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剧情介绍
故事发生在19世纪的伦敦，在那个工业化方兴未艾的钢铁时代，在街头巷尾、在画廊、在充满怀古风情的普通房屋里，拉斐尔前派兄弟会(Pre-Raphaelite Brotherhood)的画家、诗人和评论家正热烈地针砭时弊，探讨艺术，展望人生。这些致力于打破旧习的人，用他们富有激情的「男性浪漫」在人生之路上不断奋斗。阴谋家，不知羞耻，叛逆者，你有时甚至可以这么称呼他们。但他们绝不会放弃自己的追求－－为了名誉、金钱、地位、成功、爱情，还有性。制片人用很形象的语言描述本剧为：拿着画板的「明星伙伴」(Entourage)。 摘自emule羊群海月姬密西西比游戏命运的宣战老爸老妈的浪漫史第九季老大靠边闪2:歪打正著即便爱，也有秘密番外篇：我是谁？葵 德川三代一点小信仰从JK重新开始的老年计划在无爱之森呐喊柏林苍穹下年味可持续食物少女椿生活启示录明星间谍逐浪之夏斗破苍穹 特别篇3手机2015猛男军中鬼故事2最是烟火慰平生永远记得你(别虐了，那是小小姐）3月的狮子第一季那一年的除夕夜最后呼叫土卫六！歪爱时代第二季噬血狂袭第三季总想刁民来害朕无处遁形横行霸盗2002单身毒妈 第八季车达莱夫人的爱情迈阿密风云别样警花2024小芒年礼节斯亚码勇士牧师神探第六季芳踪杳然第一季蜀山降魔传野良猫洛克：机械动物刀剑乱舞-花丸-沐浴之王斗士
长篇影评
1 ) 大胆一挥的导演。准备2刷
1
没有想到在2000年前后的电影生产系统中，能产生这样的艺术品，这真是一种异数……
根据法森的回忆录传记，剧本做了很大的创造性工作，在艺术上无法估量，
它不是循规蹈矩的，从前到后弥赛亚式的传记堆砌，
而是一种火山似的，影像实验的，抽象诗歌。
这种创造的试图，本身值得崇敬，我向它致敬。你看看，他们不仅没有在剧情上做那种竭泽而渔，非常浅薄的虚荣造作。比如培根的同性恋男友，从天窗中掉下，就像魔鬼诱惑浮士德那样，其实是到他家来偷东西。而把它当成了一种哲学的偶遇，绘画的原始冲动。
在影像的实验方面，试图做到和培根的创作平行式的说明。这一点，他们居然做到了。这就像在一个移动靶上打枪，居然经常打到似是而非的地方，并因此而得分，于是产生了无限解释的可能性。
吃饭的时候对Swanson的那个一嘴歪牙.大肚腩……超近距离产生的影像变形，有点丑陋，这似乎在哲学上在自我追问：夸张和主动呈现是否因为失实，而变得不可理解？还是因为失实而看得更真切呢？
比真实更真实。那是灵魂暴露的机会。
所以电影几乎没有表现他在画什么，而是在表现他绘画时的冲动，所谓意在笔先。他被死亡和恶魔的潜意识折磨着，无法入眠。所以他会在床上数着性伙伴的梦境。现实主义的肮脏，基本不能够打扰他。我们开始看到一开始两个伙伴的生活领域，就是两个世界，然后两个世界从来没有融合在一起。
培根永远在他自己的世界里。电影反应就是他对干扰的态度变化，或者是抱怨的记录，和一群狐朋狗友的反讽语录。
只有在英国才能产生这样的艺术吧。大家害怕无聊的电影内容。然后又碰到了这样的艺术家导演，大胆的执了色子。
2
George is both the muse, and victim. As well as Bacon both creator and destroyer.
Time both form and content, sound both noise and antidote
它是一种诗歌，多义性的文本。
情人之间距离，又远又近。
艺术既属于我们，也属于他者。
这种对于统一，我想能够解释为什么最后乔治自杀，培根的态度既疏离，又沉痛到骨子里。
跟看他的绘画是平行的。
所以不管这个电影到了哪里，不管场景发生在什么地方，都是培根一样的灵魂在游动，在评论，在四处闲逛，在浪费生命，在总结人生。
留下痕迹。
2 ) 二刷精要。准备三刷。
1
下面专业解说开始，电影从培根得知同性恋男友服用安眠药过度去世的消息开始。那时也是他的巴黎大展，他不动声色。但是回到床边……他说like a bomb exploding in reverse. Thoughts, ideas, fragments of images. All came back to me, and are forced back out in the cruel pastiche of experience.他想画的就是这种内爆。
用镜像模拟培根的画作，也是一种创造。一种跌落（因吸毒而自杀），一种反噬，一种聚变fusion，一种倒放，一种reverie。在酒吧里继续，延续着用酒杯玻璃的变形，来模拟培根。 Through a glass darkly.
于是倒序开始，两人第1次相识……
Colony Room朋友圈：Muriel, Deakin, Dan, Henrietta, Isabella，都喊他Miss Bacon, 因为他扮娘炮。 这个死魂灵的club： The Colony is a refuge for lost souls no longer in possession of living bodies。大家在讨论培根的新男友Like the cottage at Piccadilly——就像公厕一般， Always play the Tom-Tom drums. 也预言了The twilight world of unhappy poofs.
下面就谈到了这一对poofs（这个词可能从ponce来），他们一起去看让.谷克多1960年的耶稣巨作。一起去看拳击 Francis was in his usual state of grace in the face of violence。然后他就：做画。
培根接受采访时，曾经说他最喜欢做的事情就是在家拿着爱人的照片，然后就可以在画布上撕裂他们。想怎么撕裂就怎么撕裂。培根就是如此兽性，他喜欢撕裂，也喜欢被撕裂。除了被男朋友做以外，还有斗牛和《战舰波将金号》的热血。
二刷仍然将之定为一流作品。世人都喜欢拉法耶，义正词严，却不认得那些是二流伟人。聪明人懂得，只有邪恶的米拉波，才能登上祭坛。
2 如同巅峰时期的莎士比亚作品，哈姆雷特，总是处在或旁白或独白之间。与他的画作也相似。第三人称和第一人称之间，有一种第二人称的狂热。客观的理论上我们是迷失的，主观的道路我们是沉醉的。屠夫的摧残是无理的，放纵者的内爆是想象中的。（这种舞台性表达，见第57分钟）
这即是莎士比亚。是反古典戏剧的。所以是第二人称的。（分析之下你会发现，旁白和独白之间是疏离的）
“ The inner destructive demon.” 乔治人生的1/2，是在床上度过的。在床上的1/2, 是与培根度过的。与培根度过的，如同死亡的。如同死亡的，却总像画上的。 想做一部带有实验气质的培根主题情景剧sitcom，并不容易。
3 ) 「Quotes」
「And who might you be? You're not much of a burglar, are you? Take your cloths off. Come to bed. And you can have whatever you want.」
「Champagne for my real friends, real pain for my sham friends.」
「When I went into the house of pleasure, I didn't stay in the room where they celebrate acceptable modes of loving in the bourgeois style. I went into the rooms which are kept secret and I leaned and lay on their beds. I went into the rooms which are kept secret which they consider it shameful even to name. But there is no such shame for me because then, what sort of poet, and what sort of artist would I be?」
「Some seem to think my work is drawn from an expression of horror, which has never really concerned me. Pleasure is impossible to define. And I feel horror occupies much the same territory. But, you see, I'm optimistic by nature. I'm optimistic about nothing.」
「I watch him while he's sleeping. A prisoner of dreams. Fighting the battle he's always going to lose. But I'm powerless to help him as I'm powerless to help myself. So I watch and wait.」
「This painful inability to sustain relationships. The selfishness my work demands leaves no room for an emotional self. Can tenderness ultimately only manifest itself in the motion of a brush? Even this remains invisible. The visceral reach, running fingertips along the curved notches of a spine. The line of a femur, the curl of tendon into muscle. The smell. To violate, desecrate, to examine a person from the inside, eroticizing the white shirt cuff glimpsed beneath a dark suit. The girth, the solids, the sack of flesh, just offal bags. Ruminating intestines. Fine wines filled and swilled with rich food, trying to create some distance between myself and some dead lover.」
「We're all in our own private personal prison. And you never see the blood until your throat is cut.」
「There's a fleeting substance to reality. Ghostlike deposits. Sometimes, a man's shadow is more in the room than he is. The void which spreads across his face as he daydreams is the void of death.」
「Once a stone has been polished, you can't return it to the rough. A flower that has been picked has only one fate. That's why whores consider it bad luck to receive cut flowers. They know that they are going to die.」
「They say you're pure horror. The morbid poet of the world of evil. Great artist. Great art. Evil and vicious.」
「What mad misfortunes make his eyes blaze with despair? I dream of some tough lover. Big as the Universe, his body blemished by shadows. He'll crush me, naked, in gloomy bars between his golden thighs. A mundane yob transformed into an archangel. Is my lover to be my assassin? Or I his? Loneliness - my only true companion - will always rival any lover. Its greedy desire... always drive a wedge between me and any contender for my company. And I question myself; do I possess some inner destructive demon?」
「Every time the chance of death. First the waiting, always and endless. A form of time inexpressible. Seconds stretched across expectation. And always endless.」
「What about Paris? Am I still coming?
↓
The man had killed the thing he loved and so he had to die. Of course you're coming. You are the exhibition!」
「George is becoming tedious. He's a tragedy waiting to happen. It reminds me of my dear friend Peter. Like George, he was a little bit greedy. A sort of compulsive joke which no-one knew was funny. There was an inevitability. His shadow always chasing him.」
「The paintings of George are like exquisite love poems. That's the irony of the George pictures. You seem to put more into the work than into the relationship itself. And, ultimately, you suffer just as much.」
「Those who forget the past are condemned to repeat it.」
「George, I am a painter, this is a studio, that is a painting. You are in the way.
↓
But it's a painting of me. Not that anyone would bloody well notice.
↓
Thank you for the critique, George. I feel much better now I know where I stand. After that enlightening discussion, will you just piss off!
↓
Will I see you later? Tomorrow?
↓
Oh, tomorrow and tomorrow and tomorrow.」
「In all the motor accidents I've seen, people strewn across the road, the first thing you think of is the strange beauty, the vision of it, before you think of trying to do anything. It's to do with the unusualness of it. I once saw a bad car accident on the large road, and the bodies were strewn about with broken glass from the car and the blood and the various possessions, and it was, in fact, very beautiful. I think the beauty in it is terribly elusive, but it just happened to be the disposition of the bodies, the way they lay in the blood.」
「George's suicide attempts are so adolescent. Of course it's a cry for attention but he seems to turn it into a sort of art. He never really wants to die. He just does it to find out if he can hurt me.
↓
I know how much he means to you. And I know your tastes lead you onto the beaten track, but I know George and I know he'd never really hurt you.」
「Time is not a healing instrument of all. Bollocks. I'd miss her. I'd miss her sweaty armpits. Her socks. I'd miss the stubble dried round the bathroom sink when I go to shave. I'd miss the sound of his key as it turns in the lock. I'd like just one more night of cowering under him. One more night of love, of true affection. And a few more days of tenderness. But, after all, in the end, what's left? A pile of bones and a few teeth.」
「I love you, Francis.」
「Everything is running down. The sun is burning out, the stars are burning out. It's the only thing in life that's certain - that it's all running down. It's all dying.」
4 ) Francis Bacon - Biography
看之前是没想到是真人传记改编，发现曾真实发生过感觉更难过。
资料原文链接：//www.biography.com/artist/francis-bacon
Francis Bacon
Biography
(1909–1992)
UPDATED:SEP 15, 2020
ORIGINAL:APR 2, 2014
Artist Francis Bacon is best known for his post-World War II paintings, in which he represented the human face and figure in an expressive, often grotesque style.
Who Was Francis Bacon?
After traveling to Germany and France as a young man, Francis Bacon settled in London and began a career as a self-taught artist. Most of his paintings from the 1940s to '60s depict the human figure in scenes that suggest alienation, violence and suffering. Bacon's provocative, expressive work is considered some of the most important art of the postwar era.
Early Life and Artistic Beginnings
Bacon was born to English parents living in Dublin, Ireland, on October 28, 1909, and is the collateral descendant and namesake of the famed 16th-17th century philosopher. Bacon was raised in Ireland and England, and as a child, he suffered from asthma, which kept him from receiving a formal education. Instead, he was tutored at home.
（是那位著名的弗朗西斯培根的旁系后裔）
Bacon left home in 1927 at just 17 years old, with his parents not accepting his sexuality. He traveled to Berlin, Germany, where he took part in the city's gay nightlife as well as its intellectual circles, and to Paris, France, where he became further interested in art through visits to galleries. When Bacon returned to London in the late 1920s, he began a short career as an interior decorator, also designing furniture and rugs in a modern, Art Deco-influenced style. Additionally, he began to paint, first in a Cubist style influenced by Pablo Picasso and later in a more Surrealist manner. Bacon's self-taught work attracted interest, and in 1937, he included in a London group exhibition entitled "Young British Painters."
Paintings of the 1940s and '50s
Francis Bacon later dated the true beginning of his artistic career as 1944. It was around this time that he devoted himself to painting and began creating the works for which he is still remembered, with "Three Studies for Figures at the Base of a Crucifixion" seen as a major turning point. His large canvases depicted human figures — most often a single figure isolated in an empty room, in a cage or against a black background. For one series of paintings, Bacon was inspired by Diego Velázquez's portrait of Pope Innocent X (circa 1650), but he painted the subject in his own style, using dark colors and rough brushwork and distorting the sitter's face. These works came to be known as Bacon's "screaming pope" paintings.
In other works, a figure might stand beside a flayed carcass of meat. Still other paintings were derived from traditional religious subject matter. In all of his paintings, Bacon emphasized the universal experiences of suffering and alienation.
Art and Life After 1960
Even during a period in which modern art was dominated by abstraction, Bacon continued to paint the human face and figure. His emotional use of brushwork and color as well as his exaggeration of forms caused him to be labeled as an Expressionist artist, though he rejected the term.
Some of Bacon's works of the 1960s depict a lone male figure dressed in a business suit. Others showed nude figures, often with grotesquely altered proportions and features. Bacon used brighter colors at times, but themes of violence and mortality were still central to his art. He also frequently painted portraits of people he knew, including fellow artist Lucian Freud and George Dyer, who met Bacon upon attempting to rob the painter's home.
(Bacon and Dyer went on to become lovers in a relationship marked by great tumult. Dyer at one point framed Bacon for drug possession and later committed suicide. Their time together was depicted in the 1998 film Love Is the Devil: Study for a Portrait of Francis Bacon, starring Derek Jacobi, Daniel Craig and Tilda Swinton.)
Death and Legacy
Bacon, who was known for his carousing, maintained a home and a notoriously cluttered studio in London and continued to paint until the end of his life. While on holiday, he died in Madrid, Spain, on April 28, 1992, at the age of 82.
Bacon is considered one of Britain's major painters of the post-WWII generation, as well as an important influence on a new generation of figurative artists in the 1980s. His work is owned by major museums around the world, and he has been the subject of several retrospective exhibitions. His studio was acquired by the Hugh Lane Gallery in Dublin, where it has been recreated as a room for visitors to view. Bacon's "Three Studies of Lucian Freud" broke the record for the most expensive work ever sold at auction in 2013 when it was purchased for a final price of $142.4 million at Christie's in New York.
Citation Information
Article Title：Francis Bacon Biography
Author：Biography.com Editors
Website Name：The Biography.com website
URL：//www.biography.com/artist/francis-bacon
Access Date：2021年5月1日
Publisher：A&E Television Networks
Last Updated：April 27, 2021
Original Published Date：April 2, 2014
5 ) Study for a Portrait of Francis Bacon
H时的画面可谓是模糊不清，顶多两个肉团绞在一起，偶尔裸一下，但，这不是重点，乔治在被弗朗西斯干柴烈火榨的一干二净甩一边后怎么看都觉得弗朗西斯这货实在是太糟糕了，一晚的爱恋外加其后几日的温柔，接着就甩掉乔治另找男人happy去了，怎么看都是糟情人的典型代表嘛。
许多特写镜头都拍的很美，信息量激增，例如画室里弗朗西斯站在乔治躺倒的正中央、洗手盆前各种收拾、脱衣服、掐烟头、困兽之斗表现甚好。对！脱衣服那里，明明没有脱得全裸，但不紧不慢各忙各的脱衣有种说不出的色情感，直戳萌点，小鹿乱撞=v=
配乐胜赞，开篇就让人感觉很危险、扭曲、压抑，但这是很耳熟的危险感，总觉得在哪里有相同的体验，后来看staff发现原创音乐居然是坂本龙一！突然理解为毛有似曾相识的感觉了，所谓音乐风格就算是坂本龙一这样各种题材都涉猎的神样，你还是能听出其中微妙的基因信息。龙一，我是你的脑残粉=w=
【影片很短，只有80多分钟，故事也几乎没有，只是以结构主义方式把培根生活的各种片断串联起来，连缀成培根同性恋情的爱情絮语。影片大量利用玻璃和变形镜头，展现了一个扭曲变形的画家世界，充斥着影像的碎片和怪诞的噩梦，如果不对培根这个人物有所了解，几乎很难理解影片的细微暗示。没有培根成就的仰视，也很少具体画作的展示，影片反映的只是培根的精神世界，甚至这也很多是从乔治身上折射出来的。影片结束时，培根仍旧只是个谜，不知如何开始，也不知将如何结束。】
准确来说，电影算是弗朗西斯·培根的伪传记电影，但我对这个人一点都不了解，所以顺便把《情迷画色》当成对弗朗西斯的初印象来看了，上面括号里的文字是google来的，他倒是说中了一点，因为对弗朗西斯这个人跟他的作品完全没有任何认识，电影中的零碎片段、对白、暗示几乎无法像fans一样立马做出解读，但就算是个不了解他的人纯粹看这片也还是被他吸引了，扭曲的爱恋，极致的暴力，怪诞的异化，艺术家危险的倾向，零碎的镜头片段依旧挡不住我对这个陌生人产生好奇，他的作品应该会是我喜欢的类型。
ps：又发现一个人气演员出演gay片，莫非大不列颠联合王国所有的知名演员都有在成名前要拍gay片的传统？！嗯。。此传统甚好！继续挖掘！！
中文译名：情迷画色
片 名：Love Is the Devil: Study for a Portrait of Francis Bacon
更多译名：爱的恶魔：画家培根的肉欲与恐惧
地 区： 日本 | 法国 | 英国
影片类型： 剧情 / 传记
片 长： 90 分钟
对白语言： 英语
混 音： 杜比数码环绕声
上映日期： 1998年9月16日 加拿大
演职员表
导演: 约翰·梅布瑞 John Maybury
编剧：约翰·梅布瑞 John Maybury
演员：德里克·雅各比 Derek Jacobi ....Francis Bacon
丹尼尔·克雷格 Daniel Craig ....George Dyer
蒂尔达·斯文顿 Tilda Swinton ....Muriel Belcher
巴利·沃尔什 Baillie Walsh ....Person in the Colony Room Club
制作人：
浅井隆 Takashi Asai ....executive producer
Ben Gibson ....executive producer
Yvonne Isimeme Ibazebo ....line producer
Chiara Menage ....producer
Frances-Anne Solomon ....executive producer
原创音乐：坂本龙一 Ryuichi Sakamoto
摄影：John Mathieson
剪辑：Daniel Goddard
艺术指导：Alan MacDonald
美术设计：Christina Moore
服装设计：Annie Symons
视觉特效：Simon Giles
副导演/助理导演：Olivia Lloyd ....second assistant director
Deborah Saban ....first assistant director
Jojo Tulloh ....third assistant director
幕后制作
《情迷画色》的英文原名的意思是《爱是恶魔》。在培根的眼中，绘画、肉欲、爱情，是始终缠绕的主题。影片的结构极其散漫，时常出现的场景有艺术家们聚集的酒吧、培根的画室、卧室，以及各种交际场所。通过这些似乎不相关的情节的串连，创作者把握了某个时期培根的创作和生活的关系。
乔治从天而降，影片用一个非常夸张的长时间的降落来表现，他突然进入培根的生活，成了他的模特、情人，继而发生一系列的事情：虐恋、吸毒、自杀……培根的画作时而出现在影片中，培根的画外音也一直伴随着叙事。培根的生活、培根的画作和这部表现培根的电影，在风格上达到了一致。
影片中很多地方都通过广角镜头拍摄人物变形的脸，还有很多曲面镜的反射也扭曲了这个世界的形状。这很直观的让人们看到了培根的世界，他的生活触碰了很多的社会禁忌。同时，这也弥漫在他的画作里。
现实中的培根，深受北欧怪诞风格画家的影响。也有很多奇怪的画作：一个全身沾满血迹的人躺在床上、一只被屠宰的动物身上被夹牢的部位、一个坐在椅子上狠狠抽烟的人……都是培根的表现对象。
在做导演之前，约翰·梅布瑞曾经是画家，他很精准的抓住了培根绘画的风格拍摄了这部影片。影片中还经常出现细腻的烧烟头的影像和声音，对于培根来说，这其实意味着虐恋的快感。还有框架做成的厕所里，乔治对着马桶呕吐；纵深很长的螺旋楼梯，俯瞰上去有种令人惊悚的美感……就是在看了这部影片之后，索德伯格邀请他拍摄了《灵幻夹克》。相似的经历，使得梅布瑞和德里克·贾曼的风格有很多相似之处：封闭的空间，虚拟的手法。英国电影史上记得住德里克·贾曼，就也记得住梅布瑞——这位导演年纪轻轻已经崭露头角。
蒂尔达·斯温顿也在影片中扮演了一个女同性恋艺术家的角色，经常拿着酒杯，操着英国口音的脏话，远不同于《奥兰多》或是《爱德华二世》中的角色，但是同样精彩。
培根在20世纪的画坛中有着举足轻重的地位，这部影片虽然不是传记，却也是研究他的重要范本。
记于2012-01-06 15:52
6 ) 《画家培根的肉欲与恐惧》谁谋杀了我的爱人
题记：
培根说：大家都在作茧自缚。我们诞生在一个不幸的年代，我们已经没有逃避被注视的可能，于是，戏装上身，娱人娱己
－－－－卡夫卡·陆（KavkaLu）
[img]http://www.sparrowsp.addr.com/images/loveis.jpg[/img]
就像写字人的叙述都是遗迹之坟，艺术家的世界同样是他人无法真正进入的蚕室。
光鲜的画展，楚楚衣冠；荣耀的背后，忧灵（忧患灵魂）冬藏。
培根的疏离是不可言说的，所有的画都是思想的幻觉，附着在画里的魂魄，扭曲而凄惨，惊恐在明亮的展厅里逐渐淤塞所有兴奋或颓唐的人们，恍惚里翅翼飞扬。旁人，听觉之外，只有坂本龙一的音乐拉扯着你的听觉。
被鸡奸的小偷因为培根进入了艺术史，臀部如同艳丽的牡丹绽放，两个男人的玩意，我好怕怕。
影片抓住了培根画作的本质，精神世界里扭曲的人应对着被观者的精神世界的扭曲，一个角力的世界在墙的修饰下变得张狂而柔软，意念渗出水来，浸满前尘今生，叙事在这里可以忽视，无限接近的人气喘吁吁。
主线确实存在，可是边界模糊，一个艺术家是时刻迸发激情的，角力的对面还是自己，在恣意的线条里情欲的洪流建构疯狂。
激情是自己的感受，可是，它能成为别人的号角，所有被描绘的现代画家都有些疯狂，银幕的悲剧是它必须将内心视觉化，在这个过程里所有的感官都被放大，直到疯癫之后的陨落。
超现实主义拳场的戏在淋漓的人血暴力凸现情欲的本质，生命的高潮是一次没有归路的击打，红色瞬间被黑色的时间吞没，直到下一次的征程。
乔治的躯体包裹着皮衣，他偶然的出现必然的进入，两人的世界需要的是一次疼痛后从此的疗伤。在他和培根的交往里，我们试图寻访合理，却在意识里清晰我们根本无法接近他们的故事，应对的今夜的酒精，摇晃历史，抖落的碎屑聚合成影像的幻觉，在红酒或香槟微熏的气息里，想像培根对于他的同性恋人的占有和凝望。
影片重要的段落是一场虐恋，英国文化好像这块是重要组成，我辈愚钝肉体吃不住打。
暴力是性欢愉的终点，所以，导演在电影里出现了人类电影史上最有恐怖和暴力感的蒙太奇段落敖德萨阶梯，这个被大多数电影学院当成示范的段落也因为不太相同理由为许多导演运用，这里我看到的是悬崖，而那个瞳孔让我们回应了达利曾经的惊世骇俗。在培根看电视的画面里自己形象的画面和1900英国早期导演詹姆斯·威廉森的作品《饕餮（THE BIG SWALLOW）》如出一辙，在艺术品里这些致敬性的镜头显示了电影的传承和导演对于电影的了解。这部电影是一部真正意义上的现代电影，它不仅把握住了时代更向观众展现了画框背后的精神世界。我们总是兴高采烈地画地为牢，却在衍生责任的时候选择脱逃；我们总是沉迷肉体的快感却看不到别人因此的苦痛和失望。
影片有许多变形的镜头，它是环境和人之间的对应出现的缝隙，这道缝隙就像是云层里透出的折光，被注视的一瞬间，引爆生命的激情。
它真正意义上显示了人被紧闭的心智在视像之外的突破，玻璃和镜子在西方电影里有着弗洛伊德式的梦魇象征，人在自我和他我间相互镜像，没有一个是真实的，真实在目光的逼视下瞬间枯萎，没有一个不是真实的，你的以为就是天下的一切。站在摄影机跟前的培根将什么留进了将来注定为艺术史瞻仰的面孔。
人言的世界战胜了客观，我们在存在与虚无里潜行。
感情是很难以任何形式衡量，消逝和发生都有太多的偶然，异性和同性爱都是一样的，在那个肮脏的雨夜乔治失落了，他无法穿越那堵冰凉的墙，他也无法找回曾经，时间让发生平常，时间让一切成为过去式。
一个臂上蛇型和骰子相交的图形里是上帝，作为无声的行路《The Last of England》的剪辑，导演对于影像的作用十分清楚，那个来自于培根画作里的血红小人，鬼魅般一再出现，在坂本龙一低沉、阴怨的音乐里惊魂不定，感情是不需要言说的，细微的差别对方就能明白。失落的沮丧在那深渊一样的螺旋梯下堆积，当背叛发生一切就没有了复合的可能。
被伤害的在无望里，人会迷失，这种迷失产生的后果或许就是死亡，培根怅然的目光穿越乔治的黑白照片，哀怨燃烧，骷髅狰狞，就像他自己所说：死亡就是几根骨头加几颗牙齿。
焰火很快会吞噬一切，可是，昔日却因为午夜每一次的战栗而折磨自己，尽管，没有人会审判背叛，可是，情感的天平上泣声沉重。
弗朗西斯·培根作为英国20世纪最重要的现代派画家所描绘的是属
于那个年代的人性焦虑和恐慌，这种20世纪以及此后年代的时代病在影片里通过那个鬼魅般的红人呈现，最后，培根在没有墙的屋子继续作画将孤独而无望的境遇直观化，为了刺激，伤害或被伤害。
在现代派的绘画里，重要的不是作品的肖像感，而是心境，它需要观众的逼视。
【附录：影片资料】
《画家培根的肉欲与恐惧（Love is the Devil）》英国1998
编导：约翰·梅伯瑞John Maybury
音乐：坂本龙一
主演：德里克·雅戈比Derek Jacobi、丹尼尔·克雷格Daniel Craig片长：90分钟
奖项：1999布宜诺斯艾利斯国际独立影展最佳影片，1999斯洛伐克艺术电影节最佳导演，最佳摄影，1998爱丁堡国际电影节最佳电影，最佳演员，1999晚间标准英国电影奖最佳男主角奖，1999葡萄牙国际幻想电影节最佳导演。
个人评价：艺术性9，欣赏性8（优秀的现代派作品）
2006年4月12日 星期三 上午7时25分 云间 寒鸦精舍 雨中
独立影评人：卡夫卡·陆（KavkaLu）
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拍摄风格是追随画作风格吗？因为我看不出有什么内容，除了从噩梦中那一幕觉得抓的很准确之外，一切都在追一种感觉，这种感觉不存在于人物中，就无由悬在半空，成为电影最大的看点，克雷格真正是男人越老越有味道的标本见证啊，天生一副深邃面孔，越来越有隽永的感觉，他算是可以用眼神瞬间秒杀众人的人
大量窥伺的镜头，同性恋内心的恐惧与肉欲。
很喜欢丹尼尔.克雷格。他演的小偷是被画家毁灭的天使。欣赏这句话“我们总是兴高采烈地画地为牢，却在衍生责任的时候选择脱逃；我们总是沉迷肉体的快感却看不到别人因此的苦痛和失望。 ”
（-我喜欢你。-你从哪个电视里学的这句话。）那一刻，JOE的心彻底碎了吧。画面和幻想很神奇的协作。那群人的脸都是折射的反射的模糊的扭曲的，只有JOE是最单纯最清楚的。
四星半！乔治坐在浴室的马桶上，透过镜子的折射与变形，最终融为一体，真的就是一幅培根的三联画。虽然是一个传记片，但是很多拍摄手法很先锋，与培根的绘画相得益彰。最后，回到剧情之内，相爱的人所带来的相互伤害，常见但还是令人唏嘘，但是对于艺术家，似乎却成了一种创作动力。纵使最后时光倒流
7/10。培根的自恋倾向投射在梳妆的桥段，左中右的镜面拼接出培根脸的多重角度，他借助镜子实现了审视、主导的地位，无论是按自己喜好给乔治定制西装中，层层嵌套的试衣镜将乔治包围，还是用镜面的反射来观看乔治侧卧的睡姿，都突显了强烈的掌握欲望，而乔治被情人冷落的痛苦体现在特写里，玻璃的重影效果将他的脸庞撕裂，隐喻灵魂的煎熬。传统的叙事空间被角色的感官空间所取代，呈现出一幕幕生活碎片，炫光和降格拍摄二人的激情纠缠叠化为画中两具拉扯的躯体，照相房的矩形景框和拳击手的搏斗鲜血再现了画中压抑、暴烈的氛围。导演利用独白空间展示了培根瘫坐在马桶上体验乔治自杀的情景，结尾化用了培根画作中幽闭的剧场性空间：暗黑的背景、蜷缩的身体和红色的立方体，外化了其内心的极致孤立和无助。需要了解培根和乔治的情史以及相关画作才能理解。
导演的镜头是很独到的。影片犹如戏剧一样，被切成了很多幕，又由培根的自述连接起来。许多镜头应该是有隐喻的，不过很多还不是很清楚。PS:两位主角的表演入木三分。
画家肉欲与恐惧，变形的镜头和窒息的环境，嘈杂昏暗的社交圈子，艺术圈子里的疯子们都是不被理解的孤独体。
▤「Take your cloths off. Come to bed. And you can have whatever you want.」「I love you, Francis.」「Everything is running down. The sun is burning out, the stars are burning out. It's the only thing in life that's certain - that it's all running down. It's all dying.」
不断地切换还有点糊涂，搞不好就是他呆着脸在臆想。培根是个旁观者，If the only thing in life is certain, it's all running down,it's all dying.他知道自己阻止不了，就利用他们。他这种艺术靠着捕捉生命在腐烂中挣扎的瞬间，去表现，去吸取力量，说到底也是for surviving。生命多么残酷，爱没法解决的问题。
无法评论的电影，但是动不动就扭曲的人物最终还是让我放弃了想看完的打算
你如果能读到辛波斯卡的诗 读到一粒沙看世界 就好了
007真的爱演gay
as the title.
丹尼尔有露下面...很清晰...去围观吧同志们...
有关艺术 我们永远无法以常态去解释 美或许在人体 血液 交合中才能体现出来 邦德叔那时候还没皱纹呢 裸得也很有特色
我觉得自己喜欢一个人的时候，力量就很强大。比如挖出DC的这种片子……
画家年轻的情人，让他更感到衰老这件事的痛苦，为了平衡这种挫败感，他当着情人的面（一墙之隔）和另一个男孩做爱。然后情人陷入痛苦，他享受着情人的痛苦，这让他感到自己是重要的，而且是孤独的，孤独让他有掌控自我的感受。他享受被情人年轻的肉体征服，同时又不想失去对关系的控制，所以就搞出很多多余的事情来羞辱情人，导致人家受不了自杀了，他最终获得了真正的孤独（可以说是个大傻逼了）。他是特别恐惧死亡和衰老的，他缓解这种恐惧的方式是，折磨他的情人，用情人的痛苦来稀释他的恐惧（大傻逼啊！）。他特别渴望情人靠近他，听见他的孤独，但对情人说，想走的话快走我很忙的（大傻逼啊！）。被爱是非常棒的，但也需要有能力承受。因为害怕最终烂掉，也可能就提前亲手毁掉了。
很多情绪化的镜头，迷幻混乱，也正是两人关系的写照；这种关系必然走向毁灭。
其实我也是来看正面全裸的。