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[观感] 良医的影评——本帖收集外网上的影评人反馈

发表于 2011-4-28 11:23:00 | 显示全部楼层 |阅读模式

Screen Daily

Dir: Lance Daly. US. 2011. 85mins

This is a rarity: an American indie that is deftly directed, intelligently scripted, and superbly, and understatedly, acted. Okay, Lance Daly (Kisses) is Irish; Orlando Bloom, English; but it’s a stateside production, and why quibble over something so balanced? Lynch’s score neither over signals nor overwhelms. Daly was guided by Enbom’s tight script, relatively placid given that most of it takes place in a chaotic, understaffed hospital in some unspecified American coastal city. Against the odds, Bloom and Riley Keough’s withheld energy works well in such an environment, defying the more typical scenery chewing one finds in both indie and studio films set against inert backdrops.

Commercially, the film’s problem might well be the calm of its leads. Bloom’s British character is in turmoil, but it’s very much interior, more UK than US, so that when he breaks into a run on the beach in a late fantasy sequence (which would serve the film better if it were excised), it’s as if a meteor had struck the sand. Several twenty- and thirtysomethings at the film’s Tribeca world premiere denigrated it for its lack of action.

What many of us see as near-perfect simplicity is to some among potential young audiences just ennui. This indicates more about contemporary culture and media than reflecting profoundly on the screenplay and the filmmaking. What this could mean in many territories, American and foreign both, is an uphill battle to promote The Good Doctor, as much an educational campaign as a marketing challenge.

After leaving the UK, Martin Blake (Bloom) is beginning his residency in general medicine. That this recent medical student lives alone in a spacious split-level flat on the beach with tastefully irregular windows is just one of several conspicuous incongruities, but again, this is more a question of why-the-hell than a major point of contention. His goal is a fellowship in infectious diseases at the hospital. He is off to a bad start, falling out with a powerful nurse, Theresa (Henson), and inadvertently endangering a non-English speaking allergic patient with penicillin.

Enbom succeeds in a difficult balancing act: The more events point to Martin’s erratic decisions and culpability in more than one death, the more enthusiastic the response of his superiors to his work, and therefore increased odds for the coveted honour. The writer plants other red herrings as well—some might call it Hitchcockian—but the gods seem to look out for the young man (the Monkees coiffure is a bit much, even looks like a toupee), even if he is responsible for two mortalities and is so careless and emotionally troubled that you almost want your protagonist to get caught.

The other main character, Diane (Keough, daughter of Lisa-Marie Presley), a patient with a potentially dangerous urinary tract and kidney disease called pyelonephritis and clearly a minor, shares with Martin two easily noticeable characteristics: abundance of beauty and dearth of charisma.

While that works on a narrative level, their supposed mutual attraction is sometimes hard to swallow. So is the idea that his obsession with her so powerful that he is willing to risk her life by tampering with her medications so that she must return to the hospital, where he even injects unsafe solutions into her IVs. (Like several points in the symmetrical script, his interference with Diane’s health is echoed later on when he spikes the recreational drugs of an orderly, Jimmy (a terrific Pena), who blackmails him with Diane’s implicating diary. The amoral Jimmy, whom a judgmental Martin has caught having sex with a sedated patient, serves as the proletarian Latino double for the privileged white boy.

Save for the climax, which involves a seemingly knowing detective (Simmons, in one of several nods to Law & Order) who is just leading Martin—and us—on and the imaginary bolting to the sea, the film possesses that increasingly rare unity that makes it appropriate to apply one of criticism’s most overused (and underexplained) words: organic.

 楼主| 发表于 2011-4-28 14:03:15 | 显示全部楼层

Tribeca 2011: "The Good Doctor," Reviewed

Orlando Bloom becomes very, very bad for one of his best roles to date in this medical thriller.

Posted 04/25/2011 1200 PM by Stephen Saito

Orlando Bloom in "The Good Doctor," Fastnet Films/Viddywell Productions, 2011

As a general rule, it's usually considered unwise for a heartthrob type to play a bad guy early in their career, which is a shame since being easy on the eyes always makes the pain when they plunge the knife in just a little more painful. Orlando Bloom's Dr. Martin Blake doesn't want to have anything to do with knives - his desire to make it into the internal medicine program is so he'll never have to administer needles, let alone a scalpel. Yet with hair swept over his forehead, you know Bloom has finally gone over to the dark side as Blake, a first-year resident who drowns in moral quandaries after becoming unusually obsessed with one of his patients (Riley Keough).

One wouldn't be entirely wrong to think Blake is interested in the pyelonephritis sufferer Diane because of her blue eyes and blonde hair, but where John Enbom's script becomes really interesting is by suggesting he's enchanted equally by the idea of the girl's family, dysfunctional as they are, who invite him over for dinner after he successfully cures their daughter. Living alone himself in a beach house with nothing but white wine, reheatable dinners and a fancy sound system to play classical music, Blake has only the comfort of going to work each day to keep him company.

Even there, he's out of place surrounded by a nurse (Taraji P. Henson) who doesn't defer to him, an orderly (Michael Pena) whose lack of decorum constantly dismays him, and a chief (Rob Morrow) uninterested in mentoring him, despite his best efforts to be respected by all three. Soon after believing he's accidentally misdiagnosed a Mexican patient he can't understand, Blake suddenly sees an opportunity for companionship when he's invited over to the girl's home and takes the time to switch her prescription without her knowledge, landing her back in the hospital, thus beginning an incredibly slippery ethical slide.

The film is actually reminiscent of "Shattered Glass," which subverted the image of its leading man (Hayden Christensen) as the matinee idol who can be trusted simply because how could someone so clean cut not be? But it's also the lack of charisma that such types are usually criticized for that becomes an asset, the blankness that lets them recede into the background even if they're at the center of the frame, because first you'd never suspect them of anything, let alone imagine they think about anyone but themselves. Bloom doesn't necessarily project this, though his past résumé is a string of films that has failed to pull out of him what he delivers in "The Good Doctor," a person who is constantly thinking about others, not just of what they think of him, but as a way of deflecting attention from the unfortunate life of solitude he's carved out for himself.

It's a character study grafted onto a thriller and not only is Bloom game, but he brings with him an unusual group of collaborators that make it unsettling in all the right ways. Directing his first American film, Lance Daly, who previously helmed the excellent and completely unsentimental Irish love story "Kisses," shoots much of the film at a remove, observing Blake's descent without really commenting on it with any ornamentation until the final act, making the antiseptic aesthetic not just a practical choice to depict hospital life, but a creative one as it reflects the gray area of the doctor's behavior before it all very much turns to black.

A couple niggling plot details prevent a full embrace of the film - for some reason, Diane doesn't attend the dinner that she's said to have wanted set up for Blake, and later on, J.K. Simmons comes around as an investigator who's not a particularly strong interrogator. Yet "The Good Doctor" is too entertaining to dismiss for those reasons alone. It may be an unhealthy pleasure, but a pleasure nonetheless.

"The Good Doctor" currently does not have U.S. distribution, but will play the Tribeca Film Festival on April 26th and 30th and May 1st.
 楼主| 发表于 2011-4-28 14:04:00 | 显示全部楼层

'The Good Doctor'

Orlando Bloom stars as an English doctor newly arrived in California for his first year of residency in Lance Daly's highly un-Hippocratic psychological thriller "The Good Doctor." Black comedy lurks just below the suspenseful surface, with more than a hint of Lolita-ish absurdity as the doc falls under the kittenish spell of a nubile blonde high-school patient. Daly deftly creates a disturbing, Chabrol-like tension that plays on immediate identification with the handsome medico's lonely, shy vulnerability and slow-building horror at the depths to which his self-delusion can sink. Strong cast and nuanced direction prescribe healthy distribution.

Irish helmer Daly, whose "Kisses" set a couple of innocent kids wandering alone through the murky, uncertain byways of Dublin, here looses a morally compromised doctor amid the gleaming sterility of Southern California. When asked why he became a doctor, Martin Blake (Bloom) answers "respect," but the kind he seeks has less to do with profession than class. He aspires to a position atop the social hierarchy, with Latino orderlies and nurses below, paying him deference despite his inexperience.

Director Daly cleverly camouflages the true nature of the protagonist. Bloom's good looks, natural diffidence and affectless demeanor make it difficult at first to recognize him as a snobbish villain, particularly since he is intimately filmed in close-up or as a lone figure staring out to sea.

Barely attempting to understand a Hispanic patient's complaint, Blake concentrates his attentions upon curing the kidney infection of statuesque teenage Diane (a pitch-perfect Riley Keough) -- she of guileless blue eyes, pouty flirtatious mouth and pink leather diary -- and resorts to unethical behavior to keep her in his kingdom, tampering with her medication to draw out her recovery. When an insolent orderly (Michael Pena) happens upon evidence of his transgression, Blake ventures more deeply into medical malfeasance.

Sardonically, but hardly surprisingly in John Enbom's facilely ironic script, the further Blake slides down the slippery slope of malpractice, the more warmly he finds himself accepted into a health care fraternity that previously viewed him askance. His cover-ups read as dedication, his rationalizations as profundity and he fortuitously profits from others' mistakes. His casually idealistic mentor (Rob Morrow); cynical roommate (Troy Garity); forceful nurse Theresa (Taraji P. Henson), the former bane of his existence; even a probing police inspector (J.K. Simmons) prove blind to his peculiarly British brand of dreamy ruthlessness.

But despite wry digs at the health care profession and the shiny authenticity of its hospital locale, "Good Doctor" less resembles a contempo medical expose than it does '70s British social-climbing black comedies like Clive Donner's "Nothing but the Best."

Pic's lushly romantic score and sea-swept panoramas contrast nicely with its mounting moral disconnect.
发表于 2014-6-24 09:37:42 | 显示全部楼层
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