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标题: 09.24.05.Normalni.Ljudi.2001.DVDRip.XviD-AEN [打印本页]

作者: betaloc 时间: 2005-9-25 14:01:49 标题: 09.24.05.Normalni.Ljudi.2001.DVDRip.XviD-AEN

09.24.05.Normalni.Ljudi.2001.DVDRip.XviD-AEN

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◎译　　名　暂无
◎片　　名　Normalni Ljudi
◎年　　代　2001
◎国　　家　南联盟
◎类　　别　剧情
◎语　　言　克罗地亚语
◎字　　幕　英文
◎IMDB评分 6.6/10 (15 votes)
◎IMDB链接 http://www.imdb.com/title/tt0277928
◎文件格式　XviD + MP3
◎视频尺寸　512 x 320
◎文件大小　1CD 38 x 20MB
◎片　　长　92 Min
◎导　　演　Oleg Novkovic
◎主　　演　Nebojsa Glogovac  ....  Toma
　　　　　　Ljubinka Klaric  ....  Mira
　　　　　　Ivan Jevtovic  ....  Nikola
　　　　　　Nikola Djuricko  ....  Steva
　　　　　　Slobodan Ninkovic  ....  Bane
　　　　　　Vladan Dujovic  ....  Duja
　　　　　　Branislav Popovic  ....  Krle
　　　　　　Mirjana 'Mina' Lazarevic  ....  Irena
　　　　　　Radoslav Milenkovic  ....  Doctor
　　　　　　Bogdan Diklic  ....  Assistant 1
　　　　　　Nikola Pejakovic  ....  Assistant 2
　　　　　　Milena Dravic  ....  Toma's Aunt
　　　　　　Aleksandar Bercek  ....  Nikola's Uncle
　　　　　　Tanja Boskovic  ....  Mira's Mother
　　　　　　Zoran Cvijanovic  ....  Bane' Father

◎简　　介　

Steva the bartender is in love with an actress. Duja
is in love with his motorbike. Bane the bar owner
is planning to steal it. Nikola the war veteran is
dreaming of getting a job. Toma the ambulance driver
is in love with Mira. Mira is in love with a local
criminal. He is abusing her. Sometimes she thinks
she is in love with Toma...

The second high-brow Yugoslav film screened after the 5 October revolution, Normalni ljudi (Ordinary People, 2001), made by the young director, Oleg Novkovi?, grapples with many of the issues that have preoccupied Yugoslav cinema since the Second World War. In Yugoslav cinema the issues of history, or to use more recent terminology, memory, responsibility and guilt, feature prominently. Directors tend to articulate these issues in generational terms and, to repeat an observation made by both domestic and foreign critics, from a male-oriented point of view.

With varied points of view on the matter, many Yugoslav films assert that the older generations-fathers in particular-are either eerily absent, or, worse still, in a crucial way responsible for the fact that their children and sons, especially, have to wear rags or uniforms. Children struggle through life alone.

The first post-war generation of rebels, directors belonging to the so-called "Black Wave" movement, addressed the question of history and memory of the Second World War. ?ivojin Pavlovi?'s Zaseda (The Ambush, 1969) represents a paradigmatic film of that milieu, while Lordan Zafranovi?'s Okupacija u 26 slika (Occupation in 26 Pictures, 1978) shows that well after the 1960s, directors poignantly addressed the legacy of the Second World War.

After Tito's death in 1980, a new generation of filmmakers, such as Emir Kusturica, revisited these questions and the older generation (ie the filmmaker's fathers) were in some sense "guilty," which makes sense, since they too experienced brutal treatment and abandonment.

Not surprisingly, young filmmakers working in Milo?evi?'s Yugoslavia also addressed these questions in generational terms. One way, therefore, to conceptualize Yugoslav art house cinema in general and recent cinema particularly, including Novkovi?'s film, is to see it as flooded by what may be termed the genre of the "lost generation."

Dreaming of a better life

Like all recent films, Novkovi?'s film thematically concentrates on hopelessness and violence generated by ubiquitous social dysfunction, and on people smoldered into Serbian dirt. It is replete with character actors who are mostly up to the task, and has solid direction but only tepid music (Novkovi?, it seems, doesn't know as many musicians as Kusturica).

The story line is remarkably straightforward: A group of people, unified by virtue of their sitting around the same bar (a street-level windowless room), share with each other what their ideal-by Western standards-"normal life" would entail. In contrast to their Western counterparts however, they can only achieve this life by relying on violence, trickery, or simply by escaping abroad.

The protagonist, played by one of the finest young actors, Neboj?a Glogovac, drives an ambulance that, despite his phenomenal efforts, never manages to get to the hospital fast enough. His romantic interest is involved in an abusive relationship with a prosperous gangster, poignantly introduced by her reluctant but foretold acceptance of his desire to sodomize her, while recognizing that Glogovac would truly love her.

The youngest member of this tight circle is a Kosovo war veteran who futilely hunts for work and is symbolic of innocence and unrealizable dreams. The young bartender dreams of escaping to Mexico, with a fake theater actress who rebuffs his earnest advances. All the barflies willingly, even stoically, accept making sacrifices, and with a blurred gaze they look to a better tomorrow that seems pathetically unlikely to materialize.

Novkovi? effectively uses some techniques which are now standard in the West but still fresh in Yugoslav cinematography. For instance, he uses hyper-expressive, hyper-sensitive sounds that create an excellent contrast between the many internal monologues, and a cold, even faceless cinematography that is almost documentary in its style. Yugoslavia at the beginning of the new millennium indeed looks just like that.

In contrast to the internationally acclaimed film by Milutin Petrovi?'s Zemlja istine, ljubavi i slobode (The Land of Truth, Love, and Freedom, 2000), the first domestic film screened after 5 October and featuring the most respected Belgrade playwright, Biljana Srbljanovi?, Novkovi?'s Normalni ljudi uses contemporary fiction as a basis for its screenplay. The experienced screenwriters, Sr?an Koljevi? and the director, remain true to Sr?an Valjarevi?'s elegant and sharp prose. This highlights the closed circle in which violence is used as a defense against other violence, be it imagined or real or even intended, and so violence becomes defensive and, by implication, justifiable.

Against such banal violence, "defensive violence" only reciprocally appears as an adequate answer. At the same time, to return to the "lost generations" genre, characters that symbolize the older generation either remain infuriatingly silent—Tanja Koskovi? as the mother of the muse who takes care of her daughter's half-abandoned son—or they oppress their family and friends with their physical and metal illnesses-for example Milena Dravi? as Koljevi?'s aunt. Most disturbingly, the older generation unambiguously enthrones violence and patricide as the only means of survival.

The film's longest and deepest flashback is a morbid, but all too frequently retold tale. The bar owner, the film's archetypal father figure, played memorably by Boban Ninkovi?, reveals to his sympathetic but unsurprised customer friends a dark secret. To defend himself from his violent policeman father, he bludgeons him to death—and this is a crucial detail—with the unsparing help of his kid brother. Their mother quietly watched on without so much as a cry of protest.

However, some standard flaws belabor the scenario. For instance, female characters appear as helpless creatures that fail to alter the course of events. Further, the scenario leaves certain key questions about the cycle on inter- and intra-generational violence without an adequate answer. In a noteworthy attempt to bewilder the cycle, Novkovi? makes its internal logic confusing.

Yugoslavia's Fassbinder

The film clearly puts the spotlight on an old and broader problem. Will Yugoslav cinema be a "cinema to engage," and specifically will it "engage" the viewing public by examining primarily the (recent) past of a people that feels like it has been collectively condemned or by projecting and promoting an open and future-oriented society?

Perhaps Yugoslav cinema may profitably learn from German post-war cinema before the appearance, in 1962, of the "out with the old—in with the new" Oberhausen Manifesto. (Yugoslav cinema, by the way, already has its Fassbinder, in the form of Milutin Petrovi?.) It seems that this film would be more interesting to foreign viewers. They are far less at home with what happened in the region during the last decade than domestic filmgoers who are already familiar with the film's tragedy. This cinematic adaptation will not so much help the natives understand their roles in the "Balkan powder keg" as it will help outsiders better understand that powder keg.

Most young directors working in Milo?evi?'s Yugoslavia, it may be fair to say, learned about the world and the world of cinema specifically by veraciously watching films from abroad. Unlike their older counterparts, who benefited from Yugoslavia's unique openness towards both Soviet or Eastern European and Western cultures and institutions as well as those of the non-aligned world, the young bunch developed in conditions of grotesque isolation and parochialism. Despite these difficult conditions, Yugoslav directors created noteworthy—even landmark—films. Especially promising are young directors, such as Novkovi?, who would benefit from exposure in and easier access to the cinema world outside Yugoslavia.

Now that Milo?evi? sleeps in a cell and Yugoslavia's international isolation
dissipates, it seems that a propitious moment has arrived for the world to learn anew something about the new(est) Yugoslavia. And cinema seems like a promising means to sketch and exhibit the spiritual and mental maps of Yugoslavia and the region that build upon the maps offered by older directors/cultural ambassadors such as Emir Kusturica.

The young bunch, directors like Sr?an Dragojevi?, Milutin Petrovi?, Ivan Ze?evi?, Oleg Novkovi?, as well as the mature and established directors like Goran Paskaljevi? and Goran Markovi?, have much of Yugoslavia and the Balkans to show to the world. What is more, they finally have the chance to do so outside the matrix of "lost generations." So, watch out for them in a theater near you!

Source    : DVD R2 PAL          Aspect Ratio : 1.60:1
Codec    : XviD (Koepi's 1.0.3) Resolution : 512x320
Release : 24 September  2005 Video       : 894 kbps
DVD Date : xx xx xxxx          Framerate : 25 fps
Theatre : 22 February 2001    Audio       : MP3 2ch 153kbps 48kHz
Runtime : 1:32:13             AVI Size    : CD1 733.947.904 bytes
Language : Serbo-Croatian                   CD2 n/a
Subs    : English (vobs,srt) RAR Count : CD1 38x20MB
                                             CD2 n/a
Title       : Normalni ljudi (2001)
IMDb URL    : http://www.imdb.com/title/tt0277928/
Director    : Oleg Novkovic
Genre       : Drama

User Rating : 6.6/10 (15 votes)

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作者: trueantony 时间: 2005-9-25 17:05:34

原创翻译：由于原文太长，难免有错漏，请大家指教，最后5段不翻译了

酒保Steva爱上一名女演员，Duja的小蜜是他的摩托车（^_^），酒吧的老板Bane打算偷

走摩托车。老兵NiKola梦想着能有一份工作。救护车司机Toma爱上了Mira，但Mira却是

当地一个犯罪分子的女友，他经常虐待Mira. Mira有时候会幻想自己和Toma处在热恋中

。

这部南斯拉夫电影是在10.5革命后公映的，同时也是该国历史上排名第二的具有较高艺

术价值的电影。电影名Normalni ljudi 意为平常人，该片由年轻导演Oleg执导。影片想

要探讨解决一些问题，这些问题自二次大站以来就是该国电影院的上映电影的主题。在

该国电影中，关于历史问题，用现在术语说也就是回忆，责任及罪行的主题占了相当大

的一部分。导演从一名男性的观点出发，试图通过几代人的故事来清楚描述这些问题，

来反映国内外评论家们的评论。

  尽管有各种各样的观点，许多南斯拉夫电影指责上几代人，特别是那些父亲们没有发

挥作用，更糟糕的指责是他们应为此负责：他们的孩子们现在要么破旧衣服要么就是穿

着制服（指当兵）。孩子们在残酷的生活中独自挣扎。

战后第一代的叛逆导演们，属于黑浪派，比较关注二战历史及对二战的纪念。

Pavlovi?（原文如此）的The Ambush, 1969 是当时的一部代表作。而Zafranovi?的

Occupation in 26 Pictures, 1978这部电影则是20世纪60年代后，导演们关注二战遗留

下来的祸害的代表作。

  1980年铁托（^_^南斯那夫领导人）死后，新一代的电影制作人们，如Emir

Kusturica重新探讨了这些问题，同时，上一代人（即他们的父亲）在某种程度上是有罪

的。这些都是有意义的探讨，因为他们也有被统治者残酷对待和遗弃的经历

  南斯那夫的年轻的电影工作者们也是通过几代人的故事来描述这些问题，这并不另

人惊讶。要想把南斯拉夫的艺术场所电影院及电影艺术(这其中当然包括本片导演

Novkovi?的电影）大概作一个定义，一个办法就是实地去看看被‘失去的一代’充斥的

电影院。

对美好生活的梦想

像最近所有的电影一样，导演Novkovi?的电影主要关注人们的无望，社会各个层面的失

控而引发的暴力，以及那些最后变成塞尔维亚垃圾的人。他的电影里的有性格分明的人

物，目的明确，但是配乐却并不怎样。

该片故事情节发展清晰明了：一个酒吧把一群人联系起来，他们坐在酒吧里，讨论他们

心目中的西方标准的正常生活所必须具备的因素，而现实是，他们只能靠暴力，欺骗或

者更直接的是逃往国外才可能过上这种生活。

由一名非常棒的年轻人Neboj?a Glogovac扮演的主角，是救护车司机，尽管他非常努力

，但总是不能尽快的赶到医院。更不幸的是他的爱慕对象是一名富有的黑帮成员的女友

Mira。黑帮成员是这样出场的，他强奸了(原文是鸡奸）Mira，虽然Mira非常的痛苦，不

情愿，但Mira还是接受了他，这也是可以预见的，但同时Mira也认识到Glogovac是真的

爱她。

这群人中最年轻的就是一名科所沃的老兵，他不辞劳苦的寻找工作，却被证明是徒劳的

。他是无辜者和空想者的代表人物。年轻的酒保的梦想是和一名假冒为女演员的骗子逃

到墨西哥，可惜女骗子拒绝了他的热情建议。在这群人模糊不清眼神中有一个美好的明

天，为了这明天他们愿意作出牺牲，但是这个美好的明天似乎有点遥远。

令人印象深刻的是，导演ovkovi?在影片中运用一些早以在西方电影界中被立为标准的技

巧，但是这些技巧在南斯拉夫电影中还是比较新鲜的。举例来说，他用传神感人的音乐

树立一个鲜明的对比：一方面是大量的内心对白，另一方面是冰冷的甚至可以说是残酷

的摄影画面。这可以说是一种纪实的手法。新千年的塞尔维亚（南斯拉夫已经解体）看

起来确实就像这样。

在国际上享有声誉的Milutin Petrovi?电影The Land of Truth, Love, and Freedom,

2000是首部在10.5革命后公映的电影，贝尔格莱德最受人尊敬的剧作家Biljana

Srbljanovi?担任主演。与这部电影不同的是本片Normalni ljudi (平常的人）用当代小

说作为电影的脚本，经验丰富的剧作家Sr?an Koljevi?和导演忠于Sr?an Valjarevi?的

原著，这也使本片突出了这样一个循环：以暴制暴，不管暴力是真实存在的还是想象的

，还是预谋中的，这样暴力也就成为了自卫的暴力，影片还暗示这种暴力具有正义性。

‘自卫的暴力’似乎是对普通平庸的暴力最好的回答。现在让我们把目光重新对准‘失

去的一代’，代表上一代人物的角色要么仍然保持着令人愤怒的平静－－－－Tanja

Koskovi?，作为一名母亲，照顾着她女儿的儿子，他几乎已经被女儿遗忘；要么他们的

精神或身体的疾病让家人和朋友感到压抑－－－如Milena Dravi?，Koljevi?的阿姨。上

一代对暴力和背叛简单明了的崇尚更让人不安，而且他们还视此为生存的手段（有点像

文革啊）。

影片中有一段最长时间的闪回（倒叙），讲述了一个可怕但流传很广的故事。酒吧老板

，由Boban Ninkovi?出演，向他的顾客朋友们泄漏了一个秘密，为了让自己不再受当警

察的残忍父亲的殴打，他用棒子把父亲打死了－－－这里有一个非常重要的细节，这是

在他的兄弟慷慨帮助下完成的。他们的母亲在一旁平静的看着，毫无异议。

然而，电影中也有些缺陷，如影片中女性角色给人的感觉是无助的动物，她们不能改变事件的进程。另外，电影并没有完整的回答一些关键问题，关于不同代人及同代人之间暴力循环的问题，值得注意的是，导演Novkovi?试图使这个循环变的模糊，但这也使人对此感到有些迷惑。

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