撒旦探戈

撒旦探戈
Sátántangó
撒旦探戈; Sátántangó
基本资料
导演	塔尔·贝拉
监制	费赫尔·捷尔吉
编剧	克拉斯诺霍尔卡伊·拉斯洛
原著	撒旦探戈[*]
主演	维格·米哈利; 波克·艾丽卡; 塞凯里·米克洛什
配乐	维格·米哈利
摄影	麦德维吉·伽柏
剪辑	赫拉尼茨基·阿格涅斯
片长	480分钟
产地	匈牙利; 德国; 瑞士
语言	匈牙利语
上映及发行
上映日期	1994年2月8日; ; ; ; ; ; ; ;
各地片名
中国大陆	撒旦探戈

撒旦探戈（匈牙利语：Sátántangó）是一部1994年匈牙利黑白电影。导演为塔尔·贝拉。影片时长长达7小时以上，计四百八十分钟。剧情原封不动地、细致入微地翻拍自匈牙利作家克拉斯诺霍尔卡伊·拉斯洛的同名小说《撒旦探戈》。^[1]其题材为黑色喜剧^[2]^[3]/讽刺剧。放映中设有两次小间歇。^[2]该片的镜头也出奇地长^[4]，平均一个镜头持续2分33秒。^[5]部分学者认为撒旦探戈传达了东欧剧变后社会主义转型至资本主义期间人们对新事物的期望和这些期望的幻灭。^[6]然而在一此专访中，导演塔尔·贝拉则否认他的电影带有任何政治隐喻；特别强调了其对电影行业（而非其他）的批判。^[7]

剧情

电影场景设定在匈牙利的一处荒凉乡村，取景地为匈牙利大平原。^[6]时间大致为匈牙利人民共和国末期。当地居民有时吃喝玩乐，有时无所事事，生活十分沉闷。其中一群居民试图合谋偷走社区的钱财然后远走高飞。正当要执行计划时，离去多年的故人伊里米亚什和佩特里纳回到了村子中。伊里米亚什欺骗居民说，如果他们和自己走，就能在城里享受好生活。居民们中除了一人以外都信了伊里米亚什，最后落得一个人财两空的境地。^[5]

高华斯·安德拉什（Kovács András）指出，电影中的角色全都处在一种“无希望的痛苦”之中。塔尔·贝拉在影片中使用了长篇累牍的哲学式对话来表现人在心理、身体、和社会层面的“退化”。影片中，这些哲学对话的主要演说者为伊里米亚什以及逮捕了他的警长。^[8]伴随着这些长句的，则是时长可达10分钟的超长镜头^[4]。

演员

该片总计有19个角色，其中只有9人由职业演员扮演。旁白也是由一个非专业人士叙述出的。^[8]塔尔·贝拉认为，电影中气候和环境因素以及两者对人物塑造的影响是不可或缺的。他声称，该片拍摄的场景本身就是角色之一。^[9]英国《卫报》评论道：“景观（在电影中）变得和演员同样重要了。”^[7]

奖项和评价

自从影片上映以来，许多学者、影评人深入地讨论，逐渐成为风尚所崇奉的经典电影。^[5]在影评网站烂番茄上，撒旦探戈获得了高达100%新鲜度以及94%的好评。^[10]

1994年柏林国际电影节卡利加里奖、布鲁塞尔国际电影节黄金时代奖^[5]

参考资料

^ 俞冰夏. 《撒旦探戈》中的问题30年后仍无解. 东方早报(上海). 2015-05-22 [2018-05-12]. （原始内容存档于2018-05-13）.
^ ^2.0 ^2.1 Rosenbaum, Jonathan. Essential Cinema: On the Necessity of Film Canons. JHU Press. 2004: 48. ISBN 9780801878404.
^ A. O. SCOTT. Facing the Abyss With Boiled Potatoes and Plum Brandy, Bela Tarr’s Final Film, ‘The Turin Horse’. New York Times. 2012-02-09 [2018-05-13]. （原始内容存档于2020-11-15）. In Mr. Tarr’s earlier films — like the magisterial, nightmarish, seven-hour “Sátántangó” and the wintry “Werckmeister Harmonies” — the heaviness was punctuated by incursions of the grotesque and the surreal, which may be why he has described them as comedies.
^ ^4.0 ^4.1 Wood, James. Reality examined to the point of madness. The Fun Stuff: And Other Essays. Farrar, Straus and Giroux. 2012: 283 [2018-05-13]. ISBN 9780374709068. （原始内容存档于2018-05-13）.
^ ^5.0 ^5.1 ^5.2 ^5.3 The Routledge Encyclopedia of Films. Routledge. 2014: 469 [2018-05-12]. ISBN 9781317682608. （原始内容存档于2018-05-13）.
^ ^6.0 ^6.1 Batori, Anna. Space in Romanian and Hungarian Cinema. Springer. 2018: 148 [2018-05-12]. ISBN 9783319759517. （原始内容存档于2018-05-13）.
^ ^7.0 ^7.1 Jonathan Romney. Out of the shadows. The Guardian. 2001-03-24 [2018-05-13]. （原始内容存档于2020-11-07）. Tarr says, was as much a reaction against the Hungarian cinema of the time as it was against the political system. "There were a lot of shit things in the cinema, a lot of lies. We weren't knocking at the door, we just beat it down. We were coming with some fresh, new, true, real things. We just wanted to show the reality - anti-movies.".......everything seemed to take place in a crumbling, depressive world of mud, alcohol and betrayal. The landscapes had become as important as the actors.
^ ^8.0 ^8.1 Kovács, András. The Cinema of Béla Tarr: The Circle Closes. Columbia University Press. 2013: 77–78 [2018-05-12]. ISBN 9780231850377. （原始内容存档于2018-05-13）.
^ Jaffe, Ira. Slow Movies: Countering the Cinema of Action. Columbia University Press. 2014: 160 [2018-05-13]. ISBN 9780231850636. （原始内容存档于2018-05-13）.
^ SÁTÁNTANGÓ (SATAN'S TANGO) (1994). [2018-05-13]. （原始内容存档于2020-11-12）.

[1] 俞冰夏. 《撒旦探戈》中的问题30年后仍无解. 东方早报(上海). 2015-05-22 [2018-05-12]. （原始内容存档于2018-05-13）.

[:3-2] 2.0 ^2.1 Rosenbaum, Jonathan. Essential Cinema: On the Necessity of Film Canons. JHU Press. 2004: 48. ISBN 9780801878404.

[3] A. O. SCOTT. Facing the Abyss With Boiled Potatoes and Plum Brandy, Bela Tarr’s Final Film, ‘The Turin Horse’. New York Times. 2012-02-09 [2018-05-13]. （原始内容存档于2020-11-15）. In Mr. Tarr’s earlier films — like the magisterial, nightmarish, seven-hour “Sátántangó” and the wintry “Werckmeister Harmonies” — the heaviness was punctuated by incursions of the grotesque and the surreal, which may be why he has described them as comedies.

[:4-4] 4.0 ^4.1 Wood, James. Reality examined to the point of madness. The Fun Stuff: And Other Essays. Farrar, Straus and Giroux. 2012: 283 [2018-05-13]. ISBN 9780374709068. （原始内容存档于2018-05-13）.

[:0-5] 5.0 ^5.1 ^5.2 ^5.3 The Routledge Encyclopedia of Films. Routledge. 2014: 469 [2018-05-12]. ISBN 9781317682608. （原始内容存档于2018-05-13）.

[:1-6] 6.0 ^6.1 Batori, Anna. Space in Romanian and Hungarian Cinema. Springer. 2018: 148 [2018-05-12]. ISBN 9783319759517. （原始内容存档于2018-05-13）.

[:5-7] 7.0 ^7.1 Jonathan Romney. Out of the shadows. The Guardian. 2001-03-24 [2018-05-13]. （原始内容存档于2020-11-07）. Tarr says, was as much a reaction against the Hungarian cinema of the time as it was against the political system. "There were a lot of shit things in the cinema, a lot of lies. We weren't knocking at the door, we just beat it down. We were coming with some fresh, new, true, real things. We just wanted to show the reality - anti-movies.".......everything seemed to take place in a crumbling, depressive world of mud, alcohol and betrayal. The landscapes had become as important as the actors.

[:2-8] 8.0 ^8.1 Kovács, András. The Cinema of Béla Tarr: The Circle Closes. Columbia University Press. 2013: 77–78 [2018-05-12]. ISBN 9780231850377. （原始内容存档于2018-05-13）.

[9] Jaffe, Ira. Slow Movies: Countering the Cinema of Action. Columbia University Press. 2014: 160 [2018-05-13]. ISBN 9780231850636. （原始内容存档于2018-05-13）.

[10] SÁTÁNTANGÓ (SATAN'S TANGO) (1994). [2018-05-13]. （原始内容存档于2020-11-12）.

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