大约公元130年,强盛繁华的罗马帝国正处在哈德良(市村正亲 饰)统治的时代,时下罗马人民沐浴之风盛行,公共浴池更是受到广大民众的欢迎。随着奢华之风抬头,浴场设计师路西斯·慕德斯特(阿部宽 饰)那古朴简约的设计风格渐渐受到冷遇。某天,他意外通过公共浴场穿越到21世纪的日本 ,这群被路西斯称为“扁脸族”的人,其先进创新汤文化令路西斯大为羞愧和赞叹。在此之后,他多次穿越时空,将日本浴室中的创新理念带到古罗马,他由此咸鱼翻身,大受欢迎,甚至得到哈德良的赏识和重用。在此过程中,哈德良王朝落下帷幕,看似华而不实的凯奥尼乌斯(北村一辉 饰)成为新的皇帝。路西斯拒绝为凯奥尼乌斯设计浴室,他的命运来到了新的十字路口……
本片根据漫画家山崎麻里的同名原著改编
Whopping temerity abounds in Hideki Takeuchi’s THERMAE ROMAE, an adaptation of Mari Yamazaki’s massively popular eponymous manga series, which is parlayed into a gigantic box-office smash hit, Japan’s second highest-grossing domestic film in 2012.
In this time-travel cock and bull story, an Ancient Roman architect Lucius Modestus (Abe) multiply stumbles upon present world in Japan through magic watery portals which the movie gives no explication whatsoever. Lucius takes his cue from mod cons to improve his design of Roman baths, which is pertinently yoked to the historical process of the Roman Empire under the reign of the peripatetic Emperor Hadrian (Ichimura), not only does Lucius’ copied private bath console the emperor’s loss of Antinous in 130, but his discovery of therapeutic hot springs is able to miraculouslyheal the wounds and dissipate the fatigue of jaded Roman warriors as well, which in turn, secures Antoninus (Shishido)’s standing as Hadrian’s successor, to the chagrin of the obnoxious skirt-chaser Ceionius (Kitamura). It is all thanks to Japanese bathing culture, that human history doesn’t go astray in the wrong hands, temerity, yes, but also innately droll.
Its ostensibly palatial, substantially specious (in a closer look, its CGI work seems pointedly shoddy) Ancient Roman set is recreated and shot in Rome’s Cinecittà studio, and the acting method is in full cothurnus mode while Latin lazily abdicates its throne of the official language to Japanese in a defeating way. Piped up by a smorgasbord of western operas to indicate the intermittent spatio-temporal changeover, actually it is Lucius’ fish-out-of-the-water adventures in the modern world tickle viewer’s funny bones, but the addition of an aspiring manga artist Mami (Ueto) feels slipshod and banal, who basks in limerence over Lucius, for his Greek-statuesque physique mostly, and becomes a proxy of oodles of audience’s Freudian admiration over Hiroshi Abe’s beefcake allure and un-oriental good looks, which induces a wry perversion with the movie’s none-too-subtle innuendo of Lucius’ impotence.
A gleeful if frivolous potboiler mining into Japan’s prevalent kuso culture but freshness starting to run out of steam once the story stuck in a far-fetched groove, THERMAE ROMAE is not without its merits, for instance, the dismay when Lucius painfully realizes the technology of those disparaged “flat-faced clan” has far exceeded his proud empire, strikes home sardonically in its unuttered connotations.
referential entry: Shinobu Yaguchi’s SURVIVAL FAMILY (2016, 7.4/10).
贾科莫·普契尼:《图兰多< 今夜无人入睡>》
Giacomo Puccini:Russell Watson/Nessun dorma!from Turandot
朱塞佩·威尔第Giuseppe Verdi:Aida-Traditor!
朱塞佩·威尔第Giuseppe Verdi:Rigoletto,Act3-La donna e mobile
加布里埃尔·福莱Gabriel Faure:Cantique de Jean Racine,Op 11
贾科莫·普契尼Giacomo Puccini:Tosca-Presto,su!Mario!
朱塞佩·威尔第Giuseppe Verdi:Messa da Requiem II Dies lrae
朱塞佩·威尔第Giuseppe Verdi:Aida Pieta ti prenda del mio dolor!
贾科莫·普契尼Giacomo Puccini:Madama Butterfly ACT2-Un bel di vedremo
朱塞佩·威尔第Giuseppe Verdi:Messa da Requiem II Dies lrae:Rex tremendae majestatis
贾科莫·普契尼Giacomo Puccini:Tosca E lucevan le stelle
朱塞佩·威尔第Giuseppe Verdi:Aida Danza di piccolo schiavi mori
朱塞佩·威尔第Giuseppe Verdi:Aida Vieni sul crin ti piovano
朱塞佩·威尔第Giuseppe Verdi:Aida-Gloria all'Egitto
贾科莫·普契尼Giacomo Puccini:La Fanciulla del West Ch'ella mi creda libero e lontano
贾科莫·普契尼Giacomo Puccini:La Fanciulla del West Act III-Ch'ella mi creda libero e lontano
贾科莫·普契尼Giacomo Puccini:Madama Butterfly Un bel di vedremo
朱塞佩·威尔第Giuseppe Verdi:Don Carlo Spuntato ecco il di d'esultanza
朱塞佩·威尔第Giuseppe Verdi:Aida Glorai all'Egitto,ad lside
许多日本观众看出, 贯穿全片的是对比路线:(以下内容概括自日本那边的博客) 古代与现代的对比。(现代许多小物件相对于古代是进步) 西方(个人主义)和东方(儒家和武士道熏陶下的集体主义)的对比。 发展与停滞的对比。(片中不止一次提到女主人公自家的温泉旅馆行将倒闭,而哈德良则为罗马帝国出了位有创新能力的浴场设计师倍感欣慰) 昭和一代(热心地帮助男女主角的亲切的老人)和平成一代(不甘接手祖业闯东京的宅女漫画家,把老人推给看护的编辑,不断训斥人的课长)的对比。 冷漠的都市(女主在东京打拼饱尝世态炎凉)和行将消失的温暖的传统乡间(温泉旅馆即将倒闭,老人们心地善良)的对比。 路西斯虽然身为罗马公民十分自傲,但他和明治和战后前期的日本人一样,看到外界的新鲜事物,那怕是扁脸族的文化,总能虚心学习。还有哈德良的那一番表白:“国家并非越大越好,而是要给庶民一个安心的居所。”(很明显是编导研读哈德良皇帝生平史实之后的概括)也令日本观众唏嘘不已。 最后说一句:路西斯那句:“我们有权力吸收属州的文化!”实际上是罗马人对待被征服者的写照。只要被征服者不与罗马发生大的冲突,罗马人是乐于吸收和保全被征服者的文化的。参见罗马人如何学习希腊文化和接受被征服民族的神祗。
宽叔又演建筑师,宽叔也演穿越。发现日本的穿越电影永远环绕着历史和文化,但中国的就是爱爱爱爱你爱不完雍正很忙。。。另外此片为日本文化宣传片,已经近乎到hard sell的地步了,真是应了里面的那句话,文化是侵略的最好武器
这片子最大的亮点是阿部宽卖肉,还不趁着如今的姿色卖的彻底点。其次就是让人无语的想象力,不愧那是幼稚的漫画逻辑,日本人的想象力又逆天了,只是这种来来回回穿越的剧情拖沓扁平,剩下的亮点竟然有转回阿部宽的卖肉上了,外加就是古今反差让阿部宽带来的表情卖萌秀。宽叔的粉快来吧!★★
人物形象单薄,故事平淡,但想象力不错,可以间接了解一下浴场文化~
太蠢了,简直无法正视(不是贬义)。
女主角好可爱,爷爷们好可爱。1. 怎么在日本就说拉丁语,在罗马反而说日语啊。2. 短时间内就掌握了拉丁语会话也太厉害了吧。3. 罗马为什么会有黑人呢?
豁然看到了上户彩的名字~
乐死我了
宽叔万岁
宽叔毫无违和
完全情节驱动,没有任何人物构建,但有够荒谬,算扯了一回好淡。
”没缘法转眼分离乍。赤条条来去无牵挂“——宽叔的屁股真给此片长脸。
动画版更有趣
有笑点,有场面,但故事太平,就和日本人的脸一样
穿越来,穿越去,在罗马讲日语,在日本讲罗马语,大哥你这是喝了多少洗澡水、尿水,才喜欢上扁脸族的?
电影后面的原创剧情无聊死了。加一星给宽叔的身材=w= 女主可以去死了好吗。原作里ルシウス、ハドリアヌス都是给好吗!!
看宽叔卖肉的话你就赚到了!妹子什么的真是多余。。。。望天
没有比本剧更适合用“条条大道通罗马”这话了
寬叔好身材!
不同于一般的日本扁脸族,阿部宽属于那种不用化妆就能演罗马人的日本人,优势明显啊。设定比较有趣,但是笑点并不很多。主要的看点在于阿部宽各种全裸穿越吧。
先赞下宽叔侧脸不管远近都是罗马人无误,而且身高还完爆那些欧美群演真是逆天。电影到后面虽然莫名地燃但离开漫画太远了点,一些本来很期待的18X段子都没了(比如给金精大明神BJ!!!还有和皇帝的暧昧!!)上户彩演的新加进去的角色也不算突兀,而且条条大路通罗马那里我被戳到了(好弱)