胡戈，你让多少人失望？
胡戈的柔软馒头砸坏了陈凯歌的金字招牌。某些披着万朵祥云在中国影坛呼风唤雨的导演，多年苦心经营的权威一不小心被急功近利的跟风心态所毁灭，当虚弱的“纸”已经被撕成碎片的时候，我又岂能卑鄙的落井下石？之所以重提陈腔滥腔，乃是因为胡戈的出现，恰好迎合了我的一个秘密期冀：被“三巨头”垄断的中国电影格局被打破，昆汀•塔伦蒂诺、北野武、彭浩翔（而非贾樟柯文艺腔）式的神话，在僵硬、乏味的中国电影落地生根，一个天才新锐导演，众望所归的，摧枯拉朽的发起电影革命，从此，有趣代替沉闷，娱乐改变说教……勇敢的担当起被中国导演们忽略的商业片，给中国影迷带来福音。
由此可见我对《乌笼山剿匪记》所怀的热情期望。当初仅是一个《大杀器》的片名和20万元的投资传言，便使我心驰神往。然而，在想入非非的迫切心情下看了《乌笼山剿匪记》后，却深感失望。
当然，我坦白，我还是被逗笑了，几乎从头笑到尾。含沙射影的解构，嘲讽，张冠李戴的角色错位以及“糟糕的表演”，都令我不由自主的发笑。笑完了，想起该片号称“二十万”的投资，觉得性价比还是稍低一些。
首先说说该片的“技术”吧，无异，它与美国系列搞笑片《惊声尖笑》不谋而合，戏仿、解构一些最近热映大片里的经典桥段，凭借观众自发的联想收获高度反差的搞笑。最近的《惊声尖笑4》里恶搞了“大鲨鱼奥尼尔”、麦克尔•杰克逊娈童“事件以及《断臂山》、《世界大战》、《金刚》、《咒怨》等电影，而《乌》则融入了对《十面埋伏》、《英雄》、麦克尔•杰克逊MTV的评介与戏仿……此种做法的优点就是花费不大，用我一个朋友的话来讲，就是靠些“小聪明”用剪刀与胶水制作出来，省事省力。
我没有苟同该朋友的说法，因为我的失望源于“天才独立导演”的神话并没有得到实现。我偏执的在想一个问题：胡戈的20万元是怎么花掉的？
No young man believes he shall ever die. It was a saying of my brother’s, and a fine
one. There is a feeling of Eternity in youth,
cat supplieswhich makes us amend for everything. To be young is to be as
one of the Immortal Gods. One half of time indeed is flown-the other half remains in store
for us with all its countless treasures; for there is no line drawn, and we see no limit to
our hopes and wishes.
dog apparelWe
make the coming age our own -- The vast, the unbounded prospect lies before us
Death. old age. are words without a meaning.
dog bagsthat pass by us like the idea air which we regard not. Others may have
undergone, or may still be liable to them-we "bear a charmed life”, which laughs to scorn
all such sickly fancies. As in setting out on delightful journey,
dog bedswe strain our eager gaze forward-
Bidding the lovely scenes at distance hail!-and see no end to the landscape, new objects
presenting themselves as we advance; so, in the commencement of life, we set no bounds to
our inclinations. nor to the unrestricted opportunities of gratifying them. we have as yet
found no obstacle, no disposition to flag;
dog bowlsand it seems that we can go on so forever.
We look round in a new
world, full of life, and motion, and ceaseless progress; and feel in
ourselves all the vigor and spirit to keep pace with it, and do not foresee from any
present symptoms how we shall be left behind in the natural course of things, decline into
old age, and drop into the grave. It is the simplicity, and as it were abstractedness of
our feelings in youth, that (so to speak) identifies us with nature, and (our experience
being slight and our passions strong) deludes us into a belief of being immortal like it.
Our short-lives connection with existence we fondly flatter ourselves,
dog carriersis an indissoluble and
lasting union-a honeymoon that knows neither coldness, jar, nor separation. As infants
smile and sleep, we are rocked in the cradle of our wayward fancies, and lulled into
security by the roar of the universe around us.
we quaff the cup of life with eager haste without draining it,
dog clothesinstead of which it only
overflows the more objects press around us, filling the mind with their magnitude and with
the strong of desires that wait upon them,
dog clothingso that we have no room for the thoughts of
death.
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dog clothes!dog clothes!dog clothes!dog clothes!dog clothes!相较于《无极》的三亿投资，这问题顿显没有意义，但我还是忍不住思索，毕竟，大多数导演的第一笔稍具规模的资金，往往会决定他将来的成就。或许有人对此话感到好笑，但事实确实如此。很多当今好莱坞的王牌导演都是从这一步起家的：斯皮尔伯格16岁时拍了一部故事片长度的八毫米影片；伍迪•艾伦的第一部作品是拿了一部现成的日本片重新配上喜剧台词；科波拉1963年的《痴呆症》仅花了22000美元；斯科西斯1972年的《冷血霹雳火》也只有10万美元的预算；大卫林奇的《橡皮头》耗资8万美元。如果这些“事后诸葛”式的故事没有说服力，那么，我倒很起提起另外几个例子：2004年纽约电影节的《他内心》，菜鸟导演乔纳森•卡乌特的作
