今天是柯本生日。和朋友在电台做了一期纪念柯本的有关27俱乐部的节目。我们电台叫:山海荒电台。苹果podcast|喜马拉雅|蜻蜓FM上都能搜到。大家感兴趣可以听一下。http://m.ximalaya.com/sound/256626021。还可以关注我们电台订阅号:shhdt1
分享了柯本与涅槃对我们成长的意义。
节目最后有嘉宾为科特献上的一首诗
我有幸正好听过几首科本很动情的歌And I love her,sappy,以及最后科本坐在那儿唱where did you sleep last night,他都给我一种很熟悉、很亲切的感觉......那时他好忧伤,那时好欢乐,却只有在一切过去、无法挽回后,他才会回来,再进入一个新的世界.......在那里,他会幸福.......
后记
隔了一年五个月,又想起科本来了。想起网上有句话,大概意思是:只要还未被人忘记,就不叫真正地死去。那时我倒笑了,看来,科本也许连死也做不到了。
后来的我,看待死和从前不同了。那是个正常的事,有待思索的事;科本他当年思索了,然后做出了选择,他现在在哪里,我不知道,但至少在这里他不在了。现在透着歌想科本,就像透着词想淮海小山一样,也不觉太多伤感......很奇怪,当觉得他是唯一的逝去时,心中伤痛不已,可一发觉,那么多可称之唯一的都不在这里,那不在这里,竟有些成了一个应该的归宿。科本终究是要走的,歌是留下的。所以想念科本的时候听听歌,想念小山的时候想想词,想念有些不曾留下什么的人呢?我不知道了。其实这哪有说得那么简单,科本的意义有岂和小山淮海的意义相同......
他一定有他没说出来的事,或许有些隐藏着,借着那些隐藏的东西,再去发现科本这个人。那科本就是唯一了。不过在现在,他的垃圾摇滚,是个很奇怪地。我倒一点也不着急,慢慢扭着科本的遗迹,也不知以后会如何,也许是,想着想着又到这里来说说他吧。
让我把cue咳妹的图放这儿
我们冷圈也是有人的23333
平行世界俩神经病会成为朋友吗
不会
成为了也还是互相伤害
但多带感啊你说是不是
两个极端敏感的人
两个既可爱又傻逼的人
为什么还有字数限制我不能放两张图吗草既然如此就再放两张
我们地狱见
kurt 请等着我
媒体稿,原载于Flux Magazine
http://www.fluxmagazine.com/montage-of-heck-film/Despite it having been 21 years since his death, the topic of Nirvana’s front man Kurt Cobain has never lost its appeal.When talking about 1990s popular culture, he can’t be ignored and, even now, people are reminded of him whenever an artist dies young.
Last year, one of this generation’s most influential singers, Lana Del Rey, cited Kurt Cobain as her hero, and, in relation to this, stated “I wish I was dead already”. Although Cobain never lacked media attention, both before and after his death, many questions about his life remain unanswered.
Brett Morgen endeavours to answer some of the most intriguing of these questions in his new film Cobain: Montage of Heck. This is the first biopic of Cobain’s life made with full permission from the Cobain family. Morgen has access to never-seen-before home movies, behind the scenes footage of Nirvana’s performances and Cobain’s personal archive of art and tape recordings. He gives us Cobain in unprecedented detail: growing up from an angelic and sensitive little boy to a rebellious teenager, and then a world-famous rock star, heroin addict, loving father and suicidally depressed patient. However, instead of presenting a more human Kurt Cobain, Morgen’s materials accentuate the image we already have.
Part of Morgen’s difficulty lies in Cobain himself. Any biopic of a man who died at 27 will struggle to find evidence of depth and maturity; to add to this, even in his adult years, Cobain did not approach life in a grown-up way. Throughout, it is clear Cobain desperately needed love and attention. But his stepmother’s stories of his adolescence, including mentions of sibling bullying show how he acted in ways that made it hard for his family to accept him. In the latter half of the film, he is shown as a loving father but he is immature and struggles to look after his daughter while battling his heroine addiction. The film is problematic in that it presents Cobain’s inability to fulfill his adult responsibilities as part of his charm, rather than a personal failure, that he is a victim of his celebrity status, and any responsibility – including to care for his daughter – not his own.
Compared to a traditional documentary, Cobain: Montage of Heck is technically innovative. Animation is used to demonstrate the important moments of Cobain’s life: his unsuccessful first effort to have sex, his failed first suicide attempt as a teenager, the time he hid in his rented apartment, writing the music that later came to define the band. The best use of animation is when his doodles and hand-written notes are brought to life. Although all of Nirvana’s hits are played in the film, and footage of live performances are combined flawlessly with animations produced from his notebooks, Cobain’s music is unfortunately not explored further. Perhaps the biggest unanswered question–the source of his unusual musical talent–is barely mentioned, and the inspirations of his most successful songs are not discussed.
The interviews in Cobain: Montage of Heck are revealing in one sense and not revealing in another. Cobain’s mother Wendy O’Connor and his wife Courtney Love talk at length about his childhood and relationships. However, their accounts feel somehow like performances, and lack credibility, not telling us everything of their relationship with Cobain. However, there are some interviewees who do give more, but in their silences. For example, during his interview, Cobain’s father Donald Cobain looks sad and repressed. Sitting on the sofa, he sinks into near total silence and tries to hold back his tears. It is the most touching moment in the film and a pattern that holds in general: the women in Cobain’s life are prominent but exhibitionist, the men either missing or closed and silent. Cobain himself struggles to voice his emotions; he alone finds his voice in music.
If you are intrigued by Cobain as a spokesman of youth, a fighter against the boredom of reality and a musical genius longing to be understood, Kurt Cobain: Montage of Heck provides everything you might want, from his birth certificate to his first footprint. This documentary doesn’t complicate our image of Cobain; it simply emphasises it, giving us little further detail into his mind and life than what’s on the surface. People expecting to get a better understanding of this everlastingly popular icon might be left unsatisfied.
好了,第五篇影评。这周是纪录影片中,曾经几番停下来,轻轻的喘气,故事最后的最后,握着手机旧旧不想放手,仿佛像kurt在我的世界,在我的时间里,再久一点点再就一点点。影评接力加油加油!
故事架构
Kurt从出生在阿伯丁到他被双亲舍弃,再到迷茫叛逆的青春期,初触摇滚,开始创作,酒吧演出,录制第一张专辑<nevermind>,在这之中谈了一次恋爱(按照纪录片的叙说来,但是实际上就无法得知了,恐怕也没多少人知道),全国巡演,地区巡演,世界巡演,认识了妻子Courtney,沉迷海洛因,演出,沉迷海洛因,胃痛,沉迷海洛因,胃痛,沉迷海洛因,胃痛,生下孩子Frances,想要重头再在,承诺为孩子愿意付出一切,复吸海洛因,胃痛,加重,巡演,胃痛,孩子,巡演,胃痛,胃痛,发现妻子出轨,吃重量迷幻药,胃痛,胃痛,出院,自杀……
深刻情节
1、导演凭借kurt大量journal,录带,图片,视频,旁述,媒体报道,重要人物采访,作品,画画拼接了一位与生俱来的才华天才,被一身忧郁、疾病、讽刺与幽默,玩世不恭的敏感,自毁性作品,疯狂式艺术,宽松的衣服,毛毛的毛衣,垮垮的牛仔裤,整天被砸烂的吉他的Kurt,导演表现手法很精彩,这里看出来很合观众口味,让观众去理解这个“究竟有没有出来过的”Kurt。
2、有一段Courtney和Kurt的录像,摄像头呈上往下140°,两位正在享受毒瘾的那阵子沉迷,仿佛看出了某种震撼吧,其实我也是说不清的,因为我对他一直沉迷毒品都是持有到底这个是消极的上瘾还是说自主的上瘾。
3、kurt跟孩子Frances的录像,其中一直都是看得出来,这个孩子的诞生,一旦弥补了kurt在童年因为家庭破碎,而飘忽不定的被抛弃在某某的家中的那种孤独感,那种迷茫感,仿佛自己的存在是无意义的,自己没有被人重视,但是孩子的诞生,仿佛是给他带来了一种寄托,让他曾一度认为,他能够为孩子做任何事情,但是很多时候,很多事件发生的概率都是无所遇见的,而以致最后的精神陨落,我猜想,kurt在临死那段时间(感觉是很长的一段时间),都无比的纠结以及敏感,他遇到了很严重的人生难题。然后一大串事件接涌而来之后,“boom——”他的世界彻底陨灭。
我的看法
1、看了很多影评,其实也是符合我心中的想法,在我看来,偏于商业片,以至于里面有很多事件的链接,会让人不由自主的想,kurt到底是真的这样想的,事情到底是真的这样发生的,每一次情绪的波动导演都是能抓得透的?这究竟是真正的kurt还是导演心中的kurt?亦或是导演想要给我们看到的kurt?
2、很沉重的就是,我不了解kurt,我不了解他的垃圾摇滚,我不能很贴切的明白当时的音乐风气,音乐流向,我自己感受到的,都是非常片面的东西。我不愿意完全结合这个影片去了解这位一代的影响人物,或者是我自己也是非常不肯定这到底是真的他吗?
3、但是他的音乐,他的live,他的语言,他的作品,他的画画,我是真的不由自主的拍手感叹,无法评价的好!
4、他是angel。
泪点太多。纪录片穿插用动画以及笔记涂鸦形式呈现,节奏把握太好。
柯本被他的童年胃疼和媒体毁了,因此才能成为传奇才能一直站在巅峰。
幸福的家庭是相似的,不幸的各有不同
史上长得最好看的摇滚明星,说到底Kurt cobain 的悲剧80%都是他的父母造成的。他们太不负责任了~看后很气愤。
一点钟出来到家到现在都没有睡…从kurt1~3岁生日开始,到小Frances生日,再回到3岁生日小kurt对着镜头飞吻的画面,简直戳心戳肺…有家人采访,Courtney贡献了很多他们的生活录像,可是我还是对她喜欢不起来……kurt的笔记配上音乐节奏表现成动画,只有音频资料的配上了制作精良的动画,总体很赞
烂番茄98%,个人观感是即使大屏幕也看不下去。炫目,丰富,大开眼界,颜值爆表,与此同时loud, exploitive, commercial, manipulated, biased, phony。这部影片简直是Curt Cobain本人所讨厌的一切媒体的集合。
片中的那些蒙太奇场景简直就是视觉艺术,而且最后的收尾很出人意料,也是童年毁一生的名人故事,才发现科特·柯本的颜值竟然这么逆天。
柯本很好 但是谈论柯本并不好
科尼和柯特他妈贡献了如此珍贵的影像素材,再次教育我们要想以后能有个说得过去的个人传记片,还是得多多自拍啊。其实科尼那些家庭素材,以前也曾在诸如“柯本性生活录影带”之类的色情网站流传,只是纪录片导演有本事把它剪为预兆柯本悲剧命运和终结X世代的漂亮节奏。加上自己逛过西雅图,这片完美了
大荧幕观影效果真的非常爽,修复过的演唱会片段高清得让我忘记了那是一个被我彻底错过的年代。
Stoned in blissful oblivion
美人你好!
"幼者的稚趣之美是引取慈爱的骗局" kc真的也就如此而已~ 离艺术家远得很呢~
纪录片为何总是这么屌…人生永远比剧本精彩
@ RichMix Great film to go through his life with an artistic eye. Highly recommended.
“你不知道你帅过布拉德皮特” Kurt的sensitive fragile 笑起来cute都是让人心疼的,从他的blue eyes里看到的是他的一生。
在好莱坞Arclight的Dome看首演。音效太棒。两个小时大家都在不断地擦眼泪。电影之后的Q&A导演也感动得语无轮次。Kurt的录音和笔记是这部记录片的重要原素。导演将这两者运用得十分完美。
看的难受。如果他当时能挺过去,现在老了也许会做很多更棒的冷静的音乐,可是这种假设不存在
科本不那么痛苦的时候,简直和他小时候一模一样的,根本就没变,永远都是个孩子
本届柏林,我经历的第一场观众过载、零人退场放映终于在最后一天到来,散场已是半夜1点,可见柯本魅力之大。关于他的纪录片有好几部,这个史料很详实,从刚出生到去世前的录像都有,少年时代啊,此人一生都维持在颜值和才气的巅峰...亲朋好友采访,动画填补情节,笔记和涂鸦做成暴走风小动画