳英国独立电影、最佳导演以及最佳新人奖；2008美国国家影评协会最佳影片、最佳新人和最佳改编剧本奖”等诸多奖项。
虽然对这些奖项了解并不深入，但是在印象中都是一些很讲究的电影节，离美国奥斯卡的铜臭味比较远。选择这些电影节的获奖作品观赏，或许会找到不少艺术含量高很多的影片。
看完整部电影后，感觉还是不错的。我想用一种东西来形容它，想了许久，觉得黑咖啡是对它最为贴切的表达。有苦涩，却苦涩得浪漫；有情调，却情调得灰暗。不管用怎样的眼光看，电影的上上下下都充满了梦想与现实的冲撞。
梦想
民众的梦想 电影的题目最贴切民众的梦想了，几乎所有贫民窟里居住的人都想有一天成为百万富翁，而且是在一夜之间。所以Jamal在综艺节目《谁想成为百万富翁》中答对所有题目，顺利获得2000万卢比的神话帮助关注此节目的贫民们精神上实现了自己长久以来的梦想。
他们为Jamal欢呼，其实更多的是为自己的同阶级欢呼，似乎Jamal的成功与他们息息相关。这个梦想不只印度的民众有，相信在哪都会引起不小震动。这个世界上穷人比有钱人多了实在太多，不均衡的状态刺激得穷人们常常羡慕富人也常常怀揣一夜暴富的梦想。
爱情的梦想 青梅竹马的爱情全世界都有，而且都会在历尽磨难的考验后得以成全。《贫民窟的百万富翁》也是如此，男主角Jamal对爱情的坚守固执得让他哥哥Salim头疼。这个在艰难面前变得很现实、很冷酷的家伙可以眼睛不眨地杀掉黑社会头目，却无法残忍的将弟弟与他爱的女孩分开。
与兄弟俩共同长大、共同患难的女孩Latika对于爱情的执着与Jamal不相上下。无论被安排到任何地方，她都相信Jamal会找到她并带她走。这种信任与坚持让两个人吃了不少苦头，也想享受了不少快乐。真实羡煞不少观众，在感情危机四伏的现在，这样的爱情成为一种梦想不足为怪。
男子汉的梦想 Jamal的哥哥Salim很酷、很现实，也很勇敢。从小到大，他都在保护恁头恁脑的弟弟。无论遇到多么危险的情况，无论遭遇多么棘手的处境，他永远冲在第一个，不顾性命的保护自己的弟弟。
在男生的世界里，有时候哥们儿义气很重要、亲生手足更重要。另可出卖自己，也不让自己亲爱的弟弟受到一点点伤害，哪怕被误会也在所不惜。这样的男子汉精神是多少男生引以为豪的？可以表现的机会太少，有时候充当梦想也是一种安慰。
冲突
梦想与现实的冲突 小时候，我们的眼里世界永远都是绚烂多彩的，即使住贫民窟也不受到任何影响。而我们长大之后，一座座水泥森林拔地而起时，童年的快乐不见了，儿时的梦想也在悄悄远去。
Salim坐在未完工的大厦边，俯瞰正在施工的大楼时，心中百感交集。他想让弟弟理解他，因为他的所作所为都是要挽留童年时两个人共同拥有的快乐和梦想，只是他选择了与Jamal不同的道路。
现实太残酷了，Salim不能像Jamal那样傻乎乎的断送两人的活路，所以他总是充当老大的角色，展开稚嫩的臂膀保护在现实与梦想中徘徊的一对情侣。最后，他不得已走上了绝路……
亲情与爱情的冲突 Jamal很单纯，单纯得幼稚。他用自己的全部去寻找、爱护一个叫Latika的女孩，却从不为出生入死的哥哥着想。哥哥用枪指着他的脑袋逼他离开Latika时，他将所有的震惊化为愤怒，企图日后翻身找哥哥报复。
哥哥始终是哥哥，他该如何面对？亲情与爱情就像手心和手背，不能同时选择，也不能抛弃其中一个。Jamal决定选择原谅，用自己的方法帮助Latika脱离苦海与自己在一起，疏不知哥哥最后为了帮助Latika逃跑奉献了自己。
利益的冲突 《谁想成为百万富翁》是一个与《开心辞典》相类似的节目，它企图通过一个虚渺的梦想提高收视率，从而让电视台荷包丰满。可是要有回报总得有付出，Jamal一路顺利过关的奇迹让节目损失惨重，于是他们找来警察图谋控告Jamal作弊而省下这笔巨额奖金。
然而，命运选择了Jamal。他在警察局供述了自己的过去，为自己创造的奇迹洗清的冤屈。全国为之沸腾，全国的贫民为自己的同类战胜了金钱而狂欢。
电影里浓得化不开的印度风情、真实得不敢相信的印度景观为两兄弟的纠葛历程渲染了不少气氛，给电影的整体美观出力不少。跌宕起伏的剧情、惊涛骇浪的相爱、可歌可泣的兄弟情掺和在一起上演了一幕大团圆的喜剧。然而，喜剧之中的悲情色彩似乎一点没被喜剧结尾削弱多少，反而大大提升了悲戚的滋味。
尤其勇士般的Salim，大起大落的人生注定以悲剧收场。他的牺牲成全了他的弟弟。
迷梦一样不甚真实的电影谱写了一首壮丽的悲歌，黑咖啡的苦涩激荡起不能似有或无的甘甜。不能说《谁想成为百万富翁》是部尽善尽美的绝世华章，却得说它是丹尼·博伊尔的经典之作。
看完这部电影，由心的发出一句感叹：“WOW”！
很特别的电影，特别的、特别的印度。电影不是来自“宝莱坞”，而是出自《猜火车》的导演丹尼·博伊尔之手。
选择这部电影的理由很肤浅，因为影片介绍中加注了“在第33届多伦多国际电影节上，该片夺得最高奖‘人民选择奖’；英国独立电影奖最佳英国独立电影、最佳导演以及最佳新人奖；2008美国国家影评协会最佳影片、最佳新人和最佳改编剧本奖”等诸多奖项。
虽然对这些奖项了解并不深入，但是在印象中都是一些很讲究的电影节，离美国奥斯卡的铜臭味比较远。选择这些电影节的获奖作品观赏，或许会找到不少艺术含量高很多的影片。
看完整部电影后，感觉还是不错的。我想用一种东西来形容它，想了许久，觉得黑咖啡是对它最为贴切的表达。有苦涩，却苦涩得浪漫；有情调，却情调得灰暗。不管用怎样的眼光看，电影的上上下下都充满了梦想与现实的冲撞。
梦想
民众的梦想 电影的题目最贴切民众的梦想了，几乎所有贫民窟里居住的人都想有一天成为百万富翁，而且是在一夜之间。所以Jamal在综艺节目《谁想成为百万富翁》中答对所有题目，顺利获得2000万卢比的神话帮助关注此节目的贫民们精神上实现了自己长久以来的梦想。
他们为Jamal欢呼，其实更多的是为自己的同阶级欢呼，似乎Jamal的成功与他们息息相关。这个梦想不只印度的民众有，相信在哪都会引起不小震动。这个世界上穷人比有钱人多了实在太多，不均衡的状态刺激得穷人们常常羡慕富人也常常怀揣一夜暴富的梦想。
爱情的梦想 青梅竹马的爱情全世界都有，而且都会在历尽磨难的考验后得以成全。《贫民窟的百万富翁》也是如此，男主角Jamal对爱情的坚守固执得让他哥哥Salim头疼。这个在艰难面前变得很现实、很冷酷的家伙可以眼睛不眨地杀掉黑社会头目，却无法残忍的将弟弟与他爱的女孩分开。
与兄弟俩共同长大、共同患难的女孩Latika对于爱情的执着与Jamal不相上下。无论被安排到任何地方，她都相信Jamal会找到她并带她走。这种信任与坚持让两个人吃了不少苦头，也想享受了不少快乐。真实羡煞不少观众，在感情危机四伏的现在，这样的爱情成为一种梦想不足为怪。
男子汉的梦想 Jamal的哥哥Salim很酷、很现实，也很勇敢。从小到大，他都在保护恁头恁脑的弟弟。无论遇到多么危险的情况，无论遭遇多么棘手的处境，他永远冲在第一个，不顾性命的保护自己的弟弟。
在男生的世界里，有时候哥们儿义气很重要、亲生手足更重要。另可出卖自己，也不让自己亲爱的弟弟受到一点点伤害，哪怕被误会也在所不惜。这样的男子汉精神是多少男生引以为豪的？可以表现的机会太少，有时候充当梦想也是一种安慰。
冲突
梦想与现实的冲突 小时候，我们的眼里世界永远都是绚烂多彩的，即使住贫民窟也不受到任何影响。而我们长大之后，一座座水泥森林拔地而起时，童年的快乐不见了，儿时的梦想也在悄悄远去。
Salim坐在未完工的大厦边，俯瞰正在施工的大楼时，心中百感交集。他想让弟弟理解他，因为他的所作所为都是要挽留童年时两个人共同拥有的快乐和梦想，只是他选择了与Jamal不同的道路。
现实太残酷了，Salim不能像Jamal那样傻乎乎的断送两人的活路，所以他总是充当老大的角色，展开稚嫩的臂膀保护在现实与梦想中徘徊的一对情侣。最后，他不得已走上了绝路……
亲情与爱情的冲突 Jamal很单纯，单纯得幼稚。他用自己的全部去寻找、爱护一个叫Latika的女孩，却从不为出生入死的哥哥着想。哥哥用枪指着他的脑袋逼他离开Latika时，他将所有的震惊化为愤怒，企图日后翻身找哥哥报复。
哥哥始终是哥哥，他该如何面对？亲情与爱情就像手心和手背，不能同时选择，也不能抛弃其中一个。Jamal决定选择原谅，用自己的方法帮助Latika脱离苦海与自己在一起，疏不知哥哥最后为了帮助Latika逃跑奉献了自己。
利益的冲突 《谁想成为百万富翁》是一个与《开心辞典》相类似的节目，它企图通过一个虚渺的梦想提高收视率，从而让电视台荷包丰满。可是要有回报总得有付出，Jamal一路顺利过关的奇迹让节目损失惨重，于是他们找来警察图谋控告Jamal作弊而省下这笔巨额奖金。
然而，命运选择了Jamal。他在警察局供述了自己的过去，为自己创造的奇迹洗清的冤屈。全国为之沸腾，全国的贫民为自己的同类战胜了金钱而狂欢。
电影里浓得化不开的印度风情、真实得不敢相信的印度景观为两兄弟的纠葛历程渲染了不少气氛，给电影的整体美观出力不少。跌宕起伏的剧情、惊涛骇浪的相爱、可歌可泣的兄弟情掺和在一起上演了一幕大团圆的喜剧。然而，喜剧之中的悲情色彩似乎一点没被喜剧结尾削弱多少，反而大大提升了悲戚的滋味。
尤其勇士般的Salim，大起大落的人生注定以悲剧收场。他的牺牲成全了他的弟弟。
迷梦一样不甚真实的电影谱写了一首壮丽的悲歌，黑咖啡的苦涩激荡起不能似有或无的甘甜。不能说《谁想成为百万富翁》是部尽善尽美的绝世华章，却得说它是丹尼·博伊尔的经典之作。
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Out of Frame: Slumdog MillionaireEver wonder how much luck is involved in the success of the average quiz show winner? Sure, being a brainiac doesn't hurt, but no matter how much you know, unless the Venn diagram of your knowledge and those questions has significant overlap, you're done and luck trumps preparation. If Ken Jennings' first Jeopardy! appearance had the set of questions from the day on which he eventually lost, instead of being the most famous game show contestant in history, he might just be some nerdy computer programmer from Utah you never heard of. But what if you got on Who Wants To Be a Millionaire?, and every question you got, by pure coincidence, had a tie-in to a specific event in your life, fate putting the fix in so that you were only asked questions your life had been preparing you to answer? If you're a poor 18-year-old kid from the Muslim slums of Mumbai who grew up as an orphan and a grifter, it means you get to your final, 20 million rupee question and are hauled off by the cops on suspicion of fraud.
That's where Jamal, the titular "slumdog" finds himself at the opening of Slumdog Millionaire, being tortured mercilessly by two unsavory lawmen attempting to get him to fess up to just how he got to the final question on the notoriously difficult Indian version of the famous game show. Once they quit slapping him around, Jamal begins to tell his story, which unfolds in two interlocking sets of flashbacks: one to his life growing up with his ne'er-do-well brother after the death of his mother, the other to his nerve-wracking run on the previous night's taping of the show. As the cops go over the tape with him question by question, Jamal tells stories from his past that explain exactly how he knew the answers. And if that's all the movie was, it would be a pretty tedious and predictable affair, but screenwriter Simon Beaufoy (The Full Monty) takes considerable liberties with the novel on which the film is based. These two sets of flashbacks aren't the whole story at all. Both lead to a cleverly constructed convergence around the great unrequited love of Jamal's life, a girl (Latika) he meets while he's still a young boy. They're both street urchins scamming money for a Fagin-like boss who uses the kids ruthlessly.
Director Danny Boyle has made a career out of a deficit of attention towards any particular genre. He's done the Hitchcockian thriller, the Scottish heroin movie, the fantastical American road romance, the low-fi zombie flick, and contemplative sci-fi. Finding him in India doing a bilingual feature with Bollywood actors and unknowns might seem surprising, but when it comes to Boyle, there's nothing "typical" to begin with. No two films could possibly look more different than the crisp, glossy, ultra-modern and interstellar palette of his last film, Sunshine, and the dirty poverty and visual chaos contained in Slumdog Millionaire's grainy cinematography. But what really typifies his work is a good story, well told, and that's exactly what Slumdog Millionaire has.
Boyle doesn't try to fight his fish-out-of-water status as an English filmmaker working in Mumbai. Culturally, the film is unmistakeably Western - that it centers on the Indian version of a popular Western game show gives it an instantly recognizable reference point. Organized crime archetypes are also familiar, and Boyle pushes the religious and class distinctions that underlie the story into subtle background notes; they're vital, yet secondary to the story Boyle wants to tell. He even throws in American and British tourists for more familiar touches (hough interestingly, by the time they come up, we're so immersed in the lives of Jamal, his brother Salim, and Latika, that rather than becoming proxies for the audience in a strange land, they're quite obviously outsiders in a world and to characters with which we now identify). And Boyle embraces the Bollywood side of things as well, and those touches (many undoubtedly courtesy Indian director Loveleen Tandan, to whom Boyle gave a co-director credit as a result of her input), are great fun and make for a rich and diverse film.
Most of all, though, Slumdog Millionaire is hugely entertaining. That it's completely implausible isn't a hindrance at all. Like a director from Hollywood's golden age, Boyle has a particular talent for putting a realistic spin on the outlandish. His cast is pitch perfect, from Bollywood star Anil Kapoor as the nearly reptilian game show host, to British newcomer Dev Patel as Jamal. Boyle also enlists legendary Indian film composer A.R. Rahman to put together a stellar soundtrack (including a great collaboration between Rahman and M.I.A.). Though it has its heavier moments, it's one of the most guiltlessly pleasurable films to be released this year: smart, funny, fast-paced, and poignant.
Slumdog Millionaire opens today at Bethesda Row, and spreads to more locations next week.
Out of Frame: Slumdog MillionaireEver wonder how much luck is involved in the success of the average quiz show winner? Sure, being a brainiac doesn't hurt, but no matter how much you know, unless the Venn diagram of your knowledge and those questions has significant overlap, you're done and luck trumps preparation. If Ken Jennings' first Jeopardy! appearance had the set of questions from the day on which he eventually lost, instead of being the most famous game show contestant in history, he might just be some nerdy computer programmer from Utah you never heard of. But what if you got on Who Wants To Be a Millionaire?, and every question you got, by pure coincidence, had a tie-in to a specific event in your life, fate putting the fix in so that you were only asked questions your life had been preparing you to answer? If you're a poor 18-year-old kid from the Muslim slums of Mumbai who grew up as an orphan and a grifter, it means you get to your final, 20 million rupee question and are hauled off by the cops on suspicion of fraud.
That's where Jamal, the titular "slumdog" finds himself at the opening of Slumdog Millionaire, being tortured mercilessly by two unsavory lawmen attempting to get him to fess up to just how he got to the final question on the notoriously difficult Indian version of the famous game show. Once they quit slapping him around, Jamal begins to tell his story, which unfolds in two interlocking sets of flashbacks: one to his life growing up with his ne'er-do-well brother after the death of his mother, the other to his nerve-wracking run on the previous night's taping of the show. As the cops go over the tape with him question by question, Jamal tells stories from his past that explain exactly how he knew the answers. And if that's all the movie was, it would be a pretty tedious and predictable affair, but screenwriter Simon Beaufoy (The Full Monty) takes considerable liberties with the novel on which the film is based. These two sets of flashbacks aren't the whole story at all. Both lead to a cleverly constructed convergence around the great unrequited love of Jamal's life, a girl (Latika) he meets while he's still a young boy. They're both street urchins scamming money for a Fagin-like boss who uses the kids ruthlessly.
Director Danny Boyle has made a career out of a deficit of attention towards any particular genre. He's done the Hitchcockian thriller, the Scottish heroin movie, the fantastical American road romance, the low-fi zombie flick, and contemplative sci-fi. Finding him in India doing a bilingual feature with Bollywood actors and unknowns might seem surprising, but when it comes to Boyle, there's nothing "typical" to begin with. No two films could possibly look more different than the crisp, glossy, ultra-modern and interstellar palette of his last film, Sunshine, and the dirty poverty and visual chaos contained in Slumdog Millionaire's grainy cinematography. But what really typifies his work is a good story, well told, and that's exactly what Slumdog Millionaire has.
Boyle doesn't try to fight his fish-out-of-water status as an English filmmaker working in Mumbai. Culturally, the film is unmistakeably Western - that it centers on the Indian version of a popular Western game show gives it an instantly recognizable reference point. Organized crime archetypes are also familiar, and Boyle pushes the religious and class distinctions that underlie the story into subtle background notes; they're vital, yet secondary to the story Boyle wants to tell. He even throws in American and British tourists for more familiar touches (hough interestingly, by the time they come up, we're so immersed in the lives of Jamal, his brother Salim, and Latika, that rather than becoming proxies for the audience in a strange land, they're quite obviously outsiders in a world and to characters with which we now identify). And Boyle embraces the Bollywood side of things as well, and those touches (many undoubtedly courtesy Indian director Loveleen Tandan, to whom Boyle gave a co-director credit as a result of her input), are great fun and make for a rich and diverse film.
Most of all, though, Slumdog Millionaire is hugely entertaining. That it's completely implausible isn't a hindrance at all. Like a director from Hollywood's golden age, Boyle has a particular talent for putting a realistic spin on the outlandish. His cast is pitch perfect, from Bollywood star Anil Kapoor as the nearly reptilian game show host, to British newcomer Dev Patel as Jamal. Boyle also enlists legendary Indian film composer A.R. Rahman to put together a stellar soundtrack (including a great collaboration between Rahman and M.I.A.). Though it has its heavier moments, it's one of the most guiltlessly pleasurable films to be released this year: smart, funny, fast-paced, and poignant.
Slumdog Millionaire opens today at Bethesda Row, and spreads to more locations next week.
参考资料： http://dcist.com/2008/11/out_of_frame_slumdog_millionaire.php
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