黑鹰坠落 美国 电影 影评 影片  观后感

《黑鹰坠落》是2001年底上映的一部美国电影片，故事是根据真实事件改编而成的，讲述以美国为首的联合国维和部队于1993年时，在索马里执行的一项抓捕任务，最终变成美军与当地民兵之间惨烈的军事冲突，并导致美军后来在国际舆论的压力下自索马里撤军。这次在索马里的军事行动，是美国自越战以来所面对的最大军事失败。

《黑鹰坠落》的导演是雷德利-史考特。一个好的导演必须展现优秀的拍摄手法和对影片内容的独特深度与角度。雷德利在《黑鹰坠落》中所运用的拍摄手法无疑是一流的，他用了大量的冷色光和纷飞的子弹来表现战场的残酷无情，并以层次分明的剪辑方式与述事方法，将地面“游骑兵”、地面“三角洲”部队、空中救援部队、指挥前线的空中直升机、指挥总部之间的联系和角色，有条不紊且完整地呈现在大荧幕上。让观众宏观地看到事件发生的完整过程，同时微观地看到士兵们陷入地面巷战时的无助与脆弱。

雷德利在《黑鹰坠落》中显然是有自己的角度的，虽然他所采取的角度未必客观与真实。雷德利在影片中采取的角度是“袍泽之情”。美军在该次行动中，本来是为了追捕民兵首领艾迪加而发动的一次突击行动，但却因为消息不确实，反而遭到民兵部队所唤起人民群众所包围。原本只是派兵去救出遭围困的一小撮部队，却因为接连的“黑鹰”直升机坠落，以及战术的失当，使得需要救援的士兵人数不断增加。在《黑鹰坠落》中，雷德利基本上将整体战术的问题给切割掉，也将索马里民兵的观点给切割掉，完全地取镜美军士兵在枪林弹雨中，如何不顾安危地扑向被围困的部队，并且由最高指挥到一线士兵都坚决地抱持“决不会有任何袍泽被抛弃”的信念--即使是尸体也要救回来。

我个人觉得《黑鹰坠落》的最大缺点在于缺乏深度，切入的角度过于浪漫而流于浮面。在展开剧情时，雷德利选择“就事”而不“就人”，也就是以相对完整的方式来表现事件的全过程，而不着眼于内部个别角色的心理变化。影片中美军各个部队主体都有至少一位主要角色，但这些角色的性格、背景并未被着墨，观众看到的是好些士兵不计生死地要相互援助，勇气和道义是这些人仅有的色彩，没有人陷入恐慌，也没有人杀红眼，主要演员清一色地都是冷静和沉稳，等待救援的人不恐惧，请缨救援的人不激动，没有人质疑行动的正确性，也没有人质疑救援的拖沓与散漫，使得观看的观众无法对人物或事件产生观点和情绪。在叙事顺序和节奏上同样是冷静和沉稳的，从一开头士兵出发进行抓捕行动、到一次次的黑鹰坠落陷入包围、到最终被解救而出，士兵们的情绪没有明显的起伏，没有轻松到恐惧、恐惧到绝望、绝望到希望、希望到激动的变化，整个事件呈现得很完整，但没有高、低潮的区分，人物的情感没有被深入，事件的演变因果也没有被深入。观众看到的是，美军陷入索马里民兵的疯狂包围中，大量的美军士兵完全基于自愿而上前线救人，在不实施具体战术指导的情况下，指挥官任由各个部队发挥袍泽之情、任意行动。

感人吗?有些。奇怪吗?确实。《黑鹰坠落》描绘了壮烈而勇敢的战争画面，但观众却未能对人物和事件产生太强的感受，若说那是因为雷德利试图以“客观”的观察角度来表现这场军事冲突，他却将索马里民兵的角度给切割掉，并浪漫地强化美国士兵之间坚强与勇敢的英雄气概，采用完全主观的表现形式。雷德利的作品通常是非常男性色彩的，并带有浪漫风格，然而雷德利的浪漫英雄与马丁-斯科西斯的《出租车司机》、大卫-林区的《我心狂野》、卢贝松的《这个杀手不太冷》、王家卫的《旺角卡门》里的浪漫英雄非常不同，后面这些英雄都带有堂吉诃德的傻气，呈现的勇敢是理解一切后的勇往直前。但雷德利的英雄则是传统英雄，勇敢不怕死、能干不会死。而且雷德利还喜欢用一流导演不太会用的慢镜头配上悲情乐曲，来表现英雄的悲剧色彩。我想故事和人物的深度不足，始终是雷德利无法晋升顶尖导演地位的一个障碍。

《黑鹰坠落》中其实还是有能够让观众情绪激动的部分，那是在影片结束、说明字幕出现那一瞬间，当看到字幕上写着，在这次军事冲突当中，美军牺牲了17名士兵，而索马里民兵死亡上千人时，我想每个观众都忍不住激动起来。这个数字显示《黑鹰坠落》中所说的故事是一个谎言，是一个美化版本的英雄故事。这样的死伤数据，这绝不是一个军事冲突，这是一场屠杀

英语翻译：

"Black Hawk Down" is an American film released at the end of 2001. The story is adapted from real events. It tells that the United Nations peacekeeping force led by the United States carried out a capture mission in Somalia in 1993, which eventually turned into a tragic military conflict between the US military and local militia, and led to the withdrawal of the US military from Somalia under the pressure of international public opinion. This military operation in Somalia is the biggest military failure the United States has faced since the Vietnam War.

The director of Black Hawk Down is Ridley Scott. A good director must show excellent shooting techniques and unique depth and angle of film content. Redley's shooting technique in Black Hawk Down is undoubtedly first-class. He uses a lot of cool light and flying bullets to show the ruthlessness of the battlefield, and presents the connections and roles among the ground "rangers", the ground "delta" troops, the air rescue forces, the air helicopters commanding the front line and the command headquarters in an orderly and complete way on the big screen. Let the audience see the whole process of the incident macroscopically, and at the same time, see the helplessness and fragility of soldiers caught in street fighting on the ground microscopically.

Redley obviously has his own perspective in Black Hawk Down, although his perspective may not be objective and true. Redley's angle in the film is "the feeling of being in a robe". In this operation, the US military originally launched a surprise operation to hunt down Aidiga, the leader of the militia, but because the news was inaccurate, it was surrounded by the people aroused by the militia. Originally, it was just sending troops to rescue a small group of besieged troops. However, due to successive "Black Hawk" helicopter crashes and improper tactics, the number of soldiers in need of rescue is increasing. In Black Hawk Down, Redley basically cut off the whole tactical problem, and also cut off the viewpoint of Somali militia, taking a complete picture of how American soldiers threw themselves at besieged troops in the rain of bullets, and from the supreme commander to the front-line soldiers firmly held the belief that "no robe will be abandoned"-even the body should be saved.

Personally, I think the biggest shortcoming of Black Hawk Down lies in its lack of depth, and its angle of penetration is too romantic and superficial. When unfolding the plot, Redley chose "practical" instead of "personal", that is, to express the whole process of the event in a relatively complete way, without focusing on the psychological changes of individual characters inside. In the film, each unit of the US military has at least one main character, but the character and background of these characters have not been inked. What the audience sees is that many soldiers have to help each other regardless of life and death. Courage and morality are the only colors of these people. No one is in a panic, and no one kills red eyes. The main actors are calm and calm. Those waiting for rescue are not afraid, those who ask for rescue are not excited, and no one doubts the correctness of the action, and no one doubts the procrastination and laxity of rescue. The narrative sequence and rhythm are also calm and steady. From the beginning of the soldiers' arrest, to the time when Black Hawk Down was surrounded and finally rescued, the soldiers' emotions did not fluctuate obviously, and they did not change easily from fear, fear to despair, despair to hope, hope to excitement. The whole event was completely presented, but there was no distinction between high tide and low tide, and the characters' emotions were not deepened, and the evolution of events was not deepened. What the audience saw was that the U.S. military was caught in the crazy siege of Somali militia, and a large number of U.S. soldiers went to the front line to save lives based on their own will. Without specific tactical guidance, the commander allowed all troops to play their robes and act at will.

Is it touching? Some. Is it strange? Indeed. "Black Hawk Down" depicts a heroic and brave war picture, but the audience failed to feel too much about the characters and events. If it is because Redley tried to express the military conflict from an "objective" perspective, he cut off the Somali militia's perspective, romantically strengthened the strong and brave heroism among American soldiers, and adopted a completely subjective form of expression. Redley's works are usually very masculine and romantic. However, Redley's romantic heroes are very different from those in Martin Scorsese's Taxi Driver, David Forest's My Heart is Wild, Lu Besson's This Killer is Not Cold, and Wong Kar-wai's as tears go by. The latter heroes all have Don Quixote's stupidity, and their courage is to go forward after understanding everything. But Redley's hero is a traditional hero, who is brave and not af