歌厅1972

从来不写影评，这也算不上是影评，只是对看过的影评中一些内容的不赞同。以下皆为个人看法。

一、关于最后萨利为什么要离开布莱恩......我靠她说是因为她以自我为中心、无法忍受婚后生活、仍然想要争名逐利当个女演员，你们就和布莱恩一样都相信了吗！！！

1.俩犹太人的婚礼上，萨利一如既往地笑得很开心，可见是对婚姻生活怀有憧憬的；而布莱恩呢？低头不语，神色郁郁。

2.两人躺在树林里，萨利千方百计想要逗布莱恩开心，还主动提到了孩子，甚至将孩子和耶稣作比；而布莱恩还是没精打采。最后萨利伏在他的膝盖上，脸色也落寞起来。接着是快闪过他们过去荒诞快乐的时光和在歌厅里光怪陆离的日子。

3.萨利堕胎的时候，捡起了坐在楼梯上玩球的男孩丢下去的皮球，还在他身后停留看了他一会儿。她这样难道像是难道渴望堕胎的样子吗？

萨利通过布莱恩冷淡的反应，知道了他们不会有未来。她对布莱恩没有说出的before后面那句话，结合前文的内容，感觉更可能是“你不久就要厌倦这样的我，然后离开我了”。就像她的父亲一样，就像Max一样。

其实我一直想知道的是，布莱恩到底有没有和萨利结婚？想来是没有的，月台相别，布莱恩抬起萨利空荡荡的右手无名指，他犹豫了一下，最终也只是赞美了她的指甲艳色耀目，但是他难道不知道萨利的指甲一直都是这个颜色吗？曾经的海誓山盟不过是一纸空文。布莱恩在得知萨利堕胎时，不断指责萨利，要求一定要知道她堕胎的理由，又何尝不是希望能从她嘴里完全撇清自己的过错呢。

萨利太爱他了，所以她给了他想要的理由。

“我真的很爱你。”

“是的......我想你是真的爱我。”

二、萨利嘴里说着还是想要当一个女演员、唱着她爱歌厅......真的是这样吗？

1.月台离别萨利说她必须要去一个面试，结果是回到了歌厅。作为歌厅里的“国际巨星”，萨利想要回去肯定是不需要面试的，所以她这样说只是想要和布莱恩做一个潇洒的告别以及让他相信自己说不安于婚姻仍想闯荡的话而已。

而且，没有了皮草大衣之后，我们可以看到萨利的衣服破了好几个硕大的口子。她没钱了，想来布莱恩也没给她留下什么钱。没钱，怎么闯荡？问题在于，布莱恩知道吗？他怎么会不明白，他也是落魄过的，没钱寸步难行，萨利回去后还能做什么，他心知肚明。

2.快闪时出现了萨利被猥亵的画面，萨利在歌厅仍然是被欺压的对象。

3.萨利最后一首歌登台演出前惴惴不安的神情，在灯光打过来时一秒换成欣喜若狂。她在舞台上光芒四射地表达她对歌厅生活狂热的喜爱。可是我总觉得她几欲落泪。

最后回闪出影片开头歌厅放荡堕落的表演画面，最令人影响深刻的是两个女人抱着在污泥里摔跤，只为赢得台下阵阵喝彩。

比起稳定婚姻和可爱孩子，萨利怎么可能真正热爱这样的歌厅生活？只不过是后者是她唯一能抓住的东西罢了。

她的生活教会了她就算眼睛在流泪嘴角也要高高扬起，就算想要哭泣也只能一脸享受地大笑不已。

“忘记了你生活中的烦恼了吗？我早就告诉你了，在这里生活是美丽的。”

因为只要灯光打在你脸上，你就要给我笑出来。

Source

Economic instability and social unrest following World War I gave way to a culture of escapism and decadence in Weimar Berlin. Though previously Berlin had not made much of a name for itself on the global stage, the Golden Twenties turned Berlin into the third largest city in the world, with a population of over 4 million. The 20s were a time of rich culture and sophisticated developments in art, architecture, music, fashion, and particularly film and live entertainment. Popular personas of the time included Marlene Dietrich and Lotte Lenya. The city became a haven for many writers and artists, thrill seekers who were drawn to the magnetic, taboo atmosphere— particularly of Berlin’s nightlife.

Many artists interacted and blended with the underground culture, nightlife and cabarets. Described in Voluptuous Panic: the Erotic World of Weimar Berlin as the “International sex-tourist Mecca of the Twenties and early Thirties,” Berlin was known for its sexual perversity and moral degeneracy. The nightlife scenes were famous for their erotic performances and abundance of cocaine and alcohol. As a result, many right-wing individuals viewed the culture of the time as socially disruptive and profane. One American writer of the time, Ben Hecht, described Berlin as the “prime breeding ground for evil.”

Despite the culture of decadence in the newly cosmopolitan Berlin, most of the population still faced poverty and unemployment in the aftermath of WWI. Prostitution rose as a means of survival for both women and men. In the 20s, this was normalized to a point where the German army granted approval to it soldiers to attend certain brothels, and even rationed coupon books for sexual services at establishments that had been inspected and cleared of sexually transmitted infections like syphilis and gonorrhea. Drug trafficking and the black market played a huge role in Berlin’s underground economy. Cocaine, heroin, and tranquilizers were easily accessible at the time.

Nightlife venues were abundant and diverse. They included girlculture venues, homosexual venues, lesbian venues, nudist venues, sex museums, transvestite venues, underworld venues, and Weimar Nazi venues.

Berlin Cabarets

Berlin Cabarets of the 1920’s were of a different variety than the ones that would later arise in the early 1930’s in response to the Depression, growing Nazi influence and social unrest. The twenties featured kick-lines of beautiful women who were shining with exuberance and personality: “Their faces were made up with an optimism that nipped all resistance to economic development in the bud, and the little cries of pleasure, issued in a precisely calculated rhythm, gave ever renewed praise to the splendors of existence in just such circumstances story ... exploiting with unflagging zeal the very boom they themselves were representing.” (Anton Kaes, Martin Jay, and Edward Dimendberg, The Weimar Republic Source Book)

After the Great Depression struck, the tone of Cabarets shifted significantly. Despite their well rehearsed smiles, performers began to represent deterioration and frenzy as opposed to blasé luxury: “Their smiles are those of a mark; their confidence a leftover from better days; their precision a mockery of the difficulties in which the very powers they call to mind now find themselves. Though they might continue to snake and wave as if nothing happened--the crisis to which so many factories have fallen victim has also silently liquidated this machinery of girls.” (ibid.) The dancers became more brash and provocative. Large theatres were censored by Nazis for content (both immoral and libelous), whereas nightclub stages and small cabarets maintained their erotic and subversive atmosphere and slid under the radar for a slightly longer period of time. (Lisa Appignanesi, The Cabaret)

Queer Culture

Berlin has a long and substantial history of queer culture. It was considered, from 1920s until the rise of the Nazi party, to be the gay capital of the European continent. Berlin’s status as a site of prominent cultural production was at odds with formal law; homosexuality was illegal in Germany from 1871 all the way until 1994 under the Strafgesetzbuch, or German penal code. The provision Paragraph 175 outlawed homosexual acts between men (as well as prostitution, bestiality, and underage sexual abuse). It was made more draconian during Hitler’s rein.

The burgeoning gay scene was the result of relatively tolerant policing policy that began in the late 19th century. Leopold von Meerscheidt-Hullessem, Berlin’s police commissioner in the 1880s, identified that the law was functionally unenforceable. The only way to convict someone was if they confessed, if it was a reported act of nonconsensual sexual violence, or if there was a witness who could testify in court. Rather than prioritize convictions, the police shifted their strategy to surveilling suspected individuals. The police tolerated a variety of gay public spaces—bars, cafés, and even gender non-conforming balls. Because Berliners were not penalized for frequenting these spaces a large and fairly open community emerged, one that did not exist in other European cities.

Gay culture in 1920s and early 1930s Berlin is most often, and fairly, associated with cabaret culture. A number of cabaret queens, both from Germany and abroad, were gay. One example is Claire Waldoff. Waldoff was not from Berlin, but moved there before World War I and earned a reputation as a review singer. She recorded the song “There’s Only One Berlin” in 1932, and it was banned by the Nazi Party in 1933 for its political content. However, it was so well known at the time that most people who lived in the city that year would have been familiar with it. Waldoff was a well-known lesbian; she lived with her partner, and owned a gay-lesbian salon. Although she socialized with many straight club owners and cabaret performers as well, her relationship with another woman was known and accepted.

The liberal attitudes in Berlin were partially the result of advocacy pioneered by Magnus Hirschfeld. Hirschfeld was a German physician who advocated for gay and transgender rights decades before the timeline of Cabaret, and his work and revolutionized German thought about homosexuality. The Wissenschaftlich-humanitäres Komitee, or WhK (“The Scientific-Humanitarian Committee”) was founded by Hirschfeld in 1897. The mission of the WhK was to advocate for the decriminalization and social recognition of gay and transgender people. At its height, the WhK had roughly 500 members and branches in 25 cities across three countries. Hirschfeld went on to found the Institut für Sexualwissenschaft (“Institute for Sexology”) in 1918 under the more liberal Weimar Republic. The institute advocated for widely available contraception, the treatment of sexually transmitted diseases, women’s emancipation, and sex education. Hirschfeld coined the term “transsexualism”—while terminology has since evolved, it was an important beginning to the discussion of gender nonconformity and medical gender transition—and some of the institute staff were themselves transgender. The institute offered endocrinological and surgical services, including the first modern sexual reassignment surgeries. Hirschfeld also strongly advocated against the arrest of crossdressers, especially those involved in sex work. Documentation of much of Hirschfeld’s would be destroyed in Nazi book burnings, which included the Institute archives.

Outside of cabarets, there was also a sizeable gay literary culture. The 1920s and early 1930s, there were at least 25 different gay German periodicals. These publications were sold alongside other standard papers. They provided community news, listed events, and even listed personal advertisements.

還是忍不住想來做個長評，純屬個人意見，請大家不要介意。 在馬來西亞看了同名的舞台劇版本，發現與電影的故事有著蠻大的差異。無論是男女主角之間的感情，還是演員的個性。 舞台劇版，可能是演員演技過於表面，我看不到男主角之間的感情，少了那種情感的細膩。劇裡的男女配角，變成了男主角的包租婆和同屋房客，因為德國排猶，包租婆放棄了是猶太人的房客，選擇了生存。男主知道納粹即將控制德國，所以想要帶著sally離開，sally卻不想放棄自己想要當女演員的夢想，選擇不走。最後，是host穿著橫線條的睡衣（猶太人在集中營穿的服裝）上吊死去。表示德國被納粹控制，一連串殺猶太人的行動即將開始。 看完舞台劇的感想是，我想看電影，只因舞台劇好像缺了些什麼。 電影版，老娘真的很喜歡這部電影，在電影中，你可以感受到sally對Brian的愛，從小父親不在，第一次有一個這麼溫柔的男人對她好，讓她感受到那種幸福與愉悅。雖然她知道Brian可能是同性戀，但她還是義無反顧的愛他。Brian對sally的感情，那不是男女之間的愛，而是一種安慰，Brian跟她發生了關係，就像在安慰一只受傷的小貓。 高富帥Max的出現，讓兩人的感情開始起了變化。Brian剛開始對max有些反感，有可能不是反感，而是一種擔心，就像擔心自己舊病會復發的感覺。在sally眼裡，max是個吸引人的money，在Brian心理卻不是。三人在一起時，max很正常的和大家相處。但在和Brian單獨相處時，你可以看到了那種很濃的曖昧氣氛。尤其是他說那句，你穿藍色毛衣比較好看，還有褲子放煙盒那段。三人抱在一起跳舞那時，你可以看到Brian的茫然，他望了max再望sally，他已經不知道該怎麼處理自己的感情。餐廳那段是個決定，拿出煙盒已經表明了一切，碰碰拿著打火機的小手，眼神之間的交流，腐女們看了都紛紛高了。撇開曖昧，那段也是個重點戲碼，納粹小兵唱著熱血奔騰的自由歌曲，餐廳的群眾跟著合唱，也暗示著納粹將控制德國。 旅行回來，sally開心準備要去非洲的行李。另一邊max載著Brian回到家，很明顯就是完事的氣氛，Brian下車深情的望著max，換來max冷酷的眼神，Brian也知道完了。Max急著離開，讓我覺得他像一個玩了處女的男人，想逃避責任。Brian上樓與sally吵架，當Brian說自己和max也做了的時候，我不自覺的發出了holy shit！這兩字。Sally傻了，她覺得自己被背叛。Brian為了宣洩，惡言被納粹兵圍毆。 Sally照顧受傷的Brian，sally為了不想失去Brian，故作開朗說兩人被max拋棄。不久Sally懷孕了，她不確定孩子的爸爸到底是誰，Brian思緒片刻後決定當孩子的爸爸。兩人開心慶祝這個小生命的到來，但心中還是帶著刺。因為一件事，讓Brian開始猶豫。Brian的學生frizt決定和natalia結婚，frizt為了逃避猶太人的身份，假裝是德國人保住了自己的安全。但他最後還是選擇了愛情，為自己的所愛放棄一切。Brian開始思緒，frizt和natalia是因為愛情結婚，而他和sally卻是因為孩子。他又開始茫然了，sally感覺到Brian的猶豫和心不在焉，她替Brian做出了決定，選擇墮胎不再束縛他。Brian開始很生氣，罵了sally自私，為了圓自己的明星夢放棄孩子。你可以看到sally的表情，一種被冤枉的表情，她開始說氣話，說她不想在家養孩子，兩人會為了生活吵架。但她少了那句，會吵架是因為我們的結合不是因為愛情，Brian似乎理解了sally的用意，保持了沉默。最後Sally只說了一句她很愛他，Brian沒說什麼離開房間。Sally有些後悔，因為她知道自己將會失去他。 火車站道別，sally紅著眼眶送Brian離開，她知道自己已經失去了他。Sally回到kit kat club，開心上台唱著那像是在道別人生的歌曲。電影的最後一幕，暗示著納粹已經控制了德國。整部電影的內容一直迴旋在我腦里，我進入了Brian的感情中，我喜歡他和max之間的關係，卻可憐和想疼惜sally這個女孩。導演讓歌舞片升華，不再只是快樂的歌舞劇情，而是一種現實的悲劇。演員之間的感情與關係，不用多餘的吻戲和床戲，只是一種暗示也能讓你深入其中，無法自拔。

Sally 最后选择离开Bri应该是因为发现自己无法理解Bri了吧。在野餐时，Sally发现Bri不愿意和她说自己在想什么，而且对话时心不在焉。Sally认为Bri不再爱她了。所以，她在解释堕胎原因时，所说的担心失去梦想，担心生活的琐碎会磨平激情，这些可能也的确是理由，但让她真正下决心离开的，应该是她最后那句没有说出口的before：before you don't love me.

但我觉得Bri之所以有那样的表现，是因为德国社会当时的情况已经越来越严重，纳粹已经越来越声势浩大，因此他变得越来越忧虑，并不是因为不爱Sally。他还爱着Sally，因此才会在Sally堕胎之后那么生气。

那，他们两分开只是因为误会吗？如果两个人沟通清楚，结局会不一样吗？

天真的人说：只要他俩明白彼此依然相爱，那就没有任何问题了啊。

悲观的人说：即便这样，Sally其实毫不关心让Bri忧虑不已的纳粹问题，他们是不一样的人。随着时局动荡，只想过好自己生活，很想成为一名演员的Sally，与极度厌恶法西斯和纳粹，坚持原则的Bri，身处逐渐疯狂的德国纳粹狂潮之中，注定无法永远幸福地生活在一起。

乐观的人说：但只要他俩爱着彼此，那么这样的不同也不会让彼此分离，而是能够不断磨合坚持下去。这样的乱世之中他们也能够互相理解。而这种理解，这份感情，将成为支撑他们在乱世中生活下去的凭依，将成为乱世之中most beautiful，most marvelous, most extraordinary的东西。.

我不知道该讨论纳粹，还是讨论爱情。