伯尼

因为片子获得很多的奖项，所以下来看看。

据说是根据真实事件改编的，一个女人对一个男人百般管制，最后他把她杀了。

现实生活中相似的事情总是很多，就是总会有些东西有些感受因为铺天盖地的沉重的压得你受不了了，然后你就会突然意外地爆发了，做出一些超出你平常的举动来，无论这东西是什么，是对你的爱、对你的虐、甚至是对你的平淡！

当你认为自己有权利对另一个人做出任何事情的时候，这个“另一个人”无论怎样百般应承你，他总会有受不了的时候。

剧中的女人把自己的财产和心都给了男人，所以认为可以为所欲为地对待这个男人了。

生活中，所有人，当她（他）对别人全身心付出时，她（他）就总认为自己可以对这个人为所欲为了。

不计回报的付出世上是没有的，若仅钱物的付出还好计算回报，其它的就难说了。

所以，一个凡人，最好不要接受别人太多的付出，尤其是心。

锋利地切开实用主义，切开得克萨斯，化得克萨斯为美国标本，没有娱乐价值的电影很少，娱乐价值正是实用主义的产物。

所谓好人只是上帝没安排他碰到足够坏的坏人。

故事的真实性，大大增加了悲剧感，和解剖美国的力度。

字幕时居然可以安排演员和杀人犯的会面，佩服电影工业的可怕。

转自维基百科：http://en.wikipedia.org/wiki/Bernie_(2011_film)Impact[edit]Having seen the film, Austin Attorney, Jodi Cole, met with director, Richard Linklater, for further information. After meeting with Tiede himself in prison she began work on a habeas corpus petition in his case, raising issues not addressed in his previous direct appeal. [21] Tiede was released from his life sentence on $10,000 bail in May 2014 with the condition that he live with Linklater in Austin, Texas.[22] Nugent's granddaughter expressed shock that the release was granted, specifically citing the influence of the film's depiction of Tiede.[23]On January 2, 2015, an Austin, Texas news channel reported that the district attorney agreed to release Bernie Tiede and is not ruling out a future prosecution. Panola County prosecutor Danny Buck Davidson said that he met with the family of Marjorie Nugent and that the film led to successful efforts to have Tiede released early from a life sentence. Out on bond, Tiede is due back in court March 2015. Davidson eventually agreed that Tiede was wrongly sentenced for first-degree murder when he deserved a lesser sentence.伯尼2014年5月交了1万美元保释金暂时出狱，前提是和导演林克莱特一起住在德州奥斯丁。

纽金特孙女对这一决定十分震惊，她认为是电影产生的影响。

而在今年Danny Buck Davidson本人也承认当年指控伯尼一级谋杀是个错误，伯尼应该得到减刑。

未来这个案子有可能重审……

做个有原则的好人，不考验自己和别人的底线。

就像辩护律师所说，伯尼是个罪人，但他绝不像一个禽兽。

人就应该抱有人的尊严。

伯尼在罪恶聚集的监狱中也没有放弃他的善良，就足以证明他真切的悔改。

当然，如果伯尼当初知道如何拒绝老太太的控制，如果有人给他指明一条出路，就不会有后面的悲剧了。

但是既然已经发生了，就是对后人的警戒。

导演：理查德·林克莱特 主演：杰克·布莱克 雪莉·麦克雷恩 马修·麦康纳评分：7.5杰克·布莱克出色的演绎了伯尼的角色，作为一名喜剧演员很少有机会看到杰克·布莱克出演这样的剧情片，在影片中布莱克的表演绝对是最大的亮点，既发挥着他多才多艺的表演天赋，融合了喜剧的表演方式，又很克制的放弃他一贯张扬夸张的表演风格，稳健、沉着的诠释伯尼这个有真实原型的人物。

从影片最后的花絮来看，布莱克也和真实的伯尼有过交流，作为职业演员他一定从中吸取了许多的表演灵感，但绝不是简单的模仿，不然所有的真实事件改编电影就都叫原型去演了。

从影片中不难看出导演的用心之处，导演在叙事风格上加入真实的元素，将采访的方式直接运用在电影中，从而达到一种伪纪录片的效果，在虚实之间的切换很自然，剧情上与采访内容的融合恰到好处，技巧娴熟不留痕迹，给观众一种很舒服的观影体验，做旧的画面色彩既有美国西部的感觉，也表达了这桩陈年旧事的历史感，导演的想法几乎在成片中得到了完全的体现，看这部电影不会令人感到丝毫的枯燥。

感觉港版的名字翻译比较切题，礼仪师真假杀人事件。

这个故事充斥的真真假假，故意在轻描淡写中扰乱人的判断。

我差点也如镇里的人们一般，被引导进Bernie一方。

Bernie是个让人觉得新奇的人，他的想法，他的各种观念，都让我这个刻薄看待世界的人觉得不可思议。

他能诚心主动地投入一份也许只能说是“特别”的工作。

他愿意花费心思与那些喋喋不休又已经糊涂不明的老妇人相处，他总是诚心地对待每一个往生者。

希望帮助他们体面地走完这个世界的最后一秒。

但是我不愿被这样温情脉脉的开头所引导，我一直在心里想，剧情肯定有转折，他肯定有其不可告人的一面。

我总觉得犹如开头描述的，如此温暖的一个人，必定是无法存留于这个世上的。

果然，我还是发现了，在看到Bernie每次给那些老人推销各类往生的产品，就如所有的广告大师般，极尽所能地推销可受利最大的产品。

不禁窃喜，看吧，哪有不吃腥的猫，人还是贪婪的。

于是在最有钱的老寡妇出现时，我知道Bernie肯定会行动的，他肯定不会放过她。

我就那样淡定又不可思议地看着伯尼的表演。

淡定的是他果然如我猜想般，对老寡妇大献殷勤，不可思议地则是我即便如此笃定人性贪婪，我还是难以置信这世上竟然还有人真的便为所谓的利益而活。

虽然那时候，伯尼在电影里辩解“她并不是那么糟糕，她需要别人的关心。

”事实是电影好像静静地拉开了第二序幕，我慢慢被他所感动，他真的就是那样无微不至地照顾包容着善妒专横的老寡妇。

即便到了最后忍无可忍，他仍然愿意继续坚持，因此当看到他朝她射了四枪之后，我竟非常坏地希望，是啊就这样让事实被淹没吧。

伯尼真的很好人。

老寡妇真的很怀。

我便如那个镇上的每个人一样，期待伯尼能够无罪。

直至审判席上，检察官的质问，我方能清醒过来。

是啊，他可是杀了一个人，如果就此轻判甚至逃脱，将会鼓励多少不法之人，走上这样一条不归路。

伯尼也并非是因为被逼到忍无可忍，精神错乱方如此。

他明明有选择的，即使那个大门被关上了，他无法开车出去，他仍然可以下车爬出去，如果真的愿意逃脱，逃脱其实又何尝是难事。

他只是不愿逃脱了，他已经在老寡妇的身边享尽了有钱的魅力，沉迷于所谓的上层社会，不愿逃离了，即使非常地不开心，他仍旧觉得那毕竟是能提供给他各种快乐享受的源头。

他的那四枪其实是内心深处所有隐藏至深的黑暗。

他委屈地说，他不知道为什么会突然发狂开枪。

我不禁佩服这才是最佳演员，把自己也给骗了。

最后的监禁方是正确的判决，人性的贪婪与伪装在那一刻突然显现，大白天下。

也许这个世界的每个人都是演员，都企图扮演某个角色，企图隐藏某些不愿告人的想法，有些时候，这些想法潜得很深，深到我们会错以为，根本就不存在这些想法。

还是要吐槽这个电影，本应该想尽办法表达它更为深层次的东西，它本该可以成为一部深刻的电影，而不是隔靴搔痒，戛然而止。

初看以为是《入殓师》的温情片，因为胖子杰克同志很娴熟的各种为死者化妆整容的技巧。

再看以为是搞笑片，因为伪纪录片的形式，采访各色人等让大家露出狐狸尾巴怎么样都有《摩登家庭》的即视感。

又看以为是爱情片，雪莉奶奶扮演的寡妇被伯尼各种安慰各种追求，温言软语，两人出双入对，飞巴黎飞纽约纸醉金迷倒也是一番美好的忘年恋。

再看以为是音乐片，不管情节怎么拖沓节奏缓慢，胖子的歌喉倒是美妙，毕竟是音乐爱好者一枚，在《摇滚校园》和《恋爱假期》里都体现了铁杆音乐爱好者的高尚情操，这里则是南方味道十足的灵歌和眼花缭乱的歌舞剧调调，电影也不吝惜笔墨处处给他唱歌表演的机会。

继续看成了犯罪片，伯尼被压迫许久却贪恋富贵不肯走，终于在一次突然爆发干掉了寡妇奶奶，用了自己掌握的钱各种造福小镇，然后就是终于东窗事发，被捕下狱。

最后却成了伦理片，小镇居民纷纷要求宽恕伯尼，吃人嘴软拿人手短，地方检察官只能把伯尼挪到外地受审。

审判当天把伯尼塑造成一个骄奢淫逸的家伙成功赢得了陪审团的支持判了他个无期徒刑。

而伯尼竟然也安然接受还在监狱里交朋友做手工接受小镇朋友的慰问。

让人一时不知道道德的指南针该往哪偏。

最后剧终竟然还出现了真实的主人公和演员杰克布莱克见面的镜头，感觉说不出来啥滋味奇奇怪怪。

导演理查德·林克莱特和杰克布莱克是老搭档了，这样一部片几乎是杰克一个人的独角戏，表演完成度不错，就是这么个奇怪的角色让人心里太不是滋味了。

Two Richard Linklater's films based on author/journalist Slip Hollandsworth's nonfiction articles about real-life stories that are infinitely stranger than fiction. BERNIE is based on the 1996 murder of 81-year-old millionaire Marjorie Nugent (MacLaine) at the hands of her 39-year-old companion Bernie Tiede (Black) in Carthage, Texas. Posing as a faux-documentary, the film convenes the actual townsfolk to sound off the notorious case and the consensus is somehow unnerving. Everyone agrees that Marjorie is a noisome harpy while Bernie is the salt of the earth who is impeccably charming (that is a big red flag!). They even manage to sanctimoniously tolerate the presumption of his queer orientation. There is oceanic incredibility for them to accept the fact that Bernie could be a killer. Since the film is titled “Bernie”, and the real Bernie even procured a temporary release from prison from 2014 to 2016, staying at Linklater’s garage apartment, before resentenced to 99 years to life, it is self-evident that objectivity isn’t Linklater’s holy grail here. As Bernie is the one who gets to tell his side of the story, and for want of a strong voice from Marjorie’s perspective, we must take the “truth” with a pinch of salt.Curiously, Bernie is a fascinating character, an assistant funeral director (his vocation might partially account for his amorality towards taking another person’s life and his bizarre corpse preservation) who appears devout, gregarious, even altruistic (doling out Marjorie’s money to those who are needy). His abrupt offing of his meal ticket is shown as a worm-will-turn, impulsive act out of the spite towards Marjorie’s high-handed possessiveness. What really piques a viewer’s interest is in the aftermath. Bernie seems to have no intention to dispose the body and simply plays along with no overt concerns about its grave consequences. What was he thinking then? This is the key question Linklater’s film fails to answer. He had the real Bernie at his disposal yet he pulls punches. Be that as it may, Black is a real hoot and a half, projecting a faint exasperation out of Bernie’s goody-goody innocuousness, singing and playacting with his usual chops. MacLaine strains to squeeze some nuances to Marjorie’s grumpy crust, but the script doesn’t care to make her even remotely sympathetic. As for McConaughey, playing Danny, the local district attorney, is well in his wheelhouse to balance the optics of the crime.

12 years later, HIT MAN is inspired by the fact that a college professor who worked for the Houston police as a fake hired gun to operate on murder-for-hire entrapments in the late 1980s and 1990s. The film is relocated to New Orleans. Gary Johnson (Powell, who also contributes to the script), delights in his new-found appeal and confidence as a fake hit man in the local police’s undercover sting operations, which is the antithesis of his usual donnish bearings as a college professor. Perfecting and ringing the changes of his disguises in both appearances and comportments, Gary is on a winning streak to lure suspects into lawful apprehension. Yet, one time, facing a gorgeous thing like Madison (Arjona), a young woman trapped with her abusive husband, Gary chooses to let her off the hook and the two become an item, naturally. Only, to Madison, Gary is the charismatic hit man Ron. Their swooning romance hits a stumbling block when Madison’s husband Ray (Holtzman) is found shot dead and Madison is the prime suspect. Swamped in falsehood, double-cross and blackmail, the pair must take their future in their own hands, and Linklater imagineers an ingenious way to leave them out of harm’s way, and the human cruelty is embodied by no more than a plastic bag. In the mass, whoppers actually can be forgiven and a new life can be reconstructed to perfection. Linklater always sees our world through a rose-colored glass, even in the treacherous water. However it is also plain to see the story between Gary and Madison is purely fabricated with tired tropes: a violent husband who happens to be a druggie and leaves a sizable insurance benefiting his soon-to-be ex-wife; the brazen bad cop (Amelio, a cracking foil you don’t want to be pally with) is too inane to put his own safety into consideration, we are talking about blackmail a murderer for christ’s sake! Better acknowledged as a rom-com with a cloak-and-dagger streak than a noir-tinged confidence game that debates morality, HIT MAN is low on adrenaline rush (which cravenly precludes it to be released as a mainstream player in the cinema, it is acquired by Netflix) but high on comedy of situations (it is an echt crowd-pleaser). It is also characteristic of Linklater’s wordy pensées, aperçus or quips on life at large. For example, the elucidation of id, ego and superego is a boon to understand the duality between Gary and his alter ego. And Powell is excellently laidback amid the fracas, a cool guy with more than enough charisma to spare (the next Hollywood leading man that fits the more masculine bracket). Arjona, as his partner in crime, is also wonderful as the default female fatale but with a twist, her deception is secondary to her spontaneous rapport with Powell, and the scene where they outfox the eavesdropping police is an ebulliently orchestrated pas de Deux, among the best among Linklater’s career. That is no small feat. Never a fatalist, both BERNIE and HIT MAN consolidate Linklater’s sunny-side-up beneficence that has become rarer as our world is on the maddening trajectory to self-destruction. It is so precious to find life-affirming positiveness in horrific murders, and to his credit, Linklater has been able to crack such a tough nut with a tip-top light touch. referential entries: Linklater's BOYHOOD (2014, 8.1/10); EVERYBODY WANT SOME!! (2016, 6.2/10); BEFORE MIDNIGHT (2013, 8.6/10).

杰克布莱克演绎伯尼真是合适。

外形符合，不是高大帅气，但忠厚老实。

性格合适，善于助人并以此为乐。

气质合适，有点娘炮又不惹人厌烦的尺度把握得刚刚好。

事件本身真的很让人无语。

一个被人交口称赞的大好人，做了一件非主观意愿的谋财害命的事，到底是有罪还是无罪？

值得称道的是，电影选择了十分可观的角度用黑色幽默的方式来表现这个故事，观众知道的只是小镇里的人们对事件两个主人公的评价，你知道大家都认为伯尼特别好，可是你自己并不会觉得他多无辜多可爱至极，当然你也不会觉得他是个有阴谋的坏人；你知道所有人都不喜欢死去的老太太，你也不喜欢她那难以相处的样子，但是你并不觉得她罪该至死，无论如何她死得还是很冤枉；你也不喜欢为了自己事业名声想尽办法将伯尼送进监狱的律师，但你不得不承认他说的在法律上站得住脚。

最后观众只能是很纠结，很郁闷。

演员的话，杰克布莱尔的演技不用说了，唱得真的很棒啊，在舞台剧里的表现真的很专业很赞！

马修麦康纳无论怎样都还是马修麦康纳的那个样子！

2011年🇺🇸电影〈Bernie〉《伯尼》：虽然是真实事件，但我实在不觉得这样一个故事有拍成电影的价值，顶多也就拍一条新闻够了，不能认可任何一方的观点，加上杰克布莱克千年的出戏脸，实在难以让人喜欢。

好在导演是理查德林克莱特，伪纪录片形式倒是很适合这个城镇与背景，每个局外人的采访反倒挺有趣，而且马修麦康纳和雪梨麦克雷恩的表演真的是精彩，纯当技术欣赏。