Best tragedy ever presents, we always forget about the no-ones, and there were eight people died in Hamlet, including Rosensrantz&Guildenstern.
Gary Oldman那時(shí)候能演得傻傻的，Tim Roth那時(shí)侯也天生麗質(zhì)精骨兒著...這電影抓著荒誕與思辯的樂趣不放，卻也難免多了一絲戲劇式電影慣有的無聊（畢竟哈姆雷特的劇本有點(diǎn)太爛熟了）。我居然能看完！除了覺得看這二人在里面如何玩票有點(diǎn)意思以外，電影本身的確還是比較顛覆的，把荒誕派戲劇與宮廷戲劇煮一鍋，把情事萬物重新演繹經(jīng)典臺(tái)詞重新詮釋，但不乏CULT電影“勢(shì)必血腥”的精神，“可以又言辯又艷情又血腥，但是不能又言辯又艷情不血腥”...電影的主題就是要戲謔地繞個(gè)圈子再告訴你，管你誰誰，小人物無名氏、大權(quán)仗馬屁精、靈機(jī)一動(dòng)的發(fā)明家與發(fā)現(xiàn)家...你就死路一條。
另外，所有的電影人都是那么的自戀，他們總是會(huì)或多或少的說明：表演的藝術(shù)高于一切，表演死亡的藝術(shù)更是高于一切的一切。
再者，看這部電影還有個(gè)充分理由：Tim Roth還沒發(fā)福..
如果愿意，可以將其視作一篇對(duì)以“哈姆雷特”為名的存在問題的電影論文，從開篇的76次擲硬幣游戲到片尾“we are on the same boat”的象征實(shí)體，總是言過其實(shí)卻不驚波瀾的冷笑話總是帶來一股被戲劇敘事要求所不斷催動(dòng)的森然寒意，那道我們用以區(qū)隔戲劇與真實(shí)的邊線：真正的存在與真正的死亡，也就被不斷挑戰(zhàn)與模糊，方法是用戲劇團(tuán)來連接哈姆雷特所寄身的戲劇邏輯及吉羅二人所寄身的“真實(shí)”邏輯，當(dāng)詭異的76次硬幣朝上介入他們的也就是我們的現(xiàn)實(shí)之后，哈姆雷特最終的被戲劇所拯救，以及他們的死
Really a middle-brow film with lots of fun and play, but not without some eeriness, especially when the uncanny presence of the Shakespearean dialogues punctuates the duo’s absurdist exchanges. They are thrown into the play and involved in the events that they half witness and half forget. When events are encountered in medias res, there are moments of disorientation, of doubting and groping for their selfhood. Here I am reminded of Rivette’s Celine and Julie Go Boating,
專門查了一下，最后的話是Fortinbras說的。
那篇熱評(píng)看了一下寫得不錯(cuò)但是不清楚的東西不要亂寫好吧，會(huì)誤導(dǎo)多少人呀！
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Fortinbras.
Let four captains Bear Hamlet like a soldier to the stage,
For he was likely, had he been put on,
To have proved most royal; and for his passage
The soldiers’ music and the rite of war
Speak loudly for him. Take up the bodies.
Such a sight as this Becomes the field,
but here shows much amiss.
Go, bid the soldiers shoot.
-------------------William Shakespeare. Hamlet (Kindle 位置 3413-3415). Penguin Classics.
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“Rosencrantz and Guildenstern are dead.” 這句話確實(shí)有，也是最后一場戲里的，出現(xiàn)得早一些，大使說的。
Ambassador.
The sight is dismal;
And our affairs from England come too late.
The ears are senseless that should give us hearing
《君臣人子小命嗚呼》1990年，王爾德對(duì)這兩個(gè)角色的的評(píng)論
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