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电影《汉密尔顿的美国》观后感五篇

分享时间:06-03       内容类别:观后感      归档编辑:优美句子


创作者的绝对精神 之《汉密尔顿的美国》观后感

边看汉密尔顿,边有一个感受逐渐强烈,究竟是何种旺盛的表达欲望与创作激情才能支撑如此庞大且精细的文本?台词文本作者在地铁上,当他进入创作状态时,随着他的笔触流淌出的辞藻何以如此精湛?当时的他,享受着输出这般天才之作时,究竟在享受着何种激烈的幸福之感?这个感受,贯穿整个观影过程,对于我来说,这就是伟大之作的绝对精神,衡量作品是否伟大的不唯一,但充分条件。

我渴望每日都能体验如此这般的感受,当你清晰的知道你创作出的作品是卓越的,那刻无法言说也无需言说的喜悦,欢愉,胜过这世上万千的享受;他人将会如何评判你的作品,从“未知的忐忑”变为“不知他们可否跟上我的步伐”,这对于一个创作者而言,是最幸福的时刻。

黑格尔对于世界的绝对精神有着令人羡艳的笃定,他仿佛知道,历史是有终点的,而个体自我的价值体现,只在于向着那绝对的精神无限靠近合而为一,作为德意志当时的他,毋庸置疑的哲学皇帝,他并不在意台下的听众们看着讲台上呢喃自语的他说着断断续续的梦呓般的错乱话语是否认为他名不副实,他了解卓越就在那里,我看到了,我竭尽所能讲述于你们,但愿你们也能看到那卓越,尽管在现实/功利角度看来,它像极了精神病人缺少逻辑的疯言疯语。

饰演英王的乔纳森格洛夫令人叹为观止,在及其有限的出场时间与重复的歌词里,仅仅利用表情/眼神/音调,便让我感受到了--王室贵族的超然凡人/脱离尘世带来的丝丝癫狂/绝对权力带来的终极傲慢/始于傲慢而引发的高级幽默,这才是“演员”,这才是“表演”。

无论这部剧是否主流,是否大众,是否流行,都不可否认它就是属于这个时代的“名著”,它代表着创作者的绝对精神。


《Hamilton’s America》 之《汉密尔顿的美国》观后感

“And sometimes, a couple of days, I’ve written in Aaron Burr's bedroom. It’s pretty amazing to be in the space where he was in the later of his life. Talk about artist in residence-literally.”

“This is one of those nights where you feel the earth shake a little bit, you feel the world start to change. This is opening night of Hamilton.”

“I have never in my life witnessed a musical that has penetrated the American culture faster than Hamilton.”

“After the first two songs, I looked at my wife, and we were like, ‘This might be the greatest thing, like, we’ve ever seen ever.’ And you kind of look around at the other people sitting there, like, ‘Are we right?’ Like, ‘This is the best thing that’s...right?’ We’re all on the same...but you can’t say that cause people are casting and performing, but you’re almost in tears.”

“What Lin was able to do is create different styles for each character. So, George Washington raps in this very sort of metronomic way because that is similar to how he thinks. It’s all right on beat. You know, Lafayette has to figure it out. Lafayette is rapping in a real, like, simple, sort of like early-‘80s rap cadence at first and then, by the end, is doing these crazy double- and triple- time things.”

“I’ve read ‘The Federalist papers’ many times over. As an elected official, as a person who takes office, by swearing oath to the Constitution, I pretty much want to know what that means, right? And so it’s important not only to understand what the Constitution is, but to understand what the principles are behind it. And that’s why you look at Hamilton. That’s why you look at ‘The Federalist Papers’. That is the cornerstone of this beautiful idea we call the American experiment.”

“I’m not a really bright student in the history department. I’ve learned so much from this musical that I wouldn’t have normally learned in a history class. And for you guys to convey history in the manner that you did - was that your initial goal, to inspire kids like me?”

“You might find a world there to unlock. And after the performance, I think all of us understand not only how much potential it had, but what it did was capture the fact that, you know, the founding fathers were, to some degree, flying by the seats of their pants and making it up as they went along. And the fact that the experiment worked was a testimony to their genius. And you can draw a direct connection between what the founders were doing and what we do today.”

“Hamilton has to create much of the federal government from scratch - first budget systems, first tax systems, first customs service, first Coast Guard, first monetary policy, first central bank, which was the direct forerunner of the Federal Reserve.”

“These are not perfect people. These are deeply flawed people. But they make contributions.”

“These were real people who lived and died. I think one of the things we really tried to do with the show is show them all as flawed. There’s no saints in this show, not a one.”

“I think that our show is doing a really good job of reminding us that all of us are more than one thing.”

“How much time do we get on this Earth? We don’t know. They don’t tell us at the outset how much time we get. It’s something I’ve been sort of grappling with and terrified with. I think we all grapple with it, with the paradox of knowing tomorrow’s not promised, but making plans anyway.”

“Hamilton is one of the more uniquely American founders because this man came from nothing and rose to the highest levels of serving this country. He proved, the condition of your birth should not determine the outcome of your life.”

“It wasn’t easy to get to where we are today. But it was dictated by and led by a vision. We’re a blessed nation to have had our founders - such remarkable men.”

“I think when faced with the incredible three lifetimes Hamilton lived while he was on this Earth, it forces you to reckon with, ‘Well, what am I doing with my life?’ That’s the thing you’re always up against when you’re writing something that’s big.”

“I knew that Hamilton was gonna change my life. But I didn’t anticipate how much we’d help Hamilton’s legacy in turn. Not just Hamilton but also Eliza, for whom Hamilton’s legacy was so important.”

“I feel like Hamilton chose me. He reached out of the Chernow book and grabbed me and wouldn’t let me go until I told his story. You can’t manufacture another Hamilton. Hamilton is singular, the man and the creation of the show. I feel like my responsibility is just to sort of keep my eyes open and live it as slowly as possible, because I am aware musical theater does not get off the arts page often. And here we are.”

I can’t wait to see you again.

It’s only a matter of time.

Who lives, who dies, who tells your story?

My world turned upside down.


Favourite Quotes 之《汉密尔顿的美国》观后感

“Lin, in ‘Hamilton’, is doing exactly what Shakespeare did in his history plays — he’s taking the voice of the common people, elevating it to poetry — in Shakespeare’s case, iambic pentameter; in Lin’s case, rap, rhyme, hip-hop, R&B, and by elevating it to poetry, ennobling the people themselves. He’s bringing out what is noble about the common tongue.”


为什么是汉密尔顿 之《汉密尔顿的美国》观后感

尚显凌乱的公寓中, 《汉密尔顿》的主演从冰箱中取出一罐饮料,谈到了自己刚刚出生两个星期的孩子,还有即将开始的音乐剧《汉密尔顿》的排练。“就像汉密尔顿在约克郡战役前一样”,他如此形容既忐忑不安又野心勃勃的自己。这几乎是该片不断重复的手法,将当下人物的处境和历史上的汉密尔顿不断进行对比,让后者的形象映射到当代美国人身上。

本片很多片中,《汉密尔顿》的演员和主创人员拜访汉密尔顿,华盛顿和伯尔曾经工作,生活的场所,参观他们曾使用的器物。每个角色的饰演者也被安排了谈该历史人物的性格,情感。本片和音乐剧的成功之处,并非是用年轻人喜闻乐见的嘻哈讲述汉密尔顿的生平,而是在历史人物亚历山大·汉密尔顿和现今美国人之间建立一种情感和理解的纽带。

对稍微学习过美国历史的人而言,乔治·华盛顿,托马斯·杰斐逊,亚历山大·汉密尔顿,詹姆斯·麦迪逊这些名字的伟大似乎毋庸多言。但是联系到不久前,弗吉尼亚大学的教授写信要求校长不要再引用该大学建立者托马斯·杰斐逊的话,以及发生在夏洛茨维尔的推倒李将军雕像的运动,似乎如何看待国父们,已经成为美国当今社会的一个新问题。正如特朗普总统提出的问题:难道有朝一日,我们也要推倒华盛顿和杰斐逊的塑像吗?

有瑕疵的伟人,历史局限性,这些说法已经老生常谈。问题不在于象牙塔中的历史研究者如何评价国父们的功过是非,而在于随着时间的流逝,对大多数普通美国人而言,国父们只不过是冰冷的塑像,课文上枯燥的名字,社交网络上的恶搞对象,带着奴隶主这样的标签。现今社会上的美国人已经越来越失去可对国父们共情的纽带。 如今的世界第一帝国和18世纪晚期初生的稚嫩国家已经如此不同,在时间长河的此岸遥望18世纪末期, 只能看见一个无法理解的朦胧影子,国父们的所思所想,喜怒哀乐已经全然无法理解。从理智上,你能理解他们的局限性;但是从情感上,他们很多观点不容于美国社会当代价值观,因而 显得 多少有点可恶和陌生。

本片本质上依然是对国父帖标签式,断章取义的理解。创作者从一众国父中精心挑选出了亚历山大·汉密尔顿。 在美国建立者中,汉密尔顿来自加勒比地区,从不名一文开始奋斗有了今天的成就;他不是奴隶主,而是废奴主义者;一切都很政治正确,都很美国梦。创作者和观众们皆大欢喜,一个半小时的影片中不用分出太多时间反思自己国家历史上最丑陋的一页。至于汉密尔顿的君主制倾向,似乎不成为一个问题,毕竟,当前美国社会的痛点是种族矛盾,而不是一位要加冕为王的总统。于是汉密尔顿被打上了“移民”和“奋斗者”的标签,几百年后的观众和演员从这两个标签中找到了共鸣,找到了美国梦的一脉传承的证据,找到了对合众国设计者的情感纽带。

这就是大火的音乐剧是《汉密尔顿》,而不是《华盛顿》和《杰斐逊》的原因。 主创人员说,他在阅读《汉米尔顿》传记的时候,感觉被一下子抓住了,好像是汉密尔顿本人从书里出来要求他拍出这样一部音乐剧。这是真诚的,因为对汉密尔顿的选择并非是个别人有意识的行为,而是当今美国社会的种族,人员构成的自然选择。试想,又有多少移民和黑人能从《华盛顿》和《杰斐逊》的传记中读出共鸣呢?

但对国父们的评价,并不仅仅是对人物本身,而是对整个国家的意识形态来源的一次梳理和回顾。对汉密尔顿的描写也许激发了移民和奋斗者的认同。但这依然无法回避,当代美国人如何看待交织着奴隶制的美国建国史的问题,我们知道,国父毕竟不止一位。

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