纪录片自媒体解说素材-新闻动态参考-“ Belushi”评论：R.J。卡特勒（Cutler）的纪录片对终极摇滚喜剧演员公正/‘Belushi’ Review: R.J. Cutler’s Documentary Does Justice to the Ultimate Rock ‘n’ Roll Comedian
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0509/2034jw4rvqlkidw.jpg“ Belushi”评论：R.J。卡特勒（Cutler）的纪录片对终极摇滚喜剧演员公正
‘Belushi’ Review: R.J. Cutler’s Documentary Does Justice to the Ultimate Rock ‘n’ Roll Comedian
R.J.在“ Belushi”中有一个明显的时刻卡特勒（Cutler）细致而感人的生命和死亡喜剧片纪录片，其中芝加哥第二城市的后起之秀约翰·贝鲁希（John Belushi面试官的眼睛，另一个被袋装的Roly-Poly喜剧演员。 Belushi显然很生气，说：不，不喜欢他。然后，Belushi继续说他不是过去的喜剧演员。他要创造新的东西。这听起来像是很多喜剧演员可能会说的，但是就Belushi而言，这确实是真的。即使像罗宾·威廉姆斯（Robin Williams）这样的真人原始作品也将乔纳森·温特斯（Jonathan Winters）视为上帝，而Belushi确实受到了影响（包括Winters和Bob Newhart）。但是他的野性喜剧学院并没有从过去出现。它从“革命在这里，正在毒品上！”中脱颖而出。”时代，以及Belushi自己的气质 - 他的敏感性，以及强迫将他触摸到Extr的一切当纪录片继续坚持认为其主题是一个好，热情，挚爱的人时，这听起来可能像是一种逃避策略。但是约翰·贝鲁希（John Belushi）的迷人悖论是，他是一个忠实，社团的中西部甜心，恰好是无政府状态的活泼精神。“ Belushi”除了预期的绩效剪辑外，还围绕着一系列私密的照片（加上Belushi的手写字母，这是一个以平原的诚意标记，感觉从他的公众形象中删除了一步），可以追溯到许多方面这是矛盾的。他已经爱上了朱迪·杰克林（Judy Jacklin）的贝鲁希（Belushi），他称其为“亲爱的黄麻”（Judy Jacklin），写着印第安纳州夏季股票的来信，他应该在那里学习如何成为演员，但取而代之的是发现了锅和“中士胡椒”（“何时嗯，我听到了，我想到了你。特别是“在我的朋友的帮助下”）。在看到第二城市后，告诉朱迪的人“这是我想做的”，尽管他还告诉她她需要支持他们，因为他从未想过要赚钱。 （在家庭中，人们认为他会接管父亲的餐厅，但朱迪说：“那是约翰·贝鲁希101。你不做你不相信的事情。”）然后是爆炸性的表演者他成为第二城市的明星，在那里他可以在杜鲁门·卡波特（Truman Capote）上登上舞台，并用头公鸡偷那一刻。更不用说那个统治“骗子”的新兴人，他对乔·科克（Joe Cocker）的模仿，在百老汇的“伍德斯托克（Woodstock）”（Woodstock）的百老汇（Broadway）偏离百老汇（National Lampoon）。 70年代的卷，”一种申请了理查德·普赖尔（Richard Pryor），莉莉·汤姆林（Lily Tomlin）和乔治·卡林（George Carlin）等人的情绪 - 凭借漫画的力量，他们似乎已经变得像印加人一样T作为摇滚明星。兰尼·布鲁斯（Lenny Bruce）可能是其中的第一个，尽管他的毁灭性得太早（1966年）就无法击中滚石乐队的封面。但是，在70年代，滚石乐队开始将喜剧演员放在封面上的事实使站立喜剧成为了一个从未有过的青年文化菜。这扩展到了“周六夜现场”的新明星，在演出发射的一年之内，1975年，他似乎不像是电视喜剧片相比，而不是像甲壳虫乐队一样。“ SNL”明星是比生命更大;它们存在于一些很酷的喜剧奥林匹斯山上。但是，至少直到那时才生活过的喜剧演员像Belushi一样是一颗摇滚明星。他当然成为了一个，当然，将蓝调兄弟推向了一个奇异的区域，在讽刺和雷神卡拉Oke Transcendence之间的边缘跳舞。然而，即使在此之前，鲁re，势不可挡，挑衅，奔跑的喜悦也使他产生了摇滚乐的磁性。不仅是他很有趣 - 这是他的例行程序是您想一起玩的独奏。他让他的身份证接管。当我看着他在“ SNL”上做武士时，这真是太确定了，但令人沮丧地乱七八糟，以至于我以为他一生都在做。我从“ Belushi”中学到的令人着迷的一件事是，在他的“ SNL”试镜之前，John在家看电视，而Toshiro Mifune的一部武士电影来了。他从那里得到了这个想法。洛恩·迈克尔斯（Lorne Michaels）想创建一个网络节目，这将是“动荡的”，但约翰曾夸张地告诉洛恩（Lorne），他讨厌电视，这并没有完全赢得迈克尔斯（Michaels）。 Belushi的态度是：我会让您让我参加您的节目。一旦演出，他对自己与雪佛兰·蔡斯（Chevy Chase）之间的竞争感到折磨，后者引起了所有媒体的关注。但是蔡斯（Chase）如此受欢迎，以至于他几乎一夜之间被好莱坞抢购一空，迈克尔斯（Michaels）说：“约翰最希望他将成为阿尔法男性的事情。伊丽莎白·泰勒（Elizabeth Taylor）在鸡骨上窒息。武士。十项全能冠军吸烟并吃了小巧克力甜甜圈。乔·科克（Joe Cocker） - 如此完美的事物，以现实的方式模仿。他将在周末更新中从理智到旋转椅子龙卷风的方式过渡。还有基于Belushi的父亲的“芝士汉堡，芝士汉堡”素描，但是您必须订购芝士汉堡这一事实 - 这是素描上唯一的单词，这一切都让他感到自己会殴打您的话。您没有订购一个 - 使其成为最纯粹的朋克。贝鲁希悖论也是他吸毒成瘾的中心。任何人都可以成为一个瘾君子，但是对于那些像他原来那样致力于可卡因的人来说，似乎没有被恶魔淹没。喜剧演员在内部遭受了著名的折磨，但Belushi的喜剧源于幸福。布鲁斯兄弟的整个概念都归结为：“这就是我和我的好友Aykroyd幻想做的事情。所以我们正在这样做！” 1979年，蓝调兄弟的专辑是第一名，约翰是“ SNL”的明星，而“动物之家”是有史以来最畅销的喜剧。 （我还认为这是过去50年中美国生活中最有影响力的电影。）“动物屋”抓住了Belushi的精髓，因为Bluto的肮脏秘密实际上是很甜蜜的。从山顶下来？他实际上很干净一年，与朱迪一起住在玛莎的葡萄园。但是已故的嘉莉·费舍尔（Carrie Fisher）在电影中接受了采访，她提出了约翰在试图独自踢毒品的情况下，没有康复，从不应对清醒的基本挑战：这可能很无聊，而且是你正在掩盖的感觉快来涌入。纪录片承认Belushi正在抓住新的屏幕图像（在“ Continental Divide”和“邻居”等电影中，他扮演讽刺性的文明的Dweebs），事后看来，Belushi的职业生涯似乎更清晰了严重结合。从某种意义上说，他从无政府状态毕业。他已经长大了。但是，如何将礼貌，猫头鹰的牛皮纸变成众人愉悦的人？我的猜测是，如果他活着，他的未来可能是情景喜剧。它可以从1982年在马尔蒙城堡（Chateau Marmont）上臭名昭著的海洛因和可卡因（Cocaine）作为一种可怕的flo虫。但是，除了他所遇到的毒品是致命的事实之外，人们几乎在他出名的那一刻起就一直在谈论Belushi。在1978年对他的滚石封面故事中，引用了迈克尔·奥多诺（Michael O’Donoghue）的话说，使Belushi Great的冲动最终会摧毁他。他是对的。在电影中，Belushi自己的信背叛了他担心自己已经没有回报的地步。然而，所有这些都可能有意识的暗示。Belushi是一个渴望不限制的人。以某种可怕的方式，他像摇滚明星一样出去。
There’s a telling moment in "Belushi," R.J. Cutler’s meticulous and touching life-and-death-of-a-comedy-legend documentary, in which John Belushi, a rising star at Second City in Chicago, gets asked during a radio interview what he thinks of Lou Costello — who was, in the interviewer’s eyes, another genially wacked, roly-poly comedian. Belushi, clearly annoyed, says: Nope, don’t like him. Belushi then goes on to say that he’s not a comedian beholden to the past; he’s out to create something new. That sounds like something a lot of comedians might say, but in Belushi’s case it really was true. Even a live-wire original like Robin Williams saw Jonathan Winters as a god, and Belushi did have influences (including Winters and Bob Newhart). But— his what-the-hell magnetism, and his compulsion to push everything he touched to extremes.
It may sound like an evasion tactic when a documentary keeps insisting that its subject was a nice, warm, beloved person. But the fascinating paradox of John Belushi is that he was a loyal, gregarious Midwestern sweetheart who also happened to be the living spirit of anarchy. "Belushi," which in addition to the expected wealth of performance clips is built around an intimate array of photographs (plus Belushi’s handwritten letters, which are marked by a plainspoken sincerity that feels a step removed from his public image), traces the many sides of that contradiction.
It shows us Belushi the popular high schooler who was also a grinning, sun-glassed hipster seated behind a drum set in a band called the Ravens. The Belushi who’d already fallen in love with Judy Jacklin, who he addressed as "Dear Jutes," writing her letters from an Indiana summer stock where he was supposed to be learning how to be an actor but, instead, discovered pot and "Sgt. Pepper" ("Whenever I hear it I think of you. Especially 'With a Little Help From My Friends'"). The one who told Judy, after seeing Second City, "This is what I want to do," though he also told her that she’d need to support them, because he never expected to make any money. (In the family, it was thought he’d take over his father’s diner, but Judy says, "That was John Belushi 101. You don’t do something you don’t believe in.") And then there was the explosive showman who became a star at Second City, where he could walk onstage as Truman Capote and steal the moment with a cock of his head. Not to mention the up-and-comer who ruled "Lemmings," the National Lampoon’s Off Broadway takedown of "Woodstock," with his impersonation of Joe Cocker.
At the time, there was a saying that "comedy is the rock ‘n’ roll of the '70s," a sentiment that applied to people like Richard Pryor, Lily Tomlin, and George Carlin — stand-up comedians who, through the power of their comic visions, had come to seem as incandescent as rock stars. Lenny Bruce was probably the first of them, though he self-destructed a bit too early (in 1966) to ever make it to the cover of Rolling Stone. But the fact that Rolling Stone, in the '70s, began to put comedians on its cover gave stand-up comedy a youth-culture cachet it had never had. That extended to the new stars of "Saturday Night Live," who within a year of the show’s launch, in 1975, had come to seem less like a TV comedy-variety-show troupe than like the Beatles.
The "SNL" stars were larger-than-life; they existed on some cool comedy Olympus. But no comedian who ever lived, at least up until that point, was a rock star quite like Belushi was.
He literally became one, of course, pushing the Blues Brothers into some singular zone that danced on the edge between satire and retro karaoke transcendence. Yet even before that, the reckless, impish, defiant, go-for-broke joy of Belushi’s presence gave him a rock ‘n’ roll magnetism. It’s not just that he was hilarious — it’s that his routines were solos you wanted to play along with. He let his id take over. When I would watch him do the Samurai on "SNL," it was so pinpoint but gleefully deranged that I assumed he’d been doing it his whole life. One of the fascinating things I learned from "Belushi" is that just before his "SNL" audition, John was at home watching TV and a samurai movie with Toshiro Mifune came on. He got the idea right there.
From the start, the politics of Belushi at "SNL" were dicey. Lorne Michaels wanted to create a network show that would be an "upheaval," but John, with a certain swagger, told Lorne that he hated television, which didn’t exactly win Michaels over. Belushi’s attitude was: I’ll let you have me on your show. And once cast, he was tormented by the competition he experienced between himself and Chevy Chase, who got all the media attention. But Chase was so popular that he was snapped up by Hollywood almost overnight, and with that, says Michaels, "the thing that John most hoped for, that he would be the alpha male, had now happened."
Michaels compares Belushi to Ralph Kramden, because he had a blue-collar vibe, but Belushi was really a gangster surrealist. Elizabeth Taylor choking on a chicken bone. The Samurai. The decathlon champion who smoked and ate little chocolate donuts. Joe Cocker — the so-perfect-it's-as-mesmerizing-as-the-real-thing impersonation. The way he would transition from sane to a spinning-off-his-chair tornado on Weekend Update. And the "Cheeseburger, cheeseburger" sketch, which was based on Belushi’s father, but the fact that you had to order a cheeseburger — it was the only word Belushi said on the sketch, all with the feeling that he’d beat you up if you didn’t order one — made it the purest punk.
The Belushi paradox was also at the center of his drug addiction. Anyone can become an addict, but Belushi, for someone as devoted to cocaine as he turned out to be, didn’t appear overridden with demons. Comedians are famously tormented on the inside, but Belushi’s comedy grew out of happiness. The entire concept of the Blues Brothers came down to, "This is what me and my buddy Aykroyd fantasize about doing. So we’re doing it!" On his 30th birthday, in 1979, the Blues Brothers’ album was number one, John was the star of "SNL," and "Animal House" was the top-grossing comedy of all time. (I also think it was the single most influential movie on American life of the last 50 years.) "Animal House" caught the quintessence of Belushi, in that the dirty secret of Bluto is that he's actually rather sweet.
So what started Belushi’s slide down from the mountaintop? He actually got clean for a year, living with Judy on Martha’s Vineyard. But the late Carrie Fisher is interviewed in the movie, and she makes the penetrating point that John, in trying to kick drugs on his own, without rehab, never dealt with the fundamental challenge of sobriety: that it can be boring, and that the feelings you're covering up come rushing in. And while the documentary acknowledges that Belushi was grasping for a new screen image (in films like "Continental Divide" and "Neighbors," where he played ironically civilized dweebs), it seems clearer, in hindsight, that Belushi’s career was in a serious bind. In a sense, he’d graduated from anarchy; he had outgrown it. But how did one turn a polite, owlish Belushi into a crowd-pleaser? My guess is that had he lived, his future might have been in sitcoms.
It's possible to think of his infamous death at the Chateau Marmont in 1982, from a combined overdose of heroin and cocaine, as a horrifying fluke. But apart from the fact that the drugs he was on were deadly, people had been talking about Belushi in terms of self-destruction from almost the moment he became famous. In the 1978 Rolling Stone cover story on him, Michael O’Donoghue is quoted as saying that the same impulse that makes Belushi great will ultimately destroy him. He was right. In the film, Belushi's own letters betray his fear that he had reached the point of no return. Yet there can be a shadow hint of intentionality to all that. Belushi was a bighearted person who craved no limits. In some terrible way, he went out like the rock star he was.
本文资料/文案来自网络，如有侵权，请联系我们删除。
页:
[1]