《捕鼠者》劇情介紹
《捕鼠者》是由琳恩·拉姆塞執(zhí)導(dǎo)，琳恩·拉姆塞編劇，湯米·弗拉納根,Mandy,Matt等明星主演的劇情,電影。
《捕鼠者》是一部充滿暗黑與希望的小說，通過描述詹姆斯的成長歷程，展現(xiàn)了人性的復(fù)雜性和對生活的不同態(tài)度。詹姆斯是一個(gè)普通的孩子，他的生活并不容易。他的父母離異，他的母親沉迷賭博，他的父親則沉迷酒精。他的家庭環(huán)境讓他感到孤獨(dú)和無助。然而，他并沒有放棄對幸福的追求。他與朋友們一起玩耍，雖然生活并不完美，但他仍然保持著對未來的希望。然而，當(dāng)詹姆斯的朋友賴安去世時(shí)，他的世界徹底崩塌了。他被卷入了一場謀殺案的調(diào)查中，而他自己也成了嫌疑犯。這個(gè)年輕的男孩不得不面對警察的盤問和社區(qū)的懷疑。盡管他對這個(gè)世界感到困惑和恐懼，但他仍然堅(jiān)持尋找真相，并為自己和賴安伸張正義?！恫妒笳摺吠ㄟ^詹姆斯的故事，揭示了社會(huì)的黑暗面和人性的復(fù)雜性。在這個(gè)充滿罪惡和痛苦的世界中，詹姆斯仍然保持著對美好事物的向往和對愛的渴望。他的堅(jiān)持和勇氣讓他成為一個(gè)真正的英雄，他的故事也讓我們思考我們自己對生活的態(tài)度和選擇?！恫妒笳摺肥且徊苛钊松钏嫉男≌f，它通過揭示人性的復(fù)雜性和對美好事物的追求，向我們展示了生活的真實(shí)與希望。這個(gè)故事告訴我們，即使在最黑暗的時(shí)刻，我們?nèi)匀豢梢哉业焦饷骱土α俊?/p>
《捕鼠者》別名：捕鼠器，于1999-11-12上映，制片國家/地區(qū)為英國。時(shí)長共94分鐘，語言對白英語，最新狀態(tài)HD。該電影評分8.2分，評分人數(shù)6624人。
《捕鼠者》演員表
《捕鼠者》評論
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《捕鼠者》影評
DrownintheWelfare?。?/h3>《捕鼠者》是一部發(fā)生在1973年的電影，故事發(fā)生在格拉斯哥。主人公詹姆斯度過了一個(gè)不太順利的夏天。炎熱的天氣使他感到疲憊不堪，而清潔工人的大罷工使街道變得一片垃圾。然而，最讓詹姆斯困擾的是他朋友賴安的死，這與他有著千絲萬縷的聯(lián)系。整個(gè)故事通過詹姆斯的視角展開，展示了一個(gè)骯臟不堪的世界。盡管詹姆斯感到茫然和猶豫，但他的目光中仍然透露出對未來的渴望和對愛情的向往。在一個(gè)無人知曉的地方，一個(gè)幼小的靈魂不斷被痛苦所折磨和錘煉。然而，作為代價(jià)，它將綻放出最令人驚嘆的純凈光芒。
這篇影評可能有劇透
A history context analysis on the British Realism Film Ratcatcher
Ratcatcher is the first feature-length film by British female director Lynn Ramsay. Since being released in 1999, it has won lots of awards at various film festivals, because of not only the delicacy of its shooting but also its profound reflection on British society in the 1970s.
Fig 1 The death of James' friend 0:06:33This contemporary film’s realistic focus on the working class inherits the spirit of social realism in the British New Wave in the 1950s and 1960s. At that time, on the one hand, the British economy was devastated by the war, the middle class was weakened and the working class appealed to a fair and stable social environment (Winson, 2013, p. 22). On the other hand, the success of the Soviet Union has raised people’s doubts about the capitalist system. Hence, the image of the “angry young men” began to appear in literature and film, usually showing the discontent of the working class with class society (Luo, 2019, p. 24). The films of this period are known as British New Wave and social realism, or working-class realism from the content, poetic realism from style.
Furthermore, the Labor party, which represented the interest of the working class, began to dominate in parliament, and strongly promoted nationalization and welfare policies. However, after some degree of economic recovery, the defects of the welfare system unveiled gradually and led to stagflation (Winson, 2013, pp. 5-6). Until 1975, Margaret Thatcher of the Conservative party came to power and advocated neoliberalism, cutting welfare spending, and encouraging market competition (Scott-Samuel et al, 2014, p. 54). The British economy was boosted but also brought a widening of the class division and the decline in the living quality of the working class. Therefore, in the 1980s, British social realism was revived and lots of films focusing on the working class appeared again (Shafer, 2001, p. 9). The story of Ratcatcher happens in 1973 and reflects the life of the working class at the end of the welfare society, many of the details in the film are closely related to the social background at that time.
l Laborers and RatsRats is perhaps a metaphor for laborers. The welfare system provides enough living security and seriously discourages the laborers’ enthusiasm for work. The traditional virtue of labor is replaced by the lazy pleasure of consumerism (Zhang & Lin, 2018, p. 40). In the film, James’ father is a representative of the working class, sleeps all day instead of working, indulges in TV, beer, and football. His only wish is for the committee to allocate a new house.
Fig 2 James' father is watching TV 0:19:24Moreover, any attempt to reduce welfare will cause public discontent, like this cleaning workers’ strike. The garbage in the streets and the television news reports all hint at this situation.
Fig 3 The report on the strike 0:12:47Under this circumstance, tax revenue falls but welfare spending stays high. The government is in a passive position and the national economy is in a downturn. The working class does not create social value but lives in the burrow of the welfare system like the rat. The strike in the film leads to a chaotic community where rats live with people, implying they are homogenous, dirty, poor, and living at the bottom. The ratcatcher is referring to the coming Thatcher reforms, to the abolition of the welfare state and the elimination of the welfare-dependent working class. At the end of the film, the army, representing the government, is deployed to clean up rats and rubbish, while residents shout abuse upstairs.
Fig 4 The army is cleaning up the rats 1:20:02l Males and SoccerAs a female director, Ramsay pays deep attention to gender identity. The identity of the male is lost at that time. When livelihoods depend on welfare, the role of men as the source of income is weakened. By contrast, when the center of life moves from society, the public sphere, to family, the private sphere, consumerism overwhelms the culture of the working-class, the status of the female is promoted (Zhang & Lin, 2018, p. 40). Therefore, for the male, on the one hand, they feel a sense of marginalization in this loss of identity, so they try to acquire a sense of self-satisfaction through a kind of arbitrary, which includes contempt for the female and arrogance towards their juniors, such as James’ father slaps his wife when drunk or the teenagers humiliate Margaret and tease James and Kenny.
Fig 5 The teenagers are teasing James 0:31:44On the other hand, soccer, as a sport that relies on unity and physical strength, becomes the last symbol of working-class culture, and the spiritual sustenance of the male. In the film, boys play soccer in the street, James’ father persistently gives James a pair of soccer shoes as a gift, and even the teenagers throw Kenny’s mouse back and forth like soccer.
Fig 6 The teenagers are teasing mouse 0:50:00l Children and WaterIn the Ratcatcher, children may be more like “angry young men”. The story is narrated from the perspective of James, a child. Compared with the frustration of adults, children’s psychological activities are more complicated. Vitality is a child’s nature, which is suppressed by a negative social atmosphere. The desire of young men to break through the social hierarchy by working hard is limited by a lazy welfare system, like carrying the death of a friend.
Fig 7 James suicides in the canal 1:27:55Water is perhaps a metaphor for the welfare system. Water can either support life or deprive it. The bathtub full of water brings James happiness, but the endless sewage in the canal drowns his friend like an overdose of welfare, which is gently but fatal, so neither James nor his friend struggles in the canal.
Fig 8 James and Margaret play in the bath 0:59:57Therefore, children are the only ones having hopes for the future, because the future is an escape from reality, which is the origin of the poetic element. The suburban house for James and the moon for Kenny, are all the places with poetic background music, and without water.
Fig 9 No water in suburb house 0:40:51Furthermore, under this repression, children are eager to grow up and have a voice, so they imitate the elders. James tried to join the teenagers and control his sisters. Whereas, when the suburban house is locked and Margaret is still humiliated by the teenagers, James realizes his helplessness and gives up and suicides in the canal. But for Kenny, after being rescued from the canal, he joins the camp of ratcatcher.
Fig 10 Kenny is catching rats 1:24:25Ratcatcher is a calm and slow film. What Ramsay expresses is not simple criticism of Thatcherism or sympathy on the working-class, but the two-sidedness of policies and their great impact on the public. After two decades of Thatcher's policies, it is worth wondering what Britain is and about to face.
Word Count: 1080
（excluding 84 words on remarks of figures）
l Reference List (APA)
Calderwood, A. (Producer). Ramsay, L. (Screenwriter/ Director). (1999). Ratcatcher [Motion Picture]. Britain: British Broadcasting Corporation (BBC).
Luo, X. (2019). 論英國新浪潮電影的“廚房水槽”現(xiàn)實(shí)主義美學(xué)特征 [the Realistic Aesthetic Characteristics of "Kitchen Sink" in British New Wave Films]. Journal of Guizhou University (Art Edition), 33(2), 22-26. doi: 10.15958/j.cnki.gdxbysb.2019.02.004
Scott-Samuel, A., Bambra, C., Collins, C., Hunter, D. J., McCartney, G., & Smith, K. (2014). The impact of Thatcherism on health and well-being in Britain. International Journal of Health Services, 44(1), 53-71. Retrieved from JSTOR Journals. Retrieved from https://www.jstor.org/stable/45140692
Shafer, S. C. (2001). An overview of the working class in British feature film from the 1960s to the 1980s: from class consciousness to marginalization. International Labor and Working-Class History. (59), 3-14. Retrieved from JSTOR Journals. Retrieved from https://www.jstor.org/stable/27672706
Winson, A. (2013). Social realism of British New Wava “Left” films: The working-class border character. (Master’s Thesis) Available from ProQuest Dissertations and Theses Database.
Zhang, J., & Lin X. (2018). 20世紀(jì)八九十年代英國工人階級電影特征 [The characteristics of working class in British working class films in the 1980s and 1990s]. Movie Literature, (10), 39-41. doi: 10.3969/j.issn.0495-5692.2018.10.013
《捕鼠者》是一部發(fā)生在1973年的電影，故事發(fā)生在格拉斯哥。主人公詹姆斯度過了一個(gè)不太順利的夏天。炎熱的天氣使他感到疲憊不堪，而清潔工人的大罷工使街道變得一片垃圾。然而，最讓詹姆斯困擾的是他朋友賴安的死，這與他有著千絲萬縷的聯(lián)系。整個(gè)故事通過詹姆斯的視角展開，展示了一個(gè)骯臟不堪的世界。盡管詹姆斯感到茫然和猶豫，但他的目光中仍然透露出對未來的渴望和對愛情的向往。在一個(gè)無人知曉的地方，一個(gè)幼小的靈魂不斷被痛苦所折磨和錘煉。然而，作為代價(jià)，它將綻放出最令人驚嘆的純凈光芒。
這篇影評可能有劇透
A history context analysis on the British Realism Film Ratcatcher
Ratcatcher is the first feature-length film by British female director Lynn Ramsay. Since being released in 1999, it has won lots of awards at various film festivals, because of not only the delicacy of its shooting but also its profound reflection on British society in the 1970s.
This contemporary film’s realistic focus on the working class inherits the spirit of social realism in the British New Wave in the 1950s and 1960s. At that time, on the one hand, the British economy was devastated by the war, the middle class was weakened and the working class appealed to a fair and stable social environment (Winson, 2013, p. 22). On the other hand, the success of the Soviet Union has raised people’s doubts about the capitalist system. Hence, the image of the “angry young men” began to appear in literature and film, usually showing the discontent of the working class with class society (Luo, 2019, p. 24). The films of this period are known as British New Wave and social realism, or working-class realism from the content, poetic realism from style.
Furthermore, the Labor party, which represented the interest of the working class, began to dominate in parliament, and strongly promoted nationalization and welfare policies. However, after some degree of economic recovery, the defects of the welfare system unveiled gradually and led to stagflation (Winson, 2013, pp. 5-6). Until 1975, Margaret Thatcher of the Conservative party came to power and advocated neoliberalism, cutting welfare spending, and encouraging market competition (Scott-Samuel et al, 2014, p. 54). The British economy was boosted but also brought a widening of the class division and the decline in the living quality of the working class. Therefore, in the 1980s, British social realism was revived and lots of films focusing on the working class appeared again (Shafer, 2001, p. 9). The story of Ratcatcher happens in 1973 and reflects the life of the working class at the end of the welfare society, many of the details in the film are closely related to the social background at that time.
l Laborers and RatsRats is perhaps a metaphor for laborers. The welfare system provides enough living security and seriously discourages the laborers’ enthusiasm for work. The traditional virtue of labor is replaced by the lazy pleasure of consumerism (Zhang & Lin, 2018, p. 40). In the film, James’ father is a representative of the working class, sleeps all day instead of working, indulges in TV, beer, and football. His only wish is for the committee to allocate a new house.
Moreover, any attempt to reduce welfare will cause public discontent, like this cleaning workers’ strike. The garbage in the streets and the television news reports all hint at this situation.
Under this circumstance, tax revenue falls but welfare spending stays high. The government is in a passive position and the national economy is in a downturn. The working class does not create social value but lives in the burrow of the welfare system like the rat. The strike in the film leads to a chaotic community where rats live with people, implying they are homogenous, dirty, poor, and living at the bottom. The ratcatcher is referring to the coming Thatcher reforms, to the abolition of the welfare state and the elimination of the welfare-dependent working class. At the end of the film, the army, representing the government, is deployed to clean up rats and rubbish, while residents shout abuse upstairs.
As a female director, Ramsay pays deep attention to gender identity. The identity of the male is lost at that time. When livelihoods depend on welfare, the role of men as the source of income is weakened. By contrast, when the center of life moves from society, the public sphere, to family, the private sphere, consumerism overwhelms the culture of the working-class, the status of the female is promoted (Zhang & Lin, 2018, p. 40). Therefore, for the male, on the one hand, they feel a sense of marginalization in this loss of identity, so they try to acquire a sense of self-satisfaction through a kind of arbitrary, which includes contempt for the female and arrogance towards their juniors, such as James’ father slaps his wife when drunk or the teenagers humiliate Margaret and tease James and Kenny.
On the other hand, soccer, as a sport that relies on unity and physical strength, becomes the last symbol of working-class culture, and the spiritual sustenance of the male. In the film, boys play soccer in the street, James’ father persistently gives James a pair of soccer shoes as a gift, and even the teenagers throw Kenny’s mouse back and forth like soccer.
In the Ratcatcher, children may be more like “angry young men”. The story is narrated from the perspective of James, a child. Compared with the frustration of adults, children’s psychological activities are more complicated. Vitality is a child’s nature, which is suppressed by a negative social atmosphere. The desire of young men to break through the social hierarchy by working hard is limited by a lazy welfare system, like carrying the death of a friend.
Water is perhaps a metaphor for the welfare system. Water can either support life or deprive it. The bathtub full of water brings James happiness, but the endless sewage in the canal drowns his friend like an overdose of welfare, which is gently but fatal, so neither James nor his friend struggles in the canal.
Therefore, children are the only ones having hopes for the future, because the future is an escape from reality, which is the origin of the poetic element. The suburban house for James and the moon for Kenny, are all the places with poetic background music, and without water.
Furthermore, under this repression, children are eager to grow up and have a voice, so they imitate the elders. James tried to join the teenagers and control his sisters. Whereas, when the suburban house is locked and Margaret is still humiliated by the teenagers, James realizes his helplessness and gives up and suicides in the canal. But for Kenny, after being rescued from the canal, he joins the camp of ratcatcher.
Ratcatcher is a calm and slow film. What Ramsay expresses is not simple criticism of Thatcherism or sympathy on the working-class, but the two-sidedness of policies and their great impact on the public. After two decades of Thatcher's policies, it is worth wondering what Britain is and about to face.
Word Count: 1080
（excluding 84 words on remarks of figures）
l Reference List (APA)
Calderwood, A. (Producer). Ramsay, L. (Screenwriter/ Director). (1999). Ratcatcher [Motion Picture]. Britain: British Broadcasting Corporation (BBC).
Luo, X. (2019). 論英國新浪潮電影的“廚房水槽”現(xiàn)實(shí)主義美學(xué)特征 [the Realistic Aesthetic Characteristics of "Kitchen Sink" in British New Wave Films]. Journal of Guizhou University (Art Edition), 33(2), 22-26. doi: 10.15958/j.cnki.gdxbysb.2019.02.004
Scott-Samuel, A., Bambra, C., Collins, C., Hunter, D. J., McCartney, G., & Smith, K. (2014). The impact of Thatcherism on health and well-being in Britain. International Journal of Health Services, 44(1), 53-71. Retrieved from JSTOR Journals. Retrieved from https://www.jstor.org/stable/45140692
Shafer, S. C. (2001). An overview of the working class in British feature film from the 1960s to the 1980s: from class consciousness to marginalization. International Labor and Working-Class History. (59), 3-14. Retrieved from JSTOR Journals. Retrieved from https://www.jstor.org/stable/27672706
Winson, A. (2013). Social realism of British New Wava “Left” films: The working-class border character. (Master’s Thesis) Available from ProQuest Dissertations and Theses Database.
Zhang, J., & Lin X. (2018). 20世紀(jì)八九十年代英國工人階級電影特征 [The characteristics of working class in British working class films in the 1980s and 1990s]. Movie Literature, (10), 39-41. doi: 10.3969/j.issn.0495-5692.2018.10.013
