奎迪

《奎迪》实在是太朴素了，朴素地不像是一部2015年的电影。

整个剧情用一句话就能介绍完：昔日拳王阿波罗·奎迪的私生子爱上了拳击，为此他放弃上层社会的一切重回费城，找到父亲的故友洛奇，经过洛奇的训练，最终他也向拳王的金腰带发起来挑战。

这么一个不时髦、不复杂的剧情，在《洛奇》系列都逐渐被人遗忘的时刻，还能在一众续集电影中杀出重围，倚靠的就是一个质朴单纯的英雄内核：一无所有的年轻人，通过一次失败的胜利，向世界和自身，证明了自己。

想一想，奎迪和1976年的《洛奇》几乎有着完全相同的剧情结构：40年前，穷小伙子洛奇在凌晨4点的费城哆哆嗦嗦着跑向费城艺术博物馆，他没有什么成功的指望，只想跟世界冠军打到最后一刻，向外人证明自己并不是一个废物。

2015年，穿着西服领带的年轻人想要向世界证明自己并不是一个错误，就需要从豪宅从走出来，抛弃父亲的大名，隐姓埋名，满地吃闭门羹，从一无所有一拳一拳打出来。

40年过去了，男主人公的卫衣时髦了，喜欢的姑娘更漂亮更朝气了，跑步过去的费城街道不再破旧，但面对的问题还是同一个——how far you can go to prove yourself?从物质层面来说，奎迪所面对的处境似乎并不如当年洛奇那样困窘，他不用挣扎在温饱线上，有着体面的工作，在他身后，似乎还有着无穷无尽的退路。

但并不是说他的困难就弱一些，就像我们大多数人所面对的问题一样，一个朝九晚五的大城市里，可能有几百万人困在日常的轨迹里，想转行、想跳槽、想继续升学，又有几个能做到呢？

有退路的抗争才是最容易溃败的。

阿多尼斯曾经最大的恐惧是他无法担起父亲“奎迪”的称号，他讨厌人们叫他“little Creed”或“baby Creed”，但没有办法阻止所有人发问“他能打吗”？

电影没有像《洛奇》一样着力刻画训练的痛苦，更多的是一种体育精神的浪漫表达，在12回合的惨烈“互殴”后，他瞪着肿胀的左眼，终于“wear the name with pride”。

电影所传达的信息质朴而令人信服：改变的勇气永远是值得嘉奖的，幸运的垂青超乎你的想象。

无论是辞职专业创业求学，还是用刀片划开肿胀的眼睛，每个人都有自己的fight，怀着对胜利的足够渴望时，去做出勇敢的选择，接受磨练，就是英雄诞生的时刻。

《奎迪》的最后，奎迪搀扶着年迈衰弱的洛奇再次来到费城艺术博物馆，曾无数次跑上来的楼梯变得漫长而陡峭，岁月给了老去的英雄新的战斗。

看着两个人并立而战，不由让人感慨，这真是一个让人欣慰的世界，尽管总有年轻的英雄成为头条，老去的英雄却并不孤独，费城依然树立着他的雕像，年轻的人们还记得他，每一个爱着拳击的人依然称呼他冠军，已经40年过去了，但英雄和英雄的故事还被热爱和传唱着。

我喜欢这种战斗精神，我有精力，我有力气，我有信心，我有勇气，我有智慧，我有理想。

但是我还是一无是处。

底层人应当有一个向上的通道。

而我不知道我的通道在哪里？

我们中国现在是一个发展中国家，正在积极向上。

有很多行业蓬勃发展。

但是又有许多行业处于几乎空白的状态。

这样的社会，金字塔的塔尖可以很高。

但是金字塔的塔尖数量相对来说比较少。

（上面好像是在说《洛奇》，也是这个社会背景吧，至少在中国不会发生这样的故事） 在阳光明媚的下午，他还是会去墓园，从树上取下那把椅子。

……跟保利聊聊天。

他们做的很好的一点，就是以前的那些道具、那些场景都还有保留着。

拼尽所有的力气去做一件事情 ，这种感觉是多么的好。

虽定位是《ROCKY》的外传（Spin-Off），更像是其正式续篇。

拳击行业的子承父业，恰到好处地成为“奎迪”如何接过“洛奇”接力棒，在实力和名誉上成为新的王者缔造了最经典的故事土壤。

贯彻这片的精神内核——传承，影片花了大量的篇幅在刻画新师傅洛奇和野路子奎迪的磨合上，就算没有看过原系列、师徒互动依然趣味横生。

洛奇对徒弟的关照不仅是训练的无微不至，也深入其感情生活、为人处世之道，老父亲式的关怀也促进奎迪和比安卡的关系发展。

（“黑豹二皇子”和“女武神”的恋情必将为渗透系列主题后续发挥更重要的作用）阻力面，世间对于“CREED”称号的期待或和质疑如一把双刃剑，每时每刻都在逼向主角的咽喉，期间对手们的舆论战术骚扰也让初出茅庐的“小王子”备受动摇。

但之前积压的所有仇恨、背负的所有期待都在最终战得以充分释放。

被打得鼻青眼肿的奎迪一次次倔强支撑起身躯，信念具现化作奎迪本身。

行云流水的情绪酿造，总能让嘶吼的冲动混杂着热泪在影片高潮时不受控制地涌上心门。

同样作为瑞恩·库格勒的作品，《CREED》完全没有《黑豹》那样的“种族矫情”，极致干练，叙事紧致但亦包涵情感。

如果有过拳击的对战经验，对于擂台直面死亡的理解会更容易投射到角色的立场。

“师徒合影”第一部的另一大看点是聘请数名职业拳击手参加拍摄，也因此能拍出对阵加布里埃尔·罗萨多一战中如此流畅缜密的长镜头。

（可惜之后再没出现过）P.S.不知道之后有没有机会让梅威瑟也来客串下，作为一个崭新的商业模式也算是十足噱头了

Adonis和Leo拳赛的摄影堪称拳击主题电影的鬼斧神工级别，毫无繁冗来来回回的分镜，一镜到底的剪辑简直前无古人后无来者。

而末尾的比赛无数巧妙的分镜和前后场景的安排布置简直牛逼得无以复加。

然而在这个100分的耐克广告式电影里，最重要的剧情节奏说实话还是有些松散，很多可以略过的地方描写有些拖沓，而Rocky治疗时的情感挣扎又显得一笔带过，关于Adrian的回忆和Rock放弃化疗，本可以细细地向观众展示生与死的思考，然而影片把大量篇幅用来描写Adonis和他马子的过家家爱情，说实话这是最大的失误，遗憾的是此瑕稍掩了镜头运用之美玉。

奎迪主要讲的是阿波罗的私生子找到洛奇，让洛奇担任他的教练。

影片在描写友情方面下了很多功夫，首先是洛奇去老朋友都墓地拜会，会给老朋友带鲜花和酒，每天在墓前读一下新闻。

然后也着重描述了奎迪跟洛奇，一个老拳王跟一个新拳手的基情故事，新拳手努力训练激励洛奇配合治疗，这本应该是很激动的剧情才是，但是因为不够激情的bgm，使这部影片远远不急前几部洛奇燃，回想前几部洛奇训练时候的bgm，感觉这个人都要去跑几圈才行。

然而到了《奎迪》却失去了那种很燃的美国梦风格，但是正因为这样，让这部影片有了自己的一些风格，在一些柔情的描述里，说着老洛奇跟小奎迪，最后两个人还在广场站在一起。

不过值得吐槽的是小奎迪的女朋友，感觉整部影片他女朋友发挥的角色作用一点都不大，还要浪费篇章去讲他女朋友。

总得来说，这部电影中规中矩，没有前作的激情，多了一份柔情，但是始终前作的bgm是一段传奇。

喜欢一个动作明星在一些文艺青年们看来似乎是一种原罪，这说明你的审美程度也就是爱看一群没有演技的肌肉男无脑互殴的水平。

小时候我超爱动作片，以至于现在每当他们拍《敢死队》来骗钱时我都会心甘情愿的去买账。

长大后我觉得动作片好像是有点不怎么高级，对史泰龙的印象也就停在了无敌兰博和他年轻时被好莱坞拒绝一千次的悲惨传说上（太假了），当时我大概记得传说中他那被拒绝一千次的剧本叫《洛奇》，直到后来大学时的一天，我在宿舍无聊爆了，才点开了在硬盘里躺了很久的《洛奇》。

6.5/10 大学第一个screening。

第一次用英文写分析，简单练练手。

At the very beginning of the film, Coogler introduces us the background of Adonis within 2 minutes: he lives in a young detention center. This sets up a quick pace for the film, that the director wants to cut directly into the topic, which is “Creed,” the title but also the center of the film: how Adonis fights against the name of Creed? How the name Creed relates Adonis with other people without him knowing? More importantly, how Adonis accepts himself as a Creed?

Soon after the background introduction, Adonis encounters the first change in his life: his mother comes to get him home. The shot above indicates the very fundamental logic of the Coogler’s logic of editing in this film: intensive use of eye-line matching. In other words, we track the main character’s movement, and we see what they see. In this sequence shot, we walk along with Mary Anne by two doors and finally stop at a door where, in contrast to the other two, nobody is standing behind the narrow window. This sequence shot in another film could be longer; Mary Anne could be walking by more than two doors, we’ll get a deeper curiosity and empathy for these kids in jail. However, again, Coogler does not focus on a broader social context: Adonis Creed is what he concerns.

The first influential change in Adonis life is happening. The staging here is interesting, for it is analogical to the staging when Adonis asks Rocky to train him.

Adonis is standing, while Mary Anne and Rocky are sitting. This kind of staging shows the steadiness and the determination of Adonis; he is self-aware and knows his own path. This sequence above serves as a great illustration of the editing of Coogler in this film: eye-line matching, again, and eye contact. We see the aggressive way Adonis’s rivals looking at him, which enables us to empathize with the main character.

Then, we see one of the great sequences in the film. Hand-held camera, tracking shot from the back, and no cut in between, these are how the director gets us closer to Adonis: we have the privilege to share his private space, and the camera persists in keeping us an intimate/personal distance from Adonis. However, we are not that close to Adonis yet, not as close to him as we do later. For the whole first game of Adonis we watch, we, the camera, are outside of the ring. In contrast, later in the film, we are allowed to get in the ring and fight along with Adonis. But this sequence shot immerses us in the atmosphere of boxing. We identifies with the camera, just like we are walking around the ring to find out a good position of watching the fight.

Then, a straight cut to this shot. The lighting, darkness of the arena and brightness in the office, creates a juxtaposition and is also crucial to the humor Coogler wants us to perceive. It is also sarcastic. The ring is where Adonis loves, while the office is where he dislikes. But it is the ring that is dark, the office that is bright. It points out the awkward position Adonis is at. Also, from the facial expression of Adonis, we know he is going to make a determined decision to his career.

Coogler also uses the same type of editing technique after the first win of Adonis, from “let’s go tear this city up” to Adonis’s sleeping on the couch. Therefore, straight cut between highly contrasted shots is how Coogler creates humor. Speaking of determined decision to his career, and thinking about the other kids in the detention center, it is easy to understand why the films does not willingly to touch on the topic of African Americans. Adonis’s parents are wealthy, while the other kids in detention center might not have the privilege to do whatever they want to do if they exited the detention center. The film, after all, is focused more on the growth of Adonis himself. This shot not only shows us Adonis’s passion for boxing, but also symbolizes his fight against his father, who gives Adonis his last name. Synchronizing Adonis and the young Rocky, it reminds me of the scene in Villeneuve’s 2049, where K’s virtual girlfriend “synch in” with the hooker. While in 2049, the synchronization mostly indicates the dichotomy of desire and body; in Creed, the synchronization is an embodiment of Creed’s struggle with his father’s name, which is the center of the whole film. Also, this scene, along with a rousing music, makes us feel the passion of Adonis and his eagerness to fight in the ring.

Speaking of the music score of Creed, it is interesting to note the usage of Meek Mill’s rap. Meek Mill is from Philadelphia, which makes the story, which happens in Philadelphia, more convincing. Additionally, casting Michael B. Jordan achieves the same purpose, for he is from California, just like Adonis. These details make us believe what we are being shown.Since Adonis begins to serve his apprenticeship with Rocky, the close relationship between Adonis and Rocky starts to be a concern of us. Stallone is key to the narrative of the film because he is an archetype of an era. As his entrance to the film, he has already gained our empathy, for we are so familiar with him. And as Rocky is diagnosed with cancer, we spontaneously hope he will get better.In this part of the film, Coogler provides us with the essence of the relationship between Rocky and Adonis. Rocky trained his son, but his son did not like boxing; Adonis is lack of paternal love, and he is looking for an equivalent caring.Again, tracking shot. In this scene, the camera moves in accordance with Adonis’s movement. The camera oscillates as Adonis walks, constantly shifting his center of gravity. He then sits down with Rocky to learn some drills, and as he stands up, the camera “stands up” too, just like we are a bodyguard or a close friend to him, moving exactly like him. This is also a great example of how Coogler augments our empathy with Adonis.

The last interesting sequence appears right before the game between Adonis and Conlan. The Conlan team enters the arena in blue fog, which is definitely cool. With the dark but fiery music, the scene speaks for it self: big villain is coming. What’s more, the whole arena is under the envelop of blue light, which indicates the whole crowd stands for Conlan (not to mention the boo they grant Adonis).

The mise-en-scene here shows the great discrepancy between Adonis’s and Conlan’s support. While Conlan has several people behind his back, some of which hanging Golden Belts in the air, Adonis only has Rocky with him, the latter even just standing at the edge of the frame. Finally, even though Adonis loses the game, he earns the respect from the crowd and embraces the name Creed, by which the crowd calls him.

“他们不知道你经历了什么，而且他们也不知道我们经历了什么！

”“我想要证明！

”“证明什么？

”“我不是个意外”尽管自知也许永远不可能为父亲所认同，唐尼还是选择了坚持下去，也正是在这份坚持中，他慢慢找到了自己生命的重心。

洛奇的训练不仅在技巧层面给了他极大的提升，也同时给拳击这项运动带来了新的含义。

如果说从前的唐尼之所以选择拳击而非案头工作，主因还是追寻父亲的脚步，那么洛奇则让他意识到了这场比赛真正的目的，并不是为了早已离世的父亲或是他的遗产，而是为了唐尼自己。

《奎迪》看到老洛奇的出现，就注定了这部电影有看头，由第一部的《洛奇》开始，史泰龙创造了这个人物刚好四十年，这个人物贯穿了美国，乃至扩散到全世界，留下了不可磨灭的影响力。

史泰龙成了这个人物的一部分，时间一直在行进推走，所以洛奇也变老了，有了一集，二集，三集直至六集，洛奇也到了英雄迟暮，无力回天的年纪了，史泰龙创作的这个人物，与真实相应，出生低微，没有靠关系，他受过伤，犯过错，没有被多加渲染，更没有神化，他只是有坚强的意志和勇敢的心，然后去努力奋斗，直面自已的失败，重头再来，去实现自己的梦想。

洛奇之所以打动人，也正是这些真实，被称之为美国梦的主流价值观，百看不厌，真实有效。

《奎迪》也可作《洛奇7》，可是洛奇已退隐，史泰龙也打不动了，所以他成了教练，新一代的造梦者奎迪来了。

奎迪的父亲是拳王，但在他出生时已逝世，他拥有父亲的天赋，也热爱拳击，于是辞去体面的工作，决心做一名职业拳击手。

洛奇成为了他的教练，两人在训练与相处中，建立了深厚的感情，胜似父子，这时，洛奇被查出癌症，洛奇无所谓，奎迪很伤心，但重振旗鼓，成功劝说洛奇去化疗，而他也将迎来一个最强大的比赛对手，他们一起努力，去战胜生命里堵在前面的困难。

影片折射出感人朴实的价值观，没有阴谋诡计，人的相互尊重不是强大无敌，而是永不放弃的精神和坚持不懈的努力，还有发自内心的坦诚与爱。

奎迪是由美国米高梅电影公司出品的运动剧情片，由瑞恩·库格勒执导，迈克尔·B·乔丹、西尔维斯特·史泰龙领衔主演，影片于2015年11月25日在美国上映。

影片为“洛奇”系列的衍生片，讲述了阿多尼斯·约翰逊不顾家人反对参与拳击运动，找到曾经打败过他爸爸的对手洛奇当教练，试图在拳坛闯出一片天地的故事。