迷失Z城

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主演:查理·汉纳姆,罗伯特·帕丁森,西耶娜·米勒,汤姆·赫兰德,爱德华·阿什利,安古斯·麦克菲登

类型:电影地区:美国语言:英语,葡萄牙语,图皮年份:2016

 量子

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 无尽

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 红牛

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 非凡

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 剧照

迷失Z城 剧照 NO.1迷失Z城 剧照 NO.2迷失Z城 剧照 NO.3迷失Z城 剧照 NO.4迷失Z城 剧照 NO.5迷失Z城 剧照 NO.6迷失Z城 剧照 NO.13迷失Z城 剧照 NO.14迷失Z城 剧照 NO.15迷失Z城 剧照 NO.16迷失Z城 剧照 NO.17迷失Z城 剧照 NO.18迷失Z城 剧照 NO.19迷失Z城 剧照 NO.20

 剧情介绍

迷失Z城电影免费高清在线观看全集。
英国探险家珀西·福斯特(查理·汉纳姆 Charlie Hunnam 饰)深入神秘的南美洲亚马逊丛林探险,竟发现未知的文明生活迹象,他回到英国公开这个意义深远的重大发现,却被当成笑话嘲弄,没有人愿意相信他的话。在爱妻尼娜(西耶娜·米勒 Sienna Miller 饰)无怨无悔的支持下,福斯特决心带领儿子杰克(汤姆·霍兰德 Tom Holland 饰)重返亚马逊丛林,寻找古文明存在的证据,一行人却离奇消失,从此再无任何音讯,成为史上最神秘又悬疑的失踪事件。生死兄弟情单身男子俱乐部少林俗家弟子机器侠黄金彩虹狗脸记格雷斯第二季爱不沉没尔虞我诈水手长的故事大清洗冤录觉醒彩虹第一季当幸福来敲门(原声版)北极星2017神秘兵团上食堂2粤语像命运一样寒战2012镇长机械怪兽太太万岁2016起势摇滚欲望热线第一季鸡皮疙瘩NO.1老公的春天梦幻岛 第二季动态漫画·徒弟个个是大佬第三季虎胆追凶国语嫌疑犯死命:刑警的时间宝贝小情人2女囚犯 第三季黑暗残留金子轻松出来吧艾里甫与赛乃姆蜡笔小新 呐喊!春日部野生王国我的吸血怪好友气候变化:事实真相加奈日记松本秀人:永远飞翔枪手比利齿轮 第八季云上之爱

 长篇影评

 1 ) 都在说这个电影和传记和实际出入很大

The Lost City of Z is a very long way from a true story — and I should know
A new Hollywood film hypes Percy Fawcett as a great explorer. In fact, he was a racist incompetent who achieved very little

The new film The Lost City of Z is being advertised as based on the true story of one of Britain’s greatest explorers. It is about Lt-Col Percy Fawcett. Greatest explorer? Fawcett? He was a surveyor who never discovered anything, a nutter, a racist, and so incompetent that the only expedition he organised was a five-week disaster. Calling him one of our greatest explorers is like calling Eddie the Eagle one of our greatest sportsmen. It is an insult to the huge roster of true explorers. Had the advertisement been about a soap powder, it would fall foul of the Trade Descriptions Act.

Percy Fawcett joined the army immediately after school, with a commission in the artillery in 1886. The next 20 years involved garrison duty in Ceylon and postings in Malta and England. The only significant events were getting married and becoming a devotee (like many others) of the charlatan psychic Madame Blavatsky. Fawcett’s game-changer came in 1906, when he was 40. The army let him take the Royal Geographical Society’s course on frontier surveying. Far away in South America, Bolivia had just sold its rubber-rich province of Acre to Brazil, so it needed its new north-western boundary mapped. The Bolivians approached the RGS for a mature surveyor to do this. The society’s secretary asked the newly qualified Fawcett whether he wanted to go; he accepted, reported for duty in La Paz and was at work on the new Amazonian frontier by the end of the year. This survey was the best thing Fawcett did. But he described it as boring, because the new frontier was all along rivers. This was the height of the great Amazon rubber boom, so he and his team cruised from one comfortable rubber barraca to the next, taking their regular measurements.

Fawcett’s only publications were a series of papers in the Geographical Journal about his mapping work. But he kept a journal, and in 1953 his son Brian edited this and other papers into a book called Exploration Fawcett. He emerges from it as a typical Edwardian colonial officer — friendly with South Americans but looking down on them, appalled by the cruelty at some rubber stations, full of gossip about life on this remote but boom-rich backwater, and uninterested in nature apart from banalities about dangerous snakes and irritating insects.

In 1908, the Bolivians asked Fawcett to survey another of their frontiers with Brazil: a small river called Verde, far away at the north-eastern corner of the large landlocked country. The preparations were appalling. Fawcett took minimal supplies, since he was accustomed to being fed by rubber stations. This was the end of the dry season with the river at its lowest. So they soon had to abandon their boat and continue on foot. After only a week, all food was exhausted and they were really starving. Fawcett casually remarked that five out of his six peons died from the effects of this five-week disaster. This was the only expedition he led into unexplored territory.

The Bolivians invited Fawcett back in 1910, this time to map part of their boundary with Peru. It involved paddling up a frontier river called Heath and two meetings with indigenous peoples on the banks. The first group fired arrows and guns over their heads. But Fawcett waded ashore with presents and shouting a few words of ‘Chuncho’ (the Peruvian word for all forest peoples) that he had memorised but did not understand. That was the only time that Fawcett attempted any language other than Spanish. Further up the Heath river, Fawcett met a tribe he called Ecocha (now Ese Eja) whom he really liked. They were ‘embarrassingly hospitable’ with their food, so Fawcett spent a few days with them and recorded something of their ethnography. He returned for a second visit in 1911.

After a final survey for the Bolivian government in 1913, of the upper Beni river in the Andes, Fawcett went sightseeing in central Bolivia. He and two companions were paddled down the big Guaporé river. They stopped at Mequens on its Brazilian bank to visit the Swedish anthropologist Baron Erland Nordenskiöld and his attractive wife, who provided guides to take them on a walk inland to visit a people they called Maxubi (now Makurap). The Maxubi were friendly and hospitable, but continuing on a forest trail Fawcett met another tribe (probably Sakurabiat) to whom he took a violent dislike. When one aimed a drawn bow at him, Fawcett shot the man with a Mauser revolver — absolutely forbidden by Brazil’s Indian Service. He described them as he imagined Neanderthals or Piltdown Man to have looked: ‘large hairy men, with exceptionally long arms, and foreheads sloping back from pronounced eye ridges… villainous savages, hideous ape men with pig-like eyes.’ No Amazonian Indian has body hair or looks remotely like this — I know, because I have spent time with over 40 different peoples. These two groups, and the two on the Heath, were the only tribal people seen by Fawcett. He liked two of them. So it was strange that he wrote racist gibberish that ‘there are three kinds of Indians. The first are docile and miserable people, easily tamed; the second, dangerous, repulsive cannibals very rarely seen; the third, a robust and fair people, who must have a civilised origin.’

When Fawcett was in the cattle country of central Bolivia in September 1914, news came of the outbreak of war. So he hurried home and by January 1915 was back in the artillery. In his late forties, he was too old for frontline service; but he fought a good war, ending as Lieutenant-Colonel.

In one of his pre-war lectures to the RGS, Fawcett had spoken of possible ancient ruins in the Amazon forests. He was now told about a scrap of paper dated 1743 in which bandeirantes imagined that they had seen a deserted city in the jungles. (The bandeirantes were slavers who scoured the interior of Brazil for Indians to capture. Although most of these thugs were illiterate, others did write reports about their travels — none of which said a word about seeing ruins.) Fawcett gave this imaginary ‘lost city’ the codename Z, and finding it became an obsession.

The easiest forest tribes to visit in Brazil were on the headwaters of one of the Amazon’s southern tributaries, the Xingu. A German anthropologist had contacted a dozen amiable peoples there in 1884; and since then they had been visited by seven groups of anthropologists or Indian Service officials. All had walked in by the same trail. So in 1920 Fawcett tried to follow this route — even though it was nowhere near where the chimera city might have been. His plans went wrong, so he got no further than a ranch halfway along the trail. In 1921 he searched for the mythical city down on the Atlantic coast, by train inland from Salvador da Bahia; but, hardly surprisingly, the miners there knew nothing.

In 1925, by now penniless but desperate, Fawcett tried again to reach the upper Xingu tribes. He now took two inexperienced ex-public schoolboys, his son Jack and Jack’s friend Raleigh Rimmel. The old surveyor made two suicidal pronouncements. One was that the trio should travel light, with nothing more than small packs. Everyone in Amazonia knew that you could not cut trails and keep your team fed with fewer than eight men. (I can confirm this, having done months of such cutting and carrying.) But Fawcett sent their pack animals and porters back, and continued with only his two novices. His other dictum was that Indians would look after them. This was equally dangerous. The Xingu tribes pride themselves on generosity; but they expect visitors to reciprocate. All expeditions in the past four decades had brought plenty of presents such as machetes, knives and beads. Fawcett had none. He committed other blunders that antagonised their hosts. So it was only a matter of days before they were all dead.

Twenty years later, Chief Comatsi of the Kalapalo tribe gave a very detailed account of Fawcett’s visit, reminding his assembled people of exactly how they had killed the unwelcome strangers. But the German anthropologist Max Schmidt, who was there in 1926, thought that they had plunged into the forests, got lost and starved to death; this was also the view of a missionary couple called Young who were on another Xingu headwater. The Brazilian Indian Service regretted that Fawcett, who was obsessively secretive, had not asked for their help in dealing with the Indians. They felt he was killed because of the harshness and lack of tact that all recognised in him.

Such was the sad tale of this incompetent, whose only skill was in surveying. But the disappearance of an English colonel while searching for a mythical ancient city in tropical rain forests was a media sensation. Two expeditions went to try to learn more. There was revived interest in the 1950s with the publication of Exploration Fawcett and the Kalapalo chief’s account of how they killed the Englishmen. Then it was forgotten until 2009 when David Grann, a talented writer, published The Lost City of Z. Unfortunately, Grann hyped the story out of all proportion and wrongly depicted Fawcett as a great explorer.

As he cheerfully admitted, Grann had no experience of rainforests. But he let his imagination run riot, with pages about ferocious piranhas, huge anacondas, electric eels (actually a fish that has never killed a man), frogs ‘with enough toxins to kill 100 people’, ‘predator’ pig-like peccary, ‘sauba ants that could reduce the men’s clothes to threads in a single night, ticks that attached like leeches (another scourge) and the red hairy chiggers that consumed human tissue. The cyanide-squirting millipedes. The parasitic worms that caused blindness…’ and so on. Everyone who know tropical forests, including me, knows that almost every word of this is nonsense.

Fawcett himself gave a simple account of his four surveying journeys for the Bolivian government. But for Grann, ‘in expedition after expedition… he explored thousands of square miles of the Amazon and helped redraw the map of South America’. Fawcett admitted that he was ‘a greenhorn in the jungle’ and knew nothing about nature. But Grann wrote that he moved ‘inch by inch through the jungle, tracing rivers and mountains, cataloguing exotic species… [until] he had explored as much of the region as anyone’.

For Grann, Fawcett was competing against other explorers ‘who were racing into the interior of South America’. The only study that Fawcett made after leaving school in 1886 was his RGS surveying course. He never mentioned any library research. But for Grann he was ‘almost unique’ in viewing 16th- and 17th-century chronicles ignored by other scholars; he re–evaluated El Dorado chronicles and consulted ‘archival records’ and ‘tribesmen’ in ‘piecing together his theory of Z’. Not a word of this was true, either.

Grann wrote that, as an author, he would have been lost without my three-volume, 2,100-page history of Brazilian Indians and five centuries of exploration. He quotes quite often from my books. So he had no excuse for describing Fawcett’s brief visits to three indigenous villages as the ‘discovery of so many previously unknown Indians’, from whom ‘he learned to speak myriad indigenous languages’, and adopted ‘herbal medicines and native methods of hunting [so that he] was better able to survive off the land’. Equally absurd was his rubbish about cannibalistic tribes, blow guns with poisoned darts, or Kuikuro menacing him with ‘gleaming spears flickering’ from the undergrowth (they never used spears, or had metal even, before their contact 130 years ago).

When the colonel vanished, Grann writes that ‘scores’ of explorers tried to find him, and that ‘one recent estimate put the death toll from these expeditions as high as 100.’ Actually, only one search expedition reached the Xingu, led by George Dyott in 1928. (It found that the three Englishmen had been killed by Indians.) The only other expedition was in 1932, but it got only as far as the Araguaia river far to the east. The death toll from these two attempts was zero. In 1935 a ridiculous actor called Albert de Winton went by himself to the Xingu and was killed by Indians who wanted his gun. So if we count him, the death toll is one — well short of Grann’s 100.

These and a great many other passages are artistic licence and hype of an absurd order. Hollywood believed everything Grann wrote, and then hyped it up more. People wishing to learn about the maverick colonel should consult his own fairly modest memoir — not the recent fantasy book and film about him. But I could recommend scores of writings by real explorers.

John Hemming is a Canadian explorer; the three volumes of his history of Brazilian Indians are Red Gold (1978), Amazon Frontier (1985) and Die If You Must (2004)

 2 ) 迷失雨林

“隐藏之物,去找寻吧。去那山峦之后吧。

山峦之后有失落之处;失落却等你而来。前去吧!”——吉卜林《探险者》

"Something hidden. Go and find it. Go and look behind the Ranges -- "Something lost behind the Ranges. Lost and wating for you. Go!"

《迷失Z城》由真实事件改编,讲述英国探险家佛西特坚持寻找传说中的Z城的故事。早在2009年,皮特的Plan B 就买下了该纪实著作的版权,主演人选也从皮特到BC(因妻子怀孕取消)到查理·汉纳姆,电影也在2017年才与观众见面(之前在电影节露面)。再考虑到剧组要去雨林中取景,电影的制作过程就如探险经历般艰难啊。

上映前,每次电影节放映都会引发影评人和观众的热烈讨论,从亚马逊投放的预告片来看,他们很有信心。我想看这部电影,大概是对探险题材感兴趣吧。也随着电影认识一位作品不多,但是很用心的导演:詹姆斯·格雷。结合他在《电影评论》还有其他杂志上的采访,他还是挺狂的个性导演,批评戛纳老套的审美、为奥逊·威尔斯鸣不平。

《迷》的故事让我想起了《印第安纳琼斯》(佛西特也是琼斯博士的人物原型),还有像《所罗门王的宝藏》、《失落的世界》等维多利亚-爱德华时代流行的冒险故事。不过并非如此。记者表示,“他不是去探索这个充满了美好的世界,他仅仅是出于个人兴趣,最终也是探险改变了他。”格雷则评价道:“佛西特不是一个英雄,他并不是去拯救任何人的。”佛西特曾受邀为巴西和玻利维亚划定分界线,偶然发现一些陶器碎片,根据印第安向导的话,得知一个可能存在的古代文明;妻子查证相关资料、发现一些线索后,他决定带队去寻找这个文明,用实际行动反击地理学会的老顽固。这个文明不是传说中的黄金城,而是Z城。他以追逐白鲸一般的执念冒险。无论在舒适的乡下小宅中,还是在索姆河的枪炮和毒气中,还是在“文明人”的“学术殿堂”中,魂牵梦萦的还是神秘的Z城。就连被毒气击倒,暂时失明,梦中浮现的还是雨林。不禁想到一句话,“昨夜,我梦见自己又回到了亚马逊雨林。”就如同战场上的神婆所言,“这是你的使命。”在镜头下,仿佛能感受到亚马逊的潮湿的绿色,如徐徐展开的自然画卷,探险家是脆弱渺小的闯入者,在绿色的荒漠中寻找文明的踪迹,在大自然和古代文明前只能保持沉默。沉默的土著不再是臣服于白人闯入者前的蒙昧的人群,不再奉他们为神灵,而是视他们为过客;白人面对敌意的目光和弓箭,不再选择贸然回击,而是示意和平,对他们表现敬畏。就像之前的印第安向导所说,你们白人将会困在雨林中,而他是自由的。格雷评价到:“展现土著人完全不同的生活方式。他们不需要一个白人男性的帮助,他们可以生活得很好。如果他们真的需要帮助,便是我们可以帮他们一下。”另一形象是佛西特夫人。她是位坚强的女性,她的丈夫总是在海外冒险,几乎不照料她和孩子,只是在回程充当一下英雄;她和孩子们是佛西特执念的受害者,又因为生理的弱势无法同他一同冒险,因此她无法左右着悲剧性的命运。她选择接受这一命运,以至同意长子与丈夫一同实现这一执念,并在两人失踪后仍保有希望。米勒小姐的表演很是出色(相比较而言,更显得汉纳姆拿腔作调)。长子选择与父亲和解,知道不可能劝阻固执的父亲,宁愿伴他同行,陪伴父亲实现他的梦想。副手(帕丁森留起大胡子,真认不出是当年那个清秀少年)曾经和他并肩作战,一同在雨林中、在战场上冒险;但岁月和生活磨平了他骨子中的冒险精神,他宁愿陪伴家人,佛西特也表示理解,并愿友谊长存,因为有的人属于冒险的荒野、丛林,有的人流浪许久之后,只希望有家庭的慰藉。格雷认为,这个故事“最关键的是他内心的斗争,驱使他去寻找‘人’的定义,去确定文化的等级划分、种族主义或是阶级、性别的粗暴性都不能定义‘人’。”

佛西特尽管发现所谓“吉光片羽”般的碎片,但终究未能找到迷失的Z城。父子二人其实在雨林中失踪了,没人知道真正发生了什么。格雷想象了一个优美的结尾:父子二人在恍惚中仿佛看到了某种文明的存在,他们回归了自然和古代文明。与儿子同行的佛西特不再狂热、偏执,而是趋向平和;也许他和儿子找到了探险的真正原因。“最重要的便是探索研究的过程,这个过程可以带你找到你在灵魂深处萌生的问题的答案。”对虚构的电影,格雷真正享受的是创作和拍摄本身,大概是一个道理吧。另一方面,佛西特夫人仍不放弃希望,仍相信一些传言,如丈夫和儿子在巴西融入了印第安人的生活;走进学会的植物园时,仿佛也走进雨林,走进光明。尽管考古界一度认为佛西特是疯子,但近年的考古发现发现了Z城的可能遗迹。也许他不曾错过,也许他真的在此生活过。

这么一个传统的冒险故事,以传统的35mm拍摄,讲述了一个优美的“古典主义”电影,带领观众重回神秘的雨林,见证一个人偏执到平和的冒险,和他一起以敬畏之心,在自然中寻找文明和人的定义,甚是美好。

“啊,人总要追求力所不及之物——不然天堂为何存在?”罗伯特-勃朗宁,《 安德烈·德尔·萨托 》

"Ah, but a man's reach should exceed his grasp -- or what's a heaven for?"

2017.6.3 补充

大陆没想到公映了,可惜是个大幅的删减版,竟生生砍去近40分钟(虽然《云图》更惨)。怎么说,看还是能看的,但是对崇尚古典主义、独立电影人格雷来说很不公平(记得昆丁因为被砍几分钟就大发雷霆)。剧情就像剧情梗概(虽然很多剧情也不记得了,何况北美院线不加字幕),原先舒缓的节奏被加快了很多,虽然对大体剧情没影响,但是细节不能忽略不计啊! (我记得亚马逊影业也投资了,结果片头根本没他们事)不过还是能感受到如诗如画的摄影以及优美的配乐。

 3 ) Vor í Vaglaskógi

古典韵味十足的影像制造,长时间跨度配合散点式叙述,忠于自然时间的处理更加凸显出传统的古典魅力,壮阔恢弘。“黄金国”和丛林的奇观铺满,狂热到疯癫的执念将一生奉献给探索和冒险。好在雨林奇观和土著仪式的奇观刻奇建立在冷静的克制中,角色的精神挣扎、自然和文明的对立等则成为了思索的最终落脚点。“从外部视野的「迷失」到内心陷入狂热折磨矛盾的「迷失」,勇气不划分等级、白人并非文明开创者,这是属于带着血肉的、冒险的殉道者的诗歌,直至最终被净化。”虽说是有点老调重弹,但寓意倒也是浅显易懂,老派的手法藏住的是充满浪漫色彩的反英雄、反类型化的构建,人物弧光完整、叙述连贯,整体看下来十分舒适。

因为我太喜欢精致的影像了,即使是已经尽力去奇观化的景致,自然的未知也令我沉迷。影像是清醒度弱化了的清醒状态,是清醒度增强了的睡梦状态,意识与无意识之间的幻觉被发掘,放大,忘却的是现实,沉溺的不愿被发现的梦幻Z城。

冒险精神是黄金国,是亚马逊丛林中绵密的,深入灵魂深处的梦呓,是欲望中中萦绕着的潮湿,是告别尘世的净土。黄金国,到底还是人对自我的搜寻,寄托于未知、寄托于梦中的亚马逊丛林。

写的时候在循环kaleo的VoríVaglaskógi 感觉很合适

Kvoldie er okkar og vor um Vaglaskóg

我们共度这样一个夜晚 春风拂过丛林

Vie skulum tjalda í graenum berjamó

我们要去绿意盎然的浆果地露营

Leiddu mig vinur í lundinn frá í gaer

朋友啊带我归返昨天去过的果树林

Lindin tar niear og birkihríslan graer.

春风呢喃低语 桦树林蓬勃生长

Leikur í ljósum lokkum og angandi rósum

它拂过秀发 拂过芬芳的玫瑰

Leikur í ljósum lokkum hinn vaggandi blaer.

它拂过秀发 又涌入一股劲风中

Dagperlur glitra um dalinn faerist ró

闪烁在山谷间的晨露 静静流动着

Draumar tess raetast sem gistir Vaglaskóg

今夜来到这里的人美梦都成真了

Kveldraueu skini á kraekilyngie slaer

绯红的霞光照耀着这片浆果地

Kyrrein er frieandi, mild og angurvaer.

这里寂静荒凉 这里柔和怡人

Leikur í ljósum lokkum og angandi rósum

它拂过秀发 拂过芬芳的玫瑰

Leikur í ljósum lokkum hinn vaggandi blaer

它拂过秀发 又涌入一股劲风中

Leikur í ljósum lokkum hinn vaggandi blaer

它拂过秀发 又涌入一股劲风中

Leikur í ljósum lokkum og angandi rósum

它拂过秀发 拂过芬芳的玫瑰

lokkum hinn vaggandi blaer

涌入一股劲风中

 4 ) 古典主义的冒险

没看院线版是明智的。此片不仅是一部探索未知文明的冒险片,更萦绕着神秘的古典主义气息,具备历史的厚度。很难说清楚,促使Percy一次次进入丛林寻找Z城的巨大动力是什么,对勋章荣誉的渴求?对带领西方世界认知未知文明的冲动?亦或是基督教的宿命论?那又是什么最后促使Percy能承认他失败的宿命?查理汉纳姆塑造的单一角色勇敢,正直,稳重,似乎把答案导向了正向的那一面。感动与失落在观影结束后同时攫住了我,我也很难讲清楚,我对这个角色,对这个故事是钦佩之情大于同情还是反之。

地理上的异域情调,大自然神秘的吸引力,未知文明的新颖,这些都是影片保证类型突出的元素。我想,对世界保有好奇心的人,不会对这样一个故事无动于衷。

 5 ) 探险家的危险旅程

探险家Percy Fawcett生于1867年,深入亚马逊河谷5次直至最后一次消失在密林之中。影片改编自他的故事。
        佛斯特的父亲生于印度殖民地,哥哥是登山家与冒险小说家。佛斯特自己一心想从事更加冒险有趣的职业,所以佛斯特几乎不假思索地就接受了去南美画地图这样的使命,也开始了他的冒险人生。
       看到一张冒险家本人1911年的照片,那时候他已经成功地完成了几次亚马逊河域的旅程,照片上的他紧蹙眉头,神情严肃,并没有那种轻松喜悦的神色。
       影片中的福斯特梳着一丝不苟的油头,绅士气十足。他在途中读妻子写下的歌颂英雄主义的诗歌。佛斯特第一次探险归来的时候得到了热烈的欢迎。他与怀抱幼子的妻子在人群中拥吻。英格兰歌舞升平,生活惬意,波澜不惊,与密林丛生,四处是未知的野兽以及印第安部落的亚马逊形成了鲜明的对比。可是佛斯特坚信自己发现了失落的文明,执意要再次踏上旅途。妻子看着佛斯特在高堂上神色坚定地号召人们去寻找Z文明,又骄傲又担心。终于他和妻子爆发了争吵。可是争吵后,他还是和同伴踏上了九死一生的旅途。不过这次他们铩羽而归,并没能到达Z。
     时光到了一战,年近50的佛斯特自愿到前线服役。在战场,一个女巫对佛斯特说,你所发现的,远比你想象的更加伟大,你要再去寻找他们,这就是你的命运。佛斯特与曾经一同探险的伙伴在同一军营服役,在一场战斗中,几乎命丧德军毒气战。在病床上,佛斯特说自己梦到了亚马逊的从林,可是医生说介于身体状况佛斯特不可能再踏上那样的征途了。佛斯特的长子Jake看着在病榻上痛哭流涕的父亲,却默默与这位缺席家庭生活多年的父亲和解了。
     最后,Jake鼓励父亲再次踏上征途,也许是战争与缺乏父爱的童年让Jake对人生的意义充满质疑,Jake坚持要与父亲同去。他们一路上都受到高度关注,在火车站为他们喝彩的人不计其数。可是这次终究是一次致命之旅,父子俩在丛林里走过之前的那些路,发现曾经人烟兴盛的城市已荒废,终将父子俩也成了迷失的一部分,都没能再回来。
     维基百科上提供了福斯特父子结局的很多说法,但没有一个说法能够被证实。有一个说法是佛斯特丧失了记忆,在一个食人部落里生活并成为了首领。又有很多其他的说法表示父子已被杀害。
     影片并没有英雄主义式的煽情。全片色彩古典,更像是流畅的叙事。里面间或的南美片段,也让人想起马尔克斯的小说。
     不管是探险,还是一战,佛斯特度过了那样危险重重的一生。在那些濒死时刻,他想起的都是恍如隔世般的英格兰,可这些却是他放弃的生活。他曾经幸运地找到过Z的一些遗迹,却终其一生再没能踏上Z。
      但是你能说,佛斯特的一生都是无用功吗?用佛斯特自己的话说,这就是他的命运,他们完成了别人无法想象的旅程。

      看完电影出来,里昂正是暮色降至的时刻,看着平静美好的街道与河流,想想有人能够放弃这样的生活,坚持去完成那件十分危险的使命,又觉得其实世界是属于有勇气的人的,我们今天对世界的很多认知,都是由这些勇敢的古典旅行者缔造出来的。

 6 ) 烂番茄88%好评《迷失Z城》为啥是“夺宝奇兵”前身?

烂番茄88%好评《迷失Z城》为啥是“夺宝奇兵”前身?


                           文 和运超





       2017年6月2日,精心酝酿近十年的好莱坞探险大片《迷失Z城》终于要与中国观众见面了,影片改编自同名纪实小说,以20世纪初期英国探险家福塞特的真实冒险事迹为原型,讲述他和家人在南美亚马逊丛林寻找传说中的黄金之国的故事。当年斯皮尔伯格联手乔治·卢卡斯制造的经典系列“夺宝奇兵”灵感就来源这个真实的冒险故事,只不过“夺宝奇兵”主角印第安纳·琼斯这个名字用来自卢卡斯家里游艇和小狗的结合。后来《夺宝奇兵4》就以南美丛林中的神秘古城为线索,算是对失落的Z城来了一次致敬。

       《迷失Z城》今年初在柏林电影节率先亮相,获得称赞,4月份北美上映后在烂番茄的新鲜好评度高达88%。影片班底堪称豪华,由布拉德·皮特的B计划公司出品,他还出任监制。导演詹姆士·格雷1994年的处女作《小奥德萨》就拿下了威尼斯电影节最佳导演银狮奖,他的作品还四次入围戛纳电影节主竞赛单元,编导实力无可挑剔,据说他深受《现代启示录》影响,本片同样有那种惊艳与敬意。




       片中主要演员都为本片而大改形象,作为演艺生涯的一次重大突破。饰演男一号冒险家福塞特的是刚与内地观众见面的“亚瑟王”查理·汉纳姆。他因《环太平洋》而受中国影迷广泛关注,原本以健美的身形和俊朗外表著称,但为了这个角色,他在9周内瘦了约60磅,以真实的形象诠释福赛特坚强的意志。影片的成功和好评离不开他对人物精神与意志的塑造,最终凭借他的信念获得家人和朋友的理解支持,“寻找”的意义值得观众深思。

       因《暮光之城》而大受欢迎的罗伯特·帕丁森也收起俊俏脸庞,扮演福塞特的好友亨利·克斯汀,不仅衣衫不整,还蓄起大胡子,他的造型和表现十分抢镜。而在漫威宇宙担任新版“蜘蛛侠”的汤姆·赫兰德饰演福塞特的儿子杰克,一改小蜘蛛的话唠特色,挑战父子矛盾和文明偏见冲突等人文主题,令人十分好奇他的“画风”转变。片中女主角福塞特的妻子是因《特种部队》中“男爵夫人”享有一定知名度的西耶娜·米勒,她富有激情的表演,让人赞叹。如此星光熠熠的阵容令《迷失Z城》具备相当的吸引力。




        这一探险类影片看似并不多见,但观众也熟悉好莱坞电影一向对未知世界和蛮荒主题有着好奇心,这与美国的诞生背景离不开,美国本就是书写了一部在未知大陆不断探险和开拓的历史。因此,早年率先走红的类型中就有西部冒险片。随着技术提升,不断变形和包装,后来在其他故事类型中进一步拓展。所以,《好莱坞报道者》评价《迷失Z城》的叙事方法、传统风格与痴迷主题,从上世纪30年代到70年代中的任何一个时期都会广受好评。

       当然,《迷失Z城》并非呆板地主打“怀旧”,好莱坞吸引全球观众的核心法宝是视觉盛宴。本片画面上追求探险环境的栩栩如生,20世纪初期的南美亚马逊雨林,各种野生动物,如丛林狂蟒,如美洲黑豹,河流中的怪鱼,野生植物、野人部落和怪异莫测的恶劣天气都十分考验视觉效果的细节。导演詹姆士·格雷突出的是写实,并不刻意追求夸张离奇,所以,本片以真实可感的观影感受,让所有观众体验一把身临其境的神秘与惊悚,显然,《迷失Z城》有向奥斯卡继续冲击的勃勃野心。

         我们知道,布拉德·皮特领衔的B计划公司相继推出过《为奴十二年》、《大空头》、《月光男孩》等多部奥斯卡经典,而本片导演詹姆士·格雷也是各类A级国际影展的常客,《迷失Z城》是由格雷亲自操刀剧本改编,这个故事不仅有种种探险的心理历程,冒险者的坚定信念与勇敢的心,更有文明进步所带来的傲慢和反思。




        早在2008年他就找到布拉德·皮特,当时还说服他亲自出演主角福塞特,到2013年,布拉德·皮特退出仅作为监制,另外物色了一批优秀演员加盟,显然也是希望精心打磨,再为影迷奉献一部佳作。

       通观布拉德·皮特的演绎历史,阶级、殖民和种族主义一向是他的“恶趣”,不论当年的《燃情岁月》《搏击俱乐部》《通天塔》,还是他的公司推出的《为奴十二年》《月光男孩》,今天的《迷失Z城》也不例外,毫无疑问这不是单纯的冒险片,而是渴望成为又一次冲击颁奖季的带着人文深度的野心之作。而4K摄影拍摄匠心独具,传达了好莱坞电影的精髓。

       这部真实的“夺宝奇兵”会带给中国观众怎样的神秘之旅,片方公司十分看重中国市场,亲自剪去冗长部分,提供了一个新版本,6月2日全国上映,让我们一起探索《迷失Z城》。

 短评

各方面都很主流,格雷最平庸的一部

5分钟前
  • LOOK
  • 较差

今天觀影非常愉快:片尾亮燈放字幕時,工作人員進來問還有人嗎?我以為又要被提醒沒彩蛋啊什麼的,結果工作人員竟然說,衹是近來確認一下,並沒有不讓看字幕的意思,於是非常安穩地聽完了片尾曲。享受!【日後補五星

9分钟前
  • 介意
  • 还行

散轶的探险笔记,扑火的飞蛾;我们对世界,对彼此,对自己的探索,已知与未知的比例,大概永远都是恒定的。

13分钟前
  • 战将波舰金
  • 推荐

不是很能理解帝国时期对外扩张的野心和夙愿。结尾那一刻,被食人族抬走的父子给人一种仪式感的动容,其他部分很无聊。

17分钟前
  • 踢迩达
  • 还行

直到片尾看到producer是布拉德皮特之后才恍然大悟为什么电影里的男主角们一个个都长的像布拉德皮特ok

22分钟前
  • 黄柑柑
  • 还行

听闻院线删了30分钟吓得没去看,看得蓝光,主题很深刻,理想乌托邦与现实之间的对弈,心怀梦想的人,永远也逃不出文明的桎梏,反而被自然之力反噬,迷失在文明与自然之中。实拍场景和摄影点赞,整体还是有些太长了

24分钟前
  • 乌鸦火堂
  • 还行

141分钟版。人物传记,冒险呢?没有,甚至在这方面的描写都很差,很简单的(仅受到一次攻击和食物危机)就到了没有(白)人发现的地方并发现文明,很简单的从没有人能回来的地方回来。

27分钟前
  • 无姓之人
  • 较差

直男和直男去大自然 直男和胖子去大自然 直男去打仗 直男和儿子去大自然 大自然真好啊儿子我们别走啦…… 冗长散漫的直男历险记 orz 我和友邻看的是同部片吗 出色的剪辑在哪里呀?迷失在Z城里厚?

31分钟前
  • 小捌
  • 较差

电影生动而深情地诠释了什么是“魂牵梦绕”。本来过度浪漫化这种直男历险、白人拓荒的电影不算是好事甚至是雷区,但格雷很完美地闪避了这些,用自己娓娓道来的节奏把一个神秘而传奇的故事完全复原,我身临其境无法自拔。而且本身有些遗憾的收尾,被最后一个镜头全部挽回,看完真是恍如隔世般感动

35分钟前
  • 米粒
  • 力荐

不是先进文明对落后文明的俯视,而是工业文明对古老文明的反哺。詹姆士·格雷用充满历史厚度的古典拍法讲述南美开荒的鲜花与骸骨。让人魂牵梦萦的Z城啊,你也是我的南美情结所在...

36分钟前
  • 同志亦凡人中文站
  • 推荐

难怪公映版本要删减…

39分钟前
  • 辣辣的皮特
  • 较差

古典沉稳,如幻如雾,他内心拥有河流森林湖泊,愿付诸终生寻觅未知,见他人不曾见过的风景,经历他人不曾拥有的人生,名利如浮云,飞鲲驰万里。影像从来只是冰山一角,世界从来只属于勇敢的人,而我不过坐享其成罢了。

44分钟前
  • 秋天的黛西
  • 推荐

喜欢两个地方。一个是用笔记本挡箭,二是男主带儿子走后镜头从他老婆的卧室里急速后退。总体就是流水账,太长。Sienna Miller的角色和《美国狙击手》里完全一样,是故意的吗?

46分钟前
  • 猫猫
  • 还行

事实被改编成非虚构文字作品,这其中就不勉存在对真实的删改,再到被改编成电影,又是更多的删改,现在又在这样的电影基础上剪掉三十几分钟那又能怎样?如果让大卫·柯南伯格拍多好,拍成像危险方法那样。关于这部电影我比较喜欢的一点是,许多场景非常适合配上德彪西印象主义音乐。

48分钟前
  • 恶魔的步调
  • 还行

第一次看James Gray,没想到居然是一部古典韵味浓厚的浪漫主义史诗,剪辑摄影都太太太优秀,每场戏都看得如醉如痴,最后五分钟更是格外震慑人心,结尾一镜回味无穷

51分钟前
  • Steamed Punk
  • 力荐

I had a farm in Afri...对不起,进错片场。在亚马逊带着一箱吃的不敢往前多走一天,贝爷哭了。这是一个重在精神的冒险故事。想看雨林和土著文化的可以退散。其中参杂的男女和种族平等讨论,意愿是好,但手法生硬论点过于超时代,太假。影像古典路数,但是素材取舍不当,不显稳重精巧倒是拖沓了

53分钟前
  • 小斑
  • 还行

美轮美奂, 有几场戏好像幻境, 从战场穿越到丛林, 像梦一样开枝散叶, 有点《蛇之拥抱》的错觉。老派的故事和画面真是让沉迷古典的人欲罢不能。有人会说平淡,可要拍成《夺宝奇兵》我就中途退场了。选角棒,帕丁森居然有种迷之帅气(差点认不出),而湖南一定是今年的最劳模最帅男主!

56分钟前
  • LORENZO 洛伦佐
  • 力荐

6/10,强烈谴责国内引进方为了增加排片赚钱蓄意删减的行为,看的如坐针毡,前面看的非常不适应,因为剧情推动的太快了,快到让我莫名其妙,以至于看完对人物动机和形象都没啥印象,所以如果对故事感兴趣的我还是不建议去看这个删减版,因为看的会很痛苦、很恶心、很想暴打提议删减的那个人。

58分钟前
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拍出了Z城对珀西致命的吸引力,却没拍出Z城对观众致命的吸引力。

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