地下室手记

Turkish filmmaker Zeki Demirkubuz is adapting “Notes from Underground,” Fyodor Dostoevsky’s groundbreaking 19th century novel, for his newest directorial effort, which he is currently shooting in the Turkish capital.


　　Filming for the movie, called “Yeraltý” (Underground), has been under way for four weeks now, with actor Engin Günaydýn, praised for his portrayal of a small-town man in the Taylan Brothers’ critically acclaimed 2009 dark comedy “Vavien,” in the leading role.


　　Demirkubuz, the director of such acclaimed movies as “Kader” (Destiny) and “Kýskanmak” (Envy), said the long screenplay for the new film was a loose adaptation of Dostoevsky’s existential novella.


　　Speaking at a press conference in Ankara on Thursday to promote his film, Demirkubuz said that at first “Notes from Underground,” which is in the form of an excerpt from the memoirs of a bitter, isolated and unnamed narrator who is a retired civil servant living in St. Petersburg, served only as an inspiration for his film. “But as I focused more on the screenplay, the character, the core issue there, I started rediscovering the novel, and as I discovered more about the novel, I gradually started turning to the novel more for help at times when I was stuck with problems in particular with the narrative,” Demirkubuz explained.


　　“We’re already four weeks into filming and I still have this lengthy script to shoot,” he added. Demirkubuz was originally planning to complete filming in four weeks.


　　Noting that throughout his career he has always made films that try to “comprehend the fact that the human is an irrational being” rather than those that merely tell stories, Demirkubuz said Dostoevsky’s novel was “the ultimate point that can be reached” in such a quest.


　　Demirkubuz said his adaptation was set in modern Turkey, so was “considerably different, regarding cultural aspects, than Dostoevsky’s original,” which is set in 19th century St. Petersburg. Demirkubuz’s film follows Muharrem, a civil servant in Ankara, played by Günaydýn.


　　Details on when filming will be complete and a theatrical release date were still unclear on Thursday. Demirkubuz said: “This film … keeps opening new horizons in my mind. So we loosened the timetable a bit. We will finish whenever we say, ‘Ok, this is it’.”

勉强及格。土耳其电影挺奇怪了，莫名就继承些苏联诗电影的手法，文本来自陀氏，虽同样讲个人世界对外界反弹，但导演境界比锡兰高，因为男主更丧，那些呆滞长镜头有了喜剧趣味。他眼里各种抄的伪作家拿了奖，还有个排斥他的粉丝圈，想要掌控的女邻居终究也令人恼火，唯有艳遇是拯救。还有土电影少见露点

睡前再看一部由土耳其導演改編杜斯托耶夫斯基的《地下室手記》，真是萬能失眠藥啊！想像如果有一天錫蘭導個《罪与罰》或《卡拉馬助夫兄弟們》，我一定要睡足一周再欣賞。話說我第一本也是唯一一本杜斯托耶夫斯基的小說《罪与罰》可是完好無缺放在台北家書柜上整整２５年，至今只看過第一頁

很好啊，纵使孤独坚持到底，你又能做到什么？改变什么？

无论是陀氏，果戈理，还是加缪，文字总显得克制而有深度。本片则显得有些夸张和用力过度。

改编老陀的书都是吃力不讨好啊，还是＜地下室手记＞这种基本上没有故事情节的絮絮叨叨的小说，所以这片也就仅仅是拍了个故事而已，建议改名＜卢瑟公务员的自白＞。不过也不难看就是了。

近期碟市涌现出大批东欧不温不火的独立制作，宁愿多给几个三星，也不想有遗珠之憾。

土耳其猥琐公务员大伯的苦闷生活，很好反映了后现代知识分子的狭隘妒忌孤独自私偏执与绝望，一些拍摄手法还不错，就是主题过于小家子气了。除了引用了两三句语录外，跟陀斯妥耶夫斯基和他的《地下室手记》半毛钱关系都没有，吃好喝好还闹中年抑郁，跟人家老陀流放西伯利亚还去关注人类灵魂能相提并论？

我以为这位导演或者摄影师是男主角的情人，或者从心底里爱慕他。不然不会把他的特写拍的那么美。

比起看到的画面，整部电影停顿静止的画面让你想象的部分很多。无声的、静止的。我能感受到电影要表达的精神世界和一种无声的绝望，但是好像只领会到了冰山一角。嗯，，