Somewhere (迷失某地, 2010)

Somewhere (迷失某地, 2010)

Sofia Coppola
Stephen Dorff, Elle Fanning
imdb link



現代, 美國荷里活~ 風流失婚國際影星 Johnny Marco (Stephen Dorff 飾) 意外弄傷手臂, 但仍忙於宣傳新片~ 前妻突然說要離開一會避靜, 留下11歲女兒 Cleo (Elle Fanning 飾) 讓他照顧~ 父女二人乘著法拉利跑車在荷里活到處遊玩, Johnny 更帶女兒到意大利參加宣傳活動~


在現今美國主流影圈, 相信沒有多少位導演會像 Sofia Coppola 這樣執意反覆拍攝同一個題材~ 從首部長片 “The Virgin Suicides” (鎖不住的青春, 1999) 到近期的 “Somewhere”, 無論背景是十八世紀還是現代, 她的電影都在描寫一種非常奢侈的煩惱: 因為物質過度充裕而感到厭煩, 享受唾手可得而感到空虛, 在紙醉金迷中揮霍青春, 在溝通失效的人群中感到迷失~

“Somewhere” 也許是導演眾多作品中最貼身的一部~ 畢竟她是大導演 哥普拉 的女兒, 從小出入星光熠熠的電影片場, 成長時家庭曾經經歷起起跌跌, 親眼看過爸爸七十年代的風光和八十年代幾度破產的日子, 理應對荷里活明星多采多姿的生活別有一番感受~

同樣是有錢寡佬寂寞難奈, “Somewhere” 的人物設定比較接近 “Lost in Translation” (迷失東京, 2003), 當中一點黑色幽默也是一脈相承, 不過在情節上 “Somewhere” 更見平淡和悠閒~ 電影第一個看法拉利跑車不停在繞圈的長鏡頭, 很容易讓人理解為整部電影的縮影: 看漂亮的男女過著窮奢極侈的所謂 “high life”, 但其實只是在原地踏步和繞圈~ 電影結尾一段看同一輛跑車在不同路上行走的剪接, 亦很有這種一直被困在死胡同兜圈的感覺~

電影讓人印象最深的鏡頭, 大概就是 Johnny 父女躺在泳池旁晒日光浴的zoom-out長鏡, 一切就像旅遊渡假的宣傳海報般舒適美好, 沒有受到半點騷擾~ 一直看這個平淡如水的故事, 觀眾幾乎期待有甚麼意外發生, 只是尾隨父女的狗仔隊最終沒有現身, 母親一直缺席, 意大利之旅亦無驚無險, 這點反劇情性就像 占渣木殊 的 “Broken Flowers” (當年相戀意中人, 2005)~

“Somewhere” 以空洞的情節和簡約的手法表達空虛的生活, 暗示即使物質享受如何豐盛, 仍然無法解決心靈上的缺口~ 但在這個每天有人餓死病死, 有人為掙錢糊口而身心俱疲的世界, 生活無憂的有錢人還有資格投訴寂寞難耐, 生活苦悶嗎? 電影明星確實比一般人穿好一點, 吃好一點, 住好一點, 但並不代表他們必然更加滿足和快樂~ 窮人富人各有各困惱, 只證明人心不足的道理~ 片末 Johnny 致電友人哭訴自己一事無成, 對方卻反問一句 “你為甚麼不試試做義工之類?”, 背後的潛台詞就是, 無論做義工濟世或是荒淫享樂, 都不過是令自己好過一點的方法, 而這位國際巨星最大的煩惱, 不過是找不到一個讓自己快樂的門徑~

7 comments to Somewhere (迷失某地, 2010)

  • 呢套好悶….我估係老外少人咁拍法,換著華語片其實有好多呢類題才同拍法, 但其實老外睇王家衛都睇得多啦, 點解係呢套會跑出? 真係唔明

  • re: dosss
    呢套刻意寫實地空洞, 比 “Lost in Translation” 更甚~ 宣傳重點多落o係父女情, 但我覺得根本父女之間根本冇乜溝通, 只係嘻嘻哈哈飲飲食食, 關係同樣虛無~ 點解得獎? 坊間不乏陰謀論~

  • 父女情真的太淡了

  • It’s funny how you have labelled Sofia Coppola as part of 美國主流影圈. Although I think she’s firmly in the indie scene, remove the ‘arthouse techniques’ and Somewhere is probably her most middlebrow work yet.

    Besides the point you made about the ongoing theme of materialism and emptiness in Coppola’s films, I think she’s also interested in the trappings and traps of being famous. But though there’s nothing wrong with a career obsession with the same themes, I really don’t think Coppola has progressed as a filmmaker.

    While thankfully she reined in her visual indulgence for lavish opulance (Marie Antoinette), Somewhere feels like a poor remake of Lost in Translation. Both have the burnt out lonely star, the hotel room, the girl that changes his life, the unsubtitled foreigners and their oh-so-funny oddness (though Italian TV really deserves the mockery), the scattershot but effective humour. I did feel there were quite a number of smart nuances in Somewhere- the opening sequence, the strippers, the back camera shots of the Ferrari, the slow zooming-in and outs. But compared with other films where reptition is done methodologically to the extreme for a dramatic conclusion (Chantal Akerman’s Jeanne Dielmann was an influence apparently, and it’s a film that must be seen in the cinema), the slight stylistic variations but nonetheless hammering on about Johnny’s loneliness really doesn’t enlighten or move audiences- even if it’s for a short 98 minutes.

    Perhaps Hollywood hendonism would never earn normal cinemagoers’ pity, but I think part of the problem is there isn’t a strong dramatic relationship that grounds Somewhere. I appreciate that Coppola may have made a artistic decision in showing a lot of moments of father and daughter in play, that I still think the relationship hasn’t been fully explored (bar the obligatory crying scenes). I wanted to see more than just Cleo tut-tut glancing at her skirt-chasing father. But the romance between Bob and Charlotte in Lost in Translation (and what is more romantic than a doomed relationship?) really absorbs us (or at least me) with the characteristics, physicality and dialogue taking place in a melancholic background.

    What borders on the offensive for me personally is that after taking all the stylistic choices and detatchment strategies, Coppola ends with (as I interpret it) Johnny’s redemption by escaping his hollow materialistic chains (represented appropriately by his Ferrari) and being truly free. This feelgood ending is not only predictable and satisfies moviegoers who are only capable of thinking oh-he’s-a-spoilt-asshole. It seems to have completely forfeited all the dramatic heft built on Johnny and Cleo. What happened to ambiguity or alternatively a warm resolution? Or is Johnny still a loner, but just no longer a dickhead type of loner?

    I’m very fond of Lost in Translation: I love Bill Murray’s droll delivery, and it’s one of the first ‘arthouse’ films that I ever saw ‘properly’ (i.e. thought about aftewards). Sadly it’s been all downhill from there…

  • re: Jason
    我甚至認為父女情只是宣傳廣告標榜的賣點, 電影裡面女兒也不足以成為影星的救贖, 他倆最終嘗試作坦誠一點的溝通 (臨別時向女兒認錯說自己常常失蹤) 也是失敗告終 (直昇機太吵女兒根本聽不見)~

    re: The Daydreamer
    I think Sofia Coppola is an odd case here~ While she seems to work in the indie circuit, she clearly benefits from her family background and always have bigger budgets and famous stars in her films~ Most indie filmmakers won’t have the chance to direct a 40 million costume drama like “Marie Antoinette”~ I consider people like Ramin Bahrani, Gregg Araki, Kelly Reichardt and the mumblecore directors to be the real indies~

    In any case, I do agree this film feels somewhat like a remake of “Lost in Translation”, focusing on an unpleasable lonely rich man, making (not-so-funny) cultural satires with a man in a foreign city~ The major difference is that “Lost in Translation” offers an unlikely romance/friendship as some sort of redemption while “Somewhere” offers no way out~ Sex is no fun~ Fame is tiring~ A friend answers his call for help with unintentional mockery (why don’t you try volunteering or something?)~ His daughter, amazed by his Hollywood lifestyle, provided momentary consolation but their ephemeral connection is in fact built on materialistic entertainment and vanity~

    I interpret the ending of “Somewhere” quite differently~ I don’t think he manages to escape his hollow materialistic chains, but feels lost and aimless more than ever~ The opening shot sees him going in circles and the ending shots see him going different places in the same vehicle~ It looks like he is heading towards “somewhere” but in fact he is going nowhere~ He gets off his Ferrari to take a break, but he knows (and we know) he will get back in the driver’s seat sooner or later, because he really needs his wealth and fame to connect to the people around him, including his own daughter~

  • I can see what you mean regarding the father-daughter relationship, but I tend to feel it’s Johnny’s solace away from celebrity ennui or a (underdeveloped) glimpse of what Johnny’s life could be ‘if he sorted things out’. Or maybe it’s just Coppola on auto-biographical mode…

    My interpretation of the ending is really based on noticing Johnny smirking/smiling in the end. But my eyes may have deceived me…

  • re: The Daydreamer
    is this a smirk/smile? um…. it’s hard to tell~ =]
    In any case, if Coppola really intends to provide “a way out” for Johnny at the end, I agree it’s way too underdeveloped and not plausible~

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