夏日之王

  JOE和他的两个朋友都是处于躁动不安的青春期，JOE有个父母离异的家庭，而他母亲也没有在这个时候给予他应有的爱和指导，而他的父亲一天也几乎是个ASSHOLE，不能理解他所缺失的爱，他成长中的痛苦。当然理所当然的他喜欢上了学校的一个比较HOT的女生，同时他也认为那位女生也会理所当然的喜欢回他。
  然后他们从家里跑了出来，跑到树林里面建立一个只属于自己的天堂。一开头他们简直是自由自在，尽情在野外释放自己过剩的能量。直到后来，JOE邀请他喜欢的女生来到他们的小屋，后面这一场景是整个电影的转变点，是一个从少年第一次了解到什么是生活，也是时候他需要妥协，学会成长。女孩在晚上没有来找他，反而去找他最好的朋友，后面的画面很细腻的描写出JOE自己理所当然的梦，希望破碎的感觉，他整晚没有闭眼，他眼中只有一丝眼泪，但我想他的心已经破碎了，如此缺失爱的他多么渴望得到一位女生的认可。后来他和他死党闹翻，和小个子走在原野上，他说着事情和以前再也不一样了。最后他自己一个人生存在树林里，他再也感受不到自由快乐和开心，而是现实的沉重压着他，我想要不是最后他父亲和其他人来找他，他或许再也回不去了。
  JOE最后和解了，JOE原谅父亲对他粗鲁的爱，他原谅死党和女孩对他的背叛。他已经成长，因为他 知道无论如何这就是生活。
  画面很美尤其是在原野那一场景，音乐优美很配场景在铁管上跳舞那段真的很赞.

【The Kings of Summer】任我对"独立小清新"多么嗤之以鼻，这部电影都让我毫不犹豫地把他存入F盘永久珍藏。前半部分反抗奔跑毫无保留地接受，后半部分挣扎蜕皮贴着地飞翔，帧帧美到渗人的画面在剧情面前都低了头。第一种人看一个离家出走的故事，第二种人感受友谊自由亲情，第三种人听被嘶吼出来的诗。

After watching 'The Way Way Back', I came across this quirky movie. I was firstly attracted by the name, and then the poster, and then of course the trailer, although i have to admit that it almost got me rethinking whether it is my 'cup of tea', now after watching it, I am so glad that I didn't cross it off on my viewing list.

The story is about a rebellious teenage boy, Joe who can't bear his grumpy and distant old man. Together with his childhood best friend Patrick and a funny looking boy Biaggio, they ran away into the woods, built a house from scratch, and started their own life 'into the wild'.

I really love to watch 'coming-of-age' films because you as an audience can actually witness the physical and psychological change of the main characters, however it is almost impossible to make a 'coming-of-age' film without being criticized as 'cliched'. 'The Kings of Summer' is written, directed, and produced by 'men-boys', and I assume it is precisely a bunch of men/boys they are trying to attract.

I still remember in Harry Potter and the Goblet of Fire, Professor McGonagall told her pupils that "boys are like lions ready to prey; girls are like flowers, gracefully waiting to be awaken'. Well, this film, like I said is about men, made by men and enjoyed by men. I can almost imagine the process of script-writing and production, how much fun they were having.

The film is about 'escaping into the wild and become a man of his own', and it is also about 'girls being bitches destroying male bonding'. Don't get me wrong here. I really enjoyed the film and its vibrant soundtrack and gorgeous cinematography, however it is the underlying philosophy which those film-makers assume would work that I am objecting.

There are a great number of stories about escaping the phony adult world or some unbearable families in which from the child point of view, everything his (normally his because girls escaping into the world are just too unconvincing) parents do triggers more anger within him. The only way to be a man of his own is to run away, into the wild, without taking any responsibilities. To build a tree house (in this case, a real fucking house with basket ball ring, a slide and a mailbox) are the dream-comes-true experience for many men/boys. In the end, it is the gloominess and restrains of the adult world these boys are trying to run away from. This become a dream so deeply buried in their subconscious, and you can often hear them saying 'if I could be a boy again'. And this is also why there are all kinds of movies about a bunch of guys doing ridiculous stuff just trying to reminisce their boyhood.

The film really got me upset when Joe told Patrick, while sipping beer on the hills, "now all we need is a soft hand." It followed by Patrick teasing: "Oh we got Biaggio." It cheaply plays with the sexuality of Biaggio as he once told Joe that he thought he doesn't have a gender and when Biaggio finally 'came out' to Joe that he thought he is 'gay' his definition/symptom of 'gayness' clearly resembles what TB might be diagnosed.

The character of Kelly is the one who really pisses me off. She is, as many films of the same genre, gorgeously blond and beautiful. Her appearance, as many films of the same genre prompts the mental growth of a man. Kelly is not important in this film. She is the object that breaks the bonding between Joe and Patrick. She is the thing that makes Joe hate Patrick while Patrick hate himself for being in love with the girl. We the brothers fight, and when Joe calls her 'bitch', she is helpless and desperately begging for forgiveness. She can't do anything but leave. It is classy!

Overall, it's a wonderfully script and intelligently made film. I highly recommend it! 7/10

    少年手里举着剑，剑的那头是暴躁的父亲，是暗恋的对象，是背叛的友情，其实只是个操蛋的世界。
   “也许，是我们都饿了吧。”
   Joe说完这句话，其中悲伤的情绪哪怕是银幕外的我也被感染。穿梭在林间的风，可能弥漫着夏日里特有的青草味，两个少年带着一个奇葩开始在密林中寻找自己自由的人生。

   「杀了自己的少年」
     
     在一个平静而安逸的午后，少年Joe选择用最简单的方式“掐死”了自己。生活没有本质，可少年的情怀却偏执而美好，于是生活就成了炼狱，少年的头被卡在了断头台，于是父亲就是刽子手，帮凶们在看台上笑着，他感到耻辱，厌恶让他挂了科的制作课老师，对他若即若离的少女kelly，迷人的帅哥保罗，出场并不多的未来后妈，絮絮叨叨的姐姐的男朋友。

    Joe杀死自己很轻松，偷走了父亲的大富翁、钱、工具，然后去找了大大咧咧的另一个少年帕特里克，最后又莫名其妙地带上了奇葩比亚乔踏上了向死而生的旅途。

   “森林里没有时间。”
   “森林里当然有时间，你看太阳生的越高就说明越晚。”
   Joe走到屋外，看到了渗过树叶的日光，他终于明白自己不用再七点半上床睡觉。草坪、树林、溪水、池塘、夏风，三个少年享受这林间的一切，就像所有的幼稚孩子一样，他们坚信远方总是诗意的，就连呼吸都是自由的。

   影片前半段有一个细节很有意思，帕特里克和Joe再最后进入林子之前，问了上帝的意志，上帝用一声雷一场雨给了他们答案。但其实无所谓谁的意志，Joe都相信自己已经可以主宰自己的人生，和海报上写的一样：why live when you can rule
  
  「咚咚的鼓点和躁动的心」
   
    影片有一个很有意思的开头，Joe和帕特里克举着木棍有节奏地在输油管上敲出鼓点，比亚乔耸着脑袋起舞，做出各式夸张滑稽的动作，就像哪个印第安神秘部落遗留下来的古老仪式。再次出现这个段落时已到影片中段，比亚乔严肃地说：嘿，你们必须严肃对待这件事。鼓点就是生命的旋律，假如这片树林这个三名少年创造的王国有生命，鼓点就是王国心脏的律动，三名少年在这个旋律中翩翩起舞，释放着属于自己人生的热情和年轻人特有的万丈光芒，光芒不知收敛终将刺伤彼此。

   就像所有的苦情故事里一样，影片的转折是因为两颗躁动的心。

   Joe和帕特里克坐在悬崖边上，沐浴着夕阳，这个镜头一度让我想到了《断背山》，多么纯粹的友情，我幻想着也许这种友情应该要转变成基情了吧。然后Joe说：我们总是缺了一样东西，其他都好，就是没有女人的抚摸。帕特里克嘲笑着回答：我们有比亚乔。对话轻松愉悦，还有两瓶清爽的德国黑啤，人生真的很美好。其实谁都知道，这两具青春的躯体中怎么可能会少了一颗躁动的心呢。然后女主角以一种极其狗血的方式进入了这个王国，好像突然窜入柴堆里的火星，一下子点着了整片草原。公主爱上了另一个王子，王国终于在反目与背叛中分崩离析。

   青春终于成了一场燎原大火，消耗着所有人不多的生命力，热气消散后，鼓点终于慢了下来，心跳也没有那么躁动，青春的躯体变得佝偻，少年变得成熟了。

   「少年举起剑终成王者」
   
   影片终于到了后半程，在诗和远方的背后，生存的黑暗好像又重新回到了少年体内。生命不可承受的重量从来都是不知怎么生存，Joe杀了一只兔子，他很悲伤，他觉得兔子是无辜的。“也许我们都饿了。”他说。Joe开始自我安慰，曾经的神秘的说林、和煦的日光、清澈的溪流还有那个王国中心的城堡都成了困住他的牢狱。生活似乎和想象的不一样。

   看电影时，我一直不明白是什么促使这样一个孩子转变，也许是他平静下来的心脏里还装着一颗碎成渣的玻璃珠吧。少年以为没有了亲情，还可以拥有友情和爱情，然后友情带走了爱情。剩给他的选择似乎并不多。或者真的是因为生存的压力使这颗青春的心在挤压后饱经沧桑。、

   我觉得他在遇到蛇的那一刻是害怕的，然后他试图去抑制恐惧，幻想中的成熟来的很突然，突然到他自己都不适应。一个理想主义者在现实面前举起了利剑，砍断蛇脑袋的那一刻终于与他以为的现实一刀两断。那些唯美的镜头和音乐都骤然离去，之后爱情问他要了一个拥抱，比亚乔成了最好的朋友，父亲也承认他终于有一天会变成一个man，Joe刻意而冷酷地笑着说：是吗？笑容有些刻意，他依旧在努力装出一幅久经世事，似乎随时会开着皮卡离开的冷酷模样，青涩的嘴角勾出一道弧线，眼睛里闪出一道光，少年终成王者，脱离童话中的孤堡，化身人生的主宰。

    关于人物：影片的人物刻画是我最喜欢的一方面，比亚乔尤其喜欢。神神叨叨奇葩到难以复制，戴着鬼子帽使劲吐着烟圈，说着一大段谁都不懂的话，不懂青春不明爱情，没有烦恼充满活力，帅到没朋友的钢管毒物，神经式地斗蛇，神棍潜质终于暴露无遗。

    谁都不是比亚乔，睿智到可以躲开青春中的傻逼和叛逆，我们只能像《mommy》里的斯蒂夫，《rushmore》里的马克思，还有《夏日之王》里的Joe一样渡过这些相同又不相同的日子，走过这段傻逼的少年时代，最后留下些还算美好的回忆。
   
   关于叛逆：世人、家人的不理解也分许多种，也许是文化水平、宗教信仰或者世界观的不同。无论如何你可以不赞同我喜欢摇滚喜欢funk喜欢画画喜欢写诗细化各种千奇百怪的衣服喜欢耳钉等等等等等，但是你不可以不懂我喜欢什么然后说一句：不行，不可以做这个不正经的事。