性本恶

艺术家控诉政治家、资本家从来都是拐着弯骂，保罗托马斯安德森更是如此，因为他的目的不光是要曝光这些人，还要暴击这些人的智商。

片子可以理解为《阅后即焚》style的《毒品网络》story，拥有一个《金刚狼》的hero，多克的造型绝不是无意，而是代表他是这个时代的超级英雄，在《性本恶》里，统治者控制大资本家，大资本家控制医生、律师、警察，三者之间层层衔接控制整个社会政治和经济，剩下的底层就是多克和莎斯塔这样的“嬉皮士”。

讽刺性的多层隐喻，“因为内部的帮规戒律，这些秘密都不为人知晓，而又是这群人被授权控制我们的世界”。

还有对美国未来憧憬——“时间之海，记忆之海，遗忘之海，那曾经承诺的岁月，过去就不再回来，那个地方的人们，差点就要被恩赐更好的命运，但又被那些我们十分熟悉的作恶者破坏，还被他们捕为人质，我们只能生活在现在，无法抵达将来，希望我们可以相信那里有一片更好的、已被救赎的海岸，在那里，感谢仁慈的主，有着不为人知的美国命运”。

还有充满王家卫风格爱情的暧昧台词，那个没用毒品的下雨天，回味无穷。

电影的剪辑、台词和人物可以快速、繁多到令人发指的地步，克里斯托弗诺兰的电影遇见，也是小巫见大巫了，只有耐着性子看过第二遍的人可能真正get到电影的大概。

重要人物、名词梳理：多克·斯普泰罗（拉里）：主角莎斯塔：多克深爱的前女友，之后出轨米奇，沦为上层阶级玩物，但因为“固有缺陷”，被上层阶级抛弃。

比格福特：男同性恋，对原来搭档兼爱人的死念念不忘。

（妻子应该知道他的性取向）丹尼斯：多克的基友。

索梯雷格：多克朋友，片子中提供重要线索、站上帝视角的人物。

佩妮金博：多克现女友，检察官（很有可能多克是借佩妮的职位拿到侦探执照）格伦夏洛克 ：欠塔里克卡里钱，米奇的保镖之一克兰希夏洛克：格伦夏洛克的妹妹索索恩乔：海事律师后普哈林根：科伊妻子 科伊哈林根（里克多培尔）：莎斯塔朋友 乐队萨克斯斯隆乌尔夫曼：米奇乌尔夫曼妻子伯克斯托奇：买金獠牙号船的演员，政治取向原先向共，最终被政府收买里格斯沃布林：斯隆情妇帕克彼佛顿：纹有纳粹标志，米奇保镖之一鲁迪布拉德诺德：牙医，死于蹦床边（被克罗克芬维发现和杰庞嘉有性关系）杰庞嘉芬维：吸毒、离家出走的女孩，和牙医有性关系，毒品网络中的牺牲者克罗克芬维：杰庞嘉的父亲，首席律师厄尔德拉诺：卖便宜毒品，普鲁士的老客户艾德里安普鲁士：帕克以前的老板，喜欢收藏球棒，洛杉矶警方的杀手锏文森特因得利卡特：比格福特的搭档佩奥特仙人掌：一种生长在墨西哥北部荒漠上的仙人掌，其体内含有墨斯卡林生物碱，人们若吃了它的嫩茎或嫩芽孢，就会出现种种幻觉。

克里斯斯罗顿：米奇投资的疯人院，古希腊语含义——动物的牙齿（金獠牙），疯人院里经常播放伯克斯托奇的电影。

讽刺的是克里斯斯罗顿和纳粹标志都被上层阶级欺骗是古印第安语里“平安祥和”的意味。

vertical integration 的终极形态，给商科的大家一个启发，既卖DP也开戒毒所，狠狠抓牢人类的弱点玩弄顾客于股掌之间。

看完这部感觉精神上磕了迷幻💊，鉴于主角和各种角色长时间沉溺于DP，我也不能确定画面中的故事是否真正发生了，各种线索和信息错综复杂，很容易让人头脑不清。

似乎品钦和PTA的目的也并不是讲述一个逻辑清晰的推理故事，而是展现一种迷幻的精神状态，70年代美国hippie的精神状态和社会环境。

我真的很喜欢里面的几首配乐，很浪漫，适合摇起来。

Doc化身嬉皮士或嬉皮本身，拥有嬉皮士的所有理想状态，天真浪漫，博爱仁慈，和平反战，这是个嬉皮士感官的梦，所有的结局都朝着Doc的理想而去，没有死亡（没有引发观众同情的死亡不算，即使有死亡那也是坏人死也就死了，而非他在场发生的死亡就电视新闻里的尸体一样无所觉）没有战争（越南战争在远方，黑色交易的帆船在海上）没有剥削（连地产大佬都得精神病改邪归正，隐性大佬竟然放过了Doc），有会与穿着邋遢交往的平等的检查官，有大脚的隐性同性恋倾向，有Jade的随意的性开放行为，有毒品交易场所的无所谓开个玩笑，等等，这些嬉皮士活动里的副产物也不过耳耳，所有人都如此天真浪漫，在嬉皮士的眼睛里所有的毒品，暗杀，黑帮火拼等黑暗面被包裹着嬉皮的滤镜，在嬉皮士的耳朵里刺耳的警笛声和迷幻的音乐声同时起来，显灵板能显灵的世界本身就不在普通人的认知里，当大脚的爆炸头大卷毛黑人下一镜变成了油光西装的警察先生怀疑人物的身份时，当Sortilége与Doc聊天聊着聊着消失的瞬间人物的存在本身也存疑，我们就已经接受了这样的设定——无论后续出现什么情况，都以为这样的世界只是迷幻药的幻觉。

在一个叫金牙的帆船上有毒品可以来麻醉，在一个叫金牙的精神病院有冥想等来赎罪，在一个叫嬉皮士的理想来说服自己世界没那么糟或者世界没那么好。

那个面向波光粼粼的大海边下沉的台阶下有一条路，还有一条路，每个角色都没有结局，无论是莎斯塔，Jade，还有死者的妹妹，他们一直站在某个路口怀念曾经的嬉皮生活，怀念那个年代。

搞不懂演的什么鬼。

各种碎片掺杂在一起，有的明显逻辑不对。

导演编剧，作天作地，不知道玩啥呢。

反正也没多出一个什么风格来。

要是玩哈哈镜，那好歹还有一个哈哈镜的逻辑。

他是想一出是一出，变来变去，不知道干啥。

不知道正在演啥，不知道演了啥。

观众也不懂看了啥。

主角是不是也挺耐造啊？

不知道他本人懵不懵？

怎么做到导演的要求的？

痛苦吗？

哈哈哈哈哈哈。

作者：RACHEL LEE HARRISThere are often misperceptions about what a costume designer does, said Mark Bridges, the Oscar-winning designer of "The Artist" and a nominee once again for "Inherent Vice," Paul Thomas Anderson's take on the hemp-infused novel by Thomas Pynchon."I'll tell someone I'm a costume designer and they'll say, 'Oh, that sounds like fun,'" he said. "It's a lot of things, but fun isn't always up there in the top five.""Some people think all we do is shop," he added. "We do some shopping, yes, but we do it with a lot of things in mind: Who is this person? How will this photograph? What does it say about the character and can we afford it?"The often scantily clad women of "Inherent Vice" may have allowed Mr. Bridges to save a bit on fabric, at least. Set largely in a fictional version of Los Angeles in the 1970s, Joaquin Phoenix stars as a private detective, Doc Sportello, who is often high as he stumbles through a mystery involving his toxic ex-girlfriend Shasta Fay Hepworth (played by Katherine Waterston) and the developer Mickey Wolfmann.Along the way he meets several sexually intimidating women, most in equally intimidating outfits, if anything at all. "There are some tricks I use to turn the heat up on things," Mr. Bridges said, but for this film the rule was simply "more skin.""It just felt more like the beach lifestyle and the tone of the piece," he said, "what was going on in society, the whole sexual revolution."It was a feeling similar to working on the set of "Boogie Nights," also directed by Mr. Anderson, he continued. "There was a freedom."During a recent phone call from his home in Los Angeles, Mr. Bridges spoke more about the women in the cast, including Maya Rudolph, who played Doc's sexy secretary while nine months pregnant (with her and Mr. Anderson's fourth child). Here are edited excerpts from the conversation:Reality Intrudes: Sex appeal was a big part of every woman's look in the film, Mr. Bridges said, from the black cut-out bathing suit worn by Serena Scott Thomas to the tight nurse's uniform worn by Ms. Rudolph. "The situation there was sort of like reality versus drama," Mr. Bridges said. "We shot her scenes twice, the first time when she was about nine months pregnant. But what ends up in the film was shot about nine days after she delivered the baby," he said. "I wasn't able to get quite the sexy look I was going for with a mom who had just delivered a baby, but her acting is so strong she'll make you believe anything."The Pynchon Essence: When it came to dressing the girls at Chick Planet, a massage parlor, a delicate balance was required to stay true to Mr. Pynchon's descriptions without looking too jokey, he said. "Pynchon talks about Bambi" — a prostitute played by Shannon Collis — "in a neon multicolored Day-Glo bikini," he added. "Well, neon and Day-Glo don't photograph so well, but it was an era of multicolored psychedelic suits, so we just toned it down a notch. You still get the essence of Pynchon but it doesn't take you out of it."Another Trip to Chinatown: For Jade, another Chick Planet employee who helps Doc in his search, Mr. Bridges was inspired by "The World of Suzie Wong," the 1960 film about a Hong Kong prostitute and an American who falls in love with her. "Pretty much every show I find an excuse to go to Chinatown," he said. "Pynchon talks about a lovely Asian girl in a turquoise cheongsam and I thought, let's just go with it, but let's get as much skin going as possible. So when we first see her she's in a cheongsam, but we altered it to make it a two-piece. It was hardly there."Later, Jade, who is also a waitress, is seen outside a restaurant "in a little red-and-black number that I darted up to give it a more pointy silhouette up top and make it feel a little more Suzie Wong," he said. "Very short and very darted."Orange Shasta: Flashbacks to Doc and Shasta's life together at the beach show Ms. Waterston in a "uniform" of bikini bottoms, loose-fitting cotton shirts and no shoes, "simple, pretty, sexy," Mr. Bridges said. "And you're not sure if you're just seeing her in Doc's mind's eye or if it's real. I thought it would be a fond memory if she was always walking around like that."But when she first appears in a relatively prim orange crocheted mini-dress and a neatly combed hair-do, the narrator describes her as "looking just like she swore she would never look." This "flatland" gear, as Mr. Pynchon described it in the novel, means she is from the Los Angeles basin or Hollywood, Mr. Bridges said, anything but the beach. But how to do that and keep Shasta's sex appeal? "A hard shoe with a heel was a good starting point," he said. "A bra was also something she never would have worn before. And then in the scene she talks about the kind of kinky way Mickey liked her to wear short skirts. So we made her presentable, but still sexy."Letting Go of the Book: Though Mr. Pynchon's descriptions were a great source of inspiration, bringing his words to life while also reflecting the 1970s and finding fabrics that would photograph well and be interesting to look at was difficult. Mr. Pynchon describes Deputy District Attorney Penny Kimball, played by Reese Witherspoon, as "wearing a gray polyester business outfit with a very short skirt," Mr. Bridges said. "Well, that could be anything. So then it becomes my job to decide what that means for our film, for Reese, how it could have some underlying meaning for who she is."In the book Dr. Rudy Blatnoyd (Martin Short) wears a bow tie, a foppish pocket square and an ultraviolet blue velvet suit, Mr. Bridges said. "Well, I made an ultraviolet suit but I also made the plum suit you see him wearing in the movie because ultraviolet gets a little funny on film. Also, we don't need a pocket square. We've got a velvet suit on Martin Short, we don't need to take it further."Praise for the Cinematographer: Working in a period that often calls for outlandish prints in garish colors can be challenging, he said, but he was fortunate that Robert Elswit was the director of photography on the film. "He's pretty fearless," Mr. Bridges said. "There are only a couple of times in our close to 20 years of working together that he's made a specific request of me. I mean, this is the man who in 'Boogie Nights' shot Don Cheadle in a pure white suit under fluorescent light. He's like, 'Bring it on and I'll figure it out.'"The Job's Intangible Benefits: "It happens every once in a while that a project will capture everyone's imagination," Mr. Bridges said of the film's recent success and his Oscar nomination. "Sometimes work comes and goes and nobody notices but that's the wonder of this, right?" He added that costume designers "are so connected to so many different parts of the film: We're in that room making a person with the actor. We're choosing textures and colors that are going to affect how the director of photography shoots it. We're saying something about a person that hopefully the director agrees with as far as how he's going to tell his story. Hopefully we're staying within budget. We touch on every discipline in some way so you have to put your whole heart and soul in it."

最喜欢里面那个中国妹，经营着一家你懂的那种店，名字叫：pussie eating。

是个常年混迹在美国电视圈的女演员叫周洪演的。

在品清的小说里饰演的角色Jade，说话匀速且非常快，有点地下接头的感觉。

按照P T A惯常的模式，被删减掉的里面有一段非常精彩，是在一种旧上海装饰风格的红色茶餐厅里迅速接头的画面。

Jade我想翻译成阿玉是最准确，阿玉连接着一开始接活要找的房地产商Michael，连接着帕克，而且也能通到金牙，这个最重要的组织。

这就是这种加州幽默黑色小说的奇怪风景。

按照他们行内的话说，就是一部黑色小说结束了所有的黑色小说。

什么侦探钱德勒之类的，我们是从来没读过。

在片中，看起来金牙这个组织是由牙医联盟，组织起来为海洛因吸食过度的患者治疗牙齿：很多人年纪轻轻就换了一口假牙。

但事实上，他是整个这个加州犯罪联盟的一环而已。

也揭示了一套旧时的美国生态，而且这种制毒贩毒戒毒的一条龙服务，延续到今天的美国，也是所有犯罪连续剧的鼻祖。

在片中最神秘的穿插来穿插去的一个人叫Coy，也是doc需要去拯救的人。

他既是一个阴谋家，又是一个受害者。

如果你仔细看，是Eldrano, Hope揭露了他的行踪。

在阴谋论充斥的情景下，你会发现60年代末 整个70年代 之所以大麻海洛因流行，就是因为背后的金主操控，贩毒社群和机车党互相竞争，让染上吸毒恶习的人再去治牙和戒毒，抽成要达到两到三遍，就像吃完了被告吃原告一样。

这就是资本主义。

但这种揭露却是用一种古典小说风以及油嘴滑舌的方式来表达，并且通过我们喜欢的男主呈现出来。

这是我二刷仍然喜欢的原因

非常文艺，以至于我不知道这两个半小时在看什么，电影的节奏和三秒真男人一样，想搞点大动静就搞个三秒，之后再憋…对于喜欢美国七十年代那种纷乱氛围的人应该是一份享受，的确，影片对于七十年代有一种独特的描写手法，让人莫名神往。

在杰昆的演技下，使毒品显得非常动人。

不过相比《堕落街传奇》，这一部电影恐怕需要经历过那个年代的人看着才更有感触，总之，不要违法犯罪，没啥好果子吃。

虽然一如既往受不了频繁的画外音，但保罗·托马斯·安德森 Paul Thomas Anderson还是保持了相当的水准。

同时非多线性的群像展现也再现了曾经最为擅长的掌控角度。

一直想找出他在《血色将至》《大师》以及此片潜在的个人特色，但除了旧时代下的人性解剖还真没有其它新鲜的说辞。

可能他自己还在摸索，如何架构自己庞大的总体电影艺术观。

由于品钦庞大而繁复的叙述，他的小说之前从来没有被搬上银幕。

品钦写于60年代的《拍卖第49批》和80年代的《葡萄园》均以加利福尼亚为背景，它们与《性本恶》构成了品钦的“加州三部曲”。

发表于2009年的《性本恶》，尽管是其线索性最强的一部小说，PTA能够将品钦所呈现的社会画卷成功的浓缩在两个半小时之中，这无疑是一次大胆而成功的尝试。

电影是以私家侦探Doc为视角的，以加州为整个美国的缩影，来透视整个嬉皮文化如火如荼的二十世纪六十年代末中美国社会格局的巨大变化。

这个通过“侦探”而重新塑造的奥德赛之旅，并不仅仅旨在勾勒加州洛杉矶地区的地理政治和嬉皮文化效应，而是指向了整个国家隐蔽的历史欲望与等级建构。

充满“阴谋论”的Golden Fang即是那艘贯穿美国历史的神秘帆船，它本身成为了美国历史污点的譬喻（黑奴/反共），又是那个外表堂皇内在腐败的牙医诊所，它则成为了美国丑恶的社会内部结构的缩影，还是坐落在奥哈伊的疗养中心，一个看似奉行嬉皮的疗养机构，却被强烈的反共反犹的政治高层所管制，它则是美国所宣扬的民主政治的反讽。

电影中看似漫不经心、松散游离的侦探情节在寻找地产大亨Mickey、旧时恋人Shasta和身份莫测Coy三条线索时而中断、时而交替，导演真正的用意是让Doc成为一位本雅明意义上的城市漫游者，通过Doc所经历的片面性的局部性的具有黑色喜剧性质的事件，PTA试图还原一个整体性的综合性的社会学上和意识形态上认知和理解。

看完全班同学都懵逼了。

一个哥们说这里面是啥至少有十个plots going on吧，我也就顾着关注70s的金刚狼和一直在觉得身材很好很眼熟的最后发现是fantastic beasts女主的Shasta。

影片一开始一直以为是70年代拍的，色调和迷幻氛围都十分Altman，看到中途开始lost了去查了一下资料才反应过来是2014年的片子。

整个电影都弥漫着一股大麻味，隔着屏幕都觉得要high，彼时没有体验过大麻带来的欢愉感还没法体会到那种up in the air的感觉。

影片结尾警察把整盘麻叶吞下去的时候大家都傻眼了，可以可以这很hippie很美国很颓废。

btw原声很好听，Vitamin C真的可以听得很舒爽。

以及我不会说我又睡着了中间一段。