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1953年的纽约，杀虫人比尔（Peter Weller 饰）进行着孤独的个人写作，只有两个好友知晓他的文学尝试。比尔的妻子琼（Judy Davis 饰）沉迷于注射杀虫粉，比尔为她拜访了戒毒医生班威，不久被麻醉品管理处传讯，在那里他遇到了能说话的虫子，它指出比尔的真实身份是一名间谍，比尔惊慌失措的逃回家，开枪误杀妻子，只得按照怪异生物的指点远赴中东的“区间”避难。当地的黑肉场场主、美国作家和他酷似琼的妻子、同性恋商人、以及集市上的女人看起来无不是一桩阴谋的一部分，比尔在自己那台会说话的打字机“克拉克诺瓦”的帮助下进行创作，并不断接近阴谋的真相，在又一次失去了琼以后，比尔发现了区间同班威医生的联系。
本片获1993年伦敦电影节年度女演员奖，1992年加拿大吉尼奖最佳导演、最佳摄影等多项褒奖。根据威廉·罗伯斯同名小说改编。
长篇影评
1 ) 药
杀死女人是作家(无论是卡夫卡还是纪尧母)的证明 所以作家要更换女人 然后杀死她们(那是一种写作么) 然后寻找下一个 不对
那代理人呢 代理的是powder是药
与幻化的打字机交谈会让人变成gay 而女人用笔
勾心斗角的作家圈子
所以不再需要药和打字机 女人仍是你的灵感来源 带着她和一支笔就可以上路 在路的尽头抛弃她 开始撰写一份新的以你的视角对这个世界(药物世界或者宗教世界或者其他)的调查报告 并把它当作一部小说卖掉
------------
其实我是搜机械战警的主演搜到的这部片
那代理人呢 代理的是powder是药
与幻化的打字机交谈会让人变成gay 而女人用笔
勾心斗角的作家圈子
所以不再需要药和打字机 女人仍是你的灵感来源 带着她和一支笔就可以上路 在路的尽头抛弃她 开始撰写一份新的以你的视角对这个世界(药物世界或者宗教世界或者其他)的调查报告 并把它当作一部小说卖掉
------------
其实我是搜机械战警的主演搜到的这部片
2 ) mix and frozen
我在注射你的除虫粉。 开场结构： 1.除虫 2.没粉被老板骂 2.1.被中国人训斥赶走 3.和朋友谈论文学，得到粉消失的结论 4.回家看到结果，完 “真是富有诗意的兴奋。” 莫名其妙的人试图带走男主，《审判》出现，之前的家中，妻子谈到“富有诗意的兴奋”即是卡夫卡式的兴奋，你觉得自己像一只虫，先谈作家，然后上演作家作品，这大概也算一种元叙事。 虫子或是幻想或是真实，管他呢，无所谓了。 重要的是平凡之物——公司的药变成了令人上瘾切珍惜的事物，他的神秘感使之替代了无数的东西，这样，男主必须去盗窃它，然而，它盗窃的只是一个极为普通的工作必需品。 凯鲁亚克评巴勒斯原著：“这个书名就是这些词的本意：赤裸裸的午餐——在所有人都看清了自己的餐叉叉着何物时那仿佛凝滞住的一瞬间。” naked lunch, a frozen moment when everyone sees what is on the end of every fork。 虫性的诞生，食物与被食，人性与虫性的混淆，一种物种对两种物种的惋惜，蚂蚁的启示。 换了一个地方，所谓密地，真实与虚拟的混淆开始达到某种不可捉摸的状态——【死人以非生前姓名和装扮的样子出现】。 借朋友之眼看到现实。甲虫代表了Lee的迷惘与孤独，蜈蚣和密地则代表了Lee恐惧无助。 做结构性调理的话，能拍的更好，上升到更深层次的固结，过去，以及未来，或是像考夫曼一样，着人来演自己个儿。
3 ) 不想当作家的驱虫师不是好丈夫
作为小说的《裸体午餐》是美国当代文学中很有名气的代表作品，但是我作为一般群众从来没有也没想读过它，看到wiki上的介绍就吓退了：小说由好些个松散片段组成成，作者William Burroughs说这篇作品从哪里起头阅读都可以，因为没法概括情节。在没有上下文的情况下带着严重的未知开始看电影，柯南伯格虽然难舍昆虫和alter ego情节，但是这部片和几部前作相比实在太甜了，我看完都感到意外，依稀有种《黑店狂想曲》和《爱丽丝梦游仙境》的奇幻和嘲讽气质，与此同时这部片也足够让人犯晕，电影中有杀虫子杀老婆贩毒嗑药搅基写小说当间谍情节，地点在纽约与异域风情鲜明的interzone之间穿梭，男主角在一群基佬中简直成了万人迷，还半推半就地当起了情报人员，仿佛穿越到了格林的冒险小说，主线还安排他成了一个心中一直住着自己老婆的痴情汉，一个枪法超烂的痴情汉——一种难以言表的荒诞自嘲之气喷薄而出。心想这片可真神了，虽然看得我稀里糊涂，却也饶有趣味，和之前想的完全不一样。
没有什么血腥怪物，原著小说是能够让柯南伯格发挥他整天研究精神分析的专能的作品。作为小说的《裸体午餐》是一个松散的体系，导演没有照搬原著，而是选择一部分内容，并把作者William Burroughs创作小说的情节放进电影，等于实现了Burroughs写作的出发点，男主角Bill Lee就是他本人。1951年，时年37岁的Burroughs在与妻子Joan在墨西哥的酒吧里心血来潮玩起威廉退尔的游戏，当时的Joan安非他明成瘾，二人兴致勃勃，但是Burroughs的手枪射中妻子额头一枪毙命，当地法官判定这是事故杀人，Burroughs关押了12天并交付保释金后就重获自由了。他一生对杀妻过失深感罪责，并受此激发写出了《裸体午餐》——创作生涯中的第一部小说，他曾说没有Joan就不会有这部作品。而柯南伯格等于拍了一部半传记色彩的电影：讲述一个叫做Bill Lee的男人如何在误杀妻子之后写了一部叫做《裸体午餐》的小说，小说的创作过程也是他建构Interzone并目睹和经历和各种奇异和死亡的过程。或者可以说，按照柯南伯格的路数，这部电影讲述一个因为杀妻而变成精神病且拥有写作技巧的男人看到听到想到的各种奇幻体验，尽管这情节离奇出格地难以概括，姑且梳理个大概：
驱虫人Bill Lee的妻子Joan药物成瘾，他邂逅了一只用屁股说话的巨大甲虫（名副其实的talking asshole），得知Joan是来自北非某个叫做Interzone的间谍。
Bill从一个自称Dr Benway的男人那里买到一种巴西水生蜈蚣做成的黑色粉状药物作为解药。
回家后Bill提议和妻子玩William Tell routine然后开枪打死了Joan。
在酒吧里Bill遇到一个叫Kiki的同性恋男孩，并认识了一个长得好像苦瓜外星人的奇怪生物Mugwump，要他前往Interzone，用Clark Nova打字机写报告。
Bill在Interzone遇到用黑色蜈蚣肉做的毒品的德国人Hans。
房间里的打字机变成用屁股说话的巨大甲虫，让Bill以同性恋为掩护从事间谍活动。
Bill参加当地派对重逢Kiki，并结识来自美国的作家夫妇Tom和Joan。Tom还把自己的Martinelli打字机借给他。
晚上两台打字机都变成甲虫，Clark Nova攻击Martinelli，说它是敌方间谍，并让Bill去诱骗Joan从而摸清黑色蜈蚣肉的来龙去脉。
Bill和Joan的偷欢被女房主Fadela打断，捣毁了一台变成奇异甲虫享受二人欢愉的打字机。
Clark Nova打字机告诉BillJoan是Fadela手下的间谍，原型是只蜈蚣。
纽约的两个哥们Hank和Martin也和Bill碰面了，他们催Bill尽快完成这本叫做Naked Lunch的小说。
Bill用上了Mugwump变的打字机。
为了进一步摸清黑蜈蚣肉工厂的秘密Bill又和瑞士人Cloquet勾搭上，其间不得不牺牲了Kiki，变成虫型基佬的Cloquet品尝Kiki的那场戏堪称全片最重口的一幕（Cloquet先森你这里有看得见风景的房间吗？）
Bill用Mugwump变的打字机从Tom手里换回了被抓走的Clark Nova，并且最终来到挂满了Mugwump的黑肉车间，也就是Hans的毒品加工厂。他找到了正在帮工的Joan。Fadela现身，一扒皮是Dr.Benway。Bill以带上Joan为前提，答应Dr. Benway前往Annexia做毒品交易。出境时Bill为了向Joan证明自己的作家身份而再次玩起了“William Tell Routine”（看似毫无逻辑，但是现实中就是如此），又是一枪要了Joan性命。
Bill泪流满面，电影结束(观众也要泪流满面了，这情节确实没法概括)
电影颇有点宿命悲观的意味，虽然主要情节关联性太差，但是似乎又确实朝着一个方向前进的，有充满异国风情的谍战情节（如果talking asshole也算的话）和血液黏液齐流人体物体异化的超现实画面，讲述一个失去妻子的零动机作家为了追查莫名的黑蜈蚣肉毒品加工厂而成为听屁股指挥的间谍，最终发现毒品工厂老巢，带上妻子远走，但是最后还是失去了心爱之人的经历（简直不能称之为故事），就好比所有理论人员所说，讲故事和钟表的“滴答”声一样，有tig就要有tag，但是很明显从原著到电影这tig和tag之间不是隔得太远就是干脆被按住压回去了，而且许多留白段落，比如Bill在Interzone参加的Party压根没演，Cloquet是如何与Billd搭讪任何起因，全靠他们的对话得知或者推测这两个人在Party上见过。
导演的专场之一的化妆和道具特效当然也是瞩目焦点，他电影里的很多怪物甲虫的显著特点是具有能激起厌恶感的丑，Mugwump出场的时候真让人难受，但是看到齐刷刷挂在毒品工厂里的Mugwumps的时候忽然觉得它们好萌，负责视觉特效的还是以Fly拿到小金人的Chris Walas团队。电影里Bill的两个作家伙伴Hank和Martin原型据说就是凯鲁亚克和金斯堡（垮掉三巨头齐聚柯南伯格这种想想觉得奇特），我感觉里面Martin的形象和金斯堡尤其传神。
没有什么血腥怪物，原著小说是能够让柯南伯格发挥他整天研究精神分析的专能的作品。作为小说的《裸体午餐》是一个松散的体系，导演没有照搬原著，而是选择一部分内容，并把作者William Burroughs创作小说的情节放进电影，等于实现了Burroughs写作的出发点，男主角Bill Lee就是他本人。1951年，时年37岁的Burroughs在与妻子Joan在墨西哥的酒吧里心血来潮玩起威廉退尔的游戏，当时的Joan安非他明成瘾，二人兴致勃勃，但是Burroughs的手枪射中妻子额头一枪毙命，当地法官判定这是事故杀人，Burroughs关押了12天并交付保释金后就重获自由了。他一生对杀妻过失深感罪责，并受此激发写出了《裸体午餐》——创作生涯中的第一部小说，他曾说没有Joan就不会有这部作品。而柯南伯格等于拍了一部半传记色彩的电影：讲述一个叫做Bill Lee的男人如何在误杀妻子之后写了一部叫做《裸体午餐》的小说，小说的创作过程也是他建构Interzone并目睹和经历和各种奇异和死亡的过程。或者可以说，按照柯南伯格的路数，这部电影讲述一个因为杀妻而变成精神病且拥有写作技巧的男人看到听到想到的各种奇幻体验，尽管这情节离奇出格地难以概括，姑且梳理个大概：
驱虫人Bill Lee的妻子Joan药物成瘾，他邂逅了一只用屁股说话的巨大甲虫（名副其实的talking asshole），得知Joan是来自北非某个叫做Interzone的间谍。
Bill从一个自称Dr Benway的男人那里买到一种巴西水生蜈蚣做成的黑色粉状药物作为解药。
回家后Bill提议和妻子玩William Tell routine然后开枪打死了Joan。
在酒吧里Bill遇到一个叫Kiki的同性恋男孩，并认识了一个长得好像苦瓜外星人的奇怪生物Mugwump，要他前往Interzone，用Clark Nova打字机写报告。
Bill在Interzone遇到用黑色蜈蚣肉做的毒品的德国人Hans。
房间里的打字机变成用屁股说话的巨大甲虫，让Bill以同性恋为掩护从事间谍活动。
Bill参加当地派对重逢Kiki，并结识来自美国的作家夫妇Tom和Joan。Tom还把自己的Martinelli打字机借给他。
晚上两台打字机都变成甲虫，Clark Nova攻击Martinelli，说它是敌方间谍，并让Bill去诱骗Joan从而摸清黑色蜈蚣肉的来龙去脉。
Bill和Joan的偷欢被女房主Fadela打断，捣毁了一台变成奇异甲虫享受二人欢愉的打字机。
Clark Nova打字机告诉BillJoan是Fadela手下的间谍，原型是只蜈蚣。
纽约的两个哥们Hank和Martin也和Bill碰面了，他们催Bill尽快完成这本叫做Naked Lunch的小说。
Bill用上了Mugwump变的打字机。
为了进一步摸清黑蜈蚣肉工厂的秘密Bill又和瑞士人Cloquet勾搭上，其间不得不牺牲了Kiki，变成虫型基佬的Cloquet品尝Kiki的那场戏堪称全片最重口的一幕（Cloquet先森你这里有看得见风景的房间吗？）
Bill用Mugwump变的打字机从Tom手里换回了被抓走的Clark Nova，并且最终来到挂满了Mugwump的黑肉车间，也就是Hans的毒品加工厂。他找到了正在帮工的Joan。Fadela现身，一扒皮是Dr.Benway。Bill以带上Joan为前提，答应Dr. Benway前往Annexia做毒品交易。出境时Bill为了向Joan证明自己的作家身份而再次玩起了“William Tell Routine”（看似毫无逻辑，但是现实中就是如此），又是一枪要了Joan性命。
Bill泪流满面，电影结束(观众也要泪流满面了，这情节确实没法概括)
电影颇有点宿命悲观的意味，虽然主要情节关联性太差，但是似乎又确实朝着一个方向前进的，有充满异国风情的谍战情节（如果talking asshole也算的话）和血液黏液齐流人体物体异化的超现实画面，讲述一个失去妻子的零动机作家为了追查莫名的黑蜈蚣肉毒品加工厂而成为听屁股指挥的间谍，最终发现毒品工厂老巢，带上妻子远走，但是最后还是失去了心爱之人的经历（简直不能称之为故事），就好比所有理论人员所说，讲故事和钟表的“滴答”声一样，有tig就要有tag，但是很明显从原著到电影这tig和tag之间不是隔得太远就是干脆被按住压回去了，而且许多留白段落，比如Bill在Interzone参加的Party压根没演，Cloquet是如何与Billd搭讪任何起因，全靠他们的对话得知或者推测这两个人在Party上见过。
导演的专场之一的化妆和道具特效当然也是瞩目焦点，他电影里的很多怪物甲虫的显著特点是具有能激起厌恶感的丑，Mugwump出场的时候真让人难受，但是看到齐刷刷挂在毒品工厂里的Mugwumps的时候忽然觉得它们好萌，负责视觉特效的还是以Fly拿到小金人的Chris Walas团队。电影里Bill的两个作家伙伴Hank和Martin原型据说就是凯鲁亚克和金斯堡（垮掉三巨头齐聚柯南伯格这种想想觉得奇特），我感觉里面Martin的形象和金斯堡尤其传神。
4 ) 《裸体午餐》——一种卡夫卡式的战栗
《裸体午餐》由cult片大师大卫·柯南伯格执导，于1991年上映，改编自垮掉派小说家威廉·巴勒斯的同名小说，讲述了一个嗜好嗑杀虫药的作家在写作与嗑药的幻觉经验中再也难以分辨现实世界与迷幻世界的故事。
这部极具奇观性的电影展现了一系列荒诞不经的事件：打字机打字机异化成甲虫，用肛门与作家交谈，掌控作家思想使他杀妻。本片又集cult片各元素于一体：吸毒、贩毒、同性恋、间谍、性倒错，导演在本片提出一个概念：“卡夫卡式的快感”，因本片过于猎奇无法让我产生快感，我愿称之为卡夫卡式的战栗。
要理解这部怪异的电影，首先要了解《裸体午餐》这本自传性的小说，作者巴勒斯最爱的作家便是卡夫卡，在卡夫卡的作品中，人的肉身与心理在人际与社会的影响下逐渐被异化，人不再可能作为真正的人而存在，巴勒斯对此感同身受。二十世纪五十年代的美国，二战的恐惧似乎已经走远，但战争过后人们心灵上巨大的创伤和空白无法用新的理想和斗争目标填补，只能借助药物来对抗时代的荒谬。在此背景下，巴勒斯受艾伦·金斯堡公寓窗外层层叠叠的晒衣服绳子、金属楼梯、缠绕的天线的启发下构想出了一个名为“区间带”的未来城市，它由一个个金属网格连接而成，形成一个由小巷、通道、广场和隧道组成的巨大迷宫。巴勒斯赋予这个城市一种震动，类似昆虫振翅的频率，酷儿、瘾君子和酒鬼活动其间，这就是《裸体午餐》创作的主要背景，也是电影改编的基石。
柯南伯格改编的电影无意直接展现“垮掉的一代”淫乱堕落的生活，而是借助小说与现实迷人的同构性，虚构了另一个瘾君子作家，不但具有卡夫卡式的意识流的诗意，也是对作者创作过程传记性的再现。在现实生活中，巴勒斯与妻子吸食海洛因后用开枪打头上的苹果作乐，枪支走火，巴勒斯成为了杀妻者，使他终生陷入挣扎。在电影中，玻璃瓶取代了真实事件中的苹果，作家在杀虫剂的迷幻作用下经历了两次开枪杀妻，形成了一个绝望的闭环。
影片中撕开女性面具的男同性恋特工似乎暗示着现实中的艾伦·金斯堡，在《裸体午餐》写作期间，金斯堡扮演者巴勒斯的知己、合作伙伴和编辑的角色，这种密切的关系很快发展成一种感情，巴勒斯称之为“Schlupp”（融合）——两个人合并成一个实体，并通过融合进入另一种状态。这种融合并非一个主宰另一个，而是“进入对方身体，共用肺呼吸，共用眼睛看，获悉他的五脏六腑和生殖器”，这大概率就是影片中雌雄同体双面特工的设定来源。
影片中作家与另外两位朋友在餐馆的谈话更是一次对“垮掉的一代”的致敬。影片中的作家认为写作应该根除一切理性，这正是对巴勒斯“Cut-up”（写作切割）的一次致敬。写作切割是巴勒斯独创的一种写作方式，指将字句切开再重组，类似拼贴艺术，这样毫无逻辑的描写贯穿《裸体午餐》全书。巴勒斯认为这样的写作可以帮助他对抗“恶灵”，也就是理性。理性钳制了人类的想象力，理性的思想是一种外太空的病毒，一直在寻找宿主，人类之所以写作是因为自身难逃肉身的死亡，却能用文字让思想不死，而巴勒斯所做的就是把这种病毒拆卸重组，直到文字失去意义为止。而影片中作家的一位朋友主张写作应保持真实和直观，不做任何修改，他提出“最诚实、最原始、最真实的想法就是最好的想法”，这正是现实中巴勒斯的好友、垮掉派作家杰克·凯鲁亚克的座右铭。
同卡夫卡的小说类似，柯南伯格的改编也具有许多寓言性的情节。《裸体午餐》中打字机突变为一只巨大的甲虫，这一意象直指卡夫卡《变形记》中同样变成甲虫的格雷高尔，当作家开始对市场上晒干的尸体心生怜悯时，这种心灵上的异化也直指格雷高尔在家人的梳理下对甲虫化对自己产生身份认同。同样，这台拥有自我意识，甚至暗示与诱导作家吸毒、杀妻的打字机，也直指卡夫卡《流放岛见闻》中杀死军官的行刑机器。可以说由卡夫卡到威廉·巴勒斯，再到大卫·柯南伯格，他们的作品在为人们阐释中设置的障碍是一脉相承的，这些寓言性的情节晦涩又神秘，迷宫一般充满魔力。
西班牙电影大师布努埃尔曾表示：“电影是个恶毒的媒介，有时候看电影就像遭受一次强奸”，热衷于将昆虫变异成怪物的大卫·柯南伯格确实给予了我感官被强奸的体验。作为肉体恐怖类型电影的代表导演，柯南伯格毫不吝啬地在《裸体午餐》中展现自己扭曲的情色幻想。作家与妻子缠绵时打字机勃起的性器官摇摇晃晃、分泌粘液，突蹿出一只长着人类屁股的百足蜈蚣扑在二人身上做着活塞运动，下一个镜头穿着皮靴的男扮女装同性恋特工把教鞭抽在妻子胳膊上，性倒错的要素过多，完美满足了导演的恶趣味，正如影片台词“那是诗意的兴奋，是卡夫卡式的high，让你觉得自己像只甲虫”。
相信柯南伯格的压抑在《裸体午餐》中得到了绝对的释放，他将脑海中所有疯狂恶心变态情色扭曲的幻想一并爆发出来，从此放下对这种肉体性的、生理性的变异的情节，转而开始探索心理的畸变，创作了诸如《蜘蛛梦魇》《大都会》这样的影片，《裸体午餐》也因此堪称他创作生涯的一部分水岭式的电影。
我已经过了那个迷恋cult片的阶段，回头再为如此逻辑混乱、粘液直流的电影写影评时直犯恶心，人类难免对自身形体的破坏和生理上的变异产生恐惧，即“卡夫卡式的战栗”。
5 ) 虫
一：普通中年大叔最大的心愿是：升官、发财、死老婆，
文艺中年大叔最大的心愿是：毒品、出书、死老婆。
二：除了蝴蝶，没法觉得虫子这种生物萌，再斥我异次元也修行不到能体会这些多脚生物可爱的境界，所以，生理上就无法接受卡夫卡变形记一类的文字，管你另不另类
三：一开始弄错了，觉得这么前卫的片子，应该是柯南伯格在《蝴蝶君》之后的作品，其实，《蝴蝶君》要晚两年，那么，其实我可以寻踪到隐藏在柯南伯格变态镜头后的，多多少少的那么一点浪漫，从影片最后男主角眼睛里流下的一滴眼泪
算了，蝴蝶和蜈蚣，都素虫
文艺中年大叔最大的心愿是：毒品、出书、死老婆。
二：除了蝴蝶，没法觉得虫子这种生物萌，再斥我异次元也修行不到能体会这些多脚生物可爱的境界，所以，生理上就无法接受卡夫卡变形记一类的文字，管你另不另类
三：一开始弄错了，觉得这么前卫的片子，应该是柯南伯格在《蝴蝶君》之后的作品，其实，《蝴蝶君》要晚两年，那么，其实我可以寻踪到隐藏在柯南伯格变态镜头后的，多多少少的那么一点浪漫，从影片最后男主角眼睛里流下的一滴眼泪
算了，蝴蝶和蜈蚣，都素虫
6 ) 赤裸午餐
看得我頭痛欲裂的怪異電影。
Billy Lee穿上西裝, 打著一份滅蟲差事, 長期受到滅蟲藥粉的影響, 意識有了不是屬於現世的幻覺。他想做作家, 在電腦還只是科幻小說的未來主宰預言時, 打字機是五十年代作家賴以把中心思想及用字遣詞化為文字的夥伴。有如現代作家不能沒有電腦, 兩者關係相敬如賓, 沒有鍵盤的下按感應, 末端不能接通中央處理器的指令庫, 佳句篇幅不能組織成可供閱讀的文章。 電影原著作者William S. Burroughs深明可信賴的文字處理器是撰寫文句的重要環節, 不可馬虎, 影像亦突出了作者對寫作的入魔境界: 打字機可以化為作家厭惡的昆蟲樣子, 他要按其鍵盤輸入文字, 昆蟲打字機的感官神經藉著綿密有緻的指頭觸動, 輕聲呻吟, 宛如幻想出來的怪異蟲機混合體是Lee的情婦, 作家和溝通工具升華, 由以往的主僕, 到不可分離的曖昧, 人和物的理論、作家隱藏的殺氣, 欲毀之而後快的決意, 因為相處日久, 他的報告文學寫得清暢流利, 原諒了不斷說作家妻子是蜈蚣間諜的打字機, 作家不需要嗅黃色粉末, 目睹蟑螂醜陋死相, 背著和整潔洋服不協調的殺蟲藥劑, 所以他希望盡快擺脫和身份不配的低下工作。
在Interzone, 作家遇見了同是作家的夫婦, 他們給了打字機名字, 視為至寶, 會為它們的下落, 生命安全擔心, 作家把成名的寄望, 情色的傾瀉, 投注在異形化的打字機。 以上是作家嗑藥造成的虛幻, 他要服食藥粉, 是逃避不如意的工作及失敗的婚姻: 妻子Joan和丈夫朋友嗑了藥, 靈魂飄落至迷離境界, 當著Lee面前親熱, 丈夫沒有問罪, 道德良心已經想成為著名作家的理想佔據, 所以他要用藥物帶他到中東風味濃烈的異域尋找寫作靈感, 寫出來的文字現實與迷幻夾纏不清, 是朋友讚頌的好作品, 畢竟現實不容他存有幻想, 藥物是作家初時殺死昆蟲打字機的藥引, 後來為了擺脫困局, 他同異形怪物合作, 和另一個幻界作家Joan情色交融, 才能寫出與當代文壇風氣大不相同的情色、同性, 文筆遊走真實及虛構的架空世界, 是妥協藥品副作用, 名成利就的交易。
電影現實及幻覺的畫面交代清楚簡潔, 不像《世紀毒殺網絡》全套用電腦動畫, 要是沒有留神, 很容易分不清虛實, 這點《赤裸午餐》的人工模型昆蟲打字機、酒吧喝酒的怪物和放滿了針筒藥物的公事包對照, 明顯更勝一籌。
此外, 《赤裸午餐》用了主角聲線的起落詮釋了現實與幻想世界: 作家在現實的聲線線條清楚; 身陷幻想世界時聲音低沉, 較難聽懂他說什麼, 最難明白的一節是作家用[肛門侵占身體]的譬喻, 切合服用藥物的人的必有口齒含糊現象。電影也觸及了戰後的同性戀禁忌: 作家吻了同性戀者Kiki額頭, 是回應同性愛不被當時社會接納的挑戰。
我現時寫稿都是假手電腦, 回想那部鋼筋蟲身的混合新品種, 要把手按在鍵盤是噁心透頂視感, 但願不要寫作泉源閉塞時, 腦門幻想面前的電腦鍵盤及主機是與日常工作相關的怪物。
Billy Lee穿上西裝, 打著一份滅蟲差事, 長期受到滅蟲藥粉的影響, 意識有了不是屬於現世的幻覺。他想做作家, 在電腦還只是科幻小說的未來主宰預言時, 打字機是五十年代作家賴以把中心思想及用字遣詞化為文字的夥伴。有如現代作家不能沒有電腦, 兩者關係相敬如賓, 沒有鍵盤的下按感應, 末端不能接通中央處理器的指令庫, 佳句篇幅不能組織成可供閱讀的文章。 電影原著作者William S. Burroughs深明可信賴的文字處理器是撰寫文句的重要環節, 不可馬虎, 影像亦突出了作者對寫作的入魔境界: 打字機可以化為作家厭惡的昆蟲樣子, 他要按其鍵盤輸入文字, 昆蟲打字機的感官神經藉著綿密有緻的指頭觸動, 輕聲呻吟, 宛如幻想出來的怪異蟲機混合體是Lee的情婦, 作家和溝通工具升華, 由以往的主僕, 到不可分離的曖昧, 人和物的理論、作家隱藏的殺氣, 欲毀之而後快的決意, 因為相處日久, 他的報告文學寫得清暢流利, 原諒了不斷說作家妻子是蜈蚣間諜的打字機, 作家不需要嗅黃色粉末, 目睹蟑螂醜陋死相, 背著和整潔洋服不協調的殺蟲藥劑, 所以他希望盡快擺脫和身份不配的低下工作。
在Interzone, 作家遇見了同是作家的夫婦, 他們給了打字機名字, 視為至寶, 會為它們的下落, 生命安全擔心, 作家把成名的寄望, 情色的傾瀉, 投注在異形化的打字機。 以上是作家嗑藥造成的虛幻, 他要服食藥粉, 是逃避不如意的工作及失敗的婚姻: 妻子Joan和丈夫朋友嗑了藥, 靈魂飄落至迷離境界, 當著Lee面前親熱, 丈夫沒有問罪, 道德良心已經想成為著名作家的理想佔據, 所以他要用藥物帶他到中東風味濃烈的異域尋找寫作靈感, 寫出來的文字現實與迷幻夾纏不清, 是朋友讚頌的好作品, 畢竟現實不容他存有幻想, 藥物是作家初時殺死昆蟲打字機的藥引, 後來為了擺脫困局, 他同異形怪物合作, 和另一個幻界作家Joan情色交融, 才能寫出與當代文壇風氣大不相同的情色、同性, 文筆遊走真實及虛構的架空世界, 是妥協藥品副作用, 名成利就的交易。
電影現實及幻覺的畫面交代清楚簡潔, 不像《世紀毒殺網絡》全套用電腦動畫, 要是沒有留神, 很容易分不清虛實, 這點《赤裸午餐》的人工模型昆蟲打字機、酒吧喝酒的怪物和放滿了針筒藥物的公事包對照, 明顯更勝一籌。
此外, 《赤裸午餐》用了主角聲線的起落詮釋了現實與幻想世界: 作家在現實的聲線線條清楚; 身陷幻想世界時聲音低沉, 較難聽懂他說什麼, 最難明白的一節是作家用[肛門侵占身體]的譬喻, 切合服用藥物的人的必有口齒含糊現象。電影也觸及了戰後的同性戀禁忌: 作家吻了同性戀者Kiki額頭, 是回應同性愛不被當時社會接納的挑戰。
我現時寫稿都是假手電腦, 回想那部鋼筋蟲身的混合新品種, 要把手按在鍵盤是噁心透頂視感, 但願不要寫作泉源閉塞時, 腦門幻想面前的電腦鍵盤及主機是與日常工作相關的怪物。
7 ) 极致的模糊的精神的偏差的等等等等反正不仅只是naked lunch而已
Nothing is true ,everything is permitted .Hassan Sabbah. 天下无真,万世可行
Hustlers of the world ,
There is one Mark u cannot beat.
The Mark inside…
William .S Burroughs.
女人的脸,白,惨白.
人的长相都极其的怪异
整个画面像是旧世纪,暗,但这又不是颜色或是光线的问题,更接近一种本质,混淆在一起的杂物,沉淀,像是水中长满咯青苔,时间久远后蜕变成灰墨色,接近于大地的一种色调.
虫,以为是某种类似ET的电影,腐肉,像内脏一样的嘴巴,褶皱的嘴巴突兀地说着话,不着边际,又似在影射一种具体,来自精神,源于生活.卡夫卡式的迷幻,让我想起以前用作页面顶置的一幅图,交错似迷宫的门,一扇扇在前方开着的门,潦倒的背影.
浊浊的画面,缓而停顿的音乐,男子圆圆镜框后面的迷惑和犹豫,以及一种莫名其妙的哭笑不得,完全不懂那种纠结在一起的是怅然的痛苦还是一种极端的喜.但那张脸确实幻化似一团被揉皱的报纸.
“没有气味,也不会变色,就像一种原力,这种原力表面上无法看见..但却真实地存在..潜伏在原除状态…伺机脱壳而出.
看似正常的环境隐匿着无数虚幻的影像,血腥,恶心. 幻觉,亦或真实.还是一种内心的一种难自醒.如此执迷不悟.虫侵,虫虐,自我侵略难以自拔.
‘I seem to be addicted to something that doesn’t really exist.I have embarked upon withdrawl and I am very fearful of what the withdraw symptoms will be.’
眼镜上映着他快速打字苍白的手.
一切都是虚幻,无人能抵达真实之境.
Amercia is not a young land ,it is old ,dirty ,evil,before the pioneers,before the Indians ,evil is here ,waiting…
It’s always full of surprise.
精神寄托,当对其的依靠强大到迷失自我时,寄托已经变成了逃避的借口.戒所.
No what to do when time comes.
All is lost.
太晦涩的片子,搞不明白想表达的是一种精神状态还是暗射什么..像是一场回忆,又似在继续,不过在重蹈覆辙,不可理喻.
How do we know u r a real writer. I
have a pen for writing.
That’s not enough.Show us,write sth..
不过是阴谋一场..
….
PS 打两分实在是因为看不怎么懂，以上是在纠结的观看过程中纪录下来的，临时的状态，而且也确实很讨厌那些打字机等等的恶心样，若是想要节食减肥倒是可以把这类图片贴在随处可见的地方，保证瞬间没有食欲。。
Hustlers of the world ,
There is one Mark u cannot beat.
The Mark inside…
William .S Burroughs.
女人的脸,白,惨白.
人的长相都极其的怪异
整个画面像是旧世纪,暗,但这又不是颜色或是光线的问题,更接近一种本质,混淆在一起的杂物,沉淀,像是水中长满咯青苔,时间久远后蜕变成灰墨色,接近于大地的一种色调.
虫,以为是某种类似ET的电影,腐肉,像内脏一样的嘴巴,褶皱的嘴巴突兀地说着话,不着边际,又似在影射一种具体,来自精神,源于生活.卡夫卡式的迷幻,让我想起以前用作页面顶置的一幅图,交错似迷宫的门,一扇扇在前方开着的门,潦倒的背影.
浊浊的画面,缓而停顿的音乐,男子圆圆镜框后面的迷惑和犹豫,以及一种莫名其妙的哭笑不得,完全不懂那种纠结在一起的是怅然的痛苦还是一种极端的喜.但那张脸确实幻化似一团被揉皱的报纸.
“没有气味,也不会变色,就像一种原力,这种原力表面上无法看见..但却真实地存在..潜伏在原除状态…伺机脱壳而出.
看似正常的环境隐匿着无数虚幻的影像,血腥,恶心. 幻觉,亦或真实.还是一种内心的一种难自醒.如此执迷不悟.虫侵,虫虐,自我侵略难以自拔.
‘I seem to be addicted to something that doesn’t really exist.I have embarked upon withdrawl and I am very fearful of what the withdraw symptoms will be.’
眼镜上映着他快速打字苍白的手.
一切都是虚幻,无人能抵达真实之境.
Amercia is not a young land ,it is old ,dirty ,evil,before the pioneers,before the Indians ,evil is here ,waiting…
It’s always full of surprise.
精神寄托,当对其的依靠强大到迷失自我时,寄托已经变成了逃避的借口.戒所.
No what to do when time comes.
All is lost.
太晦涩的片子,搞不明白想表达的是一种精神状态还是暗射什么..像是一场回忆,又似在继续,不过在重蹈覆辙,不可理喻.
How do we know u r a real writer. I
have a pen for writing.
That’s not enough.Show us,write sth..
不过是阴谋一场..
….
PS 打两分实在是因为看不怎么懂，以上是在纠结的观看过程中纪录下来的，临时的状态，而且也确实很讨厌那些打字机等等的恶心样，若是想要节食减肥倒是可以把这类图片贴在随处可见的地方，保证瞬间没有食欲。。
8 ) Cult film 缓慢学习中
Cult Films have limited but very special appeal. Cult films are usually strange, quirky, offbeat, eccentric, oddball, or surreal, with outrageous, weird, unique and cartoony characters or plots, and garish sets. They are often considered controversial because they step outside standard narrative and technical conventions. They can be very stylized, and they are often flawed or unusual in some striking way.
Most cult films cut across many film genres (science fiction, horror, melodrama, etc.), although some film genres are also more prone to being cultish, such as the horror or sci-fi genres. Teen comedies are also more often rated as cult films, such as Dazed and Confused (1993), and Fast Times at Ridgemont High (1982), with quotable lines of dialogue, and memorable characters and scenes.
Many cult films feature or effectively showcase the performance of newcomers or other unknown talented actors/actresses. These often-obscure and cheesy films are usually made by maverick, highly individualistic film-makers with low-budget resources and little commercial marketing. And cult films are rarely, if ever, sequels, since then they would have attained mainstream appeal and widespread success. Some directors are more prone to making cult films, such as John Waters, Quentin Tarantino and David Lynch, especially early in their careers, because of their individualistic perspective and style, although they can often make a conventional 'mainstream' film too (such as David Lynch's The Straight Story (1999)).
Many cult films fared poorly at the box office when first shown, but then achieved cult-film status, developing an enduring loyalty and following among fans over time, often through word-of-mouth recommendations. Sometimes, they were revolutionary, brilliant films 'before their time' (i.e., Fantasia (1940)) and not bound by the conventions of their day.
They elicit a fiery and intense passion in devoted fans, and may cause cultists to enthusiastically champion and become devoted to these films, leading to audience participation, fan club membership, and repetitive viewings and showings. Cult films have tremendous followings with certain groups, e.g., college campuses, 'midnight movie' crowds, independent film lovers, etc. Cult movie worshippers persuasively argue with all about the merits of their choices, without regard for standard newspaper or movie reviews from critics.
There's no hard-and-fast rule or checklist to gauge what makes a cult film. A cult film is often designated as such "in the eye of the beholder" without fufilling any definition. It's often a matter of opinion. One viewer's cult film may not be judged the same by another viewer. And just because a segment of devoted viewers (pre-teen girls) repeatedly watch a film - such as Pirates of the Caribbean: The Curse of the Black Pearl (2003) - to view its star Johnny Depp, or Titanic (1997) (to see Leonardo Di Caprio), or to view the latest George Lucas Star Wars film, doesn't make a film a cult film. However, there are the most popular cult films, such as The Rocky Horror Picture Show (1975) and any of the Star Trek films, that have developed cult followings with all the trappings.
One of the biggest, best-known cult films was not intended to become so popular. It was a low-budget, government 'documentary' propaganda film from the mid-30s created to dramatize the dangers of marijuana use and demon weed - Reefer Madness (1936). However, Tod Browning's grotesque Freaks (1932), was deliberately advertised as "the strangest...most startling human story ever screened," and had alternate titles including Forbidden Love, The Monster Show, and Nature's Mistakes. It used real-life dwarfs, pinheads, and other human freaks (portraying sideshow circus performers) to present a jolting story of revenge.
When first released, Crouching Tiger, Hidden Dragon (2000) and Almost Famous (2000) were almost instantly pronounced as cult films, but as time progressed, they didn't really fit the category. They were highly-acclaimed, award-winning films that were prominently shown in the mainstream, and it had been too early to judge them as cult films. The media often labels an unusual film as a 'cult film' when it really shouldn't. It takes time for a film to reach cult status.
Camp films are cult-type films, but they are often poorly made or ludicrous, yet still enjoyable and appreciated. Cult films follow no rules or pattern - some cult films are popular only among certain limited groups of audiences or friends.
Music-Based Cult Films:
Some cult films are music-based, such as director Rob Reiner's This is Spinal Tap (1984), a tongue-in-cheek spoof of rock documentaries, following a faux British heavy metal band's disastrous US tour; Pink Floyd: The Wall (1982), a bizarre film based on the popular rock album; Ken Russell's Tommy (1975), the Who's rock opera about a deaf, dumb, and blind kid who sure plays a 'mean pinball'; and The Blues Brothers (1980), a farcical musical comedy involving two loser musicians who resurrect their old blues band.
The first of two other quintessential rock musical cult films include the transgender The Rocky Horror Picture Show (1975) - notable for inspiring the craze of interactive, 'midnight movie' screenings. The iconic film was essentially a trashy tale set in a mysterious castle with kinky extraterrestrial Transylvanian transvestites, two stranded young people (including an underwear-clad Susan Sarandon), and a mad scientist. The second was a rebellious teenage musical comedy Rock 'N' Roll High School (1979) that featured a rock band named The Ramones. Perry Henzell's urban-crime drama The Harder They Come (1973) with musical star Jimmy Cliff, featured a reggae soundtrack and a seamy look at poverty and crime in Jamaica.
Well-Regarded Cult Films:
A number of cult films are well-regarded, such as Frank Capra's It's a Wonderful Life (1946), that became popular many years after its initial release due to repeated television showings. Likewise, the classic weeper An Affair to Remember (1957) has developed a loyal following (it was a remake of Love Affair (1939), was paid homage in Sleepless in Seattle (1993) and remade as Love Affair (1994) with Warren Beatty and Annette Bening).
Others include the science fiction classic Forbidden Planet (1956) that has developed a wide cult following, Kubrick's intriguing A Clockwork Orange (1971) - a surrealistic tale of an ultra-violent future and the danger of psychological reconditioning, or Coppola's anti-Vietnam war epic of a terrifying journey into hell in Apocalypse Now (1979), or another Kubrick classic, Dr. Strangelove Or: How I Stopped Worrying and Learned to Love the Bomb (1964).
Frank Darabont's subversive, allegorical, and life-affirming prison story about two life-sentenced prisoners, The Shawshank Redemption (1994), based upon a Stephen King story, failed at the box-office during its original release, but established a strong cult following its video release. George Roy Hill, the director of such Oscar-winning hits as The Sting (1973) and Butch Cassidy and the Sundance Kid (1969), also helmed the comedy-drama Slap Shot (1977) with Paul Newman - noted as one of the raunchiest, most foul-mouthed, macho sports films ever made. Another highly-regarded cult film is Monte Hellman's low-budget Two-Lane Blacktop (1971) - a late 60s to early 70s entry in the road film genre - that was both an existential character study and a car-chase/race film.
A visually rich Philip-Marlowe style detective film, director Ridley Scott's Blade Runner (1982), set in futuristic, proto-punk Los Angeles in 2019, and about an ex-cop (Harrison Ford) who hunts down renegade human replicants, has developed a wide cultish following. An early 70s big-cult favorite was director Hal Ashby's dark, eccentric and macabre Harold and Maude (1971) about a strange taboo romance between a 20 year-old boy (Bud Cort) and a fun-loving, joie-de-vivre 79 year-old woman (Ruth Gordon) to the tune of a Cat Stevens soundtrack - with ingenious scenes of the spoiled rich boy's mock suicide attempts staged to upset his mother. A year earlier, Bud Cort had starred in Robert Altman's quirky and satirical fairy tale Brewster McCloud (1970) as a bespectacled boy living in the Houston Astrodome where he was building a machine to escape and fly away. The Sound of Music (1965) when re-released in the late 20th century was presented as a sing-along version (with subtitles) along the lines of the participatory Rocky Horror, with fans dressing up as nuns, lonely goatherds and Nazis.
Conversely, some of the most praised films have pornographic origins, such as the ground-breaking Behind the Green Door (1972) due to its star Marilyn Chambers appearing in her first adult role (she was a former All-American Girl and Ivory Snow detergent model).
——http://www.filmsite.org/cultfilms.html
Most cult films cut across many film genres (science fiction, horror, melodrama, etc.), although some film genres are also more prone to being cultish, such as the horror or sci-fi genres. Teen comedies are also more often rated as cult films, such as Dazed and Confused (1993), and Fast Times at Ridgemont High (1982), with quotable lines of dialogue, and memorable characters and scenes.
Many cult films feature or effectively showcase the performance of newcomers or other unknown talented actors/actresses. These often-obscure and cheesy films are usually made by maverick, highly individualistic film-makers with low-budget resources and little commercial marketing. And cult films are rarely, if ever, sequels, since then they would have attained mainstream appeal and widespread success. Some directors are more prone to making cult films, such as John Waters, Quentin Tarantino and David Lynch, especially early in their careers, because of their individualistic perspective and style, although they can often make a conventional 'mainstream' film too (such as David Lynch's The Straight Story (1999)).
Many cult films fared poorly at the box office when first shown, but then achieved cult-film status, developing an enduring loyalty and following among fans over time, often through word-of-mouth recommendations. Sometimes, they were revolutionary, brilliant films 'before their time' (i.e., Fantasia (1940)) and not bound by the conventions of their day.
They elicit a fiery and intense passion in devoted fans, and may cause cultists to enthusiastically champion and become devoted to these films, leading to audience participation, fan club membership, and repetitive viewings and showings. Cult films have tremendous followings with certain groups, e.g., college campuses, 'midnight movie' crowds, independent film lovers, etc. Cult movie worshippers persuasively argue with all about the merits of their choices, without regard for standard newspaper or movie reviews from critics.
There's no hard-and-fast rule or checklist to gauge what makes a cult film. A cult film is often designated as such "in the eye of the beholder" without fufilling any definition. It's often a matter of opinion. One viewer's cult film may not be judged the same by another viewer. And just because a segment of devoted viewers (pre-teen girls) repeatedly watch a film - such as Pirates of the Caribbean: The Curse of the Black Pearl (2003) - to view its star Johnny Depp, or Titanic (1997) (to see Leonardo Di Caprio), or to view the latest George Lucas Star Wars film, doesn't make a film a cult film. However, there are the most popular cult films, such as The Rocky Horror Picture Show (1975) and any of the Star Trek films, that have developed cult followings with all the trappings.
One of the biggest, best-known cult films was not intended to become so popular. It was a low-budget, government 'documentary' propaganda film from the mid-30s created to dramatize the dangers of marijuana use and demon weed - Reefer Madness (1936). However, Tod Browning's grotesque Freaks (1932), was deliberately advertised as "the strangest...most startling human story ever screened," and had alternate titles including Forbidden Love, The Monster Show, and Nature's Mistakes. It used real-life dwarfs, pinheads, and other human freaks (portraying sideshow circus performers) to present a jolting story of revenge.
When first released, Crouching Tiger, Hidden Dragon (2000) and Almost Famous (2000) were almost instantly pronounced as cult films, but as time progressed, they didn't really fit the category. They were highly-acclaimed, award-winning films that were prominently shown in the mainstream, and it had been too early to judge them as cult films. The media often labels an unusual film as a 'cult film' when it really shouldn't. It takes time for a film to reach cult status.
Camp films are cult-type films, but they are often poorly made or ludicrous, yet still enjoyable and appreciated. Cult films follow no rules or pattern - some cult films are popular only among certain limited groups of audiences or friends.
Music-Based Cult Films:
Some cult films are music-based, such as director Rob Reiner's This is Spinal Tap (1984), a tongue-in-cheek spoof of rock documentaries, following a faux British heavy metal band's disastrous US tour; Pink Floyd: The Wall (1982), a bizarre film based on the popular rock album; Ken Russell's Tommy (1975), the Who's rock opera about a deaf, dumb, and blind kid who sure plays a 'mean pinball'; and The Blues Brothers (1980), a farcical musical comedy involving two loser musicians who resurrect their old blues band.
The first of two other quintessential rock musical cult films include the transgender The Rocky Horror Picture Show (1975) - notable for inspiring the craze of interactive, 'midnight movie' screenings. The iconic film was essentially a trashy tale set in a mysterious castle with kinky extraterrestrial Transylvanian transvestites, two stranded young people (including an underwear-clad Susan Sarandon), and a mad scientist. The second was a rebellious teenage musical comedy Rock 'N' Roll High School (1979) that featured a rock band named The Ramones. Perry Henzell's urban-crime drama The Harder They Come (1973) with musical star Jimmy Cliff, featured a reggae soundtrack and a seamy look at poverty and crime in Jamaica.
Well-Regarded Cult Films:
A number of cult films are well-regarded, such as Frank Capra's It's a Wonderful Life (1946), that became popular many years after its initial release due to repeated television showings. Likewise, the classic weeper An Affair to Remember (1957) has developed a loyal following (it was a remake of Love Affair (1939), was paid homage in Sleepless in Seattle (1993) and remade as Love Affair (1994) with Warren Beatty and Annette Bening).
Others include the science fiction classic Forbidden Planet (1956) that has developed a wide cult following, Kubrick's intriguing A Clockwork Orange (1971) - a surrealistic tale of an ultra-violent future and the danger of psychological reconditioning, or Coppola's anti-Vietnam war epic of a terrifying journey into hell in Apocalypse Now (1979), or another Kubrick classic, Dr. Strangelove Or: How I Stopped Worrying and Learned to Love the Bomb (1964).
Frank Darabont's subversive, allegorical, and life-affirming prison story about two life-sentenced prisoners, The Shawshank Redemption (1994), based upon a Stephen King story, failed at the box-office during its original release, but established a strong cult following its video release. George Roy Hill, the director of such Oscar-winning hits as The Sting (1973) and Butch Cassidy and the Sundance Kid (1969), also helmed the comedy-drama Slap Shot (1977) with Paul Newman - noted as one of the raunchiest, most foul-mouthed, macho sports films ever made. Another highly-regarded cult film is Monte Hellman's low-budget Two-Lane Blacktop (1971) - a late 60s to early 70s entry in the road film genre - that was both an existential character study and a car-chase/race film.
A visually rich Philip-Marlowe style detective film, director Ridley Scott's Blade Runner (1982), set in futuristic, proto-punk Los Angeles in 2019, and about an ex-cop (Harrison Ford) who hunts down renegade human replicants, has developed a wide cultish following. An early 70s big-cult favorite was director Hal Ashby's dark, eccentric and macabre Harold and Maude (1971) about a strange taboo romance between a 20 year-old boy (Bud Cort) and a fun-loving, joie-de-vivre 79 year-old woman (Ruth Gordon) to the tune of a Cat Stevens soundtrack - with ingenious scenes of the spoiled rich boy's mock suicide attempts staged to upset his mother. A year earlier, Bud Cort had starred in Robert Altman's quirky and satirical fairy tale Brewster McCloud (1970) as a bespectacled boy living in the Houston Astrodome where he was building a machine to escape and fly away. The Sound of Music (1965) when re-released in the late 20th century was presented as a sing-along version (with subtitles) along the lines of the participatory Rocky Horror, with fans dressing up as nuns, lonely goatherds and Nazis.
Conversely, some of the most praised films have pornographic origins, such as the ground-breaking Behind the Green Door (1972) due to its star Marilyn Chambers appearing in her first adult role (she was a former All-American Girl and Ivory Snow detergent model).
——http://www.filmsite.org/cultfilms.html
it's time for cult 《nacked lunch》是那种...像冰凉的黑色液体慢慢渗入到皮肤里，皮肤在变色，并感受到温度的降低，皮下的某个或某些部位在瘙痒，但抓不到准确的位置，找不到确切的入口，知道它的存在和它存在带来的变化，却摸不到看不见也表述不出的电影。now...it's time for cult.这又是一部被认知成“my style”的电影，像树婴、涨潮海岸一样被攫取到自己的体内，当别人提到我的名字的时候，就该一同说出它，例如可以在我冗长的墓志铭里写上诸如“十
影片改编自美国作家威廉·巴洛斯的同名经典颓废小说，小说的主题是海洛因和吸毒。影片所涉及的则全是虚构的所谓“毒品”，毒品在片中仅仅作为背景出现。这是最接近柯南伯格自己的《录影带谋杀案》的风格的作品，充满大量超现实和隐喻；也很像同年的科恩兄弟的《巴顿·芬克》，只不过更加晦涩。
总是让我想到《巴顿芬克》。虽然晦涩不堪,但隐喻的超现实风格显著。
太难懂了...各种无逻辑的剪辑满是隐喻的台词，就像进入因杀虫粉变High的柯南伯格的大脑，他所有疯狂恶心变态色情扭曲的幻想一并爆发，可惜我实在受不了那些让我浑身不适的虫类...
如果对威廉·巴勒斯的生平，以及他的作品有一定了解，这会是一部有趣的电影。现实与幻想交叉，充斥着吸毒者的癔症；遍布隐晦的情色，同性与异性的，加上柯南伯格的恶心美学或者说虫子美学，无法不称之为经典。再不济也会是一部蒙太奇教材范本。
战后文人的状态：披着君子面具的颓废内心，沉浸在虚幻的精神世界中。 p.s.由于智力原因，并没有太看进去
@ Prince Charles Cinema 搞隐喻大概没几个人搞得过柯南伯格，他那令人发指的美学观念和极尽恶心的隐喻指称对象让我心服口服，极端异质的影像某种程度上完美还原了原著，现实与幻想交织，如同一个吸毒者混沌大脑的癔症。逃离如果是向着interzone，困顿宿命还是注定的，毕竟没人逃得出自己内心的阴影。
你知道作家的生存是多么艰难，你知道CULT片的诞生是多么纠缠。异化的内心世界，随着用肛门说话的甲虫变得鲜血淋漓。无比邪恶怪诞的场面信手拈来，不过分夸张煽情，你看第二第三遍的时候，就能如同面对自己晦涩的内心一样来面对那些可怖的隐喻。其实总的来说我没看懂，还是大卫林奇能够理解一点。
写作对于作家而言，就是一种社会化的性行为，不论是金甲虫的肉色肛门，还是玛格瓦姆的提神粘液，都充斥着赤裸裸的肉欲。整个控制体系利用你“心中的污点”（原欲），让你沉迷于其不断更新的毒品（意识形态）所营造的幻觉，而在追逐欲望的循环中无可自拔。【9↑】
柯南伯格与巴勒斯合体构建的异质性世界令人着迷，我一度感到头皮发麻，仿若有水蛭从毛孔中排泄出来。服麻醉品的迷幻旅程&颓废堕落的社会象喻。结构有如半切开的洋葱，辛辣繁复。甲虫打字机，遭批量屠宰的巴西大蜈蚣，枪击游戏，蜕下的女性皮囊，打字机的互撕与碎裂，笼中人兽黏附似[怪形]。（8.5/10）
【C–】对各种隐喻体系的编排交织和柯南伯格标志性的邪魅道具所共同构成的作者表达已经到了让人作呕的地步，可以用晦涩来搪塞，但也止步于此。
理解不能。
化用剧中人的语言来讲，观看柯南伯格的《裸体午餐》确乎有种“卡夫卡式的快感”。诸多意象令人想起卡夫卡的《变形记》。甲虫代表着Bill或说每个人本人内心被压制的酒神欲望，认同却不敢承认的内心世界。而结尾无疑形成了一个新的环形结构，伴随西西弗斯式无奈与宿命轮回，欢迎来到安耐克斯
隐喻，隐喻，隐喻。让我们这些无比反感唧唧歪歪的人情何以堪
那个制作black meat的巫婆是Will&Grace里的Rosario吗！！！！！！！
怕虫党缩成了一小团 捂着眼睛从指缝里偷偷地看完了 久违的 温馨感。。。
1.这片子的成功改编，意味着颠覆了巴勒斯的巴勒斯，也许是更成熟的巴勒斯；2.结尾其实就是字面意思，杀死爱（和空气同在的瘾），是从内心边境进入的通行证……
一场关于写作的隐喻。比预期的低了一点点……因为如果按原作来的话，大概只能改成泡面番了，而那颠狂气控制的扭曲感画面，导演只能是汤浅政明了（见samurai champloo某话）。另，北非毒品爵士……这样的关键词，难道渡边（Cowboy Bebop剧场）有致敬？
在气质上，柯南伯格是最接近卡夫卡的天才导演。他又一次为我们构建了一个充满诡谲和梦幻的世界，生理上的不适感逐渐被探索的好奇所代替。「异化」的主题作为最直白的表述付诸在以文学写作为基础的行为当中，虫化的比喻阴冷潮湿，甚至带着无法抵抗的粘稠和诱惑，当人格分裂和幻觉逐渐占据上风，癫狂的想象力开始主宰整个世界。即使原著没读过，隐喻没看懂，也不影响这是一部具有魔力的作品。
怪诞象征中的挣扎与绝望，本质上是柯南伯格的《穆赫兰道》。相较于林奇的诡谲梦幻，柯南伯格的梦魇更为冷硬，呈现的是更富视觉冲击力的惊悚。虽然过于直白的影像呈现与幽郁且含蓄暧昧的文本情境有一点割裂，但柯南伯格这次在形象之外讲好了故事，属实难得，且足够惊喜