迈阿密的一夜 One Night in Miami...6.5

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• 来自网友【透明空】的评论电影用一夜浓缩了1964年黑人民权运动的辉煌一页，让彼时四位完全不同类型的黑人代表置入同一逼仄的房间内被迫面对自己最本质的身份困境。作为山姆·库克的十年老粉，看到这段光辉岁月被翻出来真是激动万分。虽然我认为真实历史中山姆·库克的觉醒更具自发性，但影片中展现环境中避无可避的剧变湿度确实是更本质的处境。开场从几场歧视开始，同时交代四位主角的身份和性格。歧视场景从公众到私人顺序排列，歧视内容从粗鲁到文明顺序排序，通过下一场戏的音效提前介入进行转场。第一个出场的是彼时还叫小凯瑟斯·马塞勒斯·克莱的拳王阿里，全开放的拳击场歧视是来自四面八方，用环绕包围的声音展现而非具体的形象。阿里本人说话的风格就非常有腔调，有些观点提到他是说唱的先驱人，甚至出过专辑。这部戏还原挺到位的，毕竟幽默风趣、自吹自擂、贬低对手。第二个出场的是歌手山姆·库克，面对面的表演舞台歧视来自正前方的观众反应。表演有一段露骨的歧视性争吵，镜头将组织者和经纪人的两个白人对话慢慢落到虚焦，山姆·库克的痛苦而精彩的聆听反应过程变成画面的焦点面对观众。表演后还有一段山姆·库克对白人经纪人发火，他将白人对自己的歧视转嫁到相对无辜的弱势者身上。第三个出场的是传奇橄榄球运动员吉姆·布朗，开车拜访友人。镜头从室外到室内光线越来越暗。这位友人可能已经是当时时代最不歧视的一批人了，但正是他们不显山露水的歧视才是最结构性的，那看似敞开的非常高大的大门却是最拒之门外的，而1米88的球场之王看着如此矮小。这段带有非常重《逃出绝命镇》式的惊悚性。第四个出场是黑人民权运动领袖马尔科姆·X，他在新闻里说：“What's good news for the sheep, that might be bad news for the wolf.”（对绵羊来说的好消息，可能对狼来说是坏消息。）山姆·库克后来收录《A Change Is Gonna Come》的专辑就叫做《Ain't That Good News》。新闻画面转到马尔科姆·X自己家中的夫妻对话。这一场是没有具体歧视，展现一个纯粹的民权战士的窘迫，或者说不在场的歧视是他们对话中始终在场。这场戏的结尾点出马尔科姆·X把阿里当做自己的运动武器，并带出阿里在水里的标题画面。Ain't That Good News8.9Sam Cooke / 2003接下来出现了影片重要的时间点1964年2月25日，一段阿里光鲜亮丽的游泳池的对话戏和一段山姆·库克在豪华酒店枫丹白露的对话戏，都有在探讨金钱买来的尊重和阶级。然后阿里拿到冠军，基本开始最重头的室内戏“迈阿密的一夜”了。山姆·库克最先到达黑人区的汉普顿旅馆，他独自在房间拿出吉他自娱自乐，也可以看出他完全是抱着参加派对的态度来的。随后其它人也来了，马尔科姆·X不断把话题往严肃民权问题上引。本质上这是一个温和派和激进派的冲突。第一次冲突以马尔科姆·X出去车上拿相机无疾而终。山姆·库克有一首歌叫《Another Saturday Night》，可以看出他对于消耗夜晚的态度。马尔科姆·X出去后，大家有些碎嘴但努力想把气氛缓和。他们拿出山姆·库克藏的酒，阿里也开始他最后一次饮酒。可以看出，其它两个人也认同今夜是来派对的。当一个守卫敲门时，阿里以为是马尔科姆·X有个藏酒的动作。最后和守卫的对话落脚到宗教意义的探讨，守卫觉得和黑帮没有什么区别。然后，吉姆·布朗提到自己要演电影，他清楚自己只是角斗士而非统治者，运动员和演员没有本质区别。但阿里觉得有区别，之前也有他觉得自己超越亚历山大大帝的台词。提到的电影应该是西部片《勇战关山》。勇战关山 (1964)暂无评分1964 / 美国 / 西部 / 戈登·道格拉斯 / 理查德·布恩 斯图尔特·惠特曼马尔科姆·X发现有人在跟踪他回到房间检查是否有窃听器之类的，随后四个人一起来到天台正好有烟花在放。阿里觉得这个烟花是为他放的，联系他刚刚拿了冠军，的确有这个可能性，但即使如此，他因为黑人身份也只能在远方看着。马尔科姆·X又将话题引到沉重之处，他说自己感觉到死亡的预兆。阿里几次想要缓和气氛，但话题总是很快又因山姆·库克和马尔科姆·X的冲突不欢快起来。山姆·库克争取的是更温和的商业进步，马尔科姆·X斗争的是更激进的横眉冷对。天台对话中山姆·库克有提到他要去科帕演出，可能指的是现场专辑《Sam Cooke at the Copa》。这场演出中，山姆·库克翻唱了《Blowin' in the Wind》。Sam Cooke at the Copa9.1Sam Cooke / 2003回到房间的室内戏，马尔科姆·X放了山姆·库克的专辑《Mr. Soul》两首山姆·库克的歌分别是《You Send Me》《For Sentimental Reasons》，论证他的歌是取悦白人的。此处有个明显Bug，《You Send Me》这首歌并没有收录在这张专辑中，可能因为再拿一张黑胶动作不够简洁吧。这里虽然好像马尔科姆·X说瞧不起山姆·库克的歌，但是他都买了他的专辑，后面也提到多次去看他的表演，其实本质上是真爱粉。Mr. Soul暂无评分2012马尔科姆·X指责山姆·库克的音乐取自黑人取悦白人，这是对山姆·库克所奋斗的一切的指责，所以这里爆发了全片最激烈的争吵。阿里继续试图缓和气氛失败了，吉姆·布朗试图打断马尔科姆·X也失败躲进厕所了。这里补充点额外信息，山姆·库克最早是创作和演唱福音歌曲出道的，具体风格可以听听他在福音团体Soul Stirrers时的歌曲《Jesus Gave Me Water》。后来才跨界到流行音乐，可以听听他的经典歌曲之一《Cupid》——丘比特也是一种神，把她替换成上帝，这首歌基本也算成立的。但山姆·库克试图用自己丰富的商业经验说服马尔科姆·X，他举了滚石乐队翻唱《It's All Over Now》的例子。然而马尔科姆·X放了鲍勃·迪伦的《Blowin' in the Wind》，说这本来应该是山姆·库克应该写的歌，而为什么却是一个白人写的，而且比你的所有歌商业成绩都要好。山姆·库克无言以对摔门而出，基本宣布了他这次辩论的失败。因为这段信息量很大，补充两点题外话： 1、《It's All Over Now》的故事电影中说的差不离，说下“英伦入侵”的一些内容。摇滚乐本质是启发于黑人布鲁斯音乐的，最早也是从查克·贝里等黑人歌手开始的，猫王更多是将这些进行了白人化改造。而“英伦入侵”是英国的一批摇滚乐手反向输出到美国并统治榜单，这一切的起点披头士乐队，它们早期每张专辑基本都有几首歌翻唱自黑人音乐的作品，黑人歌手小理查德也是主唱保罗·麦科特尼年轻时的偶像。 2、有研究发现《Blowin' in the Wind》受启发于黑人圣歌，修辞上融入了圣经的风格，尤其是歌词中反问的使用。可以联系上片中马尔科姆·X对歌词的强调。阿里继续扮演和事佬追出门找山姆·库克，而房间内开始马尔科姆·X和吉姆·布朗的对话。吉姆·布朗的这些台词是全片最深刻的。他旁观了这么久终于开始表达，才发现他是看得最清楚的，他既理解现状的残酷也理解山姆·库克选择的重要性。这段对话以最后马尔科姆·X失声哽咽结束，吉姆·布朗算是为山姆·库克扳回一城。“What's going on？”这里不知道是不是编剧在引用马文·盖伊的专辑《What's Going On》，但这个问题的确是对所有时代黑人群体或者美国社会的诘问。影片最后山姆·库克也重复了这个问句。What's Going On9.3Marvin Gaye / 1971阿里劝回山姆·库克后，马尔科姆·X回忆了他曾经在波士顿看过的一场山姆·库克的演出。当时拔掉山姆·库克准备唱《You Send Me》麦克风的是杰基·威尔森（Jackie Wilson），这也是节奏蓝调发展出灵魂乐的重要人物之一。他此前表演的歌曲是《Lonely Teardrops》，这首歌最高达到公告牌R&B榜第1和总榜第7的位置，是他最重要的歌曲之一，他去世前也是表演这首歌的时候晕倒的。随后山姆·库克临场应变带领全场表演了《Chain Gang》，仿佛回到了圣歌的状态。这首歌启发于他巡演过程中在高速路旁偶遇一帮囚犯，这首歌最高达到公告牌总榜第2的成绩。这是我觉得这部电影中重新演绎最好的一首。题外话，山姆·库克的现场表演感染力是非凡的，可以去听听他的现场专辑《Live at the Harlem Square Club, 1963》。这张1963年的现场录音当时因为唱片公司觉得太过于吵闹刺耳被搁置了20多年，直到1985年才重新被发现并发行，这是当时黑人音乐现场绝好氛围的记录，某种程度上混淆了宗教体验和现场表演，是我个人的十佳专辑之一。One Night Stand: Live at the Harlem9.4Sam Cooke / 1963虽然阿里和马尔科姆·X就信仰有了一段情绪化的争吵，但听说外面有记者，阿里还是欣然叫上了他一起去公开信仰。房间里山姆·库克向吉姆·布朗吐露了自己早就听过《Blowin' in the Wind》，并已经受此启发开始创作了。整个“迈阿密的一夜”段落从阿里获得冠军出发，到他向记者宣布自己的穆斯林身份结束。电影随后交代了每个人之后的发展。山姆·库克写下了他最好的一首歌《A Change Is Gonna Come》，阿里真正成了阿里，吉姆·布朗几个赛季后真当演员去了，而马尔科姆·X家被烧后写了自己的自传。这里又出现了一个Bug，电影交代“迈阿密的一夜”发生的时间是1964年2月25日，山姆·库克的《A Change Is Gonna Come》1963年就已经开始构思了，虽然的确受到《Blowin' in the Wind》的影响没错，但在“迈阿密的一夜”之前就已经发行。发行之前甚至也在电视节目上表演了这首歌的唯一一次现场版本。之后山姆·库克觉得这首歌太像死亡了，就发誓不再表演这首歌的现场版本了，命运也没有给他机会再次表演这首他的传世经典。即使是这唯一的现场版，如今也已遗失了，倒是同天表演的《Basin Street Blues》还能找到录像。这也是我最喜欢本片的一个点，它虽然不是还原那一刻，但至少给了我们关于遗失之梦的动情想象。【Sam Cooke】Basin Street Blues（19640207官拍）_哔哩哔哩 (゜-゜)つロ 干杯~-bilibili也许《A Change Is Gonna Come》也是山姆·库克的某种死亡的预兆吧，1964年12月11日他在一次有争议的正当防卫案件中被洛杉矶一家汽车旅馆的旅馆女经理枪杀，死在了马尔科姆·X前头，电影没有交代山姆·库克的死亡。他在歌词中写了自己害怕死亡，同时预感到一个改变的到来。但他死了再没有机会看到一个改变真正到来。而这首歌永远成为了黑人民权运动的代表歌曲。“现在是要做出牺牲的时候，如果我要牺牲，那会是因兄弟会而牺牲，唯有它才能拯救这个国家。”马尔科姆·X写下这段话两天后遇害了，此时距离“迈阿密的一夜”大约一年。It's been a long, a long time coming But I know a change gonna come ——Sam Cooke《A Change Is Gonna Come》57年了，改变真的会到来吗？
• 来自网友【他他】的评论Amid the all-the-rage Afrocentric cinema, here are two resounding directorial feature debut from two African-American female hyphenates. THE 40-YEAR-OLD VERSION is playwright-actress-rapper-comedienne Radha Blank’s semi-autobiographical account of her career struggle, whereas ONE NIGHT IN MIAMI… is Oscar-winning actress Regina King’s foray behind the camera, a fictionalized bull session based on a real-life happenstance featuring 4 renowned all-male black personages in 1964.VERSION is a feisty, punchy, seriocomic satire about how to “make it” in the NY theatre scene (the bottomline is you should be the real deal, not a phony). Blank directs, writes, produces and stars it, playing a version of herself, a playwright edging 40 and still pays her dues, who oscillates between chasing the elusive success of debuting her play in Broadway and reigniting her passion for rapping and rhyming, and Blank tells us those two dreams are not necessarily exclusive. Playwriting is Radha’s vocation which is more likely to reward her with financial security and prestige than her rhyming side hustle under the alter ego “RadhaMUSprime”, however, it is a fertile ground for romantic tingles and you can both your cake and eat it too.Radha’s pursuit of Broadway entails the usual snags a writer has to face (it is important to note that is not racialized, any writer may contend with meddling producers and conceited directors, her coloration doesn’t play a key part in that), and she doesn’t go to the mat for her writer’s integrity, lets her work being bastardized (to attract more lighter-skinned audience obviously) in exchange for that Holy Grail, she only denounces it after she has earned her place on the stage during the curtain call.It seems the climactic, rhetorical “épater les bourgeois” speech/rap combo is too tempting for Radha the filmmaker to eschew, which she delivers cogently, but it is an all-too-obvious soapbox to grab. The truth is, Blank’s no-show would have spoken much more volumes. One could only wish she could ditch the fancy dress, skip the premiere and make a beeline to her new boyfriend D (Benjamin, looks perpetually stoned), to celebrate her personal triumph in another “Queen of the Ring” smackdown, perhaps?VERSION is consciously flouts the poverty porn treatment and other well-worn stereotypes (a dis of “the magic negro” is the funniest gag, with Radha’s cracking knee comes close as the runner-up), therefore, by shooting in black & white 35mm film, Radha adds a beguilingly poetic sheen to the film's look and diverts our attention to the harsh reality (for instance, in her own words, Radha says she is living in a “box”, but we don’t get to see the what the box looks like). Only the subplot involving Radha’s unruly, diverse students (yes, her main job is a high school drama teacher) ends up half-baked.By all accounts, Radha comes out with distinction, her directorial technique is promising and her performance is full of nuances, comical gestures and surely the woman can rap just for the hell of it! Also, as Archie, Peter Kim’s “gay best friend” iteration is upgraded with great agency and a soupçon of intersectionality, his chemistry with Radha is simply divine.King’s ONE NIGHT IN MIAMI… brings us back to a pivotal day, on February 25, 1964, Malcolm X (Ben-Adir), Jim Brown (Hodge), Sam Cooke (Odom) and Cassius Clay (Goree), before he changed his name to Muhammad Ali, are gathering together to celebrate Clay’s fresh victory as the new heavyweight champion. Writer Kemp Powers puts his puissant words into the quartet’s mouths, gives a comprehensive look of the hot-button racial and religious issues that bind and divide the four made men of dark pigmentation.King manages to construct an adequate period milieu but she betrays her greenness in Clay’s match sequences, punches are conspicuously pulled, not a single sweat is shed, the pace is haphazard, their fakery is astonishing and a waste of Goree’s well-honed physique. Which makes one realize we cannot take the expertise shown in Ryan Coogler’s CREED (2015) for granted.Albeit the four’s amity, discords are crammed into the long night, but Powers cherry-picks the internecine face-off between Malcolm X and Sam Cookie as the center piece. It is a writer’s comprise, because their divergence is least tub-thumping (it is merely a matter of different means to the same end), whereas the more intricate, delicate frictions (e.g. under Malcolm’s tutelage, Clay’s sudden conversion to Islam is a bombshell to Brown and Cooke; or Malcolm’s own departure from Elijah Muhammad’s Nation of Islam appears like a betrayal to Clay, and he doesn’t even care to explain the reason why.) are sideshows.If Goree’s impersonation of Clay is a shade facetious, unconvincing, playing a 22-year-old wunderkind basking in his crowning glory doesn’t imply he is a cardboard dynamo, Hodge’s Brown comes off as more balanced, meditative and realistic, an apt mediator when dissension emerges. Gauging that he is the only one who is still with us today, Jim Brown receives a kid-glove treatment. Then, Odom, with the bonus points earned by his velvety musicality, nabs two Oscar nominations (one for acting, one for SPEAK NOW, the rousing, tuneful song that almost leaves Yours Truly misty-eyed during the end credits), and his Cooke is a relaxed, cool guy, no thorny side, only gets defensive when he is subjected as the fair game by a militant Malcolm, his canniness (catering to white folks while fostering black talents sounds just like the right move) and chasteness (served as the inspiration of writing his signature song A CHANGE IS GONNA COME, an outcry for racial equality) are shown in equal measure. An anecdote of being wrong-footed by Jackie Wilson (Jeremy Pope makes a flash of imitation) is a mawkish move.Ben-Adir pours out all his heart and commitment to give us a jaded activist with dimensions, tormented by presentiment and paranoia, Malcolm looks like he knows his time is clicking (which is contrasted by Cooke’s insouciance, they would both make their maker within one year, Malcolm is assassinated, and Cooke’s case is a rather peculiar, unexpected one hurt for a cinematic adaptation), even his didactic speech is infected with a pang of desperation, no heroic self-importance can be felt from the martyrdom in the offing and how can one not affected by so heartfelt a cri de cœur, still, as posterity, we fail him time and again. Ben-Adir is my MVP among the cast.Like the acronym of Blank’s film: “F.Y.O.V. - Find Your Own Vision”, is opportune to the Afrocentric cinema, now the window of opportunity finally opens, audience needs to be bowled over by fresh visions, a shortfall in both Blank and King’s debut features.referential entries: Barry Jenkins’ IF BEALE STREET COULD TALK (2018, 7.3/10); Shaka King’s JUDAS AND THE BLACK MESSIAH (2021, 7.7/10); Curtis Hanson’s 8 MILE (2002, 7.3/10).Title: The Forty-Year-Old VersionYear: 2020Country: USALanguage: EnglishGenre: Comedy, DramaDirector/Screenwriter: Radha BlankCinematography: Eric BrancoMusic: Guy C. RoutteEditing: Robert Grigsby WilsonCast:Radha BlankPeter KimOswin BenjaminImani LewisHaskiri VelazquezReed BirneyAndre WardAntonio OrtizT.J. AtomsAshlee BrianStacey SargeantWilliam Oliver WatkinsMeghan O’NeillWelker WhiteJacob Ming-TrentRating: 7.3/10Title: One Night in Miami...Year: 2020Country: USALanguage: English, ArabicGenre: DramaDirector: Regina KingScreenwriter: Kemp Powersbased on his own stage playMusic: Terence BlanchardCinematography: Tami ReikerEditing: Tariq AnwarCast:Kingsley Ben-AdirEli GoreeLeslie Odom Jr.Aldis HodgeLance ReddickChristian MagbyJoaquina KalukangoMichael ImperioliBeau BridgesNicolette RobinsonJeremy PopeLawrence Gilliard Jr.Rating: 7.2/10