<figure style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; line-height: inherit; margin: 32px -54.2188px 0px 0px; padding: 0px; vertical-align: baseline; background-color: #111111; clear: both;"><span style="border: 0px; color: inherit; font-style: inherit; font-family: inherit; font-size: 15px; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; display: block; position: relative;"><img alt="(FILES) In this file photo taken on September 08, 2007 Italian director Bernardo Bertolucci receives a special award during the closing ceremony of the 64th Venice International Film Festival at Venice Lido. – Italian film director Bernardo Bertolucci, whose films include "Last Tango In Paris" and "The Last Emperor", has died in Rome aged 77, Italian media said on November 26, 2018. Bertolucci, considered one of the giants of Italian and world cinema, won an honorary Palme d"Or for his life"s work at the 2011 Cannes Film Festival. (Photo by Christophe SIMON / AFP)CHRISTOPHE SIMON/AFP/Getty Images" src="https://ichef.bbci.co.uk/news/660/cpsprodpb/AF0F/production/_104551844_050822375-1.jpg" width="976" height="549" data-highest-encountered-width="660" style="color: #bdbdbd; font-style: inherit; font-family: inherit; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; height: auto; max-width: 100%; user-select: none; width: 645.781px; display: block;" /><span style="border: 0px !important; color: inherit; font-style: inherit; font-family: inherit; font-size: 15px; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px !important; vertical-align: baseline; clip: rect(1px 1px 1px 1px); overflow: hidden; position: absolute !important; height: 1px !important; width: 1px !important;">图片版权</span><span style="border: 0px; color: #ececec; font-style: inherit; font-family: inherit; font-size: 0.875rem; font-weight: inherit; letter-spacing: 0.25px; line-height: 1.14286; margin: 0px; padding: 3px 8px 1px; vertical-align: baseline; text-transform: uppercase; background: rgba(0, 0, 0, 0.6); bottom: 0px; position: absolute; right: 0px;">GETTY IMAGES</span></span><figcaption style="border: 0px; color: inherit; font-style: inherit; font-family: inherit; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 16px; vertical-align: baseline; visibility: visible;"><span style="border: 0px !important; color: inherit; font-style: inherit; font-family: inherit; font-size: 15px; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px !important; vertical-align: baseline; clip: rect(1px 1px 1px 1px); overflow: hidden; position: absolute !important; height: 1px !important; width: 1px !important;">Image caption</span><span style="border: 0px; color: #ececec; font-style: inherit; font-family: inherit; font-size: 0.75rem; font-weight: inherit; letter-spacing: inherit; line-height: 1.33333; margin: 0px; padding: 0px; vertical-align: baseline; display: block;">贝托鲁奇</span></figcaption></figure><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; font-weight: bold; line-height: 1.75; margin-top: 28px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">虽然最后一部重要作品《戏梦巴黎》在2003年完成，但贝纳尔多·贝托鲁奇是20世纪的产品，他创作的是20世纪的电影。帕索里尼和法国新浪潮在他的作品中激起涟漪，马克思和弗洛伊德的思潮在他的片场和剪辑台上震荡回响。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 23px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">贝托鲁奇的电影教父是皮埃尔·保罗·帕索里尼。虽然十六、七岁就在自家后院玩过8毫米摄影机，但贝托鲁奇走上电影之路是因为给帕索里尼当副导演。这位恩师慧眼识珠，他把根据自己小说改编的《死神》交给22岁的贝托鲁奇执导。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">跟中国的第五代导演一样，与自然的父亲和精神父亲的纠结成为贝托鲁奇作品中难以抹去的印记。拍《蜘蛛的策略》的策略时，他把原著中祖父身份改为父亲；《偷香》中的女主人公千里迢迢从美国到意大利去寻找父亲，《随波逐流的人》中，学生杀掉了自己的老师；《末代皇帝》中，孩童溥仪看着父亲骑在马上离自己而去。</p><ul style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; line-height: inherit; margin: 18px 0px 0px; padding: 0px; vertical-align: baseline; list-style: none; background-color: #ffffff;"><li style="border: 0px; color: inherit; font-style: inherit; font-family: inherit; font-size: 1rem; font-weight: inherit; letter-spacing: inherit; line-height: 1.75; margin: 18px 0px 0px 20px; padding: 0px 0px 0px 4px; vertical-align: baseline; list-style: square outside;"><a href="https://www.bbc.com/zhongwen/simp/world-46354096" style="border-width: 0px 0px 1px; border-top-style: initial; border-right-style: initial; border-bottom-style: solid; border-left-style: initial; border-top-color: initial; border-right-color: initial; border-bottom-color: #dcdcdc; border-left-color: initial; border-image: initial; color: #222222; font-style: inherit; font-family: inherit; font-size: 1rem; font-weight: bold; letter-spacing: inherit; line-height: 1.75; margin: 0px; padding: 0px; vertical-align: baseline; text-decoration-line: none; -webkit-tap-highlight-color: rgba(17, 103, 168, 0.3);">贝托鲁奇逝世：那个在紫禁城里拍电影的西方导演</a></li><li style="border: 0px; color: inherit; font-style: inherit; font-family: inherit; font-size: 1rem; font-weight: inherit; letter-spacing: inherit; line-height: 1.75; margin: 18px 0px 0px 20px; padding: 0px 0px 0px 4px; vertical-align: baseline; list-style: square outside;"><a href="https://www.bbc.com/zhongwen/simp/world-41626269" style="border-width: 0px 0px 1px; border-top-style: initial; border-right-style: initial; border-bottom-style: solid; border-left-style: initial; border-top-color: initial; border-right-color: initial; border-bottom-color: #dcdcdc; border-left-color: initial; border-image: initial; color: #222222; font-style: inherit; font-family: inherit; font-size: 1rem; font-weight: bold; letter-spacing: inherit; line-height: 1.75; margin: 0px; padding: 0px; vertical-align: baseline; text-decoration-line: none; -webkit-tap-highlight-color: rgba(17, 103, 168, 0.3);">驱逐了韦恩斯坦 金像奖现在怎么办？</a></li><li style="border: 0px; color: inherit; font-style: inherit; font-family: inherit; font-size: 1rem; font-weight: inherit; letter-spacing: inherit; line-height: 1.75; margin: 18px 0px 0px 20px; padding: 0px 0px 0px 4px; vertical-align: baseline; list-style: square outside;"><a href="https://www.bbc.com/zhongwen/simp/world-39092297" style="border-width: 0px 0px 1px; border-top-style: initial; border-right-style: initial; border-bottom-style: solid; border-left-style: initial; border-top-color: initial; border-right-color: initial; border-bottom-color: #dcdcdc; border-left-color: initial; border-image: initial; color: #222222; font-style: inherit; font-family: inherit; font-size: 1rem; font-weight: bold; letter-spacing: inherit; line-height: 1.75; margin: 0px; padding: 0px; vertical-align: baseline; text-decoration-line: none; -webkit-tap-highlight-color: rgba(17, 103, 168, 0.3);">拿到奥斯卡金像奖就代表最佳吗？</a></li></ul><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">喂养贝托鲁奇的思想奶娘是马克思和弗洛伊德。</p><figure style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; line-height: inherit; margin: 24px -24.6484px 0px 0px; padding: 0px; vertical-align: baseline; clear: both; background-color: #ffffff;"><span style="border: 0px; color: inherit; font-style: inherit; font-family: inherit; font-size: 15px; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; display: block; position: relative;"><img src="https://ichef.bbci.co.uk/news/624/cpsprodpb/12CF/production/_104551840_050822060-1.jpg" datasrc="https://ichef.bbci.co.uk/news/320/cpsprodpb/12CF/production/_104551840_050822060-1.jpg" alt="贝托鲁奇" width="976" height="549" data-highest-encountered-width="624" style="color: inherit; font-style: inherit; font-family: inherit; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; height: auto; max-width: 100%; user-select: none; width: 616.211px; transition: opacity 0.2s ease-in; display: block;" /><span style="border: 0px !important; color: inherit; font-style: inherit; font-family: inherit; font-size: 15px; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px !important; vertical-align: baseline; clip: rect(1px 1px 1px 1px); overflow: hidden; position: absolute !important; height: 1px !important; width: 1px !important;">图片版权</span><span style="border: 0px; color: #ececec; font-style: inherit; font-family: inherit; font-size: 0.875rem; font-weight: inherit; letter-spacing: 0.25px; line-height: 1.14286; margin: 0px; padding: 3px 8px 1px; vertical-align: baseline; text-transform: uppercase; background: rgba(0, 0, 0, 0.6); bottom: 0px; position: absolute; right: 0px;">REUTERS</span></span></figure><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">《1900》可以当作阶级分析学说的教辅材料。两个孩子在世纪之初同一天出生，一个在富豪地主家，一个是贫苦农民家。童年和青年时期，他们是亲密好友，啥事都一起做，啥事都一起做过，后来却成为政治斗争的敌对两方。作品里的鲜红旗帜和革命话语让我想起中国的 《太阳照在桑干河上》和《暴风骤雨》里的场景，感叹于毛泽东阶级斗争学说里头那份激烈和决绝有多残酷。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">要按照《共产党宣言》中“用暴力推翻资产阶级而建立自己的统治”理论来看，《1900》可就非常修正主义。那里的阶级斗争近乎阶级游戏。结尾时，两个老人在田野中推搡打闹。他们弯腰驼背、目光呆滞茫然，再次重复童年一起玩的躺铁轨游戏。贝托鲁奇理解的马克思主义更接近早期马克思，人道主义色彩更浓厚。贝托鲁奇说：“我需要爱摄影机前的所有人物。即使他们是恶劣的，我也设法使他们具有某种悲剧性，从而产生一点高贵感”。他的阶级观点十分温良恭俭让，他笔下的阶级斗争远不是那种“一个阶级推翻另一个阶级的爆烈的行动。”</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">性的压抑和释放是贝托鲁奇认识人、解释人的重要路径。席卷20世纪的弗洛伊德思想在贝托鲁奇的作品中影响昭然，随处可见。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">20世纪文艺作品中的性与社会中的性时常带有强烈的反叛色彩和革命冲动。许多时候，书写性解放的艺术和性解放行为与冲击、解构现存资本主义政治制度相联系，与质疑资本主义伦理道德相联系。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">《巴黎最后的探戈》（Last Tango In Paris1972）让我想起1968年“五月风暴”中革命与做爱相互激发的响亮口号，想起美国的“嬉皮士”运动和马萨诸塞州的麦克·梅特利建立的“莱顿公社”和他们的“性爱的公有制”。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">保罗在空房间中偶遇让娜，很快就把她抱起来。翻云覆雨时，两人都穿着衣服。之后就是每天象临到世界末日般地疯狂做爱。保罗没有与让娜交流的意愿，他对让娜的追逐非常强横，到抹黄油后入的疑似肛交时，就变成了彻底的强奸。在这里，角色之间的性与权力的话语与导演对演员的权力话语复杂地扭结在一起。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">“五月风暴”中“我越革命越要做爱，越做爱就越要革命”的口号将马克思与弗洛伊德完美结合。贝托鲁奇的这一曲探戈舞虽然完成于 1972年，但它是1960年代末期席卷全球的左翼社会运动的文化遗产。这里有“五月风暴”的思想后浪，也有电影人与纽约东村的嬉皮士运动、伯克利反战游行的对话、应和。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">贝托鲁奇作品中不止一曲性爱狂舞，它们有时并不直接指涉任何政治现实，但它们都具有强烈的反文化色彩。到了《戏梦巴黎》（The Dreamers 2006），里面的政治辩论和文革话语让我想起戈达尔的《中国姑娘》，演员们在那里头诵读列宁语录，挥舞红色毛泽东语录。一直有人说“五月风暴”和美国的嬉皮士生活是当代理想主义掀起风云，我却怀疑那更多是吸食马克思和毛泽东的名牌精神鸦片后被催发躁动。要看看当时爬到大学楼顶扔石头的福柯和前几天在巴黎街头点火的群众，法国式的革命激情有时令人生疑。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">这位导演是三P情境爱好者。《1900》中，出现两个男主人公和一名性工作者性爱场面。中国放映的《末代皇帝》版本中，溥仪、婉容、文秀三人一起在浅黄丝绸床单下滚动的镜头被剪掉了。饰演婉容的女演员陈冲回忆，“拍摄时贝托鲁奇在旁边看着特别羡慕，然后说我也好想钻进来”。《戏梦巴黎》中，导演更上层楼，他把三P情境与隐晦的兄妹乱伦故事、暧昧的同性吸引扭结在一起。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">《月亮》（La luna,1979）的反文化色彩更为浓厚。就像帕索里尼在《俄狄浦斯王》里所做的探讨，贝托鲁奇在这部作品里挑战或者触摸了人类文明中的乱伦禁忌。为了安抚毒瘾上头的儿子乔，母亲卡特琳娜为他手淫。在电影资料馆上课时看到这个场景，我吃惊得有点反应不过来，她在干吗？</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;"><strong style="border: 0px; font-style: inherit; font-family: inherit; font-size: 1rem; letter-spacing: inherit; line-height: 1.75; margin: 0px; padding: 0px; vertical-align: baseline;">紫禁城的明黄绸缎</strong><strong style="border: 0px; font-style: inherit; font-family: inherit; font-size: 1rem; letter-spacing: inherit; line-height: 1.75; margin: 0px; padding: 0px; vertical-align: baseline;">与</strong><strong style="border: 0px; font-style: inherit; font-family: inherit; font-size: 1rem; letter-spacing: inherit; line-height: 1.75; margin: 0px; padding: 0px; vertical-align: baseline;">意共党员</strong></p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">意共党员的身份使贝托鲁奇得以进入故宫舞动黄绸。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">根据我做的电影人口述历史研究，意大利共产党总书记贝林格在会见胡耀邦时给了他一张纸条，大意是我们有个党员是导演，想来中国拍电影。胡耀邦在这纸条上批了一行字转给了中国电影合作制片公司。后来贝托鲁奇拍摄时拿着一封合拍公司的介绍信函，在他的姓名后面特地用括号注明：意共党员。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">电影学院的张献民教授向我介绍，来中国前，贝托鲁奇跟好莱坞制片商合计好了，要拍摄一部关于中国的大制作巨片。他带着法国著名作家 安德烈·马尔罗（André Malraux）《人类的命运》（la Condition humaine，英文翻译书名为：Man's Fate）。这本书描写1927年上海三次工人武装起义和国共两党斗争，这个题材没获得批准。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">偶然中，贝托鲁奇买到了溥仪的英国老师庄士敦（Reginald Fleming Johnston）的著作《紫禁城的黄昏》（Twilight in the Forbidden City）和溥仪的《我的前半生》。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">政治、历史中的人、人的性心理，这些贝托鲁奇一直念兹在兹的题材元素都在这里。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">《末代皇帝》中，我既看到作者那持续使用的风格签名，又在许多延续和重复中看到浑然一体的变化、融合。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">亲子与家庭关系的缺失，父亲形象的离去，从小与母亲分开被阿嬷喂养，这些塑造了溥仪的心理人格。我们看到，十几岁的孩子还在吃奶，吃奶之前，他伸手在阿嬷的乳房上从上往下抚摸。庄士敦给溥仪送来自行车，进门看到他在跟太监们隔着白色绸缎抚摸、贴脸，享受地翻转身体。这明显地隐喻了他的同性恋关系。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">本片多次用了敲门、开门、被阻隔在门内世界的方法来处理时空，写出了一个被禁锢的灵魂。</p><figure style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; line-height: inherit; margin: 24px -24.6484px 0px 0px; padding: 0px; vertical-align: baseline; background-color: #111111; clear: both;"><span style="border: 0px; color: inherit; font-style: inherit; font-family: inherit; font-size: 15px; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; display: block; position: relative;"><img src="https://ichef.bbci.co.uk/news/624/cpsprodpb/60EF/production/_104551842_050831236-1.jpg" datasrc="https://ichef.bbci.co.uk/news/320/cpsprodpb/60EF/production/_104551842_050831236-1.jpg" alt="Italian director Bernardo Bertolucci on the set of his 1987 film The Last Emperor. (Photo by CHRISTOPHE D YVOIRE/Sygma via Getty Images)" width="976" height="549" data-highest-encountered-width="624" style="color: #bdbdbd; font-style: inherit; font-family: inherit; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; height: auto; max-width: 100%; user-select: none; width: 616.211px; transition: opacity 0.2s ease-in; display: block;" /><span style="border: 0px !important; color: inherit; font-style: inherit; font-family: inherit; font-size: 15px; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px !important; vertical-align: baseline; clip: rect(1px 1px 1px 1px); overflow: hidden; position: absolute !important; height: 1px !important; width: 1px !important;">图片版权</span><span style="border: 0px; color: #ececec; font-style: inherit; font-family: inherit; font-size: 0.875rem; font-weight: inherit; letter-spacing: 0.25px; line-height: 1.14286; margin: 0px; padding: 3px 8px 1px; vertical-align: baseline; text-transform: uppercase; background: rgba(0, 0, 0, 0.6); bottom: 0px; position: absolute; right: 0px;">GETTY IMAGES</span></span><figcaption style="border: 0px; color: inherit; font-style: inherit; font-family: inherit; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 16px; vertical-align: baseline; visibility: visible;"><span style="border: 0px !important; color: inherit; font-style: inherit; font-family: inherit; font-size: 15px; font-weight: inherit; letter-spacing: inherit; line-height: inherit; margin: 0px; padding: 0px !important; vertical-align: baseline; clip: rect(1px 1px 1px 1px); overflow: hidden; position: absolute !important; height: 1px !important; width: 1px !important;">Image caption</span><span style="border: 0px; color: #ececec; font-style: inherit; font-family: inherit; font-size: 0.75rem; font-weight: inherit; letter-spacing: inherit; line-height: 1.33333; margin: 0px; padding: 0px; vertical-align: baseline; display: block;">1987年贝托鲁奇在电影末代皇帝的拍摄现场</span></figcaption></figure><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">《末代皇帝》与作者早期的《1900》在结构上颇有相似，都是从孩童写到老年。不过，那里更关注阶级的鸿沟和冲突，这一次他写的是皇帝走向寻常百姓。两部作品的结尾都用剪辑造成了某种非写实的超现实时空关系。《1900》的结尾是两个老人继续做躺轨道中间的游戏，结果远处开来的是革命年代的火车，挂着红旗和红色标语，铁道上躺着的老人回到孩童。而铁道旁边的泥土中，也有一只小动物，那是一只鼹鼠在蠕动。太和殿的皇帝宝座上，穿着干部服装的驼背老人溥仪在镜头切换中消失无踪影。这之后，导演用一个小蟋蟀来飞一笔，写意性地回溯他孩童时的登基大典。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">展现主人公精神的孩童化和毕生被禁锢、控制、关押，影片的内在精髓还在于探究一个人是如何被各种异化的力量所扭曲，被历史的潮流所裹挟。后来在中国十分时髦的“人是历史的人质”与贝托鲁奇的这这段话关系密切： “这些人物虽是可憎的……我并不谅解他，可他们也是命运之神的玩物。所以，任何人都不过是历史的牺牲品”。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">与《1900》《革命前夕》《随波逐流的人》相比，《末代皇帝》具有更为温暖、祥和的调子。文革时的街头，溥仪指着被红卫兵批斗的战犯管理所领导说“他是个好人，他是个老师”。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">《末代皇帝》的剧组成立时，除了导演贝托鲁奇，组里最有名的大腕是摄影师维托里奥·斯托拉罗（Vittorio Storaro）。 此前他已经凭借《现代启示录》和《赤色分子》 两度获得奥斯卡最佳摄影奖。他到北京电影学院来开过讲座，那天同学们曾经提问《末代皇帝》中斯泰尼康摄影稳定器的使用和胶片摄影怎样让暗部达到黑色的秘诀。</p><h2>贝托鲁奇：我最喜爱的一段视觉处理</h2><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">我最喜爱的一段视觉处理是溥仪登基那一场。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">太和殿外面的广场上，两千人跪地恭候，其间色彩错落排列，彰显出皇权的蛮横与精致。太和殿门口，一大片明黄色的绸子垂下，挡住了整个门口，三岁小皇帝咿呀着走向迎风飘动的黄绸子，他伸手触摸戏弄。这段设计极富有创意，是一种强化的电影蒙太奇手法，它远远地离开了现实场景，它是贝托鲁奇与斯特拉罗联合演奏的视觉华彩乐章。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">在《1900》中，贝托鲁奇就与斯特拉罗一起营造过异曲同工的视觉段落。革命女士们把许多面红旗缝制在一起，成为一块巨大的红布，红旗被大家举着笼罩在人们头顶，红旗被人们拉扯着在街上飞快飘动。</p><p style="border: 0px; color: #404040; font-variant-numeric: inherit; font-family: Helvetica, Arial, STHeiti, 华文黑体, "Microsoft YaHei", 微软雅黑, SimSun, 宋体, "WenQuanYi Micro Hei", sans-serif; font-size: 1rem; line-height: 1.75; margin-top: 18px; padding: 0px; vertical-align: baseline; background-color: #ffffff;">从革命的红旗到皇帝的明黄绸缎，从性爱探戈到巴黎梦中人的政治辩论，性、政治、人道主义，这三大主导动机贯穿贝托鲁奇的电影作品。</p>