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位置:首页 战争片 1964英国7.7分剧情战争《国王与国家》BD1080p.中文字幕 高清下载


又名:吾土吾王 / 国王和国家 / King and Country / King and Country








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.
  • vivi2022-10-22 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。

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  • QF2017-12-19 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

  • Siglinde2015-12-29 00:49:31


  • Die Katze2018-10-01 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

  • wywywywy2019-10-02 18:13:11


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  • 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

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  • RuiAlmighty2022-03-30 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

  • Sydney2020-03-21 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”

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  • spondee2009-07-08 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/

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  • 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

  • KYLO2024-03-18 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。

  • ksana2024-05-02 00:25:56


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  • Johnny Macca2022-07-13 17:50:14


  • ie2022-01-15 12:23:43


  • paradiso2015-09-13 22:23:20


  • 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。

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