米开朗基罗的凝视

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　　By the time Michelangelo Antonioni released Michelangelo Eye to EyeBeyond the Clouds in 1995, his keen sense of patient, intimate observation had seemed to give way to a kind of leering, gratuitous voyeurism in the film's repeated, over-lingering shots of the female form. It is, however, precisely this painstaking attention to the voluptuousness of form and tactileness of surfaces that makes his subsequent short film, Michelangelo Eye to Eye particularly sensual and textural in its execution. Prefaced with a text description of the filmmaker's recent health problems (in particular, a debilitating stroke that left him partially paralyzed), the film opens with a shot of a frail Antonioni emerging from the shadows as he walks in slow, awkward gait into an unpopulated hall where Michelangelo Buonarotti's marble statue of Moses - a scaled down version of an ambitiously conceived wall tomb for Pope Julius II - is once again in display after a period of meticulous restoration. Composed of a series of detailed observations of the sculpture's composition from several camera angles and vantage points, Antonioni continually refocuses to the shot of Moses' opaque gaze - an image that is sublimely matched by the filmmaker's own occluded, returned gaze as he examines the object of his attention through limpid, watery eyes. In addition to creating a thorough, meticulous, and deliberative objective study of the Renaissance sculpture's robust physical form and timeless, universal beauty, Antonioni's juxtaposition of his own weakened, aging frame against the larger-than-life sculpture of Moses creates an indelible, thoughtful, and poignant image on human frailty, transience, creative compromise, and the enduring legacy of - and mortal transcendence through - enlightened art.


　　filmref.com

在两位米开朗基罗的“隔空对望”中，我突然意识到意大利电影的一部分魅力可能在于它更多地从雕塑这一艺术形式中吸收了营养：将人的肉体美和神性美同时“注入”到某种介质中。同是拍出充满神性作品的导演，布列松和塔可夫斯基更多来自于绘画和文学，德莱叶和伯格曼则是光影和面孔的戏剧；都是抽象的，跨维度的，高度精神化的，是禁欲的。意大利电影里的那些角色则被拍得像雕塑一般，肉体的立体感和巨大的（情感）精神张力彼此融合，到了快要从银幕里溢出来的地步。

空间与光线，肌肤的肌理。一种超越时空的永恒的对望。处女短片里看到了卡帕奇奥，遗作则展现了在安东尼奥尼电影中对于形象的处理。

静穆。一面是《安东尼奥尼教你如何欣赏雕塑》，一面是两位“米开朗基罗”的凝视。只能说太喜欢安公的名字了！安公无声的落幕。在凝视中，更是时间的永恒。

安东尼奥尼最后一部作品。两个米开朗基罗的凝视。失语症下的他，在想些什么无从得知。但安静的氛围，绝美的光线，都象征着永恒。

不多说，米开朗基罗仅仅一天时间就一下子超越了希区柯克、库布里克成为我最爱的外国导演之一了。两位米开朗基罗大师，那种雕塑的性感与电影里面光影的浮动相得映彰。

⊿安东尼奥尼的暮年之作，展现了最淳朴的写实主义风格，两个米开朗基罗的相互凝视，老人眼中写满疑惑，雕像眼中写满真诚，苍老的手指触碰粗糙的雕像，抚摸历史遗留下来的痕迹，宁静到忘记时间的流逝，最后出现的赞歌将灵魂拉回现实。

Antonioni无声地到达、离开，他凝视雕像，和他们在无声地对话，安静但却包含了世界上可能存在的所有情感。他和他的电影安静地凝视这个世界与我们。

4+，右声道！Antonioni从右侧步入教堂，其后右声道对左声道凝视，一个空间对另一个空间凝视。雕像不会真的“去看”，却和看它的人同等用力。雕像的眼睛是一扇门，摩西深皱的眉是门把手，轻触，握住，推开，进入一双眼睛后的房间。

立意很不错，无言无声，只有一双凝望的双眼。希望我也能够有天达到这样的境界，在某人某作品前，驻足，凝视，思索，含泪，慢慢离去。

安东尼奥尼在圣彼得教堂对摩西塑像的凝视、抚摸、宣泄，无疑让他和另一位同名大师有了精神共鸣，他们对于艺术绝对性的追求，正如末尾处唱诗班空灵的和声那般，神圣和独立出世

安东尼奥尼的告别，他有生以来第一次把自己拍进电影。我们这个时代所独有的自我展示、言论发表的疯狂、毫无来由的骚动，全被否决在影片的沉默和导演的凝视之中。他自己将离去，而那些难以捉摸的杰作将永久留下

这就是给自己的拍的作品啊！我只注意到了无名指戒指的印记，我更希望有机会自己站在雕像面前静静地看。（人造物和自然造物可能真的有区别，我们看10亿年山川只会觉得真美，坐在3千年的造物，却会产生心灵的共鸣。