救世2014

          竟然是丹麦人拍的西部片，一点不难看，我看得一气呵成，从两个不怀好意的男人上马车之后，情绪就一直给吊着，麦叔的棱角分明的五官很丹麦，很适合角色，想起了年轻时的伊斯特伍德。
          这当然是现代的西部片，更暴力一些，比如：恶霸当街枪杀老太婆与残疾人，即使是镇上人贡献出来的肉参，活生生地被爆头于眼前，其他人包括至亲的人即使是用面做的都应该爆发了吧，更更重要的是，围观的看客里也是带着枪的，大不了干个鱼死网破又如何？
           开棺材店的镇长是脱了麦叔的藏钱的靴子，是地价收了地又转手卖给了恶霸（恶霸帮石油大亨收地），但似乎也罪不至死吧，麦叔爆他的头只是为宣示自己的复出？
            麦叔的兄弟是为麦叔而死，麦叔最终抱得美人归，可否勾起心中的悲凉？警长手下也是有几条人马的，外加上麦叔兄弟两虎，枪支弹药杂货店是有的，豁出去跟恶霸干一票，不一定会吃亏的，只是警长为何就看不到这一点，还要作亲者痛、仇者快的事来，比如绑住麦叔兄弟献于恶霸，自损实力不说，自认为的时机未到，暂避锋芒之说更是鬼扯，麦叔两虎在，你们都不敢搞，还等得到神马时机？
            石油大亨连哄带骗也好，大约还是给钱的，只缘由人民手中合法地持有着枪可随时想入侵自有领地的任何人开枪，然后，看看当今的兲巢，与手无寸铁、菜刀要实名登记的屁民们……

The US has been using its strengths in industries to further its national strategic objectives ever since it first embarked on the path of Empire two and a half centuries ago. The US movie industry is no exception to be exploited by this American imperial tradition. Nurtured in and nutritioned with the prolific home-market, and having grown prodigally in the first half the of 20th century to become a major cashcow of the US economy by the end of WWII, the US film industry has been employed since as a prominent tool to serve the US propaganda goals and further the US imperial narrative.

With the best staging money can buy (and it must be noted that the more money you have, the better staging you can buy; and the better staging you have in a movie, the more money you make. One should look no further than the intelligence-devoiding Hollywood visual extravaganzas, mostly sequels, which always haul in the most profit while breaking "box-office records", to appreciate this rule), and the unmatched shamelessness (the only truly exceptional trait of the Exceptional People) in appealing to the audience's baser instincts, the US film productions, unsurprisingly, have seduced and enthralled the gullible masses, around the globe, ostensibly for the Messianic goals of civilization, but in fact using the Satanic means of seduction, and achieved the Money-Changers' ends of self-aggrandization and destruction.

Using English, the Empire's language, the American narrative of the light and shadow is made into a narrow, crude, and monotonous one-way street dominated by crass stringent chauvinistic insensitivy: either you are with me, or you are against me; either you think and speak in the Empire's way, or you are a pagan barbarian, and your thinking and speaking do not matter and are wrong, categorically, and not even worth being looked at or listened to.

Nonethelss, amid and despite this crude and disgusting prevalency of the American narrative, other cultures are striking back.

This time, it is Denmark taking the lead, using no less than English itself, scalding bare the skins of American racism and American sanctimony-ism, revealing them for what they are: hypocrisies and double-standards that are parodying themselves.

The Dannish middle finger to the Americans is this: you think you are white? Well, sorry; we are Whiter. Since you think having fairer skin means having more superiority, we are, by God's will, which is the excuse you never stop resorting to in lecturing others, superior to you, so what about you people taking some raceo-culture put-downs from us?

Yes, you discriminate against the Jews; we could understand that, sort of. But you did not hesitate to rape the wife in front the child and kill the child in front of the wife of someone who is much Whiter than you. And you somehow invented the KKK? What is the problem with your American brains?

Well, the problem is actually no problem; it is just that the Exceptional People in the United States of America are hypocrites, and the kind invoking God's name all the time.

The sanctimonious sheriff no less appeals for "compassion" from the husband who had toiled in the desert for years to be able to get his wife and child from Denmark across the ocean and the country but had to finally see them raped and killed in front of him by licentious American outlaws for no other good reason than needing a fuck.

But this same "compassionate" and Lord-invoking "brave" sheriff did not hesitate to give an old woman and a disabled man to a murderous thug to be killed, so that the Sheriff could appease and satisfy the Outlaw.

This church-going sheriff, after having blamed the husband for not showing enough compassion in killing the outlaw who raped the wife and killed the son, somehow suddenly found the divine inspiration to reverse himself and claim the husband a hero, after seeing that the husband had killed all the outlaws so that the sheriff would not need worrying about retaliation by thugs if any other law-abiding citizen per chance did not show enough compassion to killers and rapists.

But only seconds later, God again showed his mysterious ways by making the American sheriff again reverse himself by declaring the soul of the just-made hero fosaken, sanctimoniously denoucing the husband, who had been deprived of his wife and son because the American sheriff himself and his gang were too chicken-shit to enforce laws, was somehow audacious enough to keep a White woman raised by Indians company since it was she who saved his life in his one-man fight against the outlaws when the American sheriff and his gang were too chicken-shit to go anywhere near the battlefield. Or maybe it was just because they had too much "compassion"? But why did not they show that in Ferguson, I wonder? God's will, I guess.

Of course, the Dannish production is as an austere and serious piece of film-making as I can think of. They would not be as untactful as their American counterparts, since they probably know that as crass in language and conducts as the Americans are to others, the Exceptional People always value "decency, civility, and politeness" in others when being spoken to; they do not, cannot, and will not see right from wrong in their own ways, but they will say that you are wrong if you point out that they are wrong, in clear and unambiguous language.

It is just like, if you say "fuck you", the Americans will object even if you did not fuck them. But if you fucked them, and did not say "fuck you", the Americans will take it in strides and probably will even express their pleasure and gratitude. The Dannish obviously took the latter course toward the Americans.

Last, but not least, to fend off nit-pickers, invoking a phrase that would make any American speech "decent", and thus "fit for the general audience", no matter its content or intent, as always done by America's Presidents, I say, God bless, and thank you for the "Salvation".

严肃的给大家推这部电影《救世》。
标签：美国西部片，荒凉、灰色调、复仇。

情节老套到掉牙，荒芜人烟的西部，一望无际的荒野和一个寂落的小镇，麻木的人民。

故事起因是一家三口半路搭了2个刚刚出狱的黑帮成员，路上2名坏蛋调戏男主角的老婆，不但杀了他10岁的儿子，还强奸并杀害了男主角的老婆，男主角连夜追逐，干净利落的解决了两个坏蛋，没想到坏蛋的哥哥是称霸一方的大坏蛋，他威胁警长限时破案，不然就要一命抵一命，于是在另一个坏蛋镇长的建议下，用一个老人和一个残疾人抵命。就在事情就要结束的时候，男主角和他兄弟来到小镇卖地，准备离开这个地方。没想到警长竟然把他们关押起来并通知黑帮大哥。
后来男主角在兄弟的帮助下逃脱，为此也搭上了兄弟的性命。

杀戮从此开始。

经过60分钟的杀戮，坏蛋都死悄悄，其中包括为虎作伥的坏镇长。整片前50分钟就两个字，杀！杀！
灰暗的色调，无情杀戮。没有一丝的拖泥带水，能用一颗子弹解决的绝不浪费第二颗子弹。爽！
中间只用了大约5分钟的时间交代了这场杀戮的本质，原来有家大公司看上了这片土地下蕴藏的石油，于是委托黑帮来威胁、抢夺大家的土地。黑帮、镇长、警长，都是大财阀的代言人。制度、法律、道义，在利益和暴力面是多么的苍白无力。

这个悲惨的故事发生在19世纪70年代，一个世纪过去了，同样的故事还在我们身边上演。什么高楼大厦，什么霓虹闪烁，都掩饰不住黑暗下的丑恶。
复仇虽然痛快，但是痛快之后依然是无尽的悲哀。最后男主角和最先被杀坏蛋的老婆成功的离开了此地，但是这里的人民依然无法逃离被剥削被压迫的命运，电影的名字叫《救世》其实他只救了自己，严格来说不可以叫救世，最多叫反抗。

痛快。悲哀。共勉。

北欧冷风和西部热土的结合体，但观感并不是很舒服，假到让人发指的特效屡次出戏，一个渣男的死蝴蝶效应弄死了一个小镇的所有人，也成全了最后的雌雄双侠走天涯的暖色结局。祝贺Eva终于的角色不再碧池，虽然是个丧脸的哑巴。整部影片看点不多，不过当曾经的“曼联国王”坎通纳出现时，不禁让我们感慨岁月的力量。