《脫線沖天炮》| 1996 | 美國 | 魏斯·安德森 @ 台中盆栽村何國銘+何永裕+MH

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脫線沖天炮 Bottle Rocket (1996)

導演: 魏斯安德森
編劇: 歐文威爾森 / 魏斯安德森
主演: 路克威爾遜歐文威爾森耐得陶德
類型: 喜劇 / 犯罪
製片國家/地區: 美國
語言: 英語 / 西班牙語
上映日期: 1996-02-21
片長: 91 分鐘 / Argentina: 95 分鐘
又名: 瓶裝火箭 / 瓶子火箭

夢想成為了不起的罪犯的迪格南（歐文•威爾遜Owen Wilson 飾）找來剛結束了精神病院治療生活的好友安東尼（盧克•威爾遜Luke Wilson 飾），以及能夠充當司機的大麻愛好者鮑勃（ Robert Musgrave 飾）組成了一個倉促上馬的犯罪團伙。先用偷竊安東尼家來熱身的這夥準罪犯們苦練槍法、設計路線，終於成功打劫了一家書店，興高采烈進入罪犯行列的迪格南等人駕車逃竄，躲入了一家汽車旅館，安東尼對旅館的烏拉圭女服務員一見鍾情，而鮑勃卻因自己兄弟入獄的消息心神不定。在安東尼和服務員的戀情如火如荼之時，鮑勃丟下二人返家，迪格南和安東尼也終於散伙，各自回歸了平靜生活。然而迪格南仍然沒有放棄犯罪之夢，他向自己的偶像——黑道人物亨利求助…

幕後製作

1994年，新晉導演Wes Anderson與Wilson兄弟拍了一部13分鐘的同名短片，後獲著名製片人James Brooks支持，才擴充成兩年後的92分鐘版本。飾演Dignan的Owen Wilson在本片中才華橫溢的表現為他以後迅速走紅奠定了基礎。 Martin Scorsece甚至將本片列入他的90年代top ten list。

Wes Anderson first illustrated his lovingly detailed, slightly surreal cinematic vision (with co writer Owen Wilson) in this visually witty and warm portrait of three young misfits. Best friends Anthony (Luke Wilson), Dignan (Owen Wilson), and Bob (Robert Musgrave ) stage a wildly complex, mildly successful robbery of a small bookstore, then go “on the lam.” During their adventures, Anthony falls in love with a South American housekeeper, Inez (Lumi Cavazos), and they befriend local thief extraordinaire Mr. Henry (James Caan). Bottle Rocket is a charming, hilarious, affectionate look at the folly of dreamers, shot against radiant southwestern backdrops, and the film that put Anderson and the Wilson brothers on the map.

Bottle Rocket
By Martin Scorsese

A couple of years ago, I watched a film called Bottle Rocket. I knew nothing about it, and the movie really took me by surprise. Here was a picture without a trace of cynicism, that obviously grew out of its director's affection for his characters in particular and for people in general. A rarity. And the central idea of the film is so delicate, so human: a group of young guys think that their lives have to be filled with risk and danger in order to be real. They don 't know that it's okay simply to be who they are.

Wes Anderson, at age thirty, has a very special kind of talent: he knows how to convey the simple joys and interactions between people so well and with such richness. This kind of sensibility is rare in movies. Leo McCarey, the director of Make Way for Tomorrow and The Awful Truth, comes to mind. And so does Jean Renoir. I remember seeing Renoir's films as a child and immediately feeling connected to the characters through his love for them. It's the same with Anderson. I've found myself going back and watching Bottle Rocket several times. I'm also very fond of his second film, Rushmore (1998)—it has the same tenderness, the same kind of grace. Both of them are very funny, but also very moving.

Anderson has a fine sense of how music works against an image. There's the beautiful ending of Rushmore, when Miss Cross removes Max Fischer's glasses and gazes into the boy's eyes—really the eyes of her dead husband—as the Faces' “Ooh La La ” plays on the soundtrack. And I also love the scene in Bottle Rocket when Owen Wilson's character, Dignan, says, “They'll never catch me, man, 'cause I'm fuckin' innocent.” Then he runs off to save one of his partners in crime and gets captured by the police, over “2000 Man” by the Rolling Stones. He—and the music—are proclaiming who he really is: he's not innocent in the eyes of the law, but he's truly an innocent. For me, it's a transcendent moment. And transcendent moments are in short supply these days.

This tribute originally appeared in the March 2000 issue of Esquire.

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