1964英国7.7分剧情战争《国王与国家》BD1080p.中文字幕
名称：国王与国家
别名：吾土吾王 / 国王和国家 / King and Country / King and Country
主演：德克·博加德 / 汤姆·康特奈 / 莱奥·麦凯恩 / 巴里·福斯特 / 彼得·科普利 / 詹姆斯·维利尔斯 / 杰瑞米·斯宾塞 / Barry·Justice / Vivian·Matalon / 基思·巴克利 / James·Hunter / Larry·Taylor
导演：约瑟夫·罗西
地区：英国
年份：1964
语言：英语
时长：83分钟
国王与国家剧情介绍
The last time Britain was a major force in world cinema was in the 1960s; a documentary of a few years back on the subject was entitled 'Hollywood UK'. This was the era of the Kitchen Sink, social realism, angry young men; above all, the theatrical. And yet, ironically, the best British films of the decade were made by two Americans, Richard Lester and Joseph Losey, who largely stayed clear of the period's more typical subject matter, which, like all attempts at greater realism, now seems curiously archaic. 'King and Country', though, seems to be the Losey film that tries to belong to its era. Like 'Look Back in Anger' and 'A Taste of Honey', it is based on a play, and often seems cumbersomely theatrical. Like 'Loneliness of the long distance runner', its hero is an exploited, reluctantly transgressive working class lad played by Tom Courtenay. Like (the admittedly brilliant) 'Charge of the Light Brigade', it is a horrified, near-farcical (though humourless) look at the horrors of war, most particularly its gaping class injustices. Private Hamp is a young volunteer soldier at Pachendaele, having served three years at the front, who is court-martialled for desertion. Increasingly terrorised by the inhuman pointlessness of trench warfare, the speedy, grisly, violent deaths of his comrades and the medieval, rat-infested conditions of his trench, he claims to have emerged dazed from one gruesome attack and decided to walk home, to England. He is defended by the archetypal British officer, Captain Hargreaves, who professes disdain for the man's cowardice, but must do his duty. He attempts to spin a defence on the grounds of madness, but the upper-crust officers have heard it all before. This is a very nice, duly horrifying, liberal-handwringing, middle-class play. It panders to all the cliches of the Great War - the disgraceful working-class massacre, while the officers sup whiskey (Haig!) - figured in some charmingly obvious symbolism: Hargreaves throwing a dying cigarette in the mud; Hamp hysterically playing blind man's buff. The sets are picturesquely grim, medieval, a modern inferno, as these men lie trapped in a never-ending, subterranean labyrinth, lit by hellish fires, with rats for company and the constant sound of shells and gunfire reminding them of the outside world. The play, in a very middle-class way, is not really about the working class at all - Hamp is more of a symbol, an essence, lying in the dark, desolately playing his harmonica, a note of humanity in a score of inhumanity. He doesn't develop as a character. The play is really about Hargreaves, his realisation of the shabby inadequacy of notions like duty. He develops. This realisation sends him to drink (tastier than dying!). Like his prole subordinates, he falls in the mud, just as Hamp is said to have done; he even says to his superior 'We are all murderers'. This is all very effective, if not much of a development of RC Sherriff's creaky 'Journey's End', filmed by James Whale in 1930. Its earnestness and verbosity may seem a little stilted in the age of 'Paths of Glory' and 'Dr. Strangelove'; we may feel that 'Blackadder goes forth' is a truer representation of the Great War. But what I have described is not the film Losey has made. He is too sophisticated and canny an intellectual for that. The film opens with a lingering pan over one of those monumental War memorials you see all over Britain (and presumably Europe), as if to say Losey is going to question the received ideas of this statue, the human cost. But what he's really questioning is this play, and its woeful inadequacy to represent the manifold complexities of the War. This is Brechtian filmmaking at its most subtle. We are constantly made aware of the artifice of the film, the theatrical - the stilted dialogue is spoken with deliberate stiffness; theatrical rituals are emphasised (the initial interrogation; the court scene, where actors literally tread the boards, enunciating the predictable speeches; the mirror-play put on by the hysterical soldiers and the rats; the religious ceremony; the horrible farce of the execution). Proscenium arches are made prominent, audiences observe events. This is a play that would seek to contain, humanise, explain the Great War. This is a hopeless task, as Losey's provisional apparatus explains, 'real' photographs of harrowing detritus fading from the screen as if even these are not enough to convey the War, never mind a well-made, bourgeois play. Losey's vision may be apocalyptic - it questions the possibility of representation at all - the various tags of poetry quoted make no impact on hard men men who rattled them off when young; the Shakespearean duality of 'noble' drama commented on by 'low' comedy, effects no transcendence, no greater insight. Losey's camerawork and composition repeatedly breaks our involvement with the drama, any wish we might have for manly sentimentality; in one remarkable scene an officer takes an Aubrey Beardsley book from the cameraman! This idea of the theatrical evidently mirrors the rigid class 'roles' played by the main characters (Hamp's father and grandfather were cobblers too; presumably Hargreaves' were always Sandhurst cadets). Losey also takes a sideswipe at the kitchen sink project, by using its tools - history has borne him out.
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国王与国家豆瓣热评
vivi 2022-10-22 23:29:52
看“The Servant”的时候就一直想着Tom Courtenay的“The Dresser”，然后他们果然就合作上了。今天本来是芙芙的生日，现实却像至暗时刻。
火娃 2017-06-25 17:01:00
7/10。一队夸张的士兵从死马腹中取出老鼠、扔在水中以击石淹死老鼠，长官营内的镜子绑绳割裂开辩护人的脸，他们给犯人酒精和吗啡缓解精神暴力，行刑队故意把枪口抬高由辩护人亲自补上一枪，想起开头战争纪念墙的长镜头切到炮弹落下，代表正义的军事法庭直接否认污泥中那些腐烂尸首生前遭受的动物异化。
dinosaurs 2016-05-17 20:13:50
罗西这部话剧电影拍得极其精湛。剧本本身的左倾性质并没有电影的呈现那么强劲。有许多意义的传达、凝聚和明确是在导演部门完成的。这在一般的文学改编片中难以想象。罗西对劳工阶层的爱和批评在刑前醉酒那场精彩的披露出来。而当死囚吞下圣餐饼后呕吐出来，那已是让人想起爱森斯坦的十月对宗教的攻讦。
悲辛無盡獨行夜 2016-01-27 08:20:20
战争中你流尽鲜血，和平中你寸步难行，
荒也 2014-12-19 16:22:46
对牺牲少数服务于多数的政治的控诉。可以说是批判意识最强的罗西电影。因为审判的重头戏，台词和特写都较其他作品大幅度增加。审判之中不断插入士兵们对兵营老鼠的戏虐审判，讽刺和隐喻意味不言自明。关于博加德的演技，在站定后到移动的瞬间，上半身小幅度摆动，可以说其最大特点。《召使》中为极致。
ShrimpEmpanada 2018-12-26 20:29:40
非常受用的一部，没想到Losey的精致优雅放在狭窄幽暗，仅由孤灯或烛火照明的战壕里非但不突兀，反而贴切无比。大爱局促的镜头中那些甚少直接交汇的目光，和透过残垣断壁展开的全景，最终远方的炮火也淹没在连绵的雷雨声里，只留下逝去的战士和无处不在的泥泞。始终无法完全理解的战争，归根到底也只是我们所面对的悖论的一种极端展现吧：为之倾其所有的是生命，而能够付出的全部依旧是终究会失去的生命，仿佛死亡才是唯一一视同仁的奖赏，只是年轻的我们永远来不及整理好自己的行装。
Favillae 2016-01-16 23:14:36
最荒谬的是，急匆匆判Hamp死刑仅仅是因为上头要派他们这个营次日凌晨六点出发增援前线蒙斯特燧发枪手团的一个营，为了鼓舞士气，所以要赶着出发前执行枪决。然而真能鼓舞士气？恐怕没人相信。而一个年轻的被战争苦难摧残的生命就这样被轻轻易易抹掉了，像牲口老鼠一样在泥水中死去。战争机器里没有人。
QF 2017-12-19 20:15:21
When I am buried, all my thoughts and acts Will be reduced to lists of dates and facts, And long before this wandering flesh is rotten The dates which made me will be all forgotten ——John Masefield
长袜子 2023-03-24 23:44:52
让我想到一年后吕美特的山丘战魂 The Hill (1965)，本质其实都是差不多，靠画面和演员撑起了枯燥的故事，虽然批判层面略有差异但核心直指军营的阴暗面。65
Siglinde 2015-12-29 00:49:31
可能是布景最肮脏污秽的电影。简明的冲突，绝妙的气氛，高超的演技。
Die Katze 2018-10-01 15:44:51
和較早的 Over Lord 一脈相承。ORs 對於自己的命運是沒有什麼選擇餘地的，無非是被迫參與危險任務，以及自願參與更危險任務兩種，最後就是get wasted on battle field, due to CO's unwisely judgement. 作為逃兵遭到槍決/作為勇士光榮犧牲，性質雖有不同，本質上都是對生命的浪費。
九九八十一 2020-02-18 14:04:25
10分 罗西是神 不光是技巧层面上流畅的室内调度和运镜 或是对庭审戏和审问老鼠的交叉剪辑 它比《光荣之路》要更有力 而《光荣之路》在我心中已经够得到满分了 归功于最后漫长的行刑环节给我带来的真真切切的痛苦 这是第一部让我从四岁半以来第二次因想到临终前的痛苦而上气不接下气的电影
wywywywy 2019-10-02 18:13:11
庭辩戏本身就很不错，中间还穿插几段士兵无聊逗弄老鼠的戏形成很妙的对应。这部可以排我最喜欢的“一战题材电影”前五，罗西应该是我喜欢的导演前50，甚至会有前30吧，没排过。Hargreaves辩护军官这个角色，甚至不亚于博加德在《受害者》里的那个律师。
✨LycheeCAK 2023-12-21 15:04:34
想起Dirk说过帮重伤的队友结束生命…战争就是杀人…
人间失格 2020-01-10 23:14:29
探讨战场上士兵职责规范与个体精神失常的电影 其实这部切口很小，但最大的亮点：声画关系。全片几乎无配乐音效贯穿全片，所以并无过多煽情段落，结尾巧妙的运用声画对位，宣告死刑信息后无不充斥着欢声笑语，面带笑容的脸庞，但胸口却越来越闷，被蒙上的双眼是他不知死活的迷茫，所有人都想为他秉持正义，但正义不适合战场 有个隐喻部分也很喜欢，被战争无视到摧残的个体在集体意识里宛如弱小无助又无法发声且困在牢笼里的老鼠，周围是向他投石的权利者
cry cry 2022-02-02 21:52:33
精致但是格局不大，而且拍得太平淡了。
Spruce 2023-06-18 01:10:25
原来主角是日瓦戈医生里的男配角。军官服装马靴的精致和战壕污泥水塘反差很鲜明。
RuiAlmighty 2022-03-30 20:51:12
很有话剧风格的片子，全靠本子和演员撑起来。Dirk Bogarde演这种情感细腻复杂的角色永远不会让人失望
Sydney 2020-03-21 01:34:37
别有用意又哪来单纯的正义的审判 没有意义 不过有点“用处”
只抓住6个 2019-04-15 17:18:43
在导演的所有作品里影像大概算最有力的，非常黑色的反战题材
spondee 2009-07-08 23:08:40
壓抑陰暗的反戰電影，也是DB自己最愛的作品，Tom Courtenay的演技不錯http://www.douban.com/note/383114315/
Glorry 2024-02-17 13:08:05
逃兵的审判穿插着普通士兵对老鼠的审判，一群即将奔赴战场的士兵和一名判处枪毙即将行刑的逃兵的狂欢
todayis_Joyce 2023-08-02 16:24:50
反战电影。一战期间，二等兵哈姆普因擅离职守被送上军事法庭，军医认为他只是贪生怕死，而他的辩护律师哈格里夫斯上尉却认为事情没那么简单。战争时期的士兵像是被剥夺了基本的情感权利，只留下机器属性，不能也无法发声，像极了片中被士兵们困在笼中取乐的老鼠。
豆友213324845 2023-07-09 11:48:46
因为审判的重头戏，台词和特写都较其他作品大幅度增加
吧啦吧啦小魔仙 2021-04-09 13:37:56
结尾巧妙的运用声画对位，宣告死刑信息后无不充斥着欢声笑语，面带笑容的脸庞，但胸口却越来越闷，被蒙上的双眼是他不知死活的迷茫，所有人都想为他秉持正义
也海 2022-12-13 20:34:10
“I beg to remind the Court, if justice is not done to one man, then other men are dying for nothing.” When I am buried, all my thoughts and acts Will be reduced to lists of dates and facts, And long before this wandering flesh is rotten The dates which made me will be all forgotten. -- John Masefield
KYLO 2024-03-18 06:17:26
4.0/5.0 名为生活的战争也将无数人拉入地狱。无人替你申辩，无人知晓你的苦痛，直到灵魂消亡，直到腐烂的肉体横行，田中之鼠不断撕咬着行将就木的躯体，就这样活着，逃避，死去。
ksana 2024-05-02 00:25:56
在最肮脏之地，在最失败的处境中，才显出人之为人的道理
左胸上的吸盘 2024-01-09 00:32:47
勉强两分。86分钟版。看睡了两次。半小时单聊，半小时审判，半小时送别。全片所有场景都让人感觉面积不超过40平米，所有镜头都是呆滞的近景或特写，视听上缺乏变化、气氛憋闷，效果催眠，甚至有时候分不清镜头里谁是谁。全片不多的设计感，来自几个伴随角色台词出现的回忆性静帧，还有审判男主和士兵们在泥泞战壕虐待老鼠的平行剪辑。主题没什么新鲜的，一个在残酷战线上幸存士兵，因脱离战斗岗位遭质审判，辩护军官提出的精神问题未予采纳，最后因保持部队战斗精神的理由被处决，是个很老套的反战创作。电影有种荒诞、疯癫的质感，有不少毫无意义形似梦呓的废话台词，总的感觉编导用力过猛，能力有限，比较到位的是用腐败的士兵等战场元素呈现战争残酷性，这些设计也撑起了士兵们特异的精神状况，另外突兀宣布男主死刑那段的设计也还行
Johnny Macca 2022-07-13 17:50:14
罗西的电影好像永远都给人一种平淡克制甚至沉闷/冷峻的感觉，但看后也总是萦绕人心头久久不去。
ie 2022-01-15 12:23:43
本子一般但是罗西这人吧实在是太好了呃呃，天晓得为什么这些泥浆泥巴全都美得毛骨悚然
paradiso 2015-09-13 22:23:20
战争要求士兵保持一种非常状态，你能判一个表现出软弱常态的士兵有罪吗？话剧改编片，导演克制，表演精湛，选长跑者的孤独那个男主演被告很合适，面相单纯又有点可怜。
久田 2018-07-01 16:47:51
拼尽全力后的一败涂地。难过。Dirk 把那种挣扎矛盾的心境表现得很精准。