“ Roadrunner：关于Anthony Bourdain的电影”评论：美食家超级巨星的无限生命和神秘之死
‘Roadrunner: A Film About Anthony Bourdain’ Review: The Insatiable Life and Enigmatic Death of a Foodie Superstar
他为什么这样做？这个问题是，任何被安东尼·布尔登（Anthony Bourdain）的饥饿，生命精神感动的人都将在他或她的头顶上陷入“ Roadrunner：关于安东尼·布尔登（Anthony Bourdain）的电影”。由屡获殊荣的摩根·内维尔（Morgan Neville）执导（“距离明星20英尺”，“你不是我的邻居吗？和电视球漫游。不可避免地，这是关于他的生活为什么结束的精神调查。 2018年6月8日，布尔登将自己悬挂在他的酒店房间里。三年后，认为他的名字可以用“自杀”一词包含在同一句子中，这仍然令人震惊。我们都知道，自杀常常是一个残酷的谜团，它有一种嘲笑我们的需求的方式“为什么。” （布尔登是一位出色的作家，没有留言。）我们也知道那些充满光彩和激情，爱的人成功 - 像安东尼·布尔登（Anthony Bourdain）这样的人可以随身携带恶魔，他们不会向外界或任何人透露。然而，布尔登似乎仍然是一个特殊情况。他露面是一本开放的书（实际上是在“厨房机密”中，这是一本名声中的精美餐厅内的回忆录），他不仅是为了使自己的名人脱颖而出，而且从生活中脱颖而出他将恶魔放在那里的方式 - 作为娱乐，作为治疗。他似乎将自己的性质的一定疲倦的烧焦的愤世嫉俗的条纹变成了击败自己绝望的武器。每个名人都会投射出一张形象，但是布尔登（Bourdain强迫性真相的人将每次相遇的伪造者刮掉。这就是使他成为如此出色的电视明星的一部分 - 他渴望环游世界并广播他对每顿饭，每种情况，每个人遇到的每个人的诚实回应。他的胃口（对于食物和饮料，出于经验和愉悦，智慧，言语和联系）似乎是无限的。在他的截面方式中，他似乎热爱人类并热爱这种生活。因此，是的，他的自杀似乎是莫名其妙的，我们进入这部电影，希望它能对为什么这样做，但不会以您的期望。我想到的陈词滥调是，到最后，布尔丹秘密地感到沮丧，他喝得太多了，而他与亚洲阿根廷的浪漫但陷入困境的关系引起了越来越多的媒体眩光，因为她成为了一个有争议的人#MeToo运动的发言人（他也这样做）使他不知所措。在一定程度上，所有这些因素都在起作用。但是，“ Roadrunner”讲述的故事更富有，更黑，更陌生，而不是作为档案回顾Bourdain的生活，这部电影开始了“厨房机密”的地方 - 随着他的名人的诞生。有很多布尔登镜头，由于电视摄制组总是在开枪射击他，而且这部电影还包括大量的家庭视频镜头。我们在1999年见到他，在莱斯·哈雷斯（Les Halles）外面的人行道上，在公园大街（Park Ave. （抱怨鱼的家伙很晚，他说：“这就是为什么所有厨师都喝醉了。这是因为我们不明白为什么世界不像我们的厨房那样工作。”）而且他的公寓里有镜头，因为他写这本回忆录，不知道该回忆录将如何炸毁。那时，他的40多岁时就在他的40多岁时，又高又英俊，穿着Louche Romanesque Way，这是一个吸烟的Motormouth Hipster，但令人沮丧的诚意笑容。正如任何读过“厨房机密”非常了解的人一样，他是一位非凡的作家，声音就像汤姆·沃尔夫（Tom Wolfe）与霍华德·斯特恩（Howard Stern）一起剪辑，这部电影简短地向我们展示了这本书的表现（这一切都是从狂热的角度出发的雄辩的电子邮件，一个朋友他向出版商的妻子展示了他的妻子。这本书像火箭一样脱颖而出，骑着名人 - 厨师革命的第一波。布尔丹（Bourdain）夜间牛排au poivre，并不是Emeril或Mario Batali的餐厅世界的明星，但是他的书，带有其海洛因成瘾和kitchen-as-as-as-as-as-as-as-as-as-as-as jungle的书籍，使他成为那个世界的内涂层偶像。然后，很快就将他纳入电视明星的想法，一个将前往不同的异国品尝环境的人，脱颖而出。经过几次艰难的情节，它连接了。布尔登天生就是这样做的。从2000年开始，“ Roadrunner”几乎全部致力于他在道路上的生活。它捕捉了布尔登（Bourdain）的名声的热情，以及他成为“库克之旅”，“无保留”和“零件未知”的大师主持人所带来的高维护乐趣。这部电影不仅是对这些节目的制作的内在看，尽管我们确实得到了令人愉悦的弗拉沃从他们的角度来看，从“启示录”上的知识光泽中，将刚果一集融为一体到黎巴嫩和以色列之间的军事爆炸的方式，将贝鲁特的访问变成了一场夜间的噩梦，到了美食家 - 菲尔特（Foodie-Fear）的极端元素，例如当布尔丹在越南，吞噬了刚被杀死的眼镜蛇的仍然令人振奋的心脏。不过，这部电影还呈现了一幅心理，几乎是新颖的肖像，说明布尔登在他的名人时代如何演变为一个人。当然，名望的好处可以改变任何人。但是，在布尔登的情况下，独一无二的是，他是一个高昂的个性 - 瘾君子，一个渴望的叛逆者，渴望经历的鲁ck叛乱者 - 找到了一种方法，可以在餐厅厨房工作的夜间需求中扎根于自己。厨房是他的家。它赋予了他结构和目的，一个扮演他的强迫性的地方。一旦他成为电视明星，他作为厨师的生活就被抛在后面。房子走了。他转移了痴迷于他的节目，在如何成为观众的好奇心寻求者中自学。他像艺术形式一样接近现实电视，并将其变成一种。他的第一次婚姻与南希·普特科斯基（Nancy Putkoski）倒塌了，但他再次结婚（在电影中接受采访的渥太华·布斯亚（Ottavia Busia）），他们有一个孩子，他从未想过要做。有一阵子，他在世界之巅。我们看到他像50年代的爸爸一样在后院烧烤上烹饪香肠，他说这是他有史以来最快乐的。 Bordain的海洛因成瘾是他传奇的元素（部分原因是他在毫无疑问地追求它），在80年代结束时已经清理了他的行为。他不再是一个才华横溢的他妈的，这就是“厨房机密”讲述的故事。但是他内心深处的瘾君子和“ Roadrunner”抓住了不断的旅行（每年超过200天）如何填补他灵魂的洞。他就像乔治·克鲁尼（George Clooney以太式天桥的存在是在他寻找下一个高处的搜索中被修补的。他不再被扎根。当他的家庭生活再次崩溃（即使在他接受了父亲的拥抱之后）时，就好像是为了说“我不能破坏正常性”（带来了反资产阶级的防御性酷炫的边缘），他真的在说：“我不能破解生活。”他成为一个无所不能的人。“ Roadrunner”充满了好故事 - 来自Bourdain的厨师好朋友，例如Eric Ripert和David Chang，来自制片人和他的忠实船员，他与他一起拍摄了他的表演，来自Iggy Pop，John Lurie，Josh Homme和Alison Mosshart等音乐家朋友。出现的是，布尔登（Bourdain他的判断力：他用烫眼的眼睛凝视着世界，并期望哦，他回来了。他是一个完美主义者，一个瘾君子享乐主义者，是一种强烈的态度但身份弱的生物。在“ Roadrunner”中，这是为什么我们的最终。一个人怎么会如此挚爱的人，他给人这么多快乐的人，他的生活如此之多，因为快乐找不到他的出路呢？问这个问题要被它困扰。然而，布尔登在没有解决的情况下就说了一些很早就说的是禅宗和非常非常安东尼·布尔登。他说：“我意识到，那一件事直接导致另一件事。如果我没有去做死去的洗碗工作，我就不会成为厨师。如果我不成为厨师，我将永远不会成为厨师。如果我没有成为厨师，我永远无法如此壮观。如果我不知道真正搞砸的感觉，那令人讨厌但又成功的回忆录我写的回忆录就不会那么有趣。”如果它不是一半有趣的一半，他就不会沉迷于品尝地球的尽头，以至于他融化了嗨自我意识。布尔丹的死是一场悲剧，但“ Roadrunner”表明这是一场悲剧，充满了命运。
Why did he do it? That’s the question that anyone who's ever been touched by the hungry, life-force spirit of Anthony Bourdain will have at the top of his or her head going into "Roadrunner: A Film About Anthony Bourdain." Directed by the award-winning Morgan Neville ("20 Feet from Stardom," "Won’t You Be My Neighbor?"), the documentary, which premiered tonight at the Tribeca Festival, is an intimate and fascinating portrait of the beloved celebrity chef and television globe-trotter. It is also, inevitably, a spiritual investigation into why his life ended. On June 8, 2018, Bourdain hung himself in his hotel room. Three years later, it's still shocking to think that his name could be included in the same sentence with the word "suicide."
We all know that suicide, too often, is a cruel mystery, that it has a way of mocking our need for "why." (Bourdain was a brilliant writer who left no note.) We also know that people who are bursting with brilliance and passion, love and success — people like Anthony Bourdain — can carry demons around that they don’t reveal to the outside world, or maybe to anyone. Yet Bourdain still seemed a special case. He presented himself as an open book (quite literally in "Kitchen Confidential," the superb inside-the-restaurant-world memoir that made his fame), and he forged his celebrity not just by taking great big bites out of life, but from the way that he put his demons right out there — as entertainment, as therapy. He seemed to turn a certain jaded streak of burnt-ash cynicism in his nature into a weapon for defeating his own despair.
Every celebrity projects an image, but Bourdain, the disarmingly literate bad-boy punk rock star of the restaurant world, was a compulsive truth-teller who scraped the fakery off every encounter. That’s part of what made him such a great TV star — his eagerness to go around the world and broadcast his honest responses to every meal, every situation, every human being he encountered. His appetite (for food and drink, for experience and pleasure, for wit and words and connection) seemed boundless; in his irascible down-the-hatch way, he seemed to love humanity and to love this life. So yes, his suicide seemed inexplicable, and we go into this movie hoping that it will shed an essential light on why.
It does, but not in the way you expect. The cliché I had in my mind is that Bourdain, by the end, was secretly depressed, that he was drinking far too much, and that the heightened media glare brought on by his romantic but troubled relationship with Asia Argento, as she become a controversial spokesperson for the #MeToo movement (which he did too), overwhelmed him. To a degree, all those factors were at work. But the story told by "Roadrunner" is richer, darker, and stranger.
Instead of coming on as an archival look back at Bourdain’s life, the film begins where "Kitchen Confidential" left off — with the birth of his celebrity. There’s a wealth of footage of Bourdain, since TV camera crews were always shooting him, and the film includes plenty of home-video footage as well. We see him in 1999, doing his executive-chef-as-badass-taskmaster routine on the sidewalk outside Les Halles, the Park Ave. steak haven where he ran the show. (Complaining that the fish guy is late, he says, "That’s why all chefs are drunks. It’s because we don’t understand why the world doesn’t work like our kitchens.") And there is footage shot in his apartment as he’s writing the memoir, with no idea of how it’s going to blow up.
Bourdain was by then in his early 40s, tall and handsome in a louche Romanesque way, a chain-smoking motormouth hipster, but with a rabbity grin of disarming sincerity. As anyone who has read "Kitchen Confidential" knows well, he was an extraordinary writer, with a voice that was like Tom Wolfe cut with Howard Stern, and the movie briefly shows us how that book came to be (it all started with a rantingly eloquent email, which a friend of his showed to his wife, who was a publisher). The book took off like a rocket, riding the first wave of the celebrity-chef revolution. Bourdain, serving up his nightly steak au poivre, hadn’t been a star of the restaurant world the way that Emeril or Mario Batali were, but his book, with its confessional tales of his heroin addiction and the-kitchen-as-jungle, made him the inside-dope icon of that world.
And then, just as quickly, the idea of making him over into a TV star, one who would travel to different exotic tasting locales, came to the fore. After several rocky episodes, it connected. Bourdain was born to do it. "Roadrunner" devotes itself almost entirely to his life on the road from 2000 on. It captures the enthusiasm with which Bourdain embraced his fame, and the high-maintenance joy he took in becoming the guru-host of "A Cook’s Tour," "No Reservations," and "Parts Unknown." The film is more than an inside look at the making of those shows, though we do get the heady flavor of them, from the knowing gloss on "Apocalypse Now" that held a Congo episode together to the way that a military blowup between Lebanon and Israel turned a visit to Beirut into a skittery nightmare to the foodie-fear-factor extreme element, as when Bourdain, in Vietnam, gobbles down the still-beating heart of a freshly killed cobra.
More than that, though, The perks of fame can change anyone, of course. But what was unique in Bourdain’s case is that he was a high-flying personality — an addict, a sensation-seeker, a reckless rebel who craved experience — who had found a way to ground himself in the nightly demands of working in restaurant kitchens. The kitchen was his home. It gave him structure and purpose, a place to play out his obsessive nature. And once he became a TV star, his life as a chef got left behind. The home was gone.
He transferred the obsession over to his shows, schooling himself in how to be the audience’s token curiosity seeker. He approached reality TV like an art form, and turned it into one. His first marriage, to Nancy Putkoski, collapsed, but he got married again (to Ottavia Busia, who’s interviewed in the film) and they had a child, which he had never expected to do. For a while, he was on top of the world. We see him cooking sausages on the backyard barbecue like a '50s dad, and he says that it's the happiest he’d ever been.
Until it wasn’t. Bordain, whose heroin addiction is an element of his legend (in part because of how unapologetically he pursued it), had cleaned up his act by the end of the '80s. He stopped being just a talented fuckup, and that’s the story told by "Kitchen Confidential." But he remained, at heart, an addict, and "Roadrunner" captures how the constant travel (over 200 days a year) filled the hole in his soul. He was like the George Clooney character in "Up in the Air," living an untethered flyover existence patched together out of his search for the next high. He was no longer grounded. And when his family life collapsed again (even after his embrace of fatherhood), it was as if in the guise of saying "I can’t hack normality" (which carried an anti-bourgeois defensive cool edge) he was really saying, "I can’t hack life." He became an acerbic, intoxicated, new-sensation-seeking Nowhere Man.
"Roadrunner" is full of good stories — from Bourdain’s chef pals, like Eric Ripert and David Chang, from the producers and the loyal crew he shot his shows with, and from musician friends like Iggy Pop, John Lurie, Josh Homme, and Alison Mosshart. What emerges is that Bourdain, though he commanded the room and always looked like the star he was (he could hardly walk a New York block without being approached by someone wanting a moment), was also a a "big nerd" whose insecurity was a projection of his judgmental nature: He gazed at the world with scalding eyes, and expected it to scald him back. He was a perfectionist, a junkie hedonist, a creature of strong attitude but weak identity.
In "Roadrunner," the ultimate why eludes us. How could a man so beloved, who gave so much pleasure, whose life was so much about pleasure not find his way out of the darkness? To ask that question is to be haunted by it. Yet Bourdain, without resolving it, says something early on that is very zen and very Anthony Bourdain. "I realized," he says, "that one thing led directly to the other. Had I not taken a dead-end dishwashing job, I would not have become a cook. Had I not become a cook, I would never have become a chef. Had I not become a chef, I never would have been able to fuck up so spectacularly. Had I not known what it was like to really fuck up, that obnoxious but wildly successful memoir I wrote wouldn’t have been half as interesting." And had it not been half as interesting, he wouldn’t have become so addicted to tasting the far ends of the earth that he melted down his sense of self. Bourdain’s death was a tragedy, but "Roadrunner" suggests it was a tragedy with a touch of destiny.
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发表于 2022-7-5 08:35:58
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