Meditation 7

Background Music 1: ” Charlie Proposes” from “Chaplin (1992) OST” by John Barry

Other than the 2 pieces of soundtrack I put here (the 2nd one is at the bottom of the post), I highly recommend the full CD of “Chaplin (1992) OST” by John Barry. And a short review has been attached to the post at the bottom of the lines.

  1. 对一件事物的价值的体会,人需要经历数十年百转千折,以心境的曲折作为质地,才能与它互相映衬。美好的,珍贵的东西,都不是唾手可得的,也一般是脆弱和矜持的,它不愿意使人轻易懂得,它宁可毁灭。
  2. 在异国他乡独自得抑郁症并独自痊愈过来后的人,以后再生病,哪怕是绝症,除了不适,除了对爱人亲朋的抱歉,对自己不会再有额外的感伤。因为,TA曾经到达过没有侥幸和幻想的人生阶段。
  3. 蔡康永当时问饭岛爱:“你这么恨你爸爸,但又想再见到他,这不是很矛盾吗?”饭岛爱用着日本式的敬语回答“老师,人 生本来就是由矛盾组成的啊”。而“被人嫌弃”的松子从小得不到父亲的爱,却拼着命想要博得父亲一笑,搞得自己一辈子像赎罪一样乖乖地被各种混蛋男人玩弄。如果说她们的一生就是一连串由男人构成的伤害,那么第一个造成伤害的男 人,无一都是她们的父亲。这种伤害的深远与持久性,没有过类似经历的人,是无法理解也无法相信的。那种深埋于骨骼里的自卑甚至自我厌恶,需要经年的自我压抑,努力换取的各种成绩与光环,对待他人无原则性的老好人个性,像黑天鹅里Nina那样对己接近变态的完美主义情结甚至精神洁癖去掩饰。You are nothing ! 这句魔咒一样的话,让饭岛爱和松子自甘于被男人贬抑的命运,让Nina不甘而奋起反抗,却最终迷失在自己内心对于成功的极度渴望与对失败的极度恐惧之中。自卑的女人最可怜,所以芙蓉和凤姐的身上,还是有一些让人羡慕的地方,至少在我看来。
  4. 人若看清和明白自己的处境,就只能承担的,即使心里有一种畏惧,对着萧瑟的,对黑暗与幽闭的恐惧,也要承担着它,回到自己的使命中。人后可以清醒地意识到自己骨骼的哀伤,人前请务必举重若轻。阵痛之后的你应该明白,自己的未来无非两种模样:幸福或者坚强。
  5. 同样不幸的遭遇,有人选择被这段经历造就,有人选择被这段经历毁灭。选择其实永远都在哪里。绝处逢生过的人大概明白,绝路,其实是人自己逼自己走上去的。“从绝望中看到希望”  不一定会让你的人生辉煌,但是请相信 adversity对于造就人品性的力量是大而深远的,也会对你所生存的环境,家庭带来积极而正面的影响。
  6. 在某种意义上说,一个非常重感情的人同时又非常的无情——这个说法,并不矛盾。“无情”也有双向性,可针对他人,又针对自己。所以有时候,你分不清楚,你是在有意识地惩罚伤害过你的人,还是在无意识地自我伤害。记住一个人若太具备感情,是会自伤及伤人的。所以——
  7. 对喜欢的人或者东西,要沉着冷静,内心笃定。这其实也是自信的一种。要或不要,得到或得不到,有什么关系?
  8. 愿赌服输的赌徒是拥有单纯内心的人,他们做任何事,不需别人的猜测和惋惜,也不必自我怀疑。
  9. 大自然的美,从来都是丰盛端庄的,郑重自持,如同一种秩序,一种道理。一切美丽的名词,均具备一种理性,理性导致它的面目简洁,却是万物本来的样子。所以,我一直认为,越理智的人其实越单纯。而一个女人的理智,在一个妖娆得宠,自我情绪大行其道的年代里,更显得弥足珍贵,这也将是我一直用心神言行所追求所捍卫的,以一种不咄咄逼人或逼己的方式。
  10. 一个人要做到对自己的美,聪明,善良,完全不自知,才显贵重,一旦有自知,品就自动下降一个层次,就仿佛栀子花不知道自己有多香,兰花不知道自己有多幽静。天分,天性,从来都不需要发言和解释。善良是属于自己的内心安定。
  11. 独立思考或者敢于表达不同观点,这当然是一个人的长处。但讨论问题,信息准确、知识客观真实,永远是第一位的。
  12. 如果任何事物都有正反两面,那人身上的缺陷是否也一样呢?如果你把身上的缺陷全部都改掉了,你还是你么?改不了么Live with it!但要想办法使之以一种低公害的方式显现出来,譬如说“完美主义”,以有害的方式显现就是“拖延”,以无害的方式显现就是“为人靠谱谨慎”“说话办事滴水不漏”。Beware of undertaking too much at the start. Be content with quite a little. Allow for accidents. Allow for human nature, especially your own. Remeber that the pursuit of perfection often impedes improvement AND failure is never quite so frightening as regret.
  13. 不仅要对客观事实做最坏的打算,还要对自己的意志力作最坏的估计。不要轻易挑战自己的意志,因为你可能不知道自己甚至人性本身有多脆弱。养成良好习惯或者设计类似于电脑程序的情绪与行为反应的机制——If…Then …要有意识地反复自我训练,直到可以无意识地执行这套“程序”,那个时候“程序”成为了“习惯”,而“习惯”久了,也就变成了人个性中的成分。
  14. What we think, or what we know, or what we believe is, in the end, of little consequence. The only consequence is what we do.
  15. Experience is the name everyone gives to their mistakes.
  16. The nice part about being a pessimist is that you are constantly being either proven right or pleasantly surprised.

Background Music 2: ” To California-the Cutting Room” from “Chaplin (1992) OST” by John Barry

Chaplin (film)

Image via Wikipedia

“Chaplin (1992) OST” Review by Tom Daish

If the score alone is anything to go by, Charlie Chaplin was a sad figure away from the screen, depsite being a lively comic genius when on display. Whenever this score is mentioned, director Richard Attenborough tells of how Barry’s mournful and instrospective main title theme made him cry. The opening scene is of Chaplin removing his makeup which isn’t anything special in itself, but when coupled with Barry’s music, the character of the private man is transcribed in music beautifully. The Main Theme of Chaplin is sad, dejected, yet romantic. It provides the central melody, but that is not to say the score is not without more joyful moments. Early Days in London and cues such as The Wedding Chase feature music written in a style that echoes the kind of chase music that Chaplin’s own movies and brings a lighter tone to what could have become a very overbearing and sombre score.

A couple of Chaplin’s own compositions are worked in for certain occasions, most notably Smile which is a lovely theme that works well alongside Barry’s music. Salt Lake City Episode features music from Chaplin’s score to City Lights and is absolutely typical silent movie music. It must be said that it has perhaps more energy than Barry’s imitation, but I suspect that had this frenetic style of writing been used more often, it would have swamped Attenborough’s more sensitive film. There are two versions of the The Roll Dance both of which sound strangely familiar although I can’t place them. There is occasionally a dip into Barry’s more epic disposition, most notably in the rousing and percussive opening of To California which shines a little optimism after the strangely subdued Charlie Proposes.

The only negative feature of the score is Robert Downey Jr’s unflattering performance of Smile which is neither good on its own terms nor fits in with the rest of the score. However its location at the end of the disc means it can easily be missed out. I would not argue that this is a terribly atypical Barry score; it features all the major components of a typical contemporary Barry score, strong themes, lush orchestration, perfect attention to the dramatic needs of the film and of course rounded cues that function beautifully with or without the pictures. However, the occasional break into lightly comedic scoring along with Barry’s willingness to appropriately place some of Chaplin’s own music in the mix provides for a superior example of Barry’s work and ranks as one of the highlights of his more recent output.

Tracks

1. Chaplin/Main Theme (3:06)
2. Early Days in London (4:17)
3. Charlie Proposes (3:01)
4. To California/The Cutting Room (3:45)
5. Discovering The Tramp/The Wedding Chase (4:01)
6. Chaplin’s Studio Opening (1:58)
7. Salt Lake City Episode (2:11)
8. The Roll Dance (2:34)
9. News of Hetty’s Death/Smile (3:42)
10. From London to L.A. (3:20)
11. Joan Barry Trouble/Oona Arrives (2:15)
12. Remembering Hetty (2:57)
13. Smile (2:05)
14. The Roll Dance (1:47)
15. Chaplin/Main Theme/Smile (4:48)
16. Smile (3:38)

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