直到世界尽头

陪你们昂首直到世界尽头

爱你们的心不需要任何理由

一起疯疯癫癫闹完高中三年

陪伴是最长情的告白

爱自己是最浪漫的开始

我要告诉你们

人生没有彩排

只有现场直播

失去之后

便不会从头再来

好好珍惜现在

因为我们缘份依旧在

你们在我心里

永远无可替代

爱你们的心不需要任何理由

一起打打闹闹永不停休

陪你们昂首直到世界尽头

因为那里有我们梦想的方舟

大荧幕看的。公路电影代表作，画面震撼，音乐一流，视觉先锋，4.5，因为直到最后一部分作家拯救女主后长篇独白才认为值五星。”连载小说体”电影，故事场景不停切换，连贯的只有不变的主人公。把第一部分与最后一部分放一起，你绝对猜不到这是同一部电影。公路电影没错，但彻底到如同漫无目的在公路上奔驰，散记沿途故事，没有统一核心。同时，每一章回单剪出来，完美。

最爱作家这个人物，他一开始就看透了女主，看透了她的自毁、她的爱的虚幻、她的狂热，但他什么都不讲，只适时说Come back，她不come back就帮助她做她想做的事，最后拯救了她，却清醒知道他不是女主爱的人。最后那篇独白，我深深感慨这种思想高度才是人类经历灾难的意义啊。

女主无法爱上他，是因为她有disturbing和self- destructive的soul ，完美避开所有安全美好有意义的人，不断投身漩涡与自我牺牲，而这一切，作家都明白。看透你，依旧爱你，他是真爱。作家说：有时深爱一个人，爱的是你的projection，因为你爱的只是你自己。无法超越自恋，无法拥有爱。文德斯偏爱公路电影，也许他执着认为人的自我在不断追逐中，不断追寻不断上路，灵魂不息，探索不止。

文德斯作为导演，他认为真正能拯救迷失灵魂的却是文字，也就是文学。影像让人沉迷，文字却是power。我觉得这跟文德斯的风格有关系，他从不试图在电影中寻找深刻，是电影界的Andy Warhol。我猜，这话伯格曼不会同意。

但至于我，的确认为读书比看电影更快乐一点，原因是，读书比看电影过程中思考更主动。但这也恰恰因为电影不仅仅有思想，还有艺术。给我同样的时间，我愿意看到更多美的可能性。

Saw Wim Wenders’ epic passion project on a big screen in its 179-minute European version (not the 280-minute trilogy version), UNTIL THE END OF THE WORLD, a fin-de-siècle globe-trotter, is the ultimate road movie, traversing through four continents and a handful of countries (from France, to Germany, Russia, China, Japan, then USA, finally lending its feet on Australian outback), it astounds audience with its gorgeous celluloid richness and a surprisingly prescient depiction of image addiction in the then-forthcoming digital era.

Near future in 1999, French girl Claire Tourneur (the late Dommartin, Wenders’ then companion and helpmate in conceiving the original story) is hit by a windfall (conveniently becomes an accomplice of two bank robbers and shares their munificent plunder) and falls in with a mysterious man named Trevor McPhee (Hurt, well cocooned in a melancholic vulnerability that betrays unsaid past woes), who evades an armed pursuer and filches some of Claire’s ill-gotten cash afterward. But Claire is intrigued by him, with the help of a German private eye Philip Winter (Vogler), they trace Trevor around the world, soon joined by Claire’s neglected boyfriend Eugene Fitzpatrick (Neill), and Trevor’s real identity is disclosed as Sam Farber, the son of a reclusive scientist Henry Farber (a sprightly uncompromising von Sydow) and has an expensive bounty on his name for possessing a cutting-edge device designed by Henry.

Claire’s infatuation with Sam drives her to flee with him on the spot and leave both Philip and Eugene behind, their cat-and-mouse escapade finally ends in Australia, right when a contentious Indian nuclear satellite is shot down by a USA missile, its NEMP effect wipes out nearly all electronic device worldwide, which marks a doomed trepidation of an apocalypse. In the outback, living among the aborigine, are Henry and his blind wife, Sam’s mother Edith (Moreau, gracing the picture with a becalming poise and warmth), and a family reunion closes the first half.

The second half of the film (mostly) firmly constrains its itchy feet on the massive Australian desert topography and distances itself from the central romance and veers into Henry’s unflinching experimentation, through the aforementioned device, at first he tries to synchronize Sam’s memories (which he has garnered all around the globe with Edith’s relatives), then transmit them to Edith’s, so that Edith can finally see the world she is living in (trenchantly, the revelation is not all positive as Edith admits the world is not looking good at all), and later, after a bereavement (the experiment takes a heavy physical toll on its human subjects), Henry beavers away in recording and then visualizing human dreams (too ambitious and unethical an endeavor that repels his aboriginal lab team), which severely effects its subjects’ mental states, Henry, Sam and Claire all become obsessively addicted to their visualized dream sequences, they all drift apart and are immured in their benumbed isolation with a digital device in hand (how prophetic!), only Claire is dragooned into a withdrawal process thanks to a persistent Eugene, who has taken the duty as our narrator from the very beginning and a scribe duly puts these quixotical events into words.

Much blood and sweat is pretty in evidence invested in this irrefutably stunning cinematic adventure (also capitalizing on the exotic/futuristic localities, Japan’s capsule hotel and pinball parlor, fictional visual phone booth, for instance), in conjunction with the FX team’s avant-garde welding of both analogue and digital technology in rendering the pixelated, elusive memory/dream sequences, to say nothing of its zeitgeist-conveying soundtrack, a potpourri contributed by quintessential New Wave/avant-garde acts like Talking Heads, R.E.M., Can, Nick Cave and the Bad Seeds, Patti Smith, Depeche Mode, etc., along with U2’s imposing titular theme song. However, when all is said and done, even running only around 3 hours, UNTIL THE END OF THE WORLD’s epic length feels too long for its own good and too indulgent in Wenders’ over-confident strides, in spite of the post-modernity and topicality evoked by its marvelously envisioned contents.

referential entries: Wenders’ THE AMERICAN FRIEND (1977, 7.8/10), WINGS OF DESIRE (1987, 8.5/10).