Johnny Depp in The Rum Diary: Yo Ho Huh?
The Pirates star takes a break from kid-centric movies to honor his old pal Hunter Thompson with this louche, fitfully appealing comedy
“I tend to avoid alcohol when I can,” says Kemp (Johnny Depp), a reporter who has just joined an English-language newspaper in San Juan, Puerto Rico. Actually, he tends to avoid not drinking. Calibrating his liquor consumption as “at the upper end of social,” Kemp hitches an occasional ride on the wagon, then gets off and brags, “I finally beat my will power.” When he goes on a toot at a bowling alley, the tenpins morph into rum bottles. San Juan in 1960, when Kemp arrives, is a territory pining for statehood (which Hawaii and Alaska had just achieved) and shivering at the recent Communist takeover of Cuba, 1,100 miles across the Caribbean. But the locals don’t figure nearly as importantly in Kemp’s adventures as booze does. The movie is, after all, called The Rum Diary.
The trajectory of Johnny Depp’s career could be both an inspiration and a cautionary tale for Hollywood rebels. The young Depp was as wayward as he was beautiful. Graduating early from entertainment’s mean Streets (TV’s 21 Jump, Wes Craven’s first Nightmare on Elm), he flew in early manhood toward the weird and the serious. Count the ways: after a bit in Platoon, Depp starred as the greaser in John Waters’ Cry-Baby, the fish-tagger in Serbian director Emir Kusturica’s Arizona Dream, the Buster Keaton wannabe in Benny & Joon, Leonard DiCaprio’s protective brother in What’s Eating Gilbert Grape, the shear-fingered or blithely demented Eds of Tim Burton (Scissorhands, Wood), the hapless bookkeeper in Jim Jarmusch’s black-and-white “acid Western” Dead Men, the gypsy horsemen in Sally Potter’s The Man Who Cried and cocaine king George Jung in Blow. In 1997 Depp directed himself and Marlon Brando in The Brave, a gorgeous, suicidally obscure modern-day Western sadly unavailable on Region 1 DVD. He capstoned his Weird Phase by playing Hunter Thompson’s alter ego (and libido) Raoul Duke in Terry Gilliam’s 1998 film of Fear and Loathing in Las Vegas. All in all, an imposing résumé, boasting its fair share of daring.
Set in 1960, The Rum Diary has the grainy look and grungy feel of a ’70s dark comedy like Where’s Poppa? or Little Murders — movies that pursued misanthropic satire and didn’t care if anybody got it. This sense of a film that’s one decade off is reinforced by the characters’ use of words (vibe, Jacuzzi, condo) that didn’t enter common usage until the end of the ’60s. It’s pleasant to spend time back in the day, whatever the year, and to slip into the skin of a movie perfectly content to let its audience observe behavior without having to accept it. Maybe too content. Sanderson says that “Some days are two sizes too small”; the movie is too, defiantly tiny, an agreeable time-waster for the onlookers and its star. The Rum Diary isn’t a corrective to Johnny Depp’s kid-centric career, more like a vacation from it, in a resort where the visitors are strange, the natives are restless and the flow of alcohol endless.
《莱姆酒日记》根据记者亨特·S·汤普森（Hunter S. Thompson）同名小说改编，亨特被誉为“荒诞新闻学之父”，他尖酸而又古怪的写作技巧受到业内的追捧，但这位天才作家最后却以自杀的方式结束自己的生命。亨特模仿海明威的风格，在《莱姆酒日记》中讲述了上世纪50年代发生在波多黎各的一段三角恋故事，原著小说因遭遇种种争议，直到40年后才重见天日。
Our current preoccupation with zombies and vampires is easy to explain. They're two sides of the same coin, addressing our fascination with sex, death and food. They're both undead
一、《乱世佳人》"gone with the wind" That I can't go on any longer without you. 没有你我就活不下去了。 Would you be more convinced if I fell to my knees? 要我跪下来求你才相信我吗