YOU ARE MINE, IRRETRIEVABLY
“自從初入人世那天，一如長大成人的今天，願一直如此直至晚年，否則就讓生命完結。而我祈求未來的每一天，都由純真的虔誠緊緊串聯。”
出於對搖滾的一無所知，我可能一輩子都無從知曉Joy Division和其主唱Ian Curtis。如果那樣，真就太遺憾了。好在看見穿著風衣叼著煙的他的封面，一時衝動按下播放鍵。電影《Control》的開場獨白像黑色謎井，心在瞬間捲入深洞：
Existence.
Well, What does it matter?
I exist on the best terms I can.
The past is now part of my future.
The present is well out of hand.
如果你是JD的粉絲，期待在這部電影中看到神一般的搖滾天才Ian Curtis是如何發迹的，奉勸不要看下去了。
別誤會，Ian Curtis當然是天才。不過在天才背後，他首先是一個人。一個患有癲癇，內心被不安、孤離、恐懼、三角戀情所糾纏，年僅23歲便自殺的悲劇色彩人物。如果想在電影中瞭解他的音樂，我個人認爲，用耳朵去傾聽音樂本身就可以了。電影用詩一樣的句子作開頭，企圖走進他如同詩人的內心——而事實是，在投身音樂以前，他更早地展現了作爲一個詩人的天賦。所以，對於那些對影片“瓊瑤式的三角戀情與煽情對白”的抨擊，恐怕是將“搖滾教父式的想象”誇張得過分了吧。
在Ian Curtis寫下的文字裏，總是充滿對於emotional isolation, death, alienation, and urban degeneration的雕刻。他的創作受到William Burroughs, J G Ballard和Joseph Conrad等人的影響，從一些歌的名字，如“Interzone”、“Atrocity Exhibition”等可以看得出來。他的文字充滿韻律，讓人感覺試圖從深處尋找些什麽。比如他在寫給情人Annik Honoré的一封信裏說道：I struggle between what I know is right in my own mind, and some warped truthfulness as seen through other people’s eyes, who have no heart, and can’t see the difference anyway. I saw Apocalypse Now at the cinema. I couldn’t take my eyes away from the screen. One the record, there’s Marlon Brando reading The Hollow Men, the struggle between man’s conscience and his heart until things go too far, get out of hand, and can never be repaired. Is everything so worthless in the end? Is there anymore? What lies beyond? What is left to carry on?
而他在遺書裏則寫道：
So this is permanence
Love shattered pride
What once was innocence
Turned on its side
A cloud hangs over me
Marks every move
Deep in the memory of what once of love
執導影片是Anton Corbijn，是導演也是攝影師，曾經爲Joy Division的演出拍攝。全黑白影片，鏡頭亦是貫穿始終的詩意，強烈推薦一看。
出於對搖滾的一無所知，我可能一輩子都無從知曉Joy Division和其主唱Ian Curtis。如果那樣，真就太遺憾了。好在看見穿著風衣叼著煙的他的封面，一時衝動按下播放鍵。電影《Control》的開場獨白像黑色謎井，心在瞬間捲入深洞：
Existence.
Well, What does it matter?
I exist on the best terms I can.
The past is now part of my future.
The present is well out of hand.
如果你是JD的粉絲，期待在這部電影中看到神一般的搖滾天才Ian Curtis是如何發迹的，奉勸不要看下去了。
別誤會，Ian Curtis當然是天才。不過在天才背後，他首先是一個人。一個患有癲癇，內心被不安、孤離、恐懼、三角戀情所糾纏，年僅23歲便自殺的悲劇色彩人物。如果想在電影中瞭解他的音樂，我個人認爲，用耳朵去傾聽音樂本身就可以了。電影用詩一樣的句子作開頭，企圖走進他如同詩人的內心——而事實是，在投身音樂以前，他更早地展現了作爲一個詩人的天賦。所以，對於那些對影片“瓊瑤式的三角戀情與煽情對白”的抨擊，恐怕是將“搖滾教父式的想象”誇張得過分了吧。
在Ian Curtis寫下的文字裏，總是充滿對於emotional isolation, death, alienation, and urban degeneration的雕刻。他的創作受到William Burroughs, J G Ballard和Joseph Conrad等人的影響，從一些歌的名字，如“Interzone”、“Atrocity Exhibition”等可以看得出來。他的文字充滿韻律，讓人感覺試圖從深處尋找些什麽。比如他在寫給情人Annik Honoré的一封信裏說道：I struggle between what I know is right in my own mind, and some warped truthfulness as seen through other people’s eyes, who have no heart, and can’t see the difference anyway. I saw Apocalypse Now at the cinema. I couldn’t take my eyes away from the screen. One the record, there’s Marlon Brando reading The Hollow Men, the struggle between man’s conscience and his heart until things go too far, get out of hand, and can never be repaired. Is everything so worthless in the end? Is there anymore? What lies beyond? What is left to carry on?
而他在遺書裏則寫道：
So this is permanence
Love shattered pride
What once was innocence
Turned on its side
A cloud hangs over me
Marks every move
Deep in the memory of what once of love
執導影片是Anton Corbijn，是導演也是攝影師，曾經爲Joy Division的演出拍攝。全黑白影片，鏡頭亦是貫穿始終的詩意，強烈推薦一看。