剧情介绍
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Errol Morris's unique documentary dramatically re-enacts the crime scene and investigation of a police officer's murder in Dallas, Texas. Briefly, a drifter (Randall Adams) ran out of gas and was picked up by a 16-year-old runaway (David Harris). Later that night, they drank some beer, smoked some marijuana, and went to the movies. Then, their stories diverged. Adams claimed that he left for his motel, where he was staying with his brother, and went to sleep. Harris, however, said that they were stopped by police late that night, and Adams suddenly shot the officer approaching their car. The film shows the audience the evidence gathered by the police, who were under extreme pressure to clear the case. It strongly makes a point that the circumstantial evidence was very flimsy. In fact, it becomes apparent that Harris was a much more likely suspect and was in the middle of a crime spree, eventually ending up on Death Row himself for the later commission of other crimes. Morris implies that the DA's and the judge's desire for the death penalty in this case (for which Harris would have been ineligible because of his youth) made Adams a scapegoat on whom to pin this heinous crime.
采访人物做个字幕简介会清晰更多……社会性大于艺术性,标题起的真好
十个人欺负一个人,叫霸凌;一百个人欺负一个人,也叫霸凌;而一千个一万个甚至更多人欺负一个人,就是正义。
一窥米国的司法如何冤枉一个好人,当然最佩服的还是挑战真实的勇气
冷静的重构叙述,采访了冤枉的Ramdall,指控他的真凶Harris,律师,检察官,证人等各方,一切清楚不过地指出证词的无力,证人都是scum,警察竟然故意引导出并相信了16岁的富有前科真凶的证词,这也是他们想要的,赶紧找个适合的成年人定罪了事,正义审判根本不存在,律师也为此寒心,而检察官在被最高法院否定后竟然通过改死刑为无期徒刑来避免重审保住面子,虽然他知道自己错了,但是把无辜的人定罪更显得他水平高超,何其荒谬。最后解释了Harris不断犯罪的根源,童年兄长溺亡,父亲责怪导致的创伤。采访间电影般的重构,细节拍摄,近距离而多角度的机位,观众仿佛也身临其境。结尾的录音更显出一种命运弄人的色彩,如果Ramdall兄弟留宿了Harris会不会一切并不会发生?
新纪录主义电影:采取虚构手段与策略揭示真实,积极主张虚构,情景再现的手段
80年代没有网飞,没有疯狂的电视直播,当时的人们连看完电影几点了也不一定能记得。影片的节奏正如那个时代的节奏一样,慢悠悠也不甚清楚地把故事讲出来,一个发人深省的重要故事。
现实版的《局外人》。细细的蓝线……这条线虽然很细,但它也足够厚以至于让人完全无法窥视里面发生了什么。真是个杰作,好久没看到如此出色的电影。导演没有提出任何观点,仅仅通过不同对立面人物的采访就诠释了一切。电影虽然是纪录片,但是镜头相当的形式化,特写、打光、色调,以及配乐都在说话,以一个冷峻的风格串联了整体。这是我看过最出色的纪录片。
soundtrack: Philip Glass- Metamorphosis
即便确实存在着那条细细的蓝线,但蓝却并非一种颜色,是清澈的蔚蓝、庄严的群青还是让黑更神秘的暗蓝,可能只取决于其划出的是怎样的两界两岸。多视角各立场的交叉验证辩驳,搭配精心布置设计的、介于复现和表现之间的摆拍场景还原,本片在开创了此等叙述公式同时,更将论证的主动性和表意的丰富性直接达至高峰。反复出现的案件重构场面,既是对具体事实的复原也是对绝对真实的瓦解,可以说是在对真实本身进行解构的同时直接完成了对特定真相的判定,其景别色调节奏的选择既补充了想象又制造着间离,形成了美感和风格,搭配叙述层面严谨克制又耐心笃定的论证,让整个表达充满了神秘能量,菲利普·格拉斯的精彩配乐更为之加进了强劲又冷峻的张力。
片尾凶手的“认罪”录音,其实有可延伸的心理学解读,挺想从他身上知道更多。亚当姆斯此后起诉导演的行为也很值得分析,但不清楚其中原委。案件本身非常无聊,能从司法与人性的角度提炼至此挺不容易。
正義原來是這麼虛無飄渺的東西...
我的心理居然是高开低走的,这么多人的角度阐述,居然慢慢减退了我的好奇心。但是不应该是越来越好奇吗
和时间简史一样精彩!
社会角度满分,真相得以挖掘;哲理层面满分,愤怒如同春虫,集体呻吟呐喊,一条虫就变成了两条虫,没人在意对错,没人在乎真假,甚至没人愿意承认自己曾经如此疯狂的想要致一个陌生人于死地,当真相被挖掘后,甚至都没有一丝懊恼,似乎只有惊叹的表达:竟然不是他!但从个人审美层面讲,似乎对我又没那么震撼,但瑕不掩瑜。
纪录片创作教程教学素材:新纪录电影&情景再现警察是区分一个民主社会与极权的“细蓝线”。