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不一样的《画皮》，一样的真情
蒲松龄先生在《聊斋志异》中为我们创造了一个人鬼妖的奇异世界，一个个鲜活的角色，一段段感人的真情，构成了一部旷世《聊斋》。蒲松龄先生借助人鬼妖的《聊斋》狠狠地讽刺了一回现世，将现世的丑恶通过人鬼妖的演绎淋漓尽致地表现出来。
因为《聊斋志异》所拥有的丰富情感，才使得对这部充满着无限想象力的“奇幻”作品在国人心中占有着一席之地，即使它充斥着鬼，充斥着妖。正所谓“《诗》，可以兴，可以观，可以群”，优秀的文学艺术作品可以使读者借作品来充分感受世界，体会世界；饱含真情的优秀文学艺术作品更是可以感染人和打动人的。
在《聊斋志异》中，《画皮》又是被改变成影视作品较多的一部，这不单纯是因为里边对恐怖画皮的无限瞎想，更是对作品里面忠贞爱情的赞颂。
就《画皮》的类型来说，严格意义上，根据原著的类型，它应该算是一部“恐怖片”，但就影片中展现的内容，表现的主题，却又可以划分为“情感片”，这一点是绝对忠实原著的。
在蒲松龄先生笔下的《画皮》世界里，狐妖的险恶，王生愚钝，王妻的忠贞，被表现得淋漓尽致，世人在为美人的画皮而惊惧，“二八姝丽”竟是一个狐妖，令人“心相爱乐”面孔，竟是一副画皮，这就是蒲松龄先生对现世的一种观点，这样一种令人惧怕的状态，岂又是古代之事；世人在为王生的愚钝感慨，面对美人，竟被美丽的外表所迷惑，而不听旁人所劝，仍沉迷其中，最后丢了性命，世人更在为为夫君复活而遭受到“疯者 ”的“凌辱”感叹王妻的忠与贞，为了让自己的夫君得以重生，不惜低下头，任“疯人”的“欺辱”，结果却换回了夫君的新生，在她的身上体会到中国传统女性的美，那种传统的忠贞之美；更是看到了最彻底的忠贞爱情，面对夫君的“背叛”，依旧可以为救其而“放弃”自己作为一名女性应有的高洁。
蒲松龄为世人描绘了如此一个令人感慨的世界，世人因此为王妻的忠贞津津乐道，因为世人在王妻身上看到了真善美，这是人的一个至高境界，现世即便在黑暗，但人总是会去追求一种真善美的理想状态，即便现世不能给予，却可以在《画皮》甚至《聊斋》里找到得以寄托的感情，这是文学艺术的魅力所在。
相对于原著，电影对故事情节做了较大的改动，先是对王生的角色定位改成了将军，其次就是狐妖对王生的感情，更丰富了更具体了。原著中狐妖对于王生，只是为了王生的心，而对王生的情感是没有体现的，在影片中，狐妖对王生产生了较强的感情，为王生，她可以放弃保护美丽容颜而不去吃心，为救死去的王生，她更愿意献出自己修炼多年的精华去救他。她虽是妖，但她也可以为自己所爱之人去死，就电影所表现的这一点，其实也就升华了电影的内涵，让电影更接近原著了——在原著之中，总体而言，鬼妖要比人更具“人情味”。与原著相比，没变的依旧是王生的妻子，在电影的宣传海报上，对于王妻，用了一个词语——“义胆贞妻”来形容，而这却足以体现原作中那个令人难以忘怀的忠贞妻子的形象，为了让自己的丈夫不受到伤害，知道了狐妖的目的后，她毅然选择离开，甚至不惜让狐妖把自己变成一副可怕的样子，让别人以为她就是妖，让别人失去对她的好印象，甚至不息死去，为的只是让自己的丈夫不受到伤害。
在演员的表演和电影语言的综合总用下，属于《画皮》的那份人性，那份真挚感人的情感出现了，并且深深打动了观众。影片不再单纯以狐妖画皮的震撼，吃心的恐怖作为重点，和噱头，而是转向对人物情感的挖掘，影片中每个人物都是有情有意的，原本应该会有的恐怖还是没有出现，反倒是一个个充满情意的画面感动了观众，片子是成功的。不但从它的票房成绩来看，从观众的口碑反映来看，也是理想的——因为它饱含深情，只有真情才能打动人，影响人！
感情作为艺术作品的一个重要元素，一部作品之所以会受到人们的喜爱，其中必然饱含着丰富的感情，《画皮》甚至《聊斋志异》其中无不充满真情实感，读者或观众可以厌恶鬼妖的恶；可以感叹世人的愚钝和纯情；甚至可以借作品感受现世的面貌，没有感情的依托，这些是难以让观众正真喜欢它。
从原著画皮中，我们看到的是王妻的忠贞，在电影中，则看到女性为自己所喜欢之人纷纷奉献的伟大，这是升华。不一样的《画皮》，却让观众看到了同一样的真情，质朴的真情，感人的真情。
蒲松龄先生在《聊斋志异》中为我们创造了一个人鬼妖的奇异世界，一个个鲜活的角色，一段段感人的真情，构成了一部旷世《聊斋》。蒲松龄先生借助人鬼妖的《聊斋》狠狠地讽刺了一回现世，将现世的丑恶通过人鬼妖的演绎淋漓尽致地表现出来。
因为《聊斋志异》所拥有的丰富情感，才使得对这部充满着无限想象力的“奇幻”作品在国人心中占有着一席之地，即使它充斥着鬼，充斥着妖。正所谓“《诗》，可以兴，可以观，可以群”，优秀的文学艺术作品可以使读者借作品来充分感受世界，体会世界；饱含真情的优秀文学艺术作品更是可以感染人和打动人的。
在《聊斋志异》中，《画皮》又是被改变成影视作品较多的一部，这不单纯是因为里边对恐怖画皮的无限瞎想，更是对作品里面忠贞爱情的赞颂。
就《画皮》的类型来说，严格意义上，根据原著的类型，它应该算是一部“恐怖片”，但就影片中展现的内容，表现的主题，却又可以划分为“情感片”，这一点是绝对忠实原著的。
在蒲松龄先生笔下的《画皮》世界里，狐妖的险恶，王生愚钝，王妻的忠贞，被表现得淋漓尽致，世人在为美人的画皮而惊惧，“二八姝丽”竟是一个狐妖，令人“心相爱乐”面孔，竟是一副画皮，这就是蒲松龄先生对现世的一种观点，这样一种令人惧怕的状态，岂又是古代之事；世人在为王生的愚钝感慨，面对美人，竟被美丽的外表所迷惑，而不听旁人所劝，仍沉迷其中，最后丢了性命，世人更在为为夫君复活而遭受到“疯者 ”的“凌辱”感叹王妻的忠与贞，为了让自己的夫君得以重生，不惜低下头，任“疯人”的“欺辱”，结果却换回了夫君的新生，在她的身上体会到中国传统女性的美，那种传统的忠贞之美；更是看到了最彻底的忠贞爱情，面对夫君的“背叛”，依旧可以为救其而“放弃”自己作为一名女性应有的高洁。
蒲松龄为世人描绘了如此一个令人感慨的世界，世人因此为王妻的忠贞津津乐道，因为世人在王妻身上看到了真善美，这是人的一个至高境界，现世即便在黑暗，但人总是会去追求一种真善美的理想状态，即便现世不能给予，却可以在《画皮》甚至《聊斋》里找到得以寄托的感情，这是文学艺术的魅力所在。
相对于原著，电影对故事情节做了较大的改动，先是对王生的角色定位改成了将军，其次就是狐妖对王生的感情，更丰富了更具体了。原著中狐妖对于王生，只是为了王生的心，而对王生的情感是没有体现的，在影片中，狐妖对王生产生了较强的感情，为王生，她可以放弃保护美丽容颜而不去吃心，为救死去的王生，她更愿意献出自己修炼多年的精华去救他。她虽是妖，但她也可以为自己所爱之人去死，就电影所表现的这一点，其实也就升华了电影的内涵，让电影更接近原著了——在原著之中，总体而言，鬼妖要比人更具“人情味”。与原著相比，没变的依旧是王生的妻子，在电影的宣传海报上，对于王妻，用了一个词语——“义胆贞妻”来形容，而这却足以体现原作中那个令人难以忘怀的忠贞妻子的形象，为了让自己的丈夫不受到伤害，知道了狐妖的目的后，她毅然选择离开，甚至不惜让狐妖把自己变成一副可怕的样子，让别人以为她就是妖，让别人失去对她的好印象，甚至不息死去，为的只是让自己的丈夫不受到伤害。
在演员的表演和电影语言的综合总用下，属于《画皮》的那份人性，那份真挚感人的情感出现了，并且深深打动了观众。影片不再单纯以狐妖画皮的震撼，吃心的恐怖作为重点，和噱头，而是转向对人物情感的挖掘，影片中每个人物都是有情有意的，原本应该会有的恐怖还是没有出现，反倒是一个个充满情意的画面感动了观众，片子是成功的。不但从它的票房成绩来看，从观众的口碑反映来看，也是理想的——因为它饱含深情，只有真情才能打动人，影响人！
感情作为艺术作品的一个重要元素，一部作品之所以会受到人们的喜爱，其中必然饱含着丰富的感情，《画皮》甚至《聊斋志异》其中无不充满真情实感，读者或观众可以厌恶鬼妖的恶；可以感叹世人的愚钝和纯情；甚至可以借作品感受现世的面貌，没有感情的依托，这些是难以让观众正真喜欢它。
从原著画皮中，我们看到的是王妻的忠贞，在电影中，则看到女性为自己所喜欢之人纷纷奉献的伟大，这是升华。不一样的《画皮》，却让观众看到了同一样的真情，质朴的真情，感人的真情。
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The Legend of 1900
From the first frame to the last, The Legend of 1900 is a film about music, and an extraordinary tale of a irtuoso musician born at sea. With an original score by legendary film composer Ennio Morricone and featuring an original song with lyrics written and performed by Pink Floyd's Roger Waters and guitar solos by Edward Van Halen, The Legend of 1900 is one of those classic soundtracks that will leave movie-goers obsessed with the music long after the credits have rolled.
The Legend of 1900 is directed by Academy Award? winner Giuseppe Tornatore, reunited here with Ennio Morricone for the first time since their critically and commercially acclaimed international success, Cinema Paradiso. An extraordinary tale of a virtuoso musician born at sea, The Legend of 1900 tells the story of a boy's journey to manhood -- aboard a luxury ocean liner sailing between Europe and America. Abandoned on the ship as a baby and named for the year in which he was born, "1900" (Tim Roth) grows up within the confines of this transatlantic steamer, a prodigious talent at the piano who spends his days entertaining the world with his music. The film tells the story of his life, with a major focus on the music and musicians that come through his world.
IT SEEMS CERTAIN that an American filmmaker who learned Italian and made a film about Italy inspired mostly by Italian films would create a weird pastiche. It would be neither Italian nor American, simply peculiar. The Legend of 1900, Giuseppe Tornatore's first English-language film, is such a case in reverse: an elephantine fable about American jazz, movies and the solitude of an artist.
It's the story of a foundling, discovered in 1900 aboard the Virginian, an ocean liner. Danny (Bill Nunn), an African-American coal stoker, decides to bring the baby down to the furnaces and raises him there. The waif's benefactor is brained during an accident, and the child grows into a piano player who dazzles the shipboard crowd.
It's the choice of "1900" (Tim Roth), as the musician is named, never to leave the ship. His life exhibits a forced pathos. He's a great piano player who records only once, falls in love with a girl he sees only a few times and loses forever, and never performs for the rest of the landlocked world.
His buddy Max (Pruitt Taylor Vince, from Heavy) is more practical and coarse, the fat Sancho Panza to this thin piano-playing aesthete. Max narrates the end of the story to a sympathetic music-store owner as he tries to pawn his trumpet for the price of a meal.
The only record of the pianist's music is a master recording, and he breaks it in a fit of pique: "My music isn't going anywhere without me." The lost song (by Ennio Morricone, not at his best) sounds like the piano accompaniment for the end credits from Search for Tomorrow, but it's supposed to be the only surviving legacy of a genius.
From the first frame to the last, The Legend of 1900 is a film about music, and an extraordinary tale of a irtuoso musician born at sea. With an original score by legendary film composer Ennio Morricone and featuring an original song with lyrics written and performed by Pink Floyd's Roger Waters and guitar solos by Edward Van Halen, The Legend of 1900 is one of those classic soundtracks that will leave movie-goers obsessed with the music long after the credits have rolled.
The Legend of 1900 is directed by Academy Award? winner Giuseppe Tornatore, reunited here with Ennio Morricone for the first time since their critically and commercially acclaimed international success, Cinema Paradiso. An extraordinary tale of a virtuoso musician born at sea, The Legend of 1900 tells the story of a boy's journey to manhood -- aboard a luxury ocean liner sailing between Europe and America. Abandoned on the ship as a baby and named for the year in which he was born, "1900" (Tim Roth) grows up within the confines of this transatlantic steamer, a prodigious talent at the piano who spends his days entertaining the world with his music. The film tells the story of his life, with a major focus on the music and musicians that come through his world.
IT SEEMS CERTAIN that an American filmmaker who learned Italian and made a film about Italy inspired mostly by Italian films would create a weird pastiche. It would be neither Italian nor American, simply peculiar. The Legend of 1900, Giuseppe Tornatore's first English-language film, is such a case in reverse: an elephantine fable about American jazz, movies and the solitude of an artist.
It's the story of a foundling, discovered in 1900 aboard the Virginian, an ocean liner. Danny (Bill Nunn), an African-American coal stoker, decides to bring the baby down to the furnaces and raises him there. The waif's benefactor is brained during an accident, and the child grows into a piano player who dazzles the shipboard crowd.
It's the choice of "1900" (Tim Roth), as the musician is named, never to leave the ship. His life exhibits a forced pathos. He's a great piano player who records only once, falls in love with a girl he sees only a few times and loses forever, and never performs for the rest of the landlocked world.
His buddy Max (Pruitt Taylor Vince, from Heavy) is more practical and coarse, the fat Sancho Panza to this thin piano-playing aesthete. Max narrates the end of the story to a sympathetic music-store owner as he tries to pawn his trumpet for the price of a meal.
The only record of the pianist's music is a master recording, and he breaks it in a fit of pique: "My music isn't going anywhere without me." The lost song (by Ennio Morricone, not at his best) sounds like the piano accompaniment for the end credits from Search for Tomorrow, but it's supposed to be the only surviving legacy of a genius.
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