剧照
详细剧情
本片改编自布莱恩摩尔的畅销小说，布莱恩根据耶稣会所记载有关传教士在法兰西区的早期活动，撰写成拉佛格神父的传奇故事，并谨慎地将一段著名的历史戏剧化，从中能一窥早期北美的历史。
故事发生在1634年，一个年轻神父穿过北美荒野，来到加拿大向当地的印第安人传教。其间他的随从爱上了印第安酋长的女儿。恶劣的自然环境以及印第安人古老的生活方式使得他开始怀疑自己的使命是否正确。死亡的恐惧也在威胁着他们。
长篇影评
1 ) [Film Review] Black Robe (1991) 7.3/10
Riding on the coattail of DANCES WITH WOLVES’ triumph, added by Beresford’s own DRIVING MISS DAISY (1989) Oscar coup, BLACK ROBE, based on Brian Moore’s novel about a Jesuit’s resolution of proselytizing Christianity among local Indians in the 17th century Canada, is green-lit as a Canada-Australia co-production and studiously shot entirely on inhospitable locations.
Father LaForgue (Bluteau), aka, the titular Black Robe, and his young non-Jesuit assistant Daniel (Young), are escorted by a cohort of Algonquin Indians (who have been ostensibly converted to Christianity), to traverse 1500 miles to look for a Catholic mission in a Huron village. En route, the group will fall in with several other Indian tribes, some are suspiciously non-violent, others are blatantly hostile. While LaForgue is flustered by Daniel’s copulation with Annuka (Holt, what a youthful exotica!), the sultry daughter of Chomina (Schellenberg), the Algonquin leading guide who is well versed in English, the Algonquins begin to question their mission, fanned by a Mantagnais shaman proclaiming that Black Robe is the embodiment of the Devil.
In mid-stream, the Algonquin backpedals on their promise and leaves LaForgue in the lurch, only a guilt-driven Chomina later returns with his family and a tailing Daniel, but they are ambushed and tortured by the ferocious Iroquois (the barbarian act among rivaling tribes is a searing condemnation of savage among uncivilized beings), only LaForgue, Daniel, Annuka and Chomina manages to escape during a snowy night (honey trap is a straightforward, foolproof ploy regardless of any societal context).
The last stretch of their journey is punctuated by Chomina’s succumbing to his severe wound, and it is his clairvoyant vision of the place where he dies, of which he constantly dreams, that bears witness to Beresford and Moore’s contestation of religious freedom, a foisted Christianity can not displace Chomina’s inveterate belief that has been deeply dispersed through generations of his people and indoctrinated for all their lives, such is attested by a numinous manifestation during Chomina’s last gasp.
Chomina’s last prophesy is that the Black Robe must finish his quest alone, so when Father LaForgue finally reaches his destination, he must brave himself for the rigors and disease prevailing over the Huron village, and devotes his remaining life to his evangelical mission, ironically, the ending caption sheds a light on the upshot of the proselytized Huron tribe, which doesn’t bode well, one might be intrigued to ask, what does that to do with their altered religion?
A scrawny Lothaire Bluteau cuts his teeth into this demanding leading role and ekes out a touching devoutness precariously nigh on obsession. August Schellenberg, a Mohawk descent, also strikes a chord in his personification of fortitude, sensibility and a magic fruit borne out of wishful-thinking civilization. All in all, Bruce Beresford’s BLACK ROBE is a grand epic toning down the unsavory side of westernized colonization, and lets a humane spirit take the wheel in the choppy flux of a religious journey.
referential entries: Beresford’s TENDER MERCIES (1983, 8.2/10); Roland Joffé’s THE MISSION (1986, 5.0/10), Kevin Costner’s DANCES WITH WOLVES (1990, 8.1/10).
2 ) great movie~great story
The whole movie is full of cultural conflicts. French people were rich, civilized, while the local Indians were very original. Those two group of people held two extremely different type of cultures, which makes it very difficult for them to live and work together. We can see the French and Indians were regarding "the other" in many aspect. For instance, the French called the Indians "wild woods people", while the Indians thought all the things those white people said is meaningless, and they do not admit their religion, too, by calling the young Jesuit " Black Robe" instead of "Father". We can also see the cultural gap from the attitude of the Chomina (the leader of the travel group) towards the fact that his young daughter were falling in love with Daniel, the young assistance of LaForgue. Chomina said to his daughter that Daniel is ugly and can't be provided to her, which shows local Indians do not see those colonist the same as themselves.
The biggest reason, why this movie were regarded as one of the most successful movie of that year, is that this movie shows every characters as real human beings but a non-emotional hero. When two cultures hit each other, many unexplained facts were happening, such as "culture change", "culture loss", "acculturation". In the film, when LaForgue traveled on the river, he "shitted" in the river with his whole buttocks exposed outside, and all the other people were staring and laughing about him. This can be seen as a "culture change", kind of changing the culture style to adjust the environment. The young assistance Daniel is one of the most important role in the whole story. After he was falling in love with Chomina's beautiful daughter, Sandrine Holt, he started doubting his own faith by living for god. Eventually, he dumped LaForgue on a dangerous island and then ran after the travel group. This can be seen as a "culture loss". At the end of the movie, LaForgue got the final destination, a Huron village, he successfully convince those local villagers to believe god and give up wars and killings. This can be seen as an aspect of "acculturation". All of these phenomenon are presented very naturally through the movie.
"Colonization" and "Globalization" are two similar words in many aspect, like the movie shows us. they all contains lots of cultural conflicts and "culture change", "culture loss", "acculturation", but the difference is that Colonization is more like trying to remove a culture with another one. The process is violent, and the purpose is always greedy, while "Globalization" is more like trying to find a balance between two different culture. In that balance, people from both two culture backgrounds will show their respect to each other. Although, they might have different life style and religions, they can still work, study and living together, properly and comfortably.
3 ) 一部电影佳作：我的感动和遗憾！
《黑袍》，我在二十多年前就欣赏过这部电影的中文配音版本，那还是遥远的录像带时期，这部由加拿大和澳大利亚合作摄制于1991年的影片表现一位笃定、坚强和意志非凡的法国传教士远赴北美印第安人聚居区向原住民传播基督信仰的故事，至今想来，仍然令人回味、感动！影片用一连串记实般的壮丽画卷讲述了这个传奇故事，带给观众十七世纪北美荒蛮地区印地安人的生活状况、文化特点及部族之间的和谐、冲突，延展影片所包含的厚重内涵和深刻主题，并且真诚探讨了西方人与印地安人之间的相互关系现状、文化宗教矛盾并且最终走向短暂融合，虽然被某些评论人士指责裹挟白人对有色人种进行同化压制的中心思想，但从广义角度客观评价，是一部倡导善良人性和种族仁爱的优秀佳作，值得关注收藏。需要一提的是，本片以其优美、宏大的摄影构图画面及出色富有张力的编导、表演水平获得1991年度加拿大电影金像奖六项大奖，刷新该国电影票房记录，并入选美国《时代》杂志1991年度世界十大佳片行列。
影片根据社会文学家布莱恩·摩尔的畅销小说《黑袍》改编，曾以《为黛茜小姐开车》而获得1989年度奥斯卡最佳影片的澳大利亚裔导演布鲁斯·贝尔斯福德执导， 加拿大电影金像奖影帝罗泰尔·布鲁特出演主人公拉弗格神父，他曾经在《蒙特利尔的耶稣》中奉献精湛演技和令人信服的宗教气质，此番饰演一位意志坚定的年轻神父。在连串如诗如画的凄美镜头中，拉弗格身披黑色教袍与蒙昧未化的印第安部族人结伴同行，从格格不入到渐渐为友，他们足迹穿越加拿大魁北克地区人迹罕至的冰天雪地、大湖荒原，与严寒、狂风、饥饿、部族冲突纠缠不已，历尽苦难考验艰辛磨炼，甚至遭遇殴打拘禁迫害，身处生命危险死亡威胁，他的内心信仰虔诚不移，即使面临酋长赴死、随从离去即将孤身上路的窘迫危机，他转身出发前依然从容自语：“上帝给予我们的，就如同生存和死亡，这对于谁，都一样公平！”
电影《黑袍》在拉弗格终于抵达休伦村接替死去的前任神父为村民进行受洗仪式中结束，画面于屋外凛冽寒风席卷漫天飞雪中定格，伴随着低声祈祷和悠扬壮阔的圣咏合唱......
由于影片内容少有商业色彩，难获观众喜爱，即使是一部严谨优秀作品，也难觅传播介质，不能不说是一件憾事，由此可见，过于商品化的资本市场，终究无法兼顾雅俗共赏、艺众俱佳——但实际上，商业与艺术从来都能够彼此融合，互为补充，这样的电影作品才更加具有非凡魅力和独特价值！
4 ) 脆弱的宗教信仰，文明的必须发展史。
很沉重的一部片子，值得推荐。也发现越来越喜欢历史题材的东西了，因为它们会给你一个生动的再现，让你去重新审视整个历史发展的过程，并审视当今社会的问题。了解历史更是了解我们自己，如果我们生在那个年代，把你自己放进那个场景，你的感受肯定又不一样了。
Winner of Canada Film Festival, including Best Picture, Best Director, Best Actor - 1992
本来就喜欢看带有宗教色彩的电影，听说这部电影拍的非常的写实，整部片子看下来，的确感觉很现实主义，有些印第安人的残酷性表现的非常让人心寒。还有主角的那种徘徊，无奈和迷茫也很真实。下面就是要去看看黑死病，比较一下基督教在中世纪欧洲和新世界的区别
有点反思的意思，为什么一定要别人接受你们的神？极美的魁北克；信仰的力量。
原作者Brian Moore受到了耶稣会士Noel Chabanel (1613-1649)殉道的启发，写下了这个故事。影片中主要表现神父Laforgue前往休伦人领地传教，有一队阿尔冈昆人同意护送，还有一位法国年轻人Daniel也作为神父的陪同随行。一路凶险。这些印第安人必然不认可神父的教导，阿尔冈昆人甚至曾丢下了“黑袍”。但后来，他们一群人被易洛魁人围攻，死的死死的伤，“他们是动物啊，他们不是人”。最后的逃脱，神父Laforgue终于走到了目的地，休伦人的村庄。最后一幕，那些休伦人问神父：Do you love us？神父沉思良久回答：Yes.
张纪中是怎么发现这张专辑里的OST适用于他的天龙(⊙o⊙)
欧美导演如果不知道如何正常表现亚裔女性的美，不妨参考一下这里面的何佳蓓...
法国神父在加拿大印第安人地区早期的苦难传教史，开场就借其他人之口渲染了面对土著传教的风险，但男主这一路在随从小哥和印第安部落的陪护下前往目的地的剧情实际并没有什么内容——他眼见随从与印第安妹子造爱时浴火分身自我惩罚，但他过往的情欲经历在电影里只是简单虚写，从头到尾你看不到这个角色之所以虔信的动机和过程；之后又经历了印第安人短暂的抛弃，路上他与印第安人文化和习俗的差异倒是我觉得最有趣的地方；随即一行人被更野蛮的印第安部落俘获，男主承受贝壳割肉的酷刑是他虔信的集中表达，可纵观全片，男主的虔信并不足以成为收尾部分的部落皈依之理由，尤其本片结尾部分收束的特别快。本片以受害者视角，呈现了欧洲殖民史早期状态，似乎再给自己后来清缴印第安人的行为找理由。结合北美蛮荒风光拍了些很美的镜头，何家蓓挺美
殖民和文化消灭。保护文化多样性和种族和解，民族平等，其实是历代统治者消灭异己的借口。
不打算重看了，虽然睡过去一半，至少老师要讲的了解了，可是老师到底讲了什么…… 一部没达到目的带着原著作者强烈印记的电影？
法国古典绘画式照明披拂在主教和督主身上，而生存在广袤北境的原始部落则享用着冷峻的自然主义用光，光一方面作为神圣的象征话语，受光与否意味着上帝与理性的光辉是否耀照，另一方面以文明-野蛮的空间对照而掘出文本深层的殖民主义色彩。而视点或者视点权的差异分配，比如主导视点的不断打断，观看与被观看的多次对调以至于视点迷乱，让传教士福音行为以非神圣化的形式进行，从而削弱殖民主义的傲慢，化解当代观众的置疑与拒斥，建立起主体的认同。对于印第安人的梦的展现，是一段黑白的极度风格化的蒙太奇，梦境一一被现实验证，带有浓郁的超验色彩，这为原住民进行神话般的赋魅，强化着印第安文化的正面表述。殖民历史的精密改写，多重目光的缝合，这些叙事策略调和着殖民话语与反殖民话语，而这正是对当下加拿大多元文化历史与现实的焦虑反映。
Canadian Study上看得......
那女人好动心~~~男主没胡子的时候很帅 还8错 风景优美 节奏不紧不慢 演员表演也不错
他们归依了天主，但是天主管辖不到那个地方。
这电影很难不让人想起马丁西科塞斯的《沉默》啊…但这电影的构图非常美，一点不逊于那些以画面著称的大师们。
很灰暗的一部电影。不同的文化之间有太多的误解，本就令人唏嘘。而更让我失望的是，神父经历了这么多，到最后还坚信着自己的宗教能够拯救这些土著人。就好像那个在村庄里呆了二十年的老神父，他还是没能与这些土著人相互理解。那一个片段我只觉得悲哀。而结尾的那一行字，追随基督教的土著部落，最后被他们的敌人抹杀。多可笑多悲凉的结局。
So touching, so sad, there could be so much debate and so much humanities.
本片改编自布莱恩摩尔的畅销小说，布莱恩根据耶稣会所记载有关传教士在法兰西区的早期活动，撰写成拉佛格神父的传奇故事，并谨慎地将一段著名的历史戏剧化，从中能一窥早期北美的历史。
为了印第安人历史而看的电影 误解和歧视实在是太多 何家蓓真的很惊艳
影片覆盖的话题十分丰富，引人思考：两种文明的交流与冲突，基督教的传播，人生与信仰的实践，万物有灵论，青年男女的热恋，生与死的抉择，安大略湖的壮美风光。电影深沉而厚重，画面开阔又丰富，可惜欧美现在流行各种批判性理论，再难看到这种好片了，伤心。
hmmm， 我觉得对某些人很有教育意义。。当然他们应该看不出来其中的教育意义。。。