“我的迷幻爱情故事”评论：蒂莫西·里里（Timothy Leary）在70年代的奔跑中
‘My Psychedelic Love Story’ Review: Timothy Leary on the Run in the ’70s, as Told by His Renegade Socialite Lover
1960年代酸头神秘主义的摇滚明星教授蒂莫西·利里（Timothy Leary）笑了很多。他非常英俊，那只银色的头发，突出的下巴和爱尔兰的眼睛，闪闪发光的露天墙的微笑。他看上去像一个从未有过的肯尼迪兄弟 - 一个反文化的大师，本来可以成为政治家的一倍。微笑是使Leary成为如此有效的吹笛者的一部分。他似乎总是在说：“我正在绊倒我的大脑，并度过一生！”但是，您不必长时间注册一下Leary Grin似乎对自己感到不满意。它闪烁着和关闭（它总是为摄像机打开），他有一种笑的方式，它有点不合时宜。Leary从未停止谈论LSD如何释放所有人，但是所有好氛围的主要受益者似乎都是他。在70年代，当时他作为青年文化名人的鼎盛时期大部分位于他的鼎盛时期，但他的侮辱仍然是前排和中间，这是一个以Leary为中心的Ragtag Outlaw Outlaw Outlaw浪漫传奇。尼克松总统瞄准了药物文化（这一切都与他的犯罪战争有关），而Leary仍然是老化的海报男孩，因为它将吸毒的经历注入了高浓度的信誉。结果，他被瞄准为罪犯。他在监狱里进出了监狱，1973年初，他在国外寻求庇护，从洛桑（Lausanne）跳到维也纳到贝鲁特（Vienna）到贝鲁特（Beirut）到喀布尔（Kabul），所有这些都试图逃避美国当局。几周前他见面的年轻女友，乔安娜·哈科特·史密斯（Joanna Harcourt-Smith）（他52岁，她27岁），这是一个出生于瑞士的英国社交名流，她与Leary的关系 - 她爱，偶像崇拜和奉献给他 - 松散地回忆起，他回想起自己在lam上的shot弹枪叛逆者中，乔伊斯·梅纳德（Joyce Maynard）和塞林格（J.D. Salinger）之间的一条。 Harcourt-Smith，谁仅一个月前，74岁的IED是莫里斯纪录片中的核心人物 - 实际上是接受采访的唯一人物。这部电影是她迷幻的爱情故事。她和里里（Leary）用她的话语旅行，“就像整个欧洲的射击星星，每天都在酸化”，这部电影讲述了这段旅程的故事，这是一个奇怪的小说，是70年代的杂乱无章的版本，低于小说-Rabbit-hole Odyssey.morris，我们定期听到的声音将电影视为带有超现实偏执狂的真实生命惊悚片，并提出了这样的建议，即Harcourt-Smith可能是CIA植物。音乐乐谱不祥地跳动和无人机，就像一部哥斯达黎加 - 哥斯达黎加电影中的东西一样。与Leary进行采访的卷轴录像带，他似乎在嬉戏地抱着一些大秘密，并提到他在地下天气的帮助下逃离了监狱 - 这听起来很听起来很像戏剧性，除了我们从未听到Ho这是一位纪录片，莫里斯一直是一个奇异的视觉工匠（他拥有一个有成就的戏剧创作者的眼睛），在“我的迷幻爱情故事”中，他创造了流行的蒙太奇，看起来像是“天生出生的杀手” 。”他还用典型的典故来点缀，从迪士尼的1951年“爱丽丝仙境”到印刷上印刷的多个标志性图像，例如迷你沃霍尔丝网印刷，所有这些都为他讲述的故事创造了一个神话般的外壳。但是，他的故事充满了这个故事，事实证明这是相当平淡的，而在其70年代的烧死，持续的神秘主义者中，这并不是所有的共鸣。当您观看纪录片时，有些会说话的人比其他人更令人着迷，而乔安娜·哈科特·史密斯（Joanna Harcourt-Smith）坐在莫里斯（Morris）的摄像头之前，似乎是一名支持球员，他已经提升了领先优势。在他的第四和第五妻子之间，她在Leary工作了五年，她的故事当然感到就像它值得一部电影，但她并不是一个诱人的rasteur。她讲了一个非常刻意而认真的欧洲口音，使她的听起来像尼科的官僚姐妹。尽管她与许多著名的衣架一起奔跑，就像基思·理查兹（Keith Richards）的相识，她声称是“翻滚骰子”的主题，但她不是像帕蒂·赫斯特（Patty Hearst）那样迷恋的人物，而且她不是那种人点燃相机镜头的人。她有一种社交名流的方式（“我们与我的这个朋友黛安·冯·弗斯滕伯格（Diane von Furstenberg）在一起，”“阿德南·卡索吉（Adnan Khashoggi）给了我一些Quaaludes”），在1973年和74年的电影和照片中，她是一个非常迷人的年轻女子，深深的眉毛，她自己的叙述是“幼稚的”。沃姆伍德（Wormwood），涉及50年代的LSD和政府渎职行为。这电影是根据她的著作《与蒂莫西·利里（Timothy Leary）：我迷幻的爱情故事》（2013年出版）的书《绊倒巴尔多》（Triking the Bardo）。最后，在介于Leary和FBI.YET之间进行交流的介于之间，这一切都没有像电影一样有趣的原因，这似乎是Leary本人，到目前为止，它已经成为一位相当令人震惊的世代相传的发言人。早些时候，我们看到60年代的他的黑白剪辑，说：“我们正在教人们如何使用他们的头。关键是，要使用头，您必须摆脱脑海。”那是一个大胆而挑衅的概念。 LSD可以提供一种形而上学的疗法，让您外出旅行然后回来，有效，许多精神科医生现在相信。利里（Leary）是一个有远见的人。但是到70年代中期，他掉了大多数人打开啤酒的方式酸，他更像是一个吸毒者和机会主义者，更不用说一个衰老的角狗在金丝雀黄色的保时捷中四处走动。 ”到达尽头，当哈科特·史密斯（Harcourt-Smith）为了帮助Leary，同意戴上电线并进行假毒品交易来诱捕各种反文化律师类型 - Leary本人本人成为释放监狱的小偷，使自己生气，使艾伦（Allen）这样的朋友感到兴奋金斯伯格。哈科特·史密斯（Harcourt-Smith）告诉我们他为什么这样做，这很令人不寒而栗。政府以最不合情理的方式威胁他。蒂莫西·里里（Timothy Leary）的故事符合更大的传奇，即在美国，在许多方面，在许多方面使用毒品的使用方式都过于犯错。 （有些人因吸烟而入狱。但是，如果美国的每个人都吸烟的人现在在监狱里……好吧，您会看到那是哪里。既是受害者的名声，也是剥削者。乔安娜·哈科特·史密斯（Joanna Harcourt-Smith）被他的神秘事物席卷而来，他可能已经相信她已经陷入了多年来的爱与革命的故事，但在许多方面，她只是陪伴着。
Timothy Leary, the rock-star professor of 1960s acid-head mysticism, had a grin that said a lot about him. He was quite handsome, with that mane of silver-dark hair, the jutting chin and Irish eyes, that gleaming wall-of-teeth smile. He looked like a Kennedy brother who never was — a counterculture guru who could have doubled as a politician. The smile is part of what made Leary such an effective Pied Piper. He always seemed to be saying, "I’m tripping my brains out and having the time of my life!" Yet you didn’t have to look long to register that the Leary grin seemed inordinately pleased with itself. It flashed on and off (it was always on for the cameras), and he had a way of beaming that was more than a little unctuous, à la Liberace. Leary never stopped talking about how LSD was going to free everyone, but the main beneficiary of all the good vibes seemed to be him.
The new Errol Morris film, "My Psychedelic Love Story" (it premieres tonight on Showtime), tells a ragtag outlaw romantic saga that centers on Leary in the '70s, when his heyday as a youth-culture celebrity was mostly behind him but his infamy was still front and center. President Nixon had targeted the drug culture (it was all tied up with his war on crime), and Leary remained the aging poster boy for infusing the drug experience with a high-flown credibility. As a result, he was targeted as a criminal. He was in and out of prison, and early in 1973, seeking refuge abroad, he wound up skipping from Lausanne to Vienna to Beirut to Kabul, all in an attempt to evade the American authorities.
Joining him for this lurching journey of freedom was the much younger girlfriend he’d met only weeks before, Joanna Harcourt-Smith (he was 52, she was 27), a Swiss-born British socialite whose relationship with Leary — she loved, idolized, and devoted herself to him — loosely recalls, in a shotgun renegades-on-the-lam way, the one between Joyce Maynard and J.D. Salinger. Harcourt-Smith, who died just a month ago, at 74, is the central figure — indeed, the only figure interviewed — in Morris’s documentary; the film is her psychedelic love story. She and Leary traveled, in her words, "like shooting stars across Europe, taking acid every day," and the movie tells the story of that journey, which it presents as a scraggly '70s version of a stranger-than-fiction, down-the-rabbit-hole odyssey.
Morris, whose voice we hear periodically off camera, treats the film as a true-life thriller with surreal paranoid touches, kicking it off with the suggestion that Harcourt-Smith may have been some sort of CIA plant. The musical score ominously throbs and drones like something out of a Costa-Gavras film. There are reel-to-reel tapes of an interview with Leary in which he seems to be playfully harboring some big secret, and there’s a mention of the fact that he escaped from prison with the help of members of the Weather Underground — which sounds quite dramatic, except that we never hear how it happened.
As a documentarian, Morris has always been a singular visual craftsman (he has the eye of an accomplished creator of drama), and in "My Psychedelic Love Story" he creates pop montages that look like outtakes from "Natural Born Killers." He also dots the film with allusions that range from Disney’s 1951 "Alice in Wonderland" to multiple iconic images printed on blotter acid like mini Warhol silkscreens, all to create a mythological shell for the tale he’s telling. But the story he fills that shell with turns out to be rather banal, and not all that resonant in terms of its burnt-offerings-of-the-'70s, dregs-of-the-counterculture-on-the-run mystique.
When you watch a documentary, some talking heads are more arresting than others, and Joanna Harcourt-Smith, seated before Morris’ camera, seems like a supporting player who’s been elevated to the lead. She was with Leary for most of five years, in between his fourth and fifth wives, and her story certainly feels like it’s worth a movie, but she’s not a riveting raconteur. She speaks in an extremely deliberate and earnest European accent that makes her sound like the bureaucrat sister of Nico. And though she ran with a lot of hangers-on of the famous, like an acquaintance of Keith Richards who she claims was the subject of "Tumbling Dice," she’s not a figure of fascination like Patty Hearst, and she’s not the kind of person who ignites the camera lens. She has a socialite’s way of dropping names ("We were staying with this friend of mine, Diane von Furstenberg," "Adnan Khashoggi gave me a couple of Quaaludes"), and in the films and photographs we see from 1973 and '74, she comes off as a gravely captivating young woman, with serious dark eyebrows, who was, by her own account, fantastically "naïve."
Harcourt-Smith appears to have reached out to Morris after being enthralled by his 2017 Netflix documentary mini-series "Wormwood," which dealt with LSD and government malfeasance in the '50s. The film is based on her book "Tripping the Bardo with Timothy Leary: My Psychedelic Love Story" (published in 2013), and it follows how she went, in a short space of time, from being Leary’s lover to his comrade-at-arms to, finally, the go-between who brokered communication between Leary and the FBI.
Yet the reason none of this is as interesting as the movie seems to think is that Leary himself, by this point, had become a rather scurrilous generational spokesman. Early on, we see a black-and-white clip of him from the '60s, saying, "We’re teaching people how to use their head. The point is that in order to use your head, you have to go out of your mind." That was, and remains, a daring and provocative notion. The idea that LSD could provide a kind of metaphysical therapy, letting you travel outside yourself and then return, has a validity many psychiatrists now believe in. Leary was a visionary, ahead of his time, and in his way he was fearless. But by the mid-'70s, when he was dropping acid the way most people crack open a beer, he comes off more like an addict and an opportunist, not to mention an aging horndog who tooled around in a canary-yellow Porsche.
The one truly eye-opening twist in "My Psychedelic Love Story" arrives near the end, when Harcourt-Smith, to help Leary, agreed to wear a wire and engage in fake drug deals to entrap various counterculture lawyer types — and Leary himself became a snitch to free himself from prison, infuriating such friends as Allen Ginsberg. Harcourt-Smith tells us why he did it, and it’s chilling; the government threatened him in a most unconscionable way. Timothy Leary’s story fits into the larger saga of how drug use, in many ways, has arguably been over-criminalized in America. (There are people who’ve gone to prison for smoking a joint. But if everyone in America who’d ever smoked a joint were now in prison…well, you see where that goes.) Yet Leary, as the bard of LSD, wound up as both a victim and exploiter of his own fame. Joanna Harcourt-Smith, swept up by his mystique, may have believed that she was locked in a story of love and revolution for the ages, but in many ways she was just along for the ride.
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发表于 2022-7-5 09:20:02
发表于 2023-1-21 10:19:50