自卫的艺术

9张漫画风格长图带你看懂《自卫的艺术》。

这部电影漫画感极强，而且摄影非常出色，调皮了一下，利用电影剧照制作了9张长图篇幅的漫画。

对白没有完全忠实原片，但是巨对是原本对白内容的高度提炼，满满的精华。

也许你已经注意到，凯西的扮演者就是杰西·艾森伯格，《蝙蝠侠大战超人：正义黎明》中的反派莱克斯·卢瑟的扮演者。

不知道大家是否还记得2009年的《僵尸之地》，丹尼尔在其中扮演末日中幸存的计划通宅男哥伦布，正是这部不起眼的丧尸电影使得怀才不遇的杰西·艾森伯格声名大噪。

此次推荐的2019年新片《自卫的艺术》则是杰西·艾森伯格在黑色喜剧方面开拓戏路的一次大胆尝试。

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2019《小丑》现象级热度成因解析⬇️

//movie.douban.com/review/12042059/

记得小时候放学被逃课和辍学的拦在校门口要钱的时候，搜刮一遍之后还要打上两耳光或者给上一脚，当年被打被抢后懦弱的一批，和电影中杰西.艾森伯格所饰演的凯西是一样的感受，又羞又怒，不敢和大人说，就暗地里学武术，还异想天开的想去“少林寺”学武，然后行走江湖，惩恶扬善。懦弱带来的自卑感是尚武精神的的原动力。只有以暴制暴才能消除被欺凌的耻辱，才能自我认同。从这一点出发，sensi既是施暴者，又是救助者，乍一看有点像在路上洒满钉子的补胎行老板，过路的司机爆胎漏气只能去他那里，可这种操作得限定在方圆周围“只此一家”的条件里，影片中，凯西被打后，凯西第一次走进的是枪店，只是“注册要等审核”使日益恐惧的凯西有点等不及。无意间看见“道场”的授课，抱着试一试的心态，报了课，结果被“sensi”的灌输的“荣誉感，等级制，成长机制所激励”更加专注于空手道的课，甚至扔掉工作全身心投入其中，因为这令他找回自信，一步步的强大起来。可他万万没想到是是，“道场”还有另一幅面孔：为了考验学员，通过随机杀人而获得晋级行动里，凯西这才明白：sensi才是始作俑者，自己只是碰巧成了sensi考验学员成长的工具，在自己不知情的情况下又成了他继续施暴的工具。故事讲到这里，凯西似乎也确实从空手道的学习里变的强大，一枪结束了叨逼叨逼还装腔作势的sensi，脸不红，心不跳.这部小成本电影以其特有的喜剧特质呈现，是2019年比较难得一见的小成本喜剧，在如今的疫情之下，远在美国的学子们还是买把枪靠谱。

4星，超低成本影片，但很有意思。 搞笑，悬疑，翻转，处处精彩。 前期搞笑博人同情，后面话风一转黑色幽默了，一本正经的恶搞太逗了。 影片中不乏哲理， 自卫的本质就是能够保护自己，击倒敌人，这跟软弱用不用枪没有直接关系。 而艺术就比较深刻了， 那种自卫更有艺术性，每个人的理解不同。男主的良顺， 女主的坚韧，还有教练的暗黑形成了鲜明对比。

答案就是暴力、重金属音乐洗脑和栽赃陷害。

中国人是最恨迂腐和陈腔滥调的，对那些古旧的规矩尤其痛恨。因为我们在两千多年前就喊出了“王侯将相宁有种乎”，等级和规矩从来就不是天生存在的！所以，当森sei利用空手道的规矩和礼仪建立起他个人在道场里的权威时，这让我由衷地膈应他。尤其是用一个什么等级晋升制控制各位学员，就更是让人觉的这种行为的荒诞——不就一根破带色的绳子，有啥可羡慕的呢？

然而，这恰恰象征了人类社会的毒瘤——法西斯控制人群的手段，给一个并不重要的东西人为赋予高大上的设定，让人们舍命去追。

片中森sei控制人的手段很有意思，等级晋升制、暴力胁迫、重金属音乐洗脑、拍下犯罪证据、暴力宣泄的快感……成体系使用，从而达到全面控制人心的目的，想想真是不寒而栗。更令人出冷汗的是，森sei竟然在道场里安了一个焚化炉，尼玛谁家正常人会在家里安装这玩意儿，很难不让人想起纳粹德国的暴行。

森sei把人变成法西斯的手段是有效的，曾经文弱不堪的凯西竟然当街打死了一个持枪的便衣警察，不能不让人感慨法西斯的恐怖——法西斯把人变成鬼。

当然，对付法西斯自然不能按照法西斯的规矩来，尤其是徒手搏命格斗，鬼才跟你打嘞！一发来自工业文明的子弹是摧毁封建武士统治暴力的最好手段，所有的破规矩都随着森sei的脑浆一起迸裂。

只有破除迷信、消灭法西斯，空手道才能真正恢复它本来的面目——强身健体，授业解惑。只有破除迷信、消灭法西斯，人类社会才能真正走向文明和健康！警惕法西斯死灰复燃，是我们永恒的任务！

ps：当然，这又是一部宣传卖枪的政治电影，可能这才是这部电影的本意，可以查查投资方🙂

红衣祖师死于猎人误杀？

新增的第十一条规则：用枪的都是弱者？

午夜课堂袭击路人？

一定要先问问对方有没有枪？

红衣祖师就是死在午夜袭击的时候吧，被带枪的路人反杀，而黑衣老师当时就是身旁的帮凶，也亲眼目睹了自己老师被反杀。

所以整个道场从根儿上就是个犯罪团伙吧。

整部影片观感不错，黑色成分并不剧烈但也让人觉得“吃饱了”。女主美丽可爱。

Sophomoric feature film of US director/writer Riley Stearns, himself in real life is a practitioner and instructor of Brazilian Jiu-Jitsu, and THE ART OF SELF-DEFENSE gets the jumping-off point right there.

Eisenberg is in his usual saddo form as the lonesome Casey, a 35-year-old accountant has no one but a pet dachshund for company. After being savagely mugged one night by a motorcycle gang, he balks at going out at night, and tries to buy a firearm for self protection but ends up in a dojo where karate is instructed by the upright Sensei (Nivola).

Beginning as a tabula rasa white-belt, Casey apparently makes goodly progress and soon earns his yellow-belt and gets an invitation to the night class, where the training becomes more combative, he witness Anna (Poots) mercilessly beats up fellow student Thomas (Terada) after losing a promotion to black-belt to him, and another student Henry (Zellner) has his arm viciously broken for attending the class unheralded, a sinister vibe of hierarchy and sexism rightly supersedes the hitherto more lighthearted tone, to say nothing of the wanton violence on show.

Motivated by Sensei, Casey successfully morphs from a beta male to an alpha one (even if it costs him his job), or he eagerly pretends to be. After socking an innocent lush under the insistent instruction of Sensei, he begins to have doubts (why Sensei keeps filming him with his camcorder for his assault?), and in the wake of his pet’s premature death (dachshund is deemed not masculine enough for a man), an action betrays the evil-doer’s rashness and inopportuneness, and an accident of barbaric battery that he literally clocks a plainclothes policeman to death, Casey needs to burrow into the 411 (including the belated revelation that Sensei and his co. are actually his attackers) and face a final showdown with Sensei. Only this time, he will not play by the honor-bound rules, the brainwashing needs to be put paid to, once and for all.

Bracingly, the story mines into the touch-paper issue of toxic masculinity, a ubiquitous stigma breeding on the male sex and should be answerable for a big chunk of the scourge that plays havoc among human species, but Stearns’ troubling standing on the gun control (it is such an ill-conceived decision for the clincher occurs like that in the movie), that obfuscates itself with the “guns are for the weak” message and the rising-of-an-underdog trope, takes some shine off its offbeat, effervescent veneer, and when Casey finally vouchsafes a new leadership to the sole member of the weaker sex, it is too condescending an ending to stomach, however good Stearns’ intention is, yet, that ill feeling is thankfully alleviated by Poots’ steely resolution and undimmed asperity, only if the film could allocate more room to dwell on Anna’s story, that’s why we need female filmmakers now more than ever.

Shot in an overtly frugal budget with subdued lighting, mostly interior, THE ART OF SELF-DEFENSE’s most prudent movie is to assign a charismatic Nivola the role of Sensei, the amiable mentor figure who can simultaneously telegraph earnestness and dispassionateness in the same breath, despite of Sensei’s blinkered bigotry, we cannot blame Casey for knuckle under his mental indoctrination because Nivola makes him impossible to resist, even after we are fully convinced that he is the bane of any sane being’s life, on the off chance, we still wish he might have some justification up in his sleeves. Slowly evolving into one of the most versatile actors of his generation, Nivola has his brilliance seep into Sensei’s every ruthless action, manipulative ploy and assertive delivery, could he be a cult leader, devotees would be come running.

In toto, the film is a black comedy welded with a frivolous brutality that might be queasy for some to watch, but underneath everything, it is a magical realism allegory about the prototype of dichotomic masculinity, gives the lie to its poisonous core but runs away with a quirky conceitedness that needs some modulation.

referential entries: David Zellner’s KUMIKO, THE TREASURE HUNTER (2014, 6.8/10); Richard Ayoade’s THE DOUBLE (2013, 6.1/10).