扎布里斯基角

电影本身其实还是蛮有趣的，关于故事背后的解读，都已经深入到了骨子里。

如果懵懵懂懂的看，看到故事里头一些“大胆”的镜头，也是相当惊世骇俗的。

单纯从故事来看，有点荒诞的不搭，有好多镜头可能都不知道为什么不合逻辑的混搭在一起。

想要看懂，可能还得好好了解一下上世纪70年代的老美，究竟是个什么样的状态。

年轻的小伙儿，因为一场“运动”，就稀里糊涂的卷入了麻烦。小伙儿解决麻烦的办法也相当的出奇，竟然跑到飞机场偷了架飞机就开上了天。

现在经常“谴责”的一句话就是“你咋不上天呢”，看来典故是出在此处。

而另一方面，一个“漂亮”的女秘书，也决定来一场精神旅行。

两个人阴差阳错的遇上，实在是过于鬼畜。

但故事里头鬼畜的地方多了去了，也不差这一个。

反正，俩“离经叛道”的年轻人，就在那杳无人烟的地方遇见了。

接下来的“大戏”，也应该能猜到的。

不过，导演把这场大戏拍得相当的“意识流”和“大胆”，人老外老早就那么“开放”了，不得不佩服。

体会完人生的小俩口，也不知道脑袋里头想什么，还想着把飞机还回去。

年轻人的天真，真的不可思议。

这些“美好”，大概注定是要被毁灭的吧。

或许，导演也想着通过故事的荒诞，来表达老美“某些方面”的荒诞吧。

故事的最后，还是蛮有意思的。

代表着高高在上的“特权”，一次次的被“爆炸”，大概也算是一种控诉吧。

With the final scene of Zabriskie Point, Michelangelo Antonioni made film

history. The main character Daria drives away from the villa into the desert.

Fantasy is overheating. Daria stops, gets out, and looks back angrily at this

stronghold of consumerism and commerce, now engulfed in a ball of fire.

Then the villa reappears and the spectacle repeats itself over and over again.

The embellishments of modern prosperity go up in the burning mushroom

cloud. The detonation of the outside world is the explosion of the imaginary.

Antonioni shows himself to be a resourceful “blaster,” staging a slow-motion

aesthetic of destruction. Freezer and television, clothes and whole interiors

disintegrate in one surreal movement. Through Daria’s eyes, the audience

experiences the transformation of functional objects into useless fragments,

which rearrange themselves in bright spaces into wonderful images with

instinctive precision. The explosive effect is sublimated into an immaculate

execution of colors and forms. Several minutes later, the time-suspended

apocalypse reverts back to the desert landscape. Daria glances at the smoking

ruins, turns, starts the motor, and drives away into a red sunset.

Zabriskie Point was released in spring 1970 and was supposed to be

Antonioni’s commercial triumph in the United States. Instead, it was a complete

disaster. It came to a conflict after the Metro Goldwyn Mayer film company

intervened in the soundtrack—which was especially important for the

director—adding the sugary Roy Orbison song “So Young” to the final scene,

with the car driving away against the red horizon. The contrast to Antonioni’s

original intention to show an airplane writing “Fuck You America!” in the sky

at the end could not have been greater. In addition to this artistic nightmare,

the film was also a commercial flop. In 1968, at the start of filming, the images

had been in tune with the current mood, but by 1970 they no longer were.

The film encountered a wave of rejection and ridicule among the counterculture

and New Left, whose psychographics Antonioni had wanted to

express in emotional images. The accusation that Antonioni had copied elements

of avant-garde films and commercialized the counterculture’s aesthetic

potential for Hollywood cut deep. The establishment also reproached

the film for its anti-American statements and filed several lawsuits, albeit

unsuccessfully.

Source: Jacob Tanner "Motion and Emotions" from "1968 in Europe: A Histroy of Protest and Activism, 1956-1977"

这部不工整的影片，可爱又卓然。它调子很对。我看不见批判，只是两个人撞见了，大胆示爱，于是会有一些东西发生，但一瞬间发生的东西是讲不清楚的，能依靠的只有拼拼凑凑。而发生的东西，一定比爱情复杂，一定不比爱情低。不需要逻辑，不需要由头，正如做爱也不需要插进去

所以说，年轻人的出生并不用走程序，什么神创什么进化，不过是源自于一场由两个人开始的生产狂欢。

如果换成一个欢乐的结局反而让人不舒服。人们习惯在反叛的冒险中先看见点点的生气儿，然后一定得是悲剧。摇滚必不可少、爆炸必不可少。但其实，最后这场狂轰滥炸的真面目也不过是一场夕阳，普通的、美丽的夕阳。年轻人们由一条公路到另一条公路，精疲力尽，兴尽而归，一切虚无等到了夜晚再做定论……