实在太喜欢I've never been to me这首歌,简介中看到了沙漠妖姬用了这首曲子于是就去看了。 “We all sit around mindlessly slagging off that vile stink hole of a city,but in some strange ways it takes care of us.I don't know if that ugly wall of suburbia has been put there to stop them getting in or us getting out.” 三个异装癖的故事。一路上,她们被唾弃也被欣赏,她们华丽也凄凉。因着不同的目的出发,不过最后也都找到了自己。 巴士在路上坏掉时,Bernice一个人去搬救兵,那一个片段里的bgm和画面有一种诡异的恢宏。还有在Marian的饭店表演时,三人的服装设计好看到爆炸。 stamp的演技真的太好了,把Bernice这个优雅又成熟的女人演活了。 影片最美的部分莫过于在荒凉沙漠中Felicia着一袭长裙站在巴士顶上,伴着歌剧茶花女的唱腔,彩色披肩和颜料和黄沙随风飞舞。 我以为自己不太能接受异装癖的存在,看了这部影片之后也刷新了自己的三观。 “yesterday I saw a lion kiss a deer.” “如果抛开歌曲,好像可以理解出很多。比如没有弱肉强食,又比如无关身份阶级、无关性别的爱。”
如果是几年前我肯定无法欣赏这样一部影片,色彩饱和的像太阳的调色盘,人物都吵吵闹闹,也没有完整的故事。
果蔬说这话的时候我就跟着被刺了一下。
公路片。简单引入将三个人聚在一起后,本就疯癫的旅途中插入更为诙谐的闪回补充一下过去。
以前社交账号上地址总会写澳大利亚。别人问起,我就说以后想去澳大利亚生活,牧场、荒岩、古老的生物……其实我对澳大利亚一点也不了解,那只是一片遥远的陆地,一个可以让我把所有举目悠远的梦都想象出来的地域象征。
很多镜头都太美了,随手一截就是壁纸。
Revisiting this 90s flamboyant drag cult made from Down Under, a trio of drag performers, two drag queens, Mitzi (Weaving) and Felicia (Pearce) and a trans-woman Bernadette (Stamp), embarks on a road trip on their titularly coined bus,from Sydney to the outback to perform their routines, en route, they meet multifarious people (whose reaction ranging from beneficent, gobsmacked, impassive, miffed to violent, and the juxtaposition between the aborigine and the white hicks is piercingly sharp) and each has his/her own generational revelation to cope with by the time their four-week-stint ends.
Felicia, a sassy whippersnapper played by a sinewy Guy Pearce in his breaking-out cinema role, who constantly squabbles with Bernadette and has to learn his lesson in a hard way after he has a narrow escape of hate-crime induced mutilation, and Pearce is barnstorming to a fault, as if he is too self-aware of his orthodox masculine appearance, which he compensates with a patina of effeminate affectation and posturing that runs to distracting, as we know that queer and masculine don’t necessarily exclude each other, perceivably, he is the weakest link in the fold.
Hugo Weaving’s Mitzi, acting more natural in his persona’s stage/private distinction, carries a more weighty responsibility when we realize he is married to a woman and they have an eight-year-old son Benji (Holmes), the burden of guilt and shame is what weighs down on every nonconformist being’s soul, his tentative attempt to reconnect with Benj engages with a tender vulnerability that precariously avoids becoming saccharine, which says a lot about the performer’s emotive strength.
Nevertheless, the best performance is unequivocally from Stamp, whose Bernadette is long in the tooth, but she proves that wisdom, dignity and snide quips are amassed through years of hardened self-preservation against side-eyes and brandishing fists, Stamp embodies her with superlative poise larded with subtle cynicism and utter phlegm, which makes Bernadette’s romantic kindling with a rough diamond Bob (Hunter) more like an unexpected boon than a hackneyed plot maneuver.
The show must go on, and for a drag troupe of three, lip-syncing of queer-friendly iconic hits (Charlene’s I’VE NEVER BEEN ME is an infectious show opener, which would be dusted off in Lynne Ramsay’s YOU WERE NEVER REALLY HERE 2017, and rendered an idiosyncratically poignant effect) is just a one trick pony doesn’t offer much variations, so their pageantry lives and dies with its gaudy, zany, eye-popping, varicolored, Oscar-winning apparel, particularly when being put into use against the vast topography in the middle of nowhere, and the crowning moment on the top of King’s canyon, that majesty feeling of being unique in a cosmic world is so refreshing and life-affirming.
Lastly, one cannot stress this enough, it is an unqualified relief that director/writer Stephan Elliott sticks to his guns with a less dramatic leitmotif to anchor his tragedy-prone subject matter in the most gracious way one can probably conceive,PRISCILLA, QUEEN OF THE DESERT is truly,ahoot and a half.
companion pieces: Beeban Kidron’s TO WONG FOO THANKS FOR EVERYTHING, JULIE NEWMAN (1995, 6.0/10); John Cameron Mitchell's HEDWIG AND THE ANGRY INCH (2001, 7.1/10).
绚烂的有点哀伤。。。
雨果.维文原来还有如此BH的演出。。。印证了我的名言:“各个都下水”~~基本男明星早期都拍过同志片=_=
诡异,充满激情。他们把车厢上谩骂的语句用耀眼的粉红色涂满,穿夸张的服装,化浓重的妆,被嘲笑也可以不在意的走下去。“可以不在意,但还是会觉得疼”,所幸有朋友,有对着自己露出灿烂笑容的儿子。他们有多勇敢,就有多爱这世界。
哈哈哈真的好欢乐,看标签就知道。同志,公路,歌舞,这还不够么~!而且有盖皮尔斯,雨果维文,哈哈完全想象不能。。。但也不仅仅是搞笑了,旅行的意义就是发觉走自己喜欢的人生道路才是最重要的
沙漠中车顶上裙踞飘扬的场景实在太惊艳了。Bernadette竟然是最完整而动人的角色。Felicia的童年故事简直不能太赞,bravo!
回望迪斯科年代的怀旧曲,相当,派!
极度欢乐的公路电影,很想看舞台剧版
几乎汇集了一切吸引眼球的元素。跟boardway版的相比,稍微欠缺了一些精彩度,但也多了几分生活。谁的梦想不是千疮百孔,但起码,我们还拥有继续前行的勇气。
无感。无论是腐女、名角的过往、公路电影典型的成长、还是其他的任何可能的东西都无法调动我的虚伪的热情。我怀疑会有中国人真的如他们所打的分数一般感动,因为那其中有太多个人别的欲望所带来的拥趸,而我个人在自己的战争中识破了自己的许多。
真的不需要粉红火烈鸟那样的臭文艺片了 这是才是正儿八经的文化片
里面的笑话太逗了,“你为什么不去把你的卫生巾点着了,然后把逼炸了?因为这是你唯一能获得高潮的机会。”结尾居然还有彩蛋......荒芜的沙漠和主演艳丽的装扮形成了鲜明的反差,乐观的在 这残酷的世界上生存下去....
那三位变装皇后在沙漠上争奇斗艳,赛过百老汇、红磨坊~光艳背后的寂寞凡心~~
Hugo Weaving一刚,哈哈哈哈哈,他真是一点跳舞天赋都木有。化了妆都大老爷们一个,一点基佬味都木有
服装、色彩明艳动人!坚持梦想,很多时候根本不必理会坚持的是什么梦想~
4.5.多健康啊,一点都不变态。Hugo Weaving和Guy Pearce实在让我出乎意料,服装表演什么的绝对加分!原声都是经典曲目啊(I've Never Been To Me真好听,并且歌词巨契合他们的心理啊)
先看的Broadway show再看的电影除了Bernadette能和Broadway平分秋色剩下的都不行虽然costume获了那年的Oscar但比起Broadway差了一大截音乐也有差距
喜欢里面的三个男演员,音乐好听,衣服好看,剧情也不错。
变装题材元祖,公路片前辈,这几个甚不正常的男人令观者无法不理解。多幕看哭了我。奔行于沙漠的破公车串联着友情和事业、夫与妻、父与子,低俗与违法之间不经意地说了很多。途中种种不顺在终点糅合成一种念力,豁达、畅怀、希望和温暖,轻易感应。很难想象,这场华丽盛开于1994年。
最爱的电影没有之一
一个变性艺人+一个金刚芭比+变装皇后跨越沙漠之旅,边缘人群中的边缘人,在跨性别的歌舞中搭建一个鲜艳华丽快乐的人生舞台。