求星河舰队的英文影评

求电影 《星河战队》 英文影评 英文电影赏析课要写的影评~

Although Ed Neumeier's script relies a little too much on contrivance and coincidence to be wholly satisfying, Starship Troopers still manages to be a thoroughly enjoyable piece of comic-book escapism, whilst at the same time successfully satirising fascism and the futility of war, once again proving that no-one does ballsy, big-budget sci-fi with subversive undertones quite like director Paul Verhoeven.

An outrageously violent adaptation of Robert A. Heinlein's book (of the same name) Starship Troopers presents a future where the Earth's population is divided into two groups: civilians and citizens. In order to attain citizen status, which affords a person certain perks not available to civilians, one must 'do their bit for society'; for teenager Johnny Rico (Casper Van Dien), this means joining the military for a tour of duty against the nasty insect-like aliens that have been launching attacks on Earth from across the vast expanses of space.

Packed with gung-ho action, outrageous gore, and CGI effects that still look great today, Verhoeven's film is a magnificent, non-stop barrage of bloody conflict—both in space and on the surface of inhospitable, bug-infested planets—that effortlessly drives home the horror of war, whoever (or whatever) the enemy and wherever the battleground.

Verhoeven's naive troopers are a likable bunch of characters, but the director doesn't spare his viewers any of the gory details when it comes to them being hacked to pieces by the vicious scuttling aliens: limbs are scattered in all directions, heads are effortlessly removed by flying creatures, soldiers are burnt alive by massive fire-spewing tank bugs, and brains get sucked out of their victim's skulls.

As well as offering excellent satire, superb direction, stomach-churning gore, and stunning special effects, Starship Troopers also features pitch-perfect performances from its impressive cast (which includes Bond-girl Denise Richards, toothy Jake Busey, Clancy 'The Kurgan' Brown, feisty hottie Dina Meyer, Neil Patrick Harris, and the always brilliant Michael Ironside), plus a magnificent rousing score from Basil Poledouris.

对于保罗的作品，认识最深的莫过于《本能》与《艳舞女郎》，这位从性都跑到好莱坞的大导演将色情文化很好地展现在屏幕之上，直到现在，虽然莎朗斯通已经年华老去，但其性感成熟的韵味还是无法忘怀的。
《星河战队》同样出自保罗之手，除了一场男女同浴的戏份与一场准床戏以外，我很难再找到那种刺激你感官的镜头了。但正是这部作品令笔者对保罗有了更新的认识。确切地说，这是第二遍看此片了，当初那意气风发的快意恩仇感觉已经淡去，取而代之的倒是影片所展现出来的暴力内核。
粗粗一看，本片是一部普通的科幻片，虽然那外星虫类制作的还算逼真，场面也较为宏大，但似乎不可摆脱其二流科幻片的地位。但在笔者看来，这是一部颇具史诗风貌的影片，在许多的时候，它的成绩都被低估了。
影片开始便是一段新闻报道，而这种报道也贯穿了影片的始终。当我们细看这些报道的时候，我们会发现，无论是讲述战局，还是动员参军，甚至街头新闻，其核心却只有一个，那就是暴力。
影片的暴力是显而易见的。
最简单地来自于人类与外星虫类的战争。这一点很重要，当我们以为在那个时代，所有的战争都会以一个按钮那么简单的时候，导演告诉我们这是错误的，于是，我们看到了人类枪只对虫类的无奈，更看到了几乎肉搏的所有场面。虫类的强悍，其剧齿一般的腿脚无不深深地烙上了冷兵器的印痕，而人类手中的热兵器绝对没有占据任何便宜。于是，我们看到的所有死尸几乎都没有例外地缺胳膊少腿，人无完人。影片中教官的一柄飞刀解答了关于冷热兵器的问题，即剁下人类操作按钮的手指，但很不幸，这个命运立即故事发展的情节中上演了。导演此时对热兵器提出了一种极度的质疑。
冷热兵器也许只是最有表象的东西，更深入一些的便是关于公民与平民的区别。当老师在课堂上询问男主角公民与平民之间的区别时，男主角如背书一般将这种区别说得极为清楚，但接下来的问题他却根本不清楚。于是，公民与平民之间的区别成了一种教化概念，于是，参军成了公民意识。当我们看到新闻中极力鼓吹的一种参军意识时，我们会发现，战争与暴力是我们人类的根本意愿，也许这与那些虫类无关。还是那名教师，一针见血的指出，只有暴力才是最强的统治，民主已经沦丧了。于是，我们甚至可以理解一点，即掌握暴力即成为公民，没有暴力支配权就只能当平民。新闻中那些孩子肆无忌惮地踩踏着地上的虫类，无其说是一种防卫之举莫若说是打小便被灌输的一种暴力公民意识。于是，我们开始用暴力回击来自于外星的侵略。但暴力真的能解决问题吗？答案是否定的，当具体的死亡数据摆在面前的时候，我们才知道暴力只是一种牺牲。
暴力成为牺牲品的最大原因却还是暴力本身，对暴力的痴迷与对暴力的盲目自信。人类的自信同样是导演质疑的问题之一。起初的人类，盲目尊大地进攻着敌虫的老巢，于是也相应地付出了惨痛的代价，那些意气风发的战士们被上层阶级的失误而断送了性命，为此付出了自信的代价。当联盟司令官换掉之后，盲目的自信依旧存在，但好在人类开始反省自己，于是便陷入了人类社会常态必有的官僚作风，两个科研人员的辩论显得是那么地可笑。
自信造成了失败，但新的领导并没有因此丧失暴力的权力，的确在战略上起到了作用，但同样是暴力地牺牲着这群年青人的生命。于是，那种意气风发变成了一种牺牲的必然条件，当影片结尾处，我们的主人公成为新闻中的主角的时候，我们知道，这种崇尚暴力的思想并没有结束。鼓吹中，新兵变成了老兵，学生变成了新兵，而他们都是不可一世的公民。强权感呼之欲出。
我们的主人公在这个过程中从一个血性少年变成了真正的战士，甚至是宣传中的英雄，他们的成长是代表着暴力的延续方式。爱情在暴力中很快便失去了它应有的魅力，那场准性爱除了十分钟的延长可以体显出些许的人性以外，它什么都不是，而情侣中一方的死亡命运更是体显出暴力的强大，这与仇恨无关。当那场男女同浴被笔者津津乐道的时候，又有谁能够理解其中将人性残杀的一面呢？
地球得到了大统一，但人类的战争却没有任何变化。
是外星侵略了我们还是由于我们的穷兵黩武而引来了新的仇敌，暴力让我们成为正义的保卫家园的公民英雄，但也让我们成为一件机器，意气风发的，在仇恨与理念下生存的机器，于是我们与那虫子还有什么区别呢？
保罗熬费苦心地用这么一部科幻影片包装了他对人类强烈的自我意识以及暴力思维等方面的思考，但血脉贲张的影视效果恐怕令导演本人也失去了真正的方向，于是，我们看不到任何答案，也许这也是事实。质疑而不解答，谁能够，谁又有权力做出解答呢？

2007-1-23于通州
韩兮

In an imaginary dialog referred by H. Kahnwailer, Pablo Picasso explained to Delacroix: "You took a Rubens and the result was a Delacroix. In the same way, I think of you and do something completely different."

Well here, Paul Verhoeven didn't only do something absolutely different but also killed Heinlein and ripped apart savagely his novel. How can Heinlein resist such an adaptation of his novel with such a film contradicting nearly every point of the book and satirizing the main themes? For all that the novel was criticized for, the film makes account and delivers an everlasting stream of satire with caricature-like characters who evolve strictly in a military sense and horrible merciless insects supposed to be "the bad ones" (the racism theme Heinlein was so much critized for and so many reviewers don't seem to understand and who makes them miss the whole point of the story). Once in a while the films produces a sort of Nazi-propaganda video which seems to have an answer to all the character's (and therefore spectator's) questions with quotes such as "Why we fight?" which doesn't state the real reasons why humans are at war with bugs or death sentences broadcasting and military service propaganda with a subtle "do you want to know more?". War makes a fascist of each one of us, and even if it seems wrong, it seems to be our undeniable nature.

I don't dislike Heinlein more than any other author and take his novel as the result of the period he lived in and as the war veteran he was, even if he never was engaged in any battle. The Forever War was a result of another generation marked by Vietnam. More in accordance with the latter Verhoeven show us an up-to-date view of war and propaganda and how the particular and cunning views of a few can imprison us all in an utopian society.

What makes a true piece of art is the different views it can have and this is what makes, both the novel and the film, critized nearly in the same way, so great. So read the book, then watch the film, or vice versa, don't pay attention to what I said and write your own thoughts and get involved in this fabulous argument.

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傅坚代丁： In an imaginary dialog referred by H. Kahnwailer, Pablo Picasso explained to Delacroix: ＂You took a Rubens and the result was a Delacroix. In the same way, I think of you and do something completely different.＂ Well here, Paul Verhoeven didn't ...

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