為什麼發條橙與這個殺手不太冷中反派都喜歡貝多芬的音樂？

12-05

如題求解

貝多芬的作品非常自我，彷彿君主一樣，不過是他自己的君主，而所有音符真的如他所想地淋漓表達著他的感受和想法，沒有技巧，格律的束縛，沒有討好迎合聽眾的意思，那些神經質的人也一樣，目空一切地自我沉迷著。

痛苦，何嘗不是一種快樂？而快樂，背後不也是痛苦？

拙見，拋磚。
有人問過類似問題，我複製過來。

簡單說一下《發條橙》吧。該片中在描述暴力場面時使用的事羅西尼的《賊鵲序曲》，同樣在《神探夏洛克》中莫里亞蒂砸開玻璃穿上國王禮服的那一段也用了該曲，《發條橙》中使用的貝多芬的音樂主要是貝多芬《第七交響曲》，按照尼采對藝術「日神」與「酒神」的劃分，《第七交響曲》是典型的「酒神」樂曲，羅曼羅蘭稱其為「最具舞蹈性的交響曲。」
當我看到《發條橙》的時候，發現我自認為「高雅」的古典音樂用在暴力場面背景音樂竟然毫無違和，是否說明古典音樂的某些精神特質隱藏在「規整，節制，優雅」的旋律與結構之下，而與「暴力，破壞」的精神特質相通。對於一個自視甚高的古典音樂愛好者來說無疑是一個致命的打擊。不過，當我慢慢聆聽了斯特拉文斯基等一概現代派作曲家的音樂，其中尤其是「酒神」精神，終於把巴赫、貝多芬以來構建的規整大廈衝撞的支離破碎，尤其是《春之祭》，《火鳥》中的狂野與爆發力終於不再隱藏在「曲式」與「結構」之中，更接近「暴力」，然而，庫布里克或者塔倫蒂諾所欣賞或者追求的「暴力美學」則需要把「暴力」也就是「酒神」精神賦予美感，加以控制，那麼像貝多芬《第七交響曲》這樣充滿「酒神」精神而又不那麼直接的音樂就很適合作為暴力場面的背景音樂了。

一個人喜歡什麼樣的音樂，這完全是個人的私事。貝多芬也沒有規定誰可以喜歡自己的音樂，誰不可以喜歡。這個世界上，任何人，任何類型的人，都可以喜歡任何音樂，和任何類型的音樂。

如果你問為什麼這兩部電影的反派都喜歡貝多芬的音樂，那我只能說可能是因為這兩部電影的導演或者編劇喜歡吧。

如果你想問的是為什麼反派也會喜歡貌似崇高的古典音樂，我只能說：音樂本身是沒有道德含義的。所謂「音樂可以陶冶情操」這類道理完全是沒道理的。音樂造詣高深的音樂家中，以及音樂知識豐富鑒賞力超群的音樂愛好者中，道德突破下限的人多得數不過來。音樂造詣和道德水平完全沒有相互影響的功能。

因為他們都帶有神經質的亢奮。在古典音樂中，貝多芬是很鮮明的那種很容易high起來的特性，甚至有一點神經質。其實很難想像，一個人如果不帶有一點神經質，能寫出《歡樂頌》這樣的，帶有嗑藥後的興奮的作品。他的喜怒哀樂都是放大了的。
再看看電影里這兩位，尤其是《這個殺手不太冷》里的警察，是那種披著社會的皮來反社會的典型個性。聽著好像高潮一樣的音樂，帶著使命感，去決定他人的生死與命運，還有比這更能讓人在庸常的生活中體驗極限激情的方式嗎？那時候的音樂，就是他們的表達。語言太單調，太無力，只有氣勢磅礴的交響樂才能表達high到恍惚的精神優越感。

Music takes a important position in A Clockwork Orange, especially in audible adaption. Everytime in the scenes of violence, blood and sex, Kubrick used classical music as the background, including Alex』s favourite song Beethoven"s Ninth Symphony, Rossini』s La gazza ladra, and William Tell Overture, etc. As a high art, classical music is rarely can be found working with its contrary: violence and crime, especially as a commentator following the plot closely.
There are several levels of relations between the classical music and the work. In the movie, not only it rings at every dramatic turning points of the plot, but also the construction of the movie was designed based on the structure of the Symphony. It is interesting that the Ninth Symphony is rarely heard as background music during the movie, but actively listened by the character in major plots with violence. However, it never works for Alex』s humanity. As Kubrick (Kubrick Ciment, n.d.) suggested, 『Hitler loved good music and many top Nazis were cultured and sophisticated men but it didn"t do them, or anyone else, much good.』

In one of the most important turning points of the movie, Alex is forced to watch a series ultra-violence of Nazi with background music of Beethoven"s Ninth Symphony in his behavioral modification treatment, which is his favorite music before and he usually enjoyed making crime with it. He cannot bear of watching the violence anymore and yell to beg the doctors stop, which is not because his own pain and sickness, but more refer to the music that 『cracked』 and 『boomed』 in his head: Ludwing van』s Ninth Symphony. He said: 『It』s a sin! It』s a sin! Using Ludwing van like that. He did no harm to anyone. Beethoven just wrote music.』(Kubrick, 1971)

This plot raises a question of whether Beethoven 『just』 wrote music; whether the music, or we can say the art, just have no meaning except its own value? Hanoch-Roe (2002) believes Kubrick was trying to raise a claim of 『music does not have meaning beyond that which every human being awards it』. There is also a similar debate around A Clockwork Orange: it was banned in England for several years because some people believe it will cause more teenager crime. (Carruthers, 2001)

Referring to the music, Kubrick was using the mythical status of Beethoven and his work to explore the shocking relationship between it and extreme violence at the one hand, and raise the question of music and western culture in general by symbolism it in A Clockwork Orange on the other hand. (Hanoch-Roe, 2002) Roland Barthes (1977) claimed that 『Beethoven was created a complete hero, granted a discourse, a legend, and iconography, a race and a fatal flaw.』 In Ninth Symphony (his last symphony), Beethoven established his credo, which was a vision for humanity. In this scene, not only evil Nazi regime, but also the liberal and enlightened state that Ninth represented is employing torture as therapy as well. (H?yng, 2011) Alex』s reception of Ninth Symphony was used as a symbol of whether his humanity is 『cured』 or not 『cured』, whether he is a free man or not. This interpretation of classical music can be also applied in A Clockwork Orange: it is a symbol of western society, culture and authority, a work that explore the relationship between art and violence, and it shocks audience by assuming this connection.

The movie was designed as four parts based on the four movements of the Symphony. First movement is an Allegro ma non troppo, un poco maestoso, which is heard with Alex』s regular life - enjoyable violence and rape, and ends with the murder of the cat lady as a climax. The second movement is a diabolical and fast tempo scherzo that culminates with Alex』s imprisonment life. As we mentioned before, in the third part, a slow adagio moltoe cantabile changes the nature of the song in Alex』s head during the treatment. (Solomon, 1991) At the end, it reaches to a crescendo of both the Symphony and the plot, and this combination produced an extremely stimulation for audience. When Alex finally won his ability of enjoying violence and music back, the Symphony was symbolized as a flag of liberation. Also, 『authorities make cynical use of the "Symphony of humanitarian brotherhood" in order to gain more political power.』 (Hanoch-Roe, 2002) Kubrick designed the interdigitation structure of music and plot purposely, in order to give audience a perception of the casual relation between music and violence.

Compared to Burgess, Kubrick played the potential of music more fully and wickedly by acoustic signs and multiple visual references to Beethoven, which large coalesce around the Ninth Symphony (Wierzbicki, 2003). In fact, not only Beethoven, Kubrick smartly added many other songs as a strong element to produce an audiovisual illusion for this sound film, which are no included in the book. For example, in the scene of Alex raped writer』s wife in front of him, Alex is singing 『Singin』 in the Rain』 and dancing. The beauty of this song makes a striking contrast with graphically violence, which give audience an immersive experience when observing this scene. Moreover, it turns the violence into a dance that increases the aesthetics of this movie, and aggravates the paradoxical association between art and sexualized violence (Matthys, 2013). Code (2014) suggested Kubric 『invites us to reread the ending of Singin』 in the Rain as a more subtle, but no less dramatic, exposure of the acousmatic illusions of sound film itself.』

我想說的是，天才和魔鬼其實真的是一步之遙！！！

現在你覺得你是天才還是魔鬼？？？

引作者自己關於此的回答：

「的確有種影響無法與惡毒一概而論，那就是《發條橙》中的音樂內容，它不僅是一種情緒的刺激，而且本身就是一種角色。如果能說服熱衷流行樂的青少年去諦聽貝多芬第九交響曲——即使是穆格電子樂版——那麼鑒於這種藝術的提升，某些人的中傷之詞應該有所收斂吧。但是這部電影，也許這本書也是，似乎否認了這種維多利亞時代觀念中的偉大音樂與高尚品德之間的聯繫。當時依然到處有音樂理論學者宣稱貝多芬讓人看到神的顯現。亞歷克斯在第九交響曲的諧謔曲中看到的東西卻截然相反：基督的聖像在遊行隊伍中，畫中的基督在行一個共產主義者的致禮。音樂還是那樣的音樂，但倫敦到處可見的《發條橙》的唱片的封面上，只能看到暴力。」

這麼說會不會給人一種。。。xx的感覺？

他看過那部電影

西方音樂史上，主要有三個時期：巴洛克，古典，浪漫。而貝多芬正好是屬於古典到浪漫的過渡時期，他在這兩個領域都有很深的造詣，他的作品風格被譽為「集古典主義之大成，開浪漫主義之先河」。古典時期音樂較為莊重，浪漫時期較為開放，二者一結合，肯定效果會更豐富。因此，貝多芬是中國人熟知的最有名的作曲家。