Inspiration Vault: Long Walks

After watching “Midnight in Paris” again, I was brought back to my strolls in different cities by Owen Wilson’s adventure in late night Paris.

Long walks in a city have always been one of my favourite activities to do alone, or with really good company. Don’t know if it holds true for you too. I’ve met people who complain about walking too much and sore legs after one hour walking.

But I can joyfully accept a 5 hour long walk with a good conversationist in a beautiful city, as long as I’m not in heels.

The beauty lies in the simple but dynamic form: when I’m alone, I observe the street, its people. I listen, I smell, I feel the vibe. If I’m with someone I enjoy the company with, I can enjoy both the conversation as well as the scenery around us.

In the movie, Wilson’s character, Gil, take long walks in the street of Paris alone and with “a girl of his dreams”, literally, since she’s living in Paris and the 1920s. Both are the most Romantic symbols for Gil that are unattainable and nostalgic.

Wilson’s character wonders alone in Paris. In the sunshine and in the rain. I wouldn’t go so far to say “that’s the dream”, but being able to walk slowly around in a magnificent city as Paris. That must be a blessing.

One thing is subtle but significant: Gil (Owen Wilson) doesn’t walk in Paris because he lives there. He’s not walking in his world, but in a place that serves as the stage of his imagined “Golden Age”. That’s why Paris is magical for him.

Paris, just as the 1920s, for Gil is something he holds as the ideal world he’d like to live in. But until the moment when he starts to feel attracted to a Parisian girl from his own time, Paris is not his world.

Same goes for his walks in the city. He has been an outsider watching, and mostly, imagining what has happened there. The city doesn’t belong to him. And he doesn’t belong to it.

He wants to “move there”. To be part of it.

But what he has to learn is that, moving to Paris could only be as fulfilling as he would think when he accepted his reality and started to appreciate the messiness and the precious beauties in this home world.

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That’s the thing. When I’m alone, walking down the street, and the next, and the next, I’m spending half the time watching other people, dogs, and buildings; the other half time, I’m spending with my own thoughts.

Not everyone can do these long walks. Now I can also hardly find the patience for it.

I didn’t want to say “time”. Because we all have time. It’s just the mindset and perception of time changed.

But, what a shame.

If I can just spend a day somewhere in a beautiful city by myself, in the streets, that’d be not only wonderful, but I’d really be proud of my own strong and clear mind.

Because no fear for time is the greatest martial art for the mind.

Another thing about long walks that I really love, is to walk and talk with a really good friend.

I used to do that a lot with some friends back home where I grew up.

We met up somewhere, and started talking, and then walking.

No destination. No restaurant. No bars.

Just a friend and I, in the street of a busy city.

We passed by street food stands. We ate, and then kept walking.

We walked for hours, hardly touched our cellphones.

Anything we saw along the way could potentially spark up a new topic or a sequel of what we just went over.

We laughed hard, crazy.

We laughed so much that we had to crouch down, didn’t care what other people were thinking.

Today’s me would have hated us back then. So careless and loud.

So rogue and not give a damn.

So free.

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What I can’t forget is that, while feeling so free, I was feeling very safe as well. Not like it’s dangerous to walk with one person in the city (at night, maybe), but the sense of “security”, the feeling of “certain” and “sure” of yourself and everything in your life…

Because the person you can talk these long walks with must be very special.

You talk for hours but it’s not just about you nor only about her/him, but both of you.

I’m sure you know this feeling: when someone talks to you for hours and they are only talking about themselves. And then it’s your turn. But later they start to “reply” to what you said, and immediately go back to themselves again? (I’m not saying you are innocent in this. I bet you are just like me, sometimes talk about yourself the whole time too.)

Well, what can I say? They are just not the people you can take long, and enjoyable walks in Paris with.

But I hope you have at least one person in your life that you can do this with.

With someone you feel loved and supported, and you will love and support her/him with all your heart.

Don’t ask me “how will I know if this person is the one or not”. Ask yourself. If it’s right, you know. And then you go and ask him/her:

“Would you put on some walking shoes and stroll in the city with me?

Make sure take a bottle of water. And we will stop for ice cream.”

Good luck.

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《恋爱中的城市》都市中不是偶遇的无聊与情爱

说实话,抱着想看看小资爱情的心态,才看了这部电影。不同的城市,世界各地,才是噱头。爱情,不过是点缀。看完后,无比的失望。被无聊的,以及各种stereotype雷到。除了巴黎那段有点意思,其他的真的是一点水平没有。中国人在欧洲城市的生活被表现的各种潦倒和悲哀。在上海的情节才显示出了健康和和谐。身在国外的我竟然也觉得那些在国外混的人真可怜。受过伤的人都一副怨妇怨夫的鬼样子,然后被新遇到的人点醒,突然明白人生与爱情的真正含义。

欧洲各个城市的美景确实非常让人向往。北海道的雪,温泉,也非常美。爱情被渴望的美,但是却是千篇一律。内心受伤的男女主角们,被路途中偶遇的人重新激发爱情的火焰。深陷工作与爱情囹圄的新婚燕尔,在北海道度蜜月的时候发觉了爱情的真谛。中西结合的爱情没有好结果。夫妻结了婚的要以离婚收场,也会给混血儿留下一生的阴影。没有结成婚的,因为外国人不想结婚不想安定下来。布拉格小偷真多,意大利黑手党到处都是,法国人随便和陌生人接吻,“不要原因。因为这里是巴黎。”拜托啊大哥大姐,这种stereotype弄得你们不累,我都审美疲劳了。

建议导演编剧去看看《午夜巴塞罗那》。同样一部商业电影,看看人家是怎么在卖弄俊男靓女美景的同时不掉逼格的。

气的我海报都不愿意贴了。就这样儿吧。

看这部电影之前不知道只要噱头不要内涵的电影这么杀人神经。现在知道了,以后保证在看电影前做好trailor研习的工作,不再浪费自己的期待和时间了。

再看《霸王别姬》,看程蝶衣的逆风人生

第一次看《霸王别姬》,还是在自己不谙世事的时候。当时,只是觉得程蝶衣美,美而悲壮,惨烈。也被大时代的变迁而震撼。今天再一次重温经典,却看出很多不一样的感受。原来程蝶衣的倔强,才是逆风之人悲剧的宿命。

戏和人生的交错,就是不清不楚。程蝶衣不是单纯的活在戏里。只是对戏,更加较真。因为现实无法与自己期望的相吻合,只能沉醉在戏里的“从一而终”。他的沉醉,他的不醒,以至于在外面的世界不断变迁的同时,把他生生的隔离了。也许,他并没有在逆风前行。只是在风中屹立不动。但是不随风,也就是逆风的一种。

逆风的生命,是被抽打最多的。不仅受风的吹打。因为随风的不仅仅是空气,更是有一切可以被风吹动的东西。那些东西和风一起,将原地扎根的生命使劲儿吹打。风不止,痛苦不止。对大部分生命来说,有方向的前进,是生命进行的标志。而对在风中不动的生命来说,疼痛,就是生的意义。

在时代变迁的背景下,逆与顺,本来就是相对的。逆可以变成顺,顺可以被变成逆。而这逆与顺,又有谁来定?军阀,日本侵略者,国民党,还是共产党的人民?总之,不由程蝶衣。看戏的人在变,唱戏的,也应改变吗?戏呢?戏也应改变吗?随谁而变?

程蝶衣

程蝶衣爱戏,因为戏如生命。他不知道,京剧作为艺术的一种,只能在不动荡的年代繁荣起来。而艺术之所以生命力强大,更是因为它的形式可以被演化。当经典保持为经典,变化的那一部分会随着继续生长。变化,在这一刻,是戏之生命延长的方式。

人民的力量真真是大无穷。京剧可以是国粹,也可以是腐朽无救的下三滥。段小楼可以在汉奸头上砸砖头,可以在为日本人唱了戏的程蝶衣脸上吐唾沫,也可以为了程蝶衣与国民党人干架。但他也可以在人民的批斗下揭发程蝶衣的一切罪行。他是铮铮铁骨的男儿啊,被打被罚从无怨言。让他弯下腰的力量,何其大?他也许是软弱的。软过了菊仙,一个自己赎身来嫁给他的妓女。但是他活着,她却死了。

我相信,在二十一年没有与段小楼唱《霸王别姬》的岁月里,程蝶衣不曾再唱过虞姬。而二十一年后,当一切重新映入眼帘,当儿时的记忆被重新揭开,他知道,一切都不可能再回去。一切,都已经失去了意义。在这一刻,在这个久别重温最初的幸福的时刻,结束自己的一生,或许是他最好的选择。

他没有疯,只是长醉不醒。

从《搜索》看网络社会中权力的游戏

影片《搜索》探寻了网络时代错综复杂的关系导致的一系列悲剧。网络暴力,人与人的关系在网络和高速信息化的社会中被影响等现象也被提出。而这也是一部剖析这个时代权力关系的电影。

Caught_in_the_Web

谁是最有权力的人?是身家过亿的总裁?是引领舆论的媒体?还是在一个个屏幕之后的双手?从最后的结尾,我们能看出导演和编剧的结论。媒体的力量是强大的,可是作为叶蓝秋事件成为社会舆论头条的幕后推手的陈若兮,是一个依附于媒体力量的个体。她掌握话语权,却同样被金钱和体制力量裹挟。丢了工作意味着被媒体行业除名。跨国公司总裁沈流舒看似是这场游戏最大的赢家。他设计除掉了陈若兮,却被秘书左右,让自己认为叶蓝秋事件对公司前进有恶劣的影响。当他看到网络上叶蓝秋和杨守城被拍的照片,他就以为叶蓝秋骗了自己的钱去和人私奔,由此感叹自己看人看走眼,于是开除了叶蓝秋。最后虽然在媒体面前,借着叶蓝秋之死,让自己和公司的公众形象更好,却到头来要面对一个破碎的家。秘书唐小华和实习生记者杨佳琪同为职场新人,看似没有什么权力。唐小华在设计摧毁陈若兮的过程中起到了牵线搭桥的关键作用。借着总裁的手,彻底除掉了自己一直嫉妒的同事叶蓝秋。杨佳琪一直受到上司陈若兮的培养和欺压,她也被自己小学同学唐小华利用,间接毁掉了陈若兮的事业。当职场的机会来临时,她毅然抓住机会,拿起相机,为总裁沈流舒美化了形象,也同时在自己的记者生涯上大进了一步。

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