狼族盟约

最后，我还是坐在了这里，像故事的结尾一样，像那墙上黄昏的影子，像叙述人年迈的目光，正环顾着四周，摸索着情绪。

当我问自己，要说什么的时候，我想起了原因。

如今，再不能如同从前，两个人坐在长长的枕木上，谈了这样的话：等我积蓄够了钱，就找个月租便宜的房子，在僻静的地方悄悄地生活。

那是个阳光耀眼的下午，我蹲在公交站牌旁，在水泥的灰尘扑向鼻尖时，仿佛是来自从前的情形，那灰尘让我想起了自己的童年，当然，还有那天早晨。

我总觉得不该这样开始，更怕让自己想得更多。

怕自己愧疚。

听到敲门声时，望着远处的身影，我已养成习惯地垂着头。

听自己喃喃低语。

再有一个小时，又到明天了。

而那天早晨回旋在穹顶的光芒仍然为我所记着，像故事里人们聚在餐桌前闲谈哲学和艺术，还是青年的叙述人站了起来，给人们朗读着他刚想起的诗般。

那天早晨的光芒便这样不时从眼前一掠而过。

从我稚拙的言谈里。

也许笨拙和从来不曾灵敏过。

我发现自己就是这样。

有天早上，我花一块钱买了厚厚一叠《北京青年报》的旧报纸用来贴窗户，阳光照在上面时，看到了上面有篇金基德《弓》的影评。

那是二零零六年的春天，北方的寒风尚未过去。

当时，读影评让人感到像在受苦，以致我至今还很排斥那些格式。

所以，我如同自己在黑黢黢的屋子里看电影一样，老听到别人间的指责：你怎么看着看着又睡着了。

2011.8.4

这可能是我最初看过的几部法国电影中的一部，自此以后我对法国电影有了第一个印象，那就是影片图像色彩非常优秀。

看完这部电影觉得拍得很好看，倒不觉得影片拍得有多好，情节有多深动，就是图像好，该绿色是那么的绿，红色是那么的红，好看好看。

接着以后又看了几部法国影片，都有同感。

不禁产生一个疑问，他们法国人拍电影用的摄像机是不是比较特别？

有没有专家能指点一下？

光看那海报都已经有那感觉了。

海报都那么 帅 当然电影也不会差到哪啦！

就这样的心理。

看了 Brotherhood of the Wolf ！

一开篇营造的氛围真的很不错。

野蛮人，怪物，弱小的，很好的对比。

还有，开篇在雨中小战那一场也是，很棒！

里面也不缺乏法国人的浪漫！

撒迪西第一次见到那为贵族小姐时候帮她解围那段就是极其浪漫搞笑的。

这部电影的 调子控制得很好！

难怪听到有人说，不看字幕只看画面就能明白电影表达的意思了。

整个故事编的也不错。

设计的服装还有涉及到的情节也是值得炫耀一下的...

R.I.P. Émilie Dequenne (1981-2025), the brilliant Belgian and the recipient of Best Actress award at Cannes for her first acting gig in Dardenne brothers' Palme d'or winner ROSETTA, has sadly succumbed to a rare cancer at a young age of 43. Dequenne is endowed with a superb knack for disappearing into a role, making her performances feel both instinctually naturalistic and uninhibitedly expressive. After ROSETTA catapults her status as a promising young thespian, her follow-up, Christophe Gans' BROTHERHOOD OF THE WOLF is an authentic Gallic blockbuster. A lush, genre-mashing period epic where Dequenne takes on a smaller but still intriguing part cannot be more different from the one in ROSETTA ROSETTA is a stripped-down, bare-bones exposé of underclass subsistence. It’s not trying to charm or entertain, but to make audience feel something real but also too close for comfort, regarding poverty, misery and struggle with no buffer between spectators in cushy seats and the relentless hardship on show. In short, a poverty porn in its most effective and acute fibers. The plot follows our titular heroine, a teenager living in a dreary caravan park with her alcoholic mother (Yernaux), scraping by on the edge of the society. Her sole hope is to find a stable job, and the only way to achieve that turns out to be a cruel zero-sum game, to heartlessly betray the kindness of Riquet (Rongione), a coworker who befriends her and throw him under the bus, especially after that cardinal scene where Rosetta hesitates while Riquet falls into the murky lake, flailing, in real danger of drowning. Rosetta's longer-than-it-is hesitation is brutal. It’s not cinematic suspense but ethical discomfort. The camera traces her face, and we can see the storm inside her: should she help him or not? And what’s devastating is that, for a few long seconds, she leans toward not. Not because she hates him, or because she’s evil, but because she’s desperate, beaten and exhausted. She knows that if he dies, the job at the waffle stand - the one lifeline she clings to - could be hers. This is one of the film’s most daring moves. The Dardennes refuse to protect Rosetta from her worst thoughts. They let her hover on the edge of some horrible thoughts: letting an innocent person die out of her personal economic desperation. It’s a moment that rips away any illusion of moral clarity. The world has taught Rosetta that survival is a ruthless game, that there is no room for compassion, only competition.But then she thinks better of it and rescues him. This action doesn't erase the hesitation. It doesn't redeem her in a neat way. But it does mark a crack in the hardened shell she's built around herself. It’s one of the few choices in the film that feels free - ungoverned by necessity, nor by the grim laws of a world where everything must be earned in pains. She chooses to save Riquet simply because, despite everything, a trace of moral instinct remains. That’s the genius of ROSETTA. It shows us that morality, especially in a world like that, is messy, costly, and sometimes even irrational. The fact that she nearly lets Riquet drown makes her human whereas the fact that she doesn’t makes her still worth rooting for. In a lesser film, this would be the redemptive climax. But Rosetta keeps going. It keeps grinding. The weight of survival doesn’t lift. But we, and Rosetta, are left with the memory of that decision - a moment when she could have been monstrous, and wasn’t. A reminder that even in the ugliest conditions, humanity clings on by its fingernails.The Dardennes’ approach is famously no-frills. Handheld cameras, natural lighting, and zero gloss over its milieu, a cinema-vérité style mixed with a stimulating guerrilla kinetics. The camera is almost invasive in how close it sticks to Rosetta, her face, her hands, her feet stomping through the mud. We barely get a second to breathe without being pulled into her smoldering rage and frustration of constantly getting the short end of the stick, her kept-to-herself tenacity, or the incessant pain from her period cramps. ROSETTA's focus on natural sound rather than a traditional score only adds to the Dardennes’ felicitous evocation of realism. The sound design focuses on the grating, everyday noises of Rosetta’s environs: the crunch of gravel under Rosetta’s boots, the droning noise of the factory where she briefly works, and the susurrus of the sylvan area where her digs are. No emotional manipulation through music - just the raw sounds from real life. There’s no color, no warmth. The film is washed out and gray. The caravan park itself feels like a cage - muddy, gray, and bleak. Even Rosetta herself looks drained of vitality, dressed in cheap, worn-out clothes. The Dardennes avoid any kind of aesthetic appeal because the film is meant to hit a raw nerve, exposing the underside of a developed Western country many folks refuse to acknowledge. Dequenne’s performance is all in the body language - tense shoulders, a clenched jaw, defensive eye contact. You can feel how much emotional energy it takes for Rosetta just to get through the day. She’s desperate to find stability, but also held back by her mother - a lush who cannot shake off her jones - who is as much a weight around her neck as the poverty they live in. Just when the film heads to a dismally tragic end, the Dardennes scores with a finale that is quietly devastating and, at the same time, subtly redemptive. Attempting ending her misery by turning on the gas, Rosetta strains to carry a gas canister - a heavy one - back to her trailer (for her, the bitter irony is that even suicide comes with a price tag). The canister is an obvious metaphor for the life-size burden she must grapple with. Then Riquet arrives on his moped, circling around her noisily, and she puts down the canister, finally cracks up. There’s the beginning of a tremor in her voice. She breathes heavily, perhaps for the first time in the whole film, and we can almost see her letting someone in.This ending is masterful for a few reasons. First, it’s ambiguous but emotionally clear. The film ends with an act of human decency. It signifies that even in a base, survivalist world, there might still be room for forgiveness, for solidarity, for connection. Secondly, it is a moral ending without being moralistic. In the end, Rosetta is not cheaply saved, but she pauses, and that pause is monumental. After 90 minutes of relentless motion, of trying to fix her life through sheer will, she finally stops. In that moment, something human is rekindled.It’s also important to recognize that the Dardennes are offering no easy solutions. Rosetta’s life won’t suddenly be all's well. But she’s no longer alone, and that small, stubborn act of mutual recognition with Riquet is enough to breathe life into a closing image that could otherwise have been hopeless. It tells us that while systems may fail, and institutions may be indifferent, individuals still have the power to break cycles - if only for a moment. It’s not a fairytale ending, but in the Dardennes' harsh universe, it might as well be a miracle.

If ROSETTA is hard-edged and minimalist, BROTHERHOOD OF THE WOLF is maximalist in every possible way. Gans’s film is a wild mix of period drama, creature horror, mystery thriller, and political intrigue, set during the Age of Enlightenment. It’s loosely inspired by the real-life legend of the Beast of Gévaudan - a mysterious creature that terrorized the rural French region. The story follows Grégoire de Fronsac (Le Bihan), a naturalist and royal agent, who is sent by the King to investigate the atrocious, almost supernatural killings attributed to the mythic beast. Fronsac is accompanied by Mani (Dacascos), an American Indian from the Iroquois tribe who has become his blood brother. As the pair digs closer to the truth, if laboriously (as the film is 2 and a half hour long), in time they will discover that the beast is not a natural creature but a secretively fashioned and controlled weapon, part of a political conspiracy to undermine the crown and exploit the growing unrest in the country. Eventually, BROTHERHOOD OF THE WOLF comes through as a full-bore rampage on the clash between Enlightenment rationalism and religious superstition, as well as sending the sideswipes to the political manipulation of fear.Gans goes all-in on spectacle here. Lavish period costumes, huge set pieces, engaging fight scenes choreographed straight out of Hong Kong cinema, with slow-motion flips and swashbuckling flourishes. The creature itself is a blend of puppetry and animatronics (designed by Jim Henson's Creature Shop), with CGI-assisted effects to smooth out the discrepancies. The beast looks both organic and unnatural, which gives it a genuinely unsettling quality. The film also has a kind of dark fairy-tale atmosphere - lots of shadows, candlelight, and ominous fog rolling over the countryside.Dacascos is the film's biggest secret weapon. On paper, Mani seems to be the stoic "noble savage" trope pasted into a racist Europe for flair. But Dacascos dodges that trap by grounding him in simmering intensity and spiritual presence that consistently turns heads. He's a man of few words, but every gesture speaks volumes. His stillness is as commanding as his movement, which brings a grace and precision to Mani’s fight scenes that feel balletic, fluid but also grounded, almost ritualistic, hinting at a connection to an otherworldly universe - a worldview shaped by nature, balance, and ancestral knowledge. His combat style contrasts sharply with the baroque violence of those French barbarians and the snarling chaos of the beast. There’s a discipline to Mani’s presence, something elemental.What’s perhaps most impressive is that how much non-verbal work Dacascos does. Mani isn’t given a lot of dialogue, but he communicates with expressions. There’s a palpable sense of history and pain behind his eyes - this is a man who has lost his homeland, who walks in a foreign place that sees him as alien, and yet he carries himself with calm authority. In a story that often critiques the Enlightenment’s hypocrisies - its tendency to proclaim rational order while hiding grotesque violence - Mani stands in for another kind of wisdom. He represents a form of knowledge that isn't written in books or debated in salons. He knows the forest, he respects the dead, he moves like a ghost through a land that doesn’t know what to do with him.There’s also the unspoken commentary that the film slips in with Mani's harrowing death: the outsider, the one most in tune with nature, is the one to be sacrificed. The moment Fronsac sees Mani's corpse, any pretense of diplomacy or rational investigation drops away, marks a turn in the story toward unrestrained chaos and vengeance. Dequenne plays Marianne de Morangias, the daughter of a local aristocrat, the apple of Fronsac's eyes. It’s a supporting role, but Dequenne makes her presence felt, she’s controlled and subtle, dutifully playing a damsel in distress within the formal confines of nobility.Cassel, as Marianne's brother Jean-François, carries himself like a man who believes in his own superiority - social, physical, intellectual - but there’s something rotten underneath, something festering. Cassel leans into that decay with delicious intensity. His facial expressions shift rapidly - from charming to menacing, from amused to dead-eyed. He’s magnetic precisely because he’s so unpredictable. There's a hint of the dandy villain about him, but it's twisted further by a creeping sense of obsession - particularly in his scenes with Dequenne, where the presence of a one-sided attraction gives their dynamic a faintly gothic, almost incest-drama-meets-werewolf-movie kind of vibe.Jean-François’s backstory - his injury, his time abroad, his missing hand—only adds to the mythologized weight of the character. And when it’s revealed that he’s behind much of the carnage and fearmongering, Cassel drops the mask completely and revels in the character’s moral unraveling. In full villain mode, he’s Shakespearean: arrogant, bitter, and fully convinced of his own right to dominate. It’s an over-the-top performance in all the best ways, perfectly matched to the film’s high-pulp sensibility.Then there is Cassel's then partner in life, Bellucci, as Sylvia, the impossibly glamorous Italian courtesan who becomes romantically entangled with Fronsac. At first, she seems like a stock femme fatale - witchy, sensual, aloof. But Bellucci knows how to play with that archetype, and slowly we begin to suspect there’s more to Sylvia than silk and smoky glances. And sure enough - there is. It’s a fun reversal that repositions her not as the seduced, but as the one in control. Bellucci plays the double role - lover and agent - with icy cool. She doesn’t overplay the reveal; instead, she lets Sylvia’s intelligence telegraph through minimal gestures, loaded silences, and strategic manipulation. What’s particularly effective is that Sylvia never drops her mystique, even after her motivations are revealed. She’s enigmatic to the end, a conduit of both desire and disillusionment. Bellucci keeps the tone just right - seductive, slippery, always a half-step out of reach.On the debit side, Le Bihan is a bit of a mixed bag here. He’s the official lead, the rational Enlightenment-era man of science turned reluctant warrior. While he looks the part - ruggedly handsome, well-costumed, and physically up to the task - his performance doesn't always match the theatrical hijinks or charisma of his co-stars. He delivers his lines with clarity, but rarely with the emotional punch or tension that the stakes seem to demand. It’s not that he’s bad, just a bit bland. Thankfully, when Fronsac is thrusted to be an avenging force in the third act, Le Bihan gets to show some piss and vinegar, his grief becomes palpable, a killing spree and a one-to-one throw-down that follow give him a chance to step out of his moral limbo and comport himself as a legitimate, rousing action hero.After all, BROTHERHOOD OF THE WOLF is a rare example of cinematic excess that somehow works precisely because of its contradictions. It’s overstuffed, tonally chaotic, and often ridiculous, but also bold, visually arresting, and completely unafraid to take risks. A handsome revenue (grossing over $70 million in worldwide theatrical release) is a meritorious reward. referential entries: Joachim Lafosse's OUR CHILDREN (2012, 6.7/10); Albert Dupontel's SEE YOU UP THERE (2017, 7.7/10); Luc and Jean-Pierre Dardenne's THE PROMISE (1996, 8.0/10), TWO DAYS ONE NIGHT (2014, 8.6/10). Title: RosettaYear: 1999Genre: DramaCountry: Belgium, FranceLanguage: FrenchDirectors/Screenwriters: Jean-Pierre Dardenne, Luc DardenneComposer: Jean-Pierre CoccoCinematographer: Alain MarcoenEditor: Marie-Hélène DozoCast:Émilie DequenneFabrizio RongioneOlivier GourmetAnne YernauxBernard MarbaixFrédéric BodsonFlorian DelainRating: 8.1/10

English Title: Brotherhood of the WolfOriginal Title: Le pacte des loupsYear: 2001Genre: Action, Horror, Adventure, Mystery, DramaCountry: France Language: French, Italian, GermanDirector: Christophe GansScreenwriters: Stéphane Cabel, Christophe GansComposer: Joseph LoDucaCinematographer: Dan LaustsenEditors: Xavier Loutreuil, Sébastien Prangère, David WuCast:Samuel Le BihanMark Dacascos Vincent CasselÉmilie DequenneJérémie RenierMonica BellucciJean YanneÉdith ScobJean-François StéveninBernard Farcy Jacques PerrinHans MeyerPhilippe NahonVirginie DarmonJohan LeysenJean-Loup WolffNicolas VaudeMichel PuterflamBernard FressonEric PratAndré PenvernGaspard UllielRating: 7.4/10

整部影片围绕着法国大革命前夕，当时民众被所谓的“怪兽”侵扰，国家组织各方力量来围剿“怪兽”，一时流言四起，最后将所谓的“怪兽”归咎于狼族，接着就是不断地剿灭狼族，其实“怪兽”就是政治家臆造出来的，可以说这是一部披着狼皮的阴谋夺权的政论电影。

这其中也不乏爱情，但是爱情在这部电影里的比重很轻，可以说是一种修饰，公主和骑士的爱情似乎是那个时代背景下的偶然，他们爱情的纯洁也似乎是对当时环境的一种讽刺。

如果说哥特式电影是一种更加倾向于艺术的，确切的是更加带有恐怖色彩和神秘气氛的艺术作品，它给人带来的是另一种感觉，恐惧、不安，直接裸地剖析人性的思考，那么《狼族盟约》做到了。

关于宗教和信仰在众多电影中，都有关于宗教和信仰的话题，本部影片中所谓的教义最后都被证明是政治阴谋。

是洗脑的一种方式，而片中印第安人的信仰，却显得那么有力量，它注重自然，尊重真理。

这里不由得让人们讨论起宗教的本质问题，肯定有很多观众不假思考起宗教的本质，宗教的本质可能是灵魂的慰藉，或者说是对自然的尊重，或者说是人们对未知世界的一种想象。

它是哲学的一部分，在任何国家的历史长河中，都扮演着重要的角色。

但是当它被政治所利用的时候，历史往往会证明，它仅仅是政治的掩饰。

在很多时候，或者说在一场革命爆发之前，都有其沉淀许久的怨愤，都有其已经根深蒂固的矛盾。

宗教这个时候往往被利用，往往被披上虛假的外衣，制造所谓的“怪兽”，制造恐慌，愚弄民众，这个时候宗教的本质被曲解了，被利益化了，不再被用来净化心灵，净化世界。

在影片中能看见法国传统的浪漫情怀，公主的圣洁和骑士的勇敢之间摩擦出爱情火花，给人一种唯美的感觉，公主和骑士的爱情在当时的背景下，似乎是一种奢望，整个社会都弥漫着恐怖的气氛，整个国度都似乎笼罩着沉重的阴霾，他们之间的爱情，似乎就是黑暗中的那一点点灯光，照亮心灵，给人希望。

这不仅让人想起影片中的一个细节，当所谓的“怪兽”呈现在国王王室的时候，所有的人都在假惺惺地庆贺，明知道是假的，明知道是自欺欺人的，这似乎充分体现了革命爆发之前的一种征兆，政治高层的不作为、自欺欺人、腐朽等都是征兆的特征之一。

这部影片似乎也有这方面的含义，当宗教被政治无限地利用的时候，它将不是人们心灵的寄托，而是政治家们控制民众的绳索，在这种模式下，很多行为都被视为上帝的指示，很多行为就变得更加理所当然合乎情理。

说一下这部影片的叙事流程，导演采用悬疑的叙事方式，所有谜团到影片的最后才得以揭开。

整部影片是有事实依据的，在18世纪60年代中期，是法国国王路易十五统治时期。

在法国吉瓦冈地区，很多妇女和儿童不断地受到一只凶残的巨狼的迫害，人们胆战心惊，全国上下一时间都被这些触目惊心的杀戮震惊了，他们每天生活在恐惧当中。

为了安抚、安定民心，国王决定命令皇家骑士弗朗萨克及其随从玛尼赴吉瓦冈捕杀怪兽。

弗朗萨克从最开始就对巨狼的存在产生很大的怀疑，因为据幸存者描述，恶狼体形惊人，而他是特别擅长制作动物标本的，即使这样，他也从未见过这种庞然大物。

在当地调查期问，弗朗萨克爱上了当地伯爵的女儿玛丽安，他的勇敢和坚强征服了玛丽安，他们坠入爱河，同时他还与美艳动人的官妓西尔维亚上床，这似乎是对当时法国社会腐朽的一种讽刺，并结识了玛丽安的哥哥让·弗朗索瓦，他在非洲猎狮的时候一只手臂被咬掉了。

但是随着调查的逐渐深入，弗朗萨克从一具被害者尸体上发现了一颗钢牙，而且一位目击证人发誓地说有人正在控制着这头巨狼，这头狼是被人控制的，于是弗朗萨克开始希望通过研究其攻击的方式找到线索，但最后却一无所获。

这样的结果也招致品了国王的不满，于是国王又派来了一位武器专家波特纳，但是这位专家立功心切，简单捕杀了一只野狼，同时让弗朗萨克对其改头换面，制作成一头巨狼被送回巴黎，国王和贵族，并不知道其中的真相，顿时欢欣鼓舞，这又从另一方面极度地讽刺了当时的政治环境，一切都是虚假繁荣，一切都是皇帝的新装。

在巴黎，弗朗萨克看到了一本红色的书籍，这本书主要阐述的巨狼是为惩罚沉迷干哲学和科学的国王而来阐述反叛理论，弗朗萨克马上意识到巨狼可能是狼族兄弟会的工具这一事实，这个秘密组织计划以所谓的“怪兽”来破坏公众对国王的信赖，进而控制整个国家，在国家角度来讲，这个组织是个反动组织，他们不惜牺牲民众的生命，制造恐慌，制造混乱，但是这也正是当时那种极端腐朽的社会矛盾积攒到一定程度的反映，反之如果一个国度，国王英明，治国有方，百姓安康，天下太平，又怎会出现凡此种种？

然而假的毕竟是假的，真正的巨狼还是没有被抓捕，它仍旧在危害百姓，弗朗萨克没有顾及警告，毅然决然地返回吉瓦冈，他想彻底铲除巨狼同时带走玛丽安。

玛尼一个人在一次激烈战斗之后，发现了巨狼的巢穴，在那里竟然居住着狼族兄弟会成员和一群吉卜赛人，寡不敌众的玛尼最后还是倒在了血泊之中，这是故事的一个高潮，从某种程度来说，玛尼的信仰是正确的，是纯洁的。

在知道好友惨遭不幸之后，弗朗萨克变得悲痛欲绝，在尸检中，他从玛尼的身体中发现了一颗银弹，然而只有让·弗朗索瓦才使用银弹。

极度愤怒的弗朗萨克要为玛尼报仇，于是接连杀了很多吉卜赛人，同时还发现了巨狼的巢穴。

政府把弗朗萨克关进了监狱，在监狱中，他见到了西尔维亚，原来，西尔维亚是梵蒂冈派来的密探，而当地牧师萨迪斯居然是狼族兄弟会的首脑，弗朗萨克知道过多内情，于是她受教皇指派来刺杀弗朗萨克。

弗朗萨克被埋葬了，但实际上，西尔维亚的毒药只让他暂时昏迷。

弗朗萨克很快被西尔维亚手下营救，并随即出现在狼族兄弟会的秘密集会上。

在浴血奋战中，弗朗萨克杀死了实际控制着巨狼的让·弗朗索瓦，山中狼群则吃到了逃亡到山里的萨迪斯。

最终，弗朗萨克在狼巢中找到了恶狼，它已经在经过恶战之后变得奄奄一息，原来，它是一只被让·弗朗索瓦从非洲带回的怪兽，受过攻击人类的训练，最后，弗朗萨克让它安然死去。

以上就是这部影片的主要故事内容，包含的情节所反映的东西是很发散的，可以让不同的人有不同的感受，从我的角度来说，最主要的就是有关政治和宗教的关系，影片的背景画面也是看点之一，法国波旁王朝那个时期的风格，不论是古老建筑，还是装扮服饰，都给人一种别样的雍容华贵的感觉。

影片中的惊为天人的莫妮卡·贝鲁奇和艾米莉·德奎恩，一位是清纯动人的伯爵女儿，一位是妩媚的，当画面停留在她们身上的一刹那，宛如一幅精美的油画。

任何一部电影，背景音乐都很重要，它要和影片的。

故事进程融为一体，更好地和故事的灵魂完美结合，这部影片的音乐就很成功，它大气豪华中带平淡，它时而将人带入紧张气氛，时而将人带入浪漫气氛，像史诗一样。

影片和其他好莱坞影片相比，不是那么紧凑、震撼，欣赏它的时候，会犹如欣赏一幅缓缓舒展开的画卷，如行云流水，使人舒服，使人对片中的故事人物和情节都能有很好的理解。

往往会是这种情况，很多影片谁也搞不清它到底想说什么，但是片中的某个场景、某个情节，却会让人感到什么，而这往往是成功的。

特别欣赏片中的服饰，十七八世纪的欧洲服饰，对我而言，我更加欣赏剧中印第安人的眼神，它带有坚韧和智慧，具有远古气质，同时其信仰，和动物的沟通，无非就是对大自然的尊重和理解，这种古朴纯净的气息在现代社会中是很难找寻的。

总之，这部影片中，狼不是怪兽，人也更不是人，狼被政治利用，也就是被人利用，群众也被政治家诱导，矛盾充斥在整个社会，随时爆发，任何因素似乎都无法阻止革命的爆发。

这部影片是成功的，至少引起了很多思考。

电影艺术的魅力就是这样，它能从不同的角度来诠释历史、爱情、信仰。

它能让现代的人们感悟历史的教训，历史的轮回，能让现代的人们领会曾经的爱情，能让现代的人们体味宗教在特定时期的真正含义以及对信仰的重新坚守。

对现代人的启示很生动形象地呈现出来，这是其他艺术作品所达不到的。

再说这部影片的外在表现形式，它集结了美、亚、欧三方面的电影人士，剪接得很有张力，动作设计也很漂亮，其中给人印象深刻的是印第安人的武士这个角色，这个人全场给人很冷很酷的感觉，一人对付一群人，他能和自然通灵，让人倍感神秘，片中他简单地和“女巫”的眼神交流，恰到好处地表现了这个印第安人的爱情渴望，他的话不多，但时时刻刻都在传递各种信息，这是导演的成功，更是演员的功夫所在。

导演克里斯多夫·甘斯好像要履行约定，想要让所有观众人人满意，即使不是好莱坞史诗片，但是有慢镜头的原野场面；即使没有深究政治内涵，但是有宫廷阴谋的情节；即使没有电脑制作的怪兽，但是有比恐龙还怪异的“怪兽”；既有色情的，又有古代欧式妓院刺激你的荷尔蒙，等等，这些都足以在影片中欣赏到。

画面精美绝伦，剪接张弛有度，动作设计相当漂亮，值得推荐。

盛佳蓝光标注

虽然电影的长度在2小时20分左右，但也没什么好说的，讲述了一个小城镇里发生的一个故事，娱乐性方面比较低，没有平常好莱坞电影里观众喜欢的元素，例如爆炸啊、智谋啊、特效啊什么的，动作方面倒是有，但打起来比较像中国功夫，慢镜头不少但似乎不大熟练，故事也比较平淡，毕竟描述基本围绕着上层社会，能有趣到什么地方呢，一群达官贵人围在一起说说无聊的话题，平常的娱乐活动也就喝酒和讨论下戏剧诸如此类的而已，大概农村的娱乐活动要比贵族们的还要好，说起这个我倒是好奇以前人们白天劳作，晚上做些什么事情来消遣呢？

片中有少量儿童不宜的内容，毕竟法国拍的嘛，尺度总是比米国大很多，以前我老婆要去法国几年时就很担心被拐跑了，当然现在也和我没什么关系了说回电影，布景虽然很多都比较精细，但总觉得简陋了点，不是很能展现出那个时代的风格，尤其是巴黎那里，总觉得很现代化……总体评分：2.8/5.0（评分修正：原2.5）某个官员很像卷福……后面有一幕挺揪心，一个农村姑娘跑去把跑丢的羊羔捉回家，一个踉跄掉到齐腰的污水坑里，稍微稳了稳就慢慢向羊羔走去，慢慢地把羊羔抱在胸前，忽然四周传来危险的嘶叫声，她紧张地往四周望去，手里依然紧紧的抱着羊羔，她越看越害怕，似乎察觉到一点动静后马上放掉羊羔拼命沿着树根往上爬，但是行动敏捷的怪兽依然把她杀掉了。

这一段实在受不了，感受太深刻，后面的剧情都没啥心思看了

这是我见过的相当漂亮的法国电影之一！

看的过程真的是一种视觉享受，听原声还是一种听觉享受，因为法语真的很好听。

还有就是，享受那种法国的浪漫主义爱情，浪漫的社会文化，等等这些都是这部优秀影片的可圈可点之处！

赞一个！！

1766年法国在美洲的属地出现了一只怪兽，专门攻击妇女、孩童，当地弥漫著一股恐怖的气息。

法国国王路易五派了逢萨克骑士去调查，他在当地得到一位印地安人曼尼的帮助，两人建立了如兄弟般的情谊...... 电影结合了恐怖、浪漫、传统的气息，导演克里斯多福康斯成功的以六○年代的电影传统、加上现代的手法来呈现。

康斯不仅以意大利电影史诗的手法来描述这个法国故事，使它充满气势、张力，更以吴宇森的功夫影像来让观众感受打斗动作的临场感。

将这个流传于18世纪的故事以21世纪的电影手法表现。

有以下原因令你要看看2001年的《狼族盟约》：1. 如果你喜欢好莱坞的史诗式电影的话，片中有大片原野任你眼部驰骋，让你有《勇敢的心》的体会。

2. 如果你喜欢文艺片的话，片中有大量关于贵族的宫廷对话，足以填饱你对十八世纪中叶的宫廷文化的饥饿，使你会找到《圣女贞德》的感觉。

3. 如果你喜欢带有激情的场面来促进一下荷尔蒙，片中有意大利宝贝Monica Bellucci，也有萎靡的古代欧式妓院，让你回忆起《惊情四百年》的兴奋。

4. 如果你喜欢英雄主义和动作至上者，片中请来了香港的武指和剪接，恰到好处的慢镜头处理不但没有卖弄技术，反而会令你过足功夫瘾。

5. 如果你喜欢故事中有残缺的人物，片中的Vincent Cassel便是独臂者，可以勾起你对《独臂刀》系列的思念。

6. 如果你喜欢特技魔兽场面，片中电脑制作出一只硕大的怪兽，可媲美《风云雄霸天下》的火麒麟。

7. 如果你喜欢古代政治阴谋片，片中有法国大革命之前的宫廷阴谋，当然比《夜宴》要好看。

8. 如果你对狼或者种族主义话题有兴趣，片中有印地安人漂洋过海借助狼的力量侦察神秘谋杀案，相信你定会回忆起《与狼共舞》。

9. 如果你是环保主义者，印地安人马尼绝对是你最钟情的战友。

10. 如果你钟情爱情片，本片仍可满足你的需求，也有《神雕侠侣》小龙女被玷污那段的影子。

11. 如果你喜欢对抗好莱坞电影，本片也是一个例子，融合了以上10大元素并且让人大呼精彩，绝对是对好莱坞电影的一个反击。

本片为2001年法国十大卖座片第四名，并获得第27届凯撒奖最佳服装奖。

当然以上也可以是你不会去看《狼族盟约》的原因，反正如果我早知道是这样的话就不会去看。

由于此片同时向众多电影做出了“致敬”，因此它也只相当于一头美轮美奂的“四不像”。

2006年11月15日

啊，《狼族盟约》……啊，莫妮卡·贝鲁奇……啊，文森特·卡索……一部长达两个半小时的冗长的电影（还不知道有没有剪过），因着他们俩，闪着七彩的礼花^^莫妮卡·贝鲁奇这个性感尤物，作为同性的我都无法抵挡她的魅力……用刀子划破男猪的胸膛然后舔那带血的刀，煽情妖冶到一塌糊涂啊……迅速地展开铁扇杀死那个疯婆子再用极快的速度收回衣服里，真是杀手杀手杀杀手……文森特·卡索……这个变态的阴鸷的脆弱的迷人的超级大反派霹雳大恶人……真是华丽丽地吸引眼球啊……假残疾、训练怪兽杀人、乱伦、强奸……让·弗朗索瓦真真当得上“变态”这个词……最后还以那样的死法向被他杀死的深爱的妹妹玛丽安倾诉爱意……男猪赢了又怎样……亲爱的玛丽安在地狱里陪的可是哥哥让……（好吧这是我的愿望，玛丽安最后被印第安治疗术救活了）死前和男猪的对话：让：玛丽安，看啊！

（然后把刀子拉过来戳到自己肚子上）男猪：玛丽安不在这里！

笨蛋（笨的是你）让：你让我们可以永远在一起了（从这句话知道，其实怪兽不怪兽死不死对让来说都没有意义，他从头到尾都只要玛丽安一个……华丽丽的乱伦啊……）然后死时那没有闭上的眼睛，看那眼神，销魂啊……记住了让·弗朗索瓦的同时也记住了他的扮演者：文森特·卡索……《不可撤销》《公寓》《伊丽莎白》《秘密雇员》《圣女贞德》《仇恨》《太保密码》《暗流》《快感，或小小的麻烦》……还有他让全世界男人仇恨的一点：他是莫妮卡·贝鲁奇的老公！

其实那个印第安人马尼也是个萌点，但他死得太早了ORZ……所以不提了可怜的孩子，你是好样的……啊……现在看电影都没法萌主角了……尽看配角……