《悲兮魔兽》| BEHEMOTH
撰写：来子煊
“上帝在第五日创造了比蒙巨兽，它是陆地上最大的生物，每天吞食一千座山峰。” | “God created the Behemoth on the fifth day, the largest creature on land, consuming a thousand mountains every day.”
由于影片聚焦揭露了内蒙古矿场尘肺病的黑幕，所以遭到中宣部和广电总局的封杀，影片在时光网、豆瓣社区的主页也已消失。
本文分为两个板块，分别从视听语言、叙事结构两个角度，对影片表达的政治态度进行分析。
一、 视听语言
与传统的关注社会问题的纪录片不同，《悲兮魔兽》有足够的勇气让图像说话，而舍弃了冗长的对白和访谈。这一点，使得这部影片上升为了一曲诗意而抒情的慢板，用大景深和长镜头构筑出了内蒙古的荒漠化、快速发展的煤钢工业化和顽固不退的社会不平等问题。
a) 影片全篇贯穿着一位背着镜子的向导，只身走在广袤的天地间，一人，一镜，确是将人类的个体遥远在画幅中，更是突出了个体在遭遇尘肺病、遭遇工业化的大潮和遭遇栖身之所被破坏时的无助和荒凉。
b) 一位少年裸露后背，弯着身子蜷缩在土地上，这个线索也贯穿着全片。只好栖身于荒土上，面对无法刹车的环境破坏，拿什么去面对眼前寥寥的草根和看不到希望的未来呢？
c) 一尊牧羊女的雕像，横立在画面中，高大的身影下是一群洁白的假羊，远处，烟囱里正在肆意吐息着浓烟，空留这几尊呆滞的雕像与轰然的烟囱作伴，没有羊和草的土地，还能被称作草原吗？
d) 一张一张沾满煤灰的脸和深深刻上的皱纹，随着一声声的吸气呼气，一罐一罐黑色的气体从这些人的肺里抽出来。付出了煤矿工身体和生命为代价的工业化进程，真的使他们的生活变得更好了吗？
这部电影的视听语言上做到了近乎完美的极致，恐怕单凭我单薄的语言是不足为述的。作为一个纪录片导演，赵亮从艺术家的视角做到了一种“呈现”的极致，把纪实的纪录片用超现实的手法呈现，表达出了其荒谬而引人深思的现实问题。
二、 叙事结构
本片的叙事结构也十分独到，致敬了但丁的著作《神曲》，《神曲》中的向导维吉尔将但丁从地狱引到炼狱，本片也采取了这个结构：分为——地狱、炼狱、天堂。讽刺的是，《神曲》中的向导维吉尔因为未被救赎是无法离开地狱和炼狱的，因此电影中的天堂真的就是天堂吗？
a) 地狱：
影片的开头采用了一个远镜头的爆破场面，乌压压一片向下勘掘的巨大矿坑，伴随着嘶吼着的轰鸣声，俨然是《神曲》中地狱景象的复现。另有一场在矿井内向下潜入深处的长镜头，压抑的画面和单调的噪音，随着向下越深，这些机器发出的声音和爆破的噪音交杂在一道。
b) 炼狱：
从地狱来到炼狱，在这一片几近淹没众生的红色之中，是犹如炼狱之火般的炼钢厂。而这些付出了这么多代价制造出来的钢材和能源在为谁输送？如此，我们引出了第三篇。
c) 天堂：
导演并没有说明这座“天堂”身处何处， “天堂”里高楼耸立，却是渺无人烟，只有清洁工潜居其中，在这座已经无比干净的城市里四处找寻垃圾。当背着镜子的向导再次出现在空荡荡的街道，这座由于房地产泡沫 和错误决策的城市仿佛在低吟着哭泣… …这就是用贫困、剥削和生命换来的虚假的繁荣吗？
面对政治上的压力，这部电影却并不像是一把血淋淋的小刀，而更像是一顶余音绕梁般的立钟，在这场借《神曲》之壳的噩梦中，不刺耳而坚定地发出深沉的音色。从尘肺病工人的生活困境入手，揭露社会问题，提醒人们在快速而不可阻挡的工业化途中，是否还应给我们齿唇相依的环境，和弱势群体的人权问题，作出一份社会责任的承担呢？
Due to the film’s focus on the dark curtain of pneumoconiosis in Inner Mongolia, it was blocked by the Central Propaganda Department and the State Administration of Radio, Film, and Television. The film’s homepage in Time Network and Douban Community has also disappeared.
This paper is divided into two sections, which analyze the political attitude of film expression from the perspectives of audiovisual language and narrative structure.
I. the audio-visual language is
different from the traditional documentary focusing on social issues. “Sorrowful Warcraft” has enough courage to let the image speak and abandoned the lengthy dialogue and interviews. This made the film rise to a poetic and lyrical slow plate. With a large depth of field and long lens, it constructed the desertification of Inner Mongolia, the rapid development of coal-steel industrialization and the intransigence of social inequality.
a) The whole film runs through a guide with a mirror. Walking alone in the vast world, one person, one mirror, is indeed the individual of the human being in the frame but also highlights the individual suffering from pneumoconiosis and encounters. The tide of industrialization and the helplessness and desolateness of the destruction of the habitat.
b) A teenager bares his back and bends over his body, and this clue runs through the film. Had to live in the wasteland, face the destruction of the environment that can not break, what to take to face the grassroots in front of you and the future without hope?
c) A statue of a shepherdess, standing in the picture, under the tall figure is a group of white fake sheep, in the distance, the chimney is smothering smoke, leaving these statues and the chimneys With the land without sheep and grass, can it be called the grassland?
d) One face covered with soot and deep wrinkles, with a breath of inhaling, a can of black gas is drawn from the lungs of these people. Did the industrialization process at the expense of the body and life of coal miners really make their lives better?
The film’s audiovisual language has achieved near-perfect ultimate, and I am afraid that my thin language alone is not enough. As a documentary film director, Zhao Liang has achieved a kind of “presentation” from the perspective of the artist. He presented the documentary in a surreal way and expressed his absurd and thought-provoking reality.
II. Narrative Structure The narrative structure of this
the film is also very unique. It pays tribute to Dante’s book Divine Comedy. The guide in the Divine Comedy Virgil leads Dante from Hell to Purgatory. This film also adopts this structure: – Hell, Purgatory, Heaven. Ironically, the guide Virgil in Divine Comedy could not leave Hell and Purgatory because he was not redeemed. So is heaven in the movie really a paradise?
a) Hell:
At the beginning of the film, a far-lens blast scene was used. The Ukrainian pressure crushed a huge pit that was digging down. With the roaring sound, it was the resurrection of the scene of hell in Divine Comedy. Another long shot that sneaked deep into the mine, the repressed picture and the monotonous noise, the deeper and deeper, the sound of these machines and the noise of the blasting mixed.
b) Purgatory:
From Hell to Purgatory, in this red that is almost inundated with all beings, it is a steel mill like a fire of purgatory. And who are the steel and energy that have been produced at such a price? So, we have drawn the third.
c) Heaven:
The director did not explain where this “paradise” is. The tall buildings in “Heaven” stand tall, but there is no smoke. Only the cleaners are hiding in it, looking for garbage in this already clean city. When the mirror-backed guide reappears in the empty streets, the city, which is due to the real estate bubble and wrong decision-making, seems to be crying low… Is this a false prosperity that is exchanged for poverty, exploitation, and life?
In the face of political pressure, this film is not like a bloody knife, but more like a reverberating clock. In this nightmare of the shell of Divine Comedy, it is not harsh and firm. The ground emits a deep tone. Starting from the plight of the pneumoconiosis workers, exposing social problems and reminding people whether they should give us a social responsibility for the environment of the vulnerable groups and the human rights of the disadvantaged groups on the road of rapid and unstoppable industrialization. ?
参考资料|References
http://www.backseatmafia.com/dvd-review-behemoth/
http://cineuropa.org/nw.aspx?t=newsdetail&did=298474
http://www.inmediahk.net/node/1040477
http ://www.backseatmafia.com/dvd-review-behemoth/
Bombita Films 