弗兰克

随手搜的，先摘过来，有空翻一下。

以下节选自Frank: The True Story that Inspired the Movie该书，书的作者Jon Ronson是剧本的Co-writer，也即电影中Jon的原型。

更新，大概是不会翻译了，其实单词很简单很好理解，而且和电影里的对话非常像呢，可见改编之忠实。

In 1987 I was 20 and the student union entertainments officer for the Polytechnic of Central London. One day I was sitting in the office when the telephone rang. I picked it up."So Frank's playing tonight and our keyboard player can't make it and so we're going to have to cancel unless you know any keyboard players," said a frantic voice.I cleared my throat. "I play keyboards," I said."Well you're in!" the man shouted."But I don't know any of your songs," I said."Wait a minute," the man said.I heard muffled voices. He came back to the phone. "Can you play C, F and G?" he said.The man on the phone said I should meet them at the soundcheck at 5pm. He added that his name was Mike, and Frank Sidebottom's real name was Chris. Then he hung up.When I got to the bar it was empty except for a few men fiddling with equipment."Hello?" I called.The men turned. I scrutinised their faces. In the three hours since the phone call I'd learned a little about Frank Sidebottom – how he wore a big, fake head and there was much speculation about his real identity. Some thought he might be the alter ego of a celebrity, possibly Midge Ure, the lead singer of Ultravox, who was known to be a big Frank Sidebottom fan. Which of these men might be Frank? If I looked closely would there be some kind of facial clue?Then I became aware of another figure kneeling in the shadows, his back to me. He began to turn. I let out a gasp. Two huge eyes were staring at me, painted onto a great, imposing fake head, lips slightly parted as if mildly surprised. Why was he wearing the head when there was nobody there to see it except for his own band? Did he never take it off?"Hello, Chris," I said. "I'm Jon."Silence."Hello ... Chris?"Nothing."Hello ... Frank?" I tried."HELLO!" he yelled.Another of the men came bounding over to me. "You're Jon," he said. "I'm Mike Doherty. Thank you for standing in at such short notice.""So," I said. "Maybe we could run through the songs? Or ... ?"Frank's face stared at me."Frank?" Mike said."OH YES?""Can you teach Jon the songs?"At this Frank raised his hands to his head and began to prise it off, turning slightly away, like he was shyly undressing. I thought I saw a flash of something under there, some contraption attached to his face."Hello, Jon," said the man underneath. He had a nice, ordinary face. He gave me a sheepish smile, as if to say he was sorry that I had to endure all the weirdness of the past few minutes but it was out of his hands.Before I knew it we were onstage. As we played I watched it all – the band assiduously emulating the tinny pre-programmed sounds of a cheap, children's keyboard, the enraptured audience, and Frank, the eerie cartoon-character frontman, his facial expression immobile, his singing voice a high-pitched nasal twang.After that night – the greatest of my life – a year passed. Life went back to normal. Then Mike phoned and asked if I wanted to be in Frank's band full time. So I quit college and moved to Manchester.And there I was, in the passenger seat of a Transit van flying down the M6 in the middle of the night, squeezed between the door and Frank Sidebottom. Those were my happiest times – when Chris would mysteriously decide to just carry on being Frank. Nothing makes a young man feel more alive and on an adventure than speeding down a motorway at 2am next to a man wearing a big fake head. I'd watch him furtively as the lights made his cartoon face glow yellow and then black and then yellow again.I am writing this 26 years later. The music journalist Mick Middles recently sent me his not-yet-published biography Frank Sidebottom: Out of His Head. His book captures perfectly that "rarest of journeys" when an onlooker got to see the man born Chris Sievey turn into Frank. "The moment the head is placed the change occurs. Not merely a change in attitude or outlook but a journey from one person to the other. I completely believe that Chris was born as two people." Middles likens Chris to transgender people, trapped in the wrong body.I never understood why Chris sometimes kept Frank's head on for hours, even when it was only us in the van. Under the head Chris would wear a swimmer's nose clip. Chris would be Frank for such long periods the clip had deformed him slightly, flattened his nose out of shape. When he'd remove the peg after a long stint I'd see him wince in pain.Frank's character was of a child in a northern town remaining assiduously immature in the face of adulthood. He was a paean to ordinariness. But Chris wasn't ordinary. He was chaotic. Sometimes, on the way back from some gig, I'd become aware that we were taking a detour to some house somewhere with some women we somehow met along the way. There would be partying while I sat outside on the sofa.In the van I'd listen to Chris's stories, trying to understand him. He reminded me of George Bernard Shaw's unreasonable man: "The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man." Chris was the unreasonable man, except the world never did adapt to him and he never made any progress. Like when Frank was asked to support the boy band Bros at Wembley. There were 50,000 people in the crowd. This was a huge stage for Frank – his biggest ever, by about 49,500 people. It was his chance to break through to the mainstream. But instead he chose to perform a series of terrible Bros cover versions for five minutes and was bottled off. The show's promoter, Harvey Goldsmith, was glaring at him from the wings. Frank sauntered over to him and said, "I'm thinking of putting on a gig at the Timperley Labour Club. Do you have any tips?"We crisscrossed Leeds and Bury and Sheffield and Liverpool playing the same venues over and over again. Time passed and the audiences grew to 750 and sometimes even 1,000. It was consequently baffling for me to become aware of a growing sense of discontent in the van. Chris had been asking friends to perform cameos between the songs on his records. In this spirit he had asked his brother-in-law's friend Caroline Aherne to voice the part of Frank's neighbour, Mrs Merton. Afterwards, Caroline decided to keep Mrs Merton going. She somehow got her own TV show, The Mrs Merton Show. She won a Bafta. Her followup series, The Royle Family, won about seven. The Royle Family Christmas specials attracted audiences of 12 million. And meanwhile we were crisscrossing Manchester and Bury and Leeds and Sheffield and Liverpool in our Transit van.The band's guitarist Patrick Gallagher told Middles: "It wasn't Caroline's fault. Chris was totally out of control. Whereas, say, Caroline Aherne had a single vision and could just pursue that, Chris might have a fantastic idea, and then, just as the point where it might actually get somewhere, he would spin off onto something completely different. That's OK for a while but it tended to piss people off because they never knew where they stood."Suddenly everyone around us was becoming famous. My next-door neighbour Mani had a band. They became The Stone Roses. Our driver, Chris Evans, left us to try and make it in radio. By 2000 he was earning £35m in a year, making him Britain's highest-paid entertainer.There is always a moment failure begins. A single decision that starts everything lumbering down the wrong path, speeding up, careering wildly, before lurching to a terrible stop in a place where nobody is interested in hearing your songs any more.With Frank I can pinpoint that moment exactly."Chris wants to have a rehearsal," Mike told me one day."Why would Chris want to rehearse?" I said."To take things up a level," Mike said.Chris's house was in a normal, nice, modern cul-de-sac. His children were playing outside. His wife, Paula, answered the door and told me to go to the spare bedroom. I walked up, passing the bathroom and glanced in. Staring back at me from the sink was Frank's head."In here, Jon," I heard Chris shout.I opened the bedroom door. And stopped. A man was standing there, maroon shirt tucked smartly into neat black jeans. As I walked in he started playing a tight soul-funk riff with seeming nonchalance, but I understood it to be an act of aggression."Who ... are you?" I said."I'm Richard," he said. "From the Desert Wolves."I'd like to say that during the years since Richard the bass player took an instant dislike to me – a dislike that only intensified during the months that followed before the band imploded, and climaxed in him yelling that he'd like to break my "keyboard-playing fingers" – he went on to have a disappointing life. But he didn't. He became one of the world's most successful tour managers, looking after Woody Allen and the Spice Girls. He currently manages the Pixies.Richard was not the only proper musician Chris brought in. A skilful guitarist and a saxophone player turned up in the spare bedroom too. We began to sound like an excellent 1980s wedding band.Chris told me to book us the biggest tour we'd ever undertaken. He choreographed it so I would begin the show. I'd walk on stage, alone, into a spotlight, and play a powerful C with my left forefinger. The synth brass tone – the most stirring of all the Casio tones.We hired a people-carrier instead of a Transit van and set off to our first venue. The mood was pumped. The old band members had a certain avant-garde loucheness. But this new band: I felt like I was in a college sports team. We soundchecked. The place was packed. And then I walked out into the spotlight. And in the space of that first song – our classic Born in Timperley (to the tune of Springsteen's Born in the USA) – the audience veered from fevered anticipation into hoping we were playing a weird joke on them into realising with regret that we were not. The NME savaged us. By the end of the tour we were playing to almost-empty houses.Chris returned to Manchester to a court summons. He owed £30,000 in back taxes. On the day of his court appearance the judge told him it was a very serious matter and had he considered a payment plan?"Would a pound a week suffice, m'lud?" he asked."No it would not!" the judge shouted.Chris never actually said to me: "You're fired." But I began to notice in the listings magazines that he was doing solo shows – just him and a keyboard. They were in the same venues we used to play, then in smaller venues, and then eventually there were no shows at all.I moved back to London.Ten years later I was in the park with my son when the phone rang."HELLO!" said Frank Sidebottom."It's been so long. How are you?" I said."Oh I'm very well actually, Mr Ronson," Frank said."Frank," I said. "Will you put Chris on?"Chris filled me in on the past 10 years. Now divorced from Paula, he was an animator on the children's claymation series Pingu. He loved the work but missed Frank and wanted to bring him back from retirement. He was wondering if I'd write something about my time in the band to help him with the comeback. My story was published in the Guardian. My friend, the screenwriter Peter Straughan, asked me if I thought the story could be adapted into a film.Not long after that, Frank was playing at a pub near my flat. I found Chris in a dressing room at the back, Frank's head in a bin bag at his feet."How did you lose so much weight?" I asked."I don't know," he said, looking pleased."Well, whatever you're doing," I said, "you look great."We walked across Kentish Town Road so Chris could buy some cigarettes. He'd already given us his approval on the film and I told him the latest news. FilmFour wanted to fund its development. But – and Chris and I shuffled awkwardly around the question – what would the film actually be about? Specifically, Chris wondered, would Chris be in it? Chris had always said we could do what we wanted with the story. But he was worried that however the film might depict Chris, any reality would surely damage Frank.I had similar concerns. Chris portrayed himself as untroubled. While a total dearth of anxiety was a fantastically enviable character trait in real life, how could we write a film about a man who just didn't care when everything went wrong and in fact found disaster funny? And if Chris was secretly more obsessive about Frank than he let on, how would he feel if the film reflected that? But there was a solution. What if we fictionalised the whole thing? It could be a fable instead of a biopic – a tribute to people like Frank who were just too fantastically strange to make it in the mainstream.I set off for America to research other great musicians who'd ended up on the margins – Daniel Johnston, Captain Beefheart, the Shaggs. A week after I returned, I saw Frank Sidebottom's name trending on Twitter. I clicked on the link and it said "Frank Sidebottom dead". I wondered why Chris had decided to kill off Frank. So I clicked another link:Stars lead tributes as Frank Sidebottom comic dies at 54Chris Sievey, famous as his alter ego Frank Sidebottom, was found collapsed at his home in Hale early yesterday. It is understood that his girlfriend called an ambulance and he was taken to Wythenshawe Hospital, where his death was confirmed.Manchester Evening News, 22 June 2010 When I'd told Chris at our last meeting how thin he looked – he didn't know it then, but it had been throat cancer.Frank Sidebottom comic faces pauper's funeralThe comic genius behind Mancunian legend Frank Sidebottom is facing a pauper's funeral after dying virtually penniless. Chris Sievey had no assets and little money in the bank, his family have revealed.Manchester Evening News, 23 June 2010A pauper's funeral? What did that involve? A journey back in time 200 years? I sent out a tweet. Within an hour 554 people had donated £6,950.03. By the end of the day it was 1,632 donors raising a total of £21,631.55. The donations never stopped. We had to stop them.A Timperley village councillor, Neil Taylor, started his own fund-raising campaign for a memorial statue – Frank cast in bronze. He sent me photographs of its journey from the foundry in the Czech Republic to its final resting place outside Johnson's the dry cleaners in Timperley. In the photographs, Frank looked like he'd been kidnapped but was fine with it.And now our Frank film – directed by Lenny Abrahamson and starring Michael Fassbender, Maggie Gyllenhaal and Domhnall Gleeson, is going to be premiered at the Sundance film festival. As I prepare to go to it, I remember something Chris once said to me. It was late one night, and we were in the van, reminiscing about a show we'd played a few weeks earlier at JB's nightclub in Dudley. It was very poorly attended. There can't have been more than 15 people in the audience. One of them produced a ball, the audience split into teams and, ignoring us, played a game. In the van, Chris smiled wistfully."That Dudley gig," he said."Ah ha?" I said."Best show we ever played," he said.

一些人对一些事有着极其敏锐的洞察力和感知力。

但是，他们对待社会，面对生活却表现出了截然相反的接受水平。

于是，他们有了莫名其妙的举止、封闭的内心、突出的才华。

人类社会对于异常的接受能力要比他们自己想象的差，所以对于行为异端者的包容也就只有狭小的气量。

把普遍作为准则去衡量这些与众不同的人，便有了“精神病”的群体。

精神病人不一定有过人的才华，但是有此天赋的人，在成就上一定高出普通人许多。

他们在常人不能理解的世界里看到了璀璨的星光，并且具实展现出来，就有了与众不同的美。

今年，日不落帝国上映了一部充满文艺气息的青春片《弗兰克》，似乎正是对这些天赋异秉的行为另类人做的最浪漫的诠释。

影片整体感觉就像伦敦阴湿、斑驳的街道，充满了阴郁的气质。

但是，故事本身却不似画面压抑，充满了星星点点的温暖，蛊惑观众饱含爱意地欣赏戴着大头套的弗兰克如何在他狭小的空间里演唱心灵的歌曲。

作品不从单独视角观察弗兰克，而是透过第三人的参与，从旁雕塑出那个戴着大头套的音乐才子。

音乐自然流淌，命运顺其自然走向归宿。

没有做作矫情的修饰，不细腻反而更真实。

最特别的是弗兰克的孤独与第三人的好奇碰撞在一起时那奇妙的火花，像任性的天真孩子与倔强的叛逆青年，又像雏鹰与小鹤，彼此看似有共通之处，最后却只是两个世界的人。

为什么有这个角色？

或许因为弗兰克的特别实在过于隐晦，又或许因为那个代表一类群体的人，在用好心把“弱势群体”推向深渊时的自以为是，是导演最羞于批评却不得不直述的观点。

这就像当下的青年一代，渴望与众不同的个性，渴望异于常人的才华，却在自身表现上不够有自己的表达，不够有接受不同声音的勇气。

于是，在文艺似的忧愁中渴望着飞跃。

片中有个奇妙的角色，叫做克拉拉。

型貌称不上美，却是驻扎在弗兰克心灵深处最真实的存在。

她霸道、凶悍、疯狂，却不失古典美和细腻。

懂得弗兰克的弱点，激发弗兰克的热情，挖掘弗兰克的优势。

这个与精神病共舞的女子，不简单。

不止克拉拉不简单，其实片中每一位乐队成员都不简单。

他们组合在一起，始终没有给观众呈现出一首像样的完整的音乐，却用自己的行为和未完成的片段告诉观众，音乐不是流行歌曲，它是生命、灵魂思考的表达。

这些人的曾经和未来都已无从追究，只从当前的画面可以猜测出他们有着多舛而丰富的人生。

在第三者的眼中，他们可怜，在他们自己看来却是精彩刺激的每一天。

看完片，观众得向法鲨和吉伦哈尔姐姐致敬，是他们如同精神病一样的美创造了美轮美奂的精神病。

那疯狂得难以理解的执念，让音乐的断章也充满迷幻色彩。

这部影片很美，有很英国的调调，有很文艺的气质，但是它绝不是励志片。

它或许创造了一个21世纪的阿甘，却并没有鼓励观众成为那样的人，反而在循循善诱，让人们更主动、更友好地理解、认同、接受那些与众不同的群体以及他们试图打开的视界之门。

這部令人心碎的音樂電影想讓我們看到很多東西。

我們看得到音樂人對聽眾數量的愛與恨，看得到大眾與小眾的壁壘，看得到純真如何被現實碰碎，也看到了音樂與音樂人之間的彼此依附....至於我，我看到的，是臉色。

亞里斯多德曾謂：「即使把世界上最美麗的顏色擺在面前，人類還是對最平凡的臉孔更感興趣」。

在擁抱藝術模仿論的亞氏看來，人對人的好奇遠勝其他的一切，觀看他人臉孔的表情這件行為本身就足以成立遺憾與滿足；遺憾與滿足是藝術的基礎，因此，最美好的藝術就是最多臉孔表情的藝術－－悲劇。

從亞氏以至西方古典文明中，悲劇被視為最高級的藝術，與人的臉孔表情密不可分。

然而，音樂呢？

音樂最不包含的就是臉孔。

在電影裏，麥克法斯賓達（Michael Fassbender ）飾演的主人翁法蘭克戴著一顆大頭套，十幾年來不管搞樂團還是過生活都沒拿掉，沒人知道他臉孔長怎樣，當然也就沒人能看著他的表情。

他與他的樂團都對這頭套不以為意，這支樂團搞得是實驗音樂，是小眾的聲音，是自我滿足便矣的迴響。

他們錄音卻不想發行，自然沒有客群，他們的藝術只需彼此能聽，不需在意他人的眼睛。

因緣際會下，不世出的法蘭克登上美國音樂祭典，登上Youtube影片排行榜，法蘭克怪異的模樣成了樂迷茶餘飯後的話題之際，他的頭套被擅自解讀成法蘭克這個人的另一種表情，永遠只會傻楞與怪晃，人類也逐漸對法蘭克這個人如斯看待：一個傻子與怪人。

頭套開始髒了，法蘭克的音樂也變了質，靈魂吶喊的搖擺被剁碎，只餘下艷塗與滾邊的殘片。

觀眾走了，樂團散了，大家最後只留給這支樂團兩個字：怪胎（Freak）！

　是哪一步走錯了？

從悠遊在鄉村錄音的Frank變成了過街被網民嘲弄的Freak，都在於我們對表情的在意與否。

在鄉村，樂團只在意法蘭克的樂色；到了社會，人們更在意法蘭克的臉色。

當法蘭克的一舉一動都像無法變化的頭套表情一樣，做甚麼都被當在搞笑時，有誰會真正在意他的音樂有搞笑以外的任何價值？

法蘭克也被千夫所指迷失了自己，歷經了有生以來最大的折磨。

直到他終於找回作曲的能力，真誠得唱歌給樂團舊員們，才能重新表達自己對同好的愛。

諷刺的是，電影在這一刻讓法蘭克脫下了頭套。

於是乎，螢幕外的觀眾再也搞不清楚，自己被最後一幕感動得不能自己的原因，究竟是被音樂的真誠打動，還是因著演員麥克法斯賓達臉孔的秀氣與淚眼？

樂色與臉色的分野，再一次的齊現而未解。

全片看完，甚是鸡肋。

本片顶着剧情、喜剧、悬疑三个类型标签，平心而论，哪一个都只能挨着边儿，仅此而已。

剧情2星，喜剧2星，悬疑2星，均分2星。

文艺范儿给4星，但可惜类型标签没有文艺。

作为一个普罗大众，完全不知所谓“法鲨”之类是何物，因此时常被豆瓣上文青味浓厚的评分给误导一锤子，此片亦属此列。

（芷宁写于12月7日）与其谈及影片《弗兰克（Frank）》的拍摄手法和表现方式，倒不如聊聊它所表述的典型现象和典型人设。

看这部影片，大概会让很多特别文艺的文艺青年感慨万千，相较于普通青年，极端文艺青年就像片中的弗兰克般只能存活于属于自己的世界里，一旦落入现实社会，便会无所适从，即便基于好的出发点，欣然摘掉了用于掩护或依赖的屏障，却依旧找不到适宜自如的姿态出现在世人面前。

这种境况是比较残酷的，这类“不合群”的人往往被各自的“文艺基因”激发着催动着，他们不安于世俗，想过能自由创作并尽情表达的生活，然而，一旦被迫从自己过得惯的生活状态中抽离，他们便如初生的婴孩般脆弱无助、不堪一击，任何一个嬉闹的玩笑都会彻底毁了他们。

如果将弗兰克们的音乐创作置于大众的视听中，或许一时间无法确认那究竟是天才之作，还是毫无天赋的呓语胡闹，但至少可以确定的是，当初乐队在森林木屋中制作所谓的新 专辑的时候，弗兰克们是快乐的，自在的，无畏的，仿佛几个在属于自己的国度里肆意放纵的精灵，至少像是从外星球放逐来的。

Don在位于湖光山色的小木屋的自杀了，带着一种预示性，也代表着彻底意识到始终也无法达到心之所系的一种幻灭，这种幻灭是致命的，仿佛提前预告了弗兰克等人参加西北偏北音乐节的行为也是一种致命的幻灭。

弗兰克整日整夜以大头娃娃的头套示人，就连吃东西、洗澡时也都带着，他以这种方式避免自己和这个世界做无阻碍的接触，那里只容他独自踯躅，Jon的加入以及Jon以网络曝光乐队轶事的方式，让渴望得到认可的弗兰克误以为有了新的和世界接触沟通的途径，却不料，这样的方式和他适宜生存的模式是相悖。

最了解弗兰克的是Clara，她在音乐节表演前夕选择离去，看似是分裂乐队的始端，却是在敲响警钟。

不少观众认为该片拍得诡异，剧情属极端类型，其实内心存有弗兰克式生存模式的人并不罕有，只是他们当中的很多人能在内心和俗世之间寻找到一个平衡点，从而侥幸度日。

而弗兰克们就没这么幸运了，他们只能孤僻而偏执地存在于自己创造的一隅中，你可以认为他是天才，也可以同意医生的诊断，他就是个神经病，不过，似乎很多天才都是神经病。

普通青年Jon在乐队的历程，便恰似以一个普通人的视角来呈现弗兰克式生存模式的局限性和不适应性。

此番戴着娃娃面具头套的迈克尔·法斯宾德给出了不错的表演，法鲨的这一演出令人想起了在影片《天国王朝》里饰演麻风国王的爱德华·诺顿，和诺顿一样，法鲨仅仅以肢体动作和情绪语言就突破了面部被遮挡的表演局限，于是，虽然在大多数时间里弗兰克都以大头娃娃的形象示人，观众却仿佛看到他的神情，继而窥到他的内心。

片尾，摘掉头套的弗兰克以奇特的嗓音，有点局促，有点羞涩地为他的伙伴们唱了一曲“I love you all”，世界是冰冷的，也是无情的，幸而他们还有彼此，彼此的存在和容纳形成了一个独一无二的空间，让他们得以存活。

（杂志约稿）

我们都像Jon一样有点小本事有点小梦想以为距离成功只差一个机遇而已在专业人士的身边觉得自己只要努个力就能跟他们一样面对无法企及的天才就认为只是因为没有跟对方一样的曾经但一介凡人有点小本事还有小梦想当然不会满足于just happy当他终于用自己的标准把天才毁入凡间当他终于明白有些天赋真的是天生而无需历练当他终于把张牙舞爪的Frank变成了像一直在做错事的小孩他才真正看清你从来就跟他们不一样Jon

本片是一部改編自真人真事的電影，其中保留了Frank的原本特色與部分音樂，但基本上是一個全新的故事。

我很喜歡這部片的畫面，顏色很亮很飽和，但卻又套上了淡淡的藍色，有一種很輕很淡的哀愁從畫面中一點一點的飄散出來。

首先，無論你有沒有看過這部電影，最先注意到的應該就是那怪的可以的Frank。

他總是帶著那個頭套，無論是吃飯、洗澡、睡覺都不曾拿下，令我非常好奇面具下的Frank的內心世界。

Frank為什麼總是戴著頭套？

我想有一部分的原因是，在現在的社會中，「面貌」幾乎決定了命運。

印象特別深刻的是，在一開始Jon和Don的談話。

「Jon先是表明對於Frank總是戴著頭套的行為感到怪異且無法理解。

Don則回他，你不知道他的才華，我總是希望自己是Frank。

Don又說：其實我是個有精神疾病的人。

Jon則回答：你看起來正常多了。

」在這段談話中，Jon完全不過問"音樂才能"，只是一味的從外貌去評斷別人。

如果在頭套下的Frank真的是個醜八怪，那是不是我們就會直接忽略了他的才華？

再者，若面罩下是個超級大帥哥，我們是不是同樣的只會專注在外貌而非音樂本質上呢？

戴上了頭套，人們就只能專注在音樂上了。

另外我很喜歡片中提到的一個問題：我們是否要為了迎合世界，而改變自己？

原先在小木屋裡做音樂時，Frank和團員們都是非常開心的，他們用自己的風格、方式做音樂玩音樂。

然而在收到表演邀請後，Jon為了讓樂團能被更多人接受，於是要求樂團改變原本的風格。

這樣的提議讓團員們無法接受，於是樂團分崩離析，只剩下Frank和Jon。

而直到上台表演，Jon一直被成名的慾望蒙蔽了雙眼，他選擇演奏了自己的創作-那個被Frank稱為「狗屎」的音樂。

最後演出失敗，而Jon始終無法明白自己的問題到底在哪裡。

Jon一直認為一個人的靈感、才華是來自於那個人的痛苦、悲慘回憶。

他認為一定是有那些回憶，才造就了Frank，於是他前去拜訪Frank的父母，想知道到底他們倆之間的差別到底在哪。

然而，Frank的父母肯定的說：「痛苦並不能創造音樂，音樂隨處都在。

硬要說的話，精神疾病只是拖了他的後腿。

」我想Jon大概是豁然開朗了吧？

他終於明白Frank才是那個真正擁有才華的人，自己只不過是個想透過網路世界來假裝自己是個有才華的人罷了。

最後Frank和團員們再次聚集在一起，回到了以往樂團的風格，唱起了" I love you all "這時台下雖然還是一樣沒有觀眾，但他們找回了自己、他們知道他們不會再迷失。

你呢？

你是否願意為了迎合大眾，而改變自己？

還是你曾經這麼試過，那結局又是如何呢？

我曾經試過，結局並不好。

所以我要我好好的做自己，就算和Frank一樣怪也無所謂，只要能找到我想對他們唱出" I love you all "的人就夠了。

而，我也找到了。

題外話：戴著頭套的Frank是由Michael Fassbender飾演。

你應該也很疑惑，戴著頭套到底要怎麼演戲？

那我想你可以來看看，Michael Fassbender在這裡的演技其實很不錯，從他的肢體動作、走路的姿勢及速度都體現了當下的情緒。

尤其戴著頭套還是很有吸引力，真的非常厲害！

還有Michael Fassbender的歌聲也讓我很驚訝！

尤其他在片尾唱的< I Love You All >歌聲中的感情非常飽滿、到位！

第一句话，和短评一样： “千万别在B站这个智障遍地的地方看电影，你会绝望的”真的。

Frank真的是部好电影。

不太文艺，不算鸡汤，相当...致郁...是你在奔波忙碌了一天后回到空荡荡的家里，然后可以静静的开着昏黄的书灯，平缓的呼吸以使自己平静，然后再观看的电影。

每一部电影都需要它的伯乐，知音，或许你感受不到它的美，活着就想弹幕中撕逼的那样，“什么玩意”“看不懂啊”....额......好吧。

于是乎我怀着极大的悲愤来写一篇长评以扒主旨、内涵、以及细节，送给那些生性爱撕逼的人们。

电影是形象的，形象到当你看到的第一眼就可以清晰的辨别人物的特点与性格；而同时却又是抽象的，让你看不出这到底想要表达些什么。

其实很简单，整个乐队，就是我们本身。

每个人的心中都有个孤独的乐队、一个孤独的Frank。

抽象的讲了本我自我的矛盾与救赎，其实整个乐队就是一个人——每个人。

Frank是“本我”的象征，惊觉自己的天赋，却总因格格不入而将它戴上头套，考上枷锁，羞于示人。

总觉得自己和世界格格不入，否认自己，却又变态的委曲求全，渴望得到世界的认同与祝福——尽管这个世界只是把你当成笑料来看待。

而男主，则就是那个平凡的“自我”，也是最接近我们所有人的一个人，他就是我们自己啊。

平平凡凡，却自命不凡，最终也不过是落得归于俗流的下场。

他渴望出名——这当然正常，所有人都渴望出名啊....于是他第一次从Don口中听到Frank的身世——悲惨的童年，可怕的父母亲，痛苦导致了Frank的优秀，以此找回平衡感。

小心地希望自己也有这样的天赋，却安然自得的把自己不能出名的原因推给自己的童年、自己的父母、自己的命运，安慰自己，惋惜自己，说服自己，像一针安眠药，迷惑自己——难道这不像我们吗！？

平凡又世俗，却不承认自己的平凡，遇到强者就推诿给他人，以此来找到自己的存在感，对我来说，这就是人性，男主的设定也是最为贴近“人”的设定了，立体饱满，情感丰富，会埋怨，会生气，但更多的是尽管平凡却依然默默的努力着，会失落，会内疚，会自责，也会默默的慷慨解囊，资助乐队。

抛开人物原型不谈，单纯看这部片子的构成的话，它其实和音乐没啥关系，也和所谓天才与平庸没啥关系，它重要的是人对于自己的认知，对于团体的认知，对于环境的认知。

Jon理解自己的平庸，只是拒绝承认。

"I may not be the best, but I'm far from the worst"，别说，我太懂努力了那么多那么久依然只是piece of shit的感受，也懂那种拼命想要融入团体，无法表达自我，被他人否定和排挤的感受（btw，即使如此，我也更乐意能像Jon一样，如果首先否定自己的话，下场只会像前两任键盘手一样，厚脸皮的人至少能有更多的机会）Frank理解自己的才华，也知道有人欣赏他，但他希望更多人能理解，渴望与世界构建连接，奢望改变别人的想法，这也是他不断妥协和尝试的原因。

Don理解自己的平庸，并把自己和一个无法企及的存在做比较，他想变成一个永远不可能成为的人。

Jon和Don都在钻自己的牛角尖。

我们很难从影片中直观感受到其余几人的能力和水平，但是他们对于自己之外的世界是完全不了解的，也很排斥去了解。

他们对自身是另类这件事有清楚的认知，并且切断了与其他欣赏他们才能的人连接的可能。

我想他们应该才是经历过痛苦的人，而不是Frank。

现在，每个人都对自身的情况有了基本的认知，可以举着自己的标签和环境对号入座了。

Jon，你选择离开了乐队，因为长达一年时间的努力得以看清了，你即使把自己逼到极限，即使做出牺牲，你还是不属于那个录音室，不属于舞台，你没有自己的东西。

Don，你选择离开了所有的环境，因为你在以你自己为最小单位的环境中，都是无法认可自己的（当然这和他的精神疾病也有关系）。

Clara，你们继续留在原地，不被其他人接受，也不在乎其他人的看法，只是在此时此刻此处，三人之间是互相理解的。

而Frank，你是在影片中是唯一做出了改变的人，你尝试走入新的环境中，你渴望被接纳和理解。

但是你最后还是回到了原来的乐队中，因为当你踏出脚步以后，发现其实你只有在那个小环境里，才能做自己，才不会失控，你自己没有强大到可以独立构建连接，改变别人的看法（当然这和他的精神疾病也有关系）你的压力系统仅可支持你在森林中唱歌，最好再带上头套。

千篇一律的办公室也好，网路上的乐子人也好，排挤你的森林小屋也好，所有的环境都是一坨狗屎。

那么，就在各自被接纳的环境里生存吧。

不强迫你摘下头套的地方，也就如同可以摘下头套顺畅呼吸一般。

影片的画幅构图非常漂亮。

色调非常漂亮。

只是这个故事压抑的透不过气来。

最近脑子里一直出现的声音是：请尊重任何一个人的生活，请不要妄加评论揣测。

本片亦如此。

并不觉得这是一部描述怪胎的电影，也不觉得是在嘲讽普通人的想法在天生怪才面前从头到尾都是一坨屎。

只是不同的人，他从出生到此刻，基因、时间刻画在他的身上的每一刀塑成了现在的样子，frank的真实面孔到底是什么样又有什么重要，从他身上看到的喜怒哀乐一样不少。

生命状态相似的人会自然而然走到一起，而无需过分的相互妥协。

反之则只剩无穷的痛苦和不断搞砸的事件，要么强迫别人，要么委屈自己。

但若两个差异极大的人被迫存在在同一空间时怎么办？

我们的家庭、学校、单位、社会无不如此，大概最好的方式就是彼此尊重留给对方足够的空间，只要在不损害别人的情况下，请允许别人的“不同”，并坦然去面对。

这里包括与鄙视链下端的不同，也包括与鄙视链上端的不同。

所以Jon不该强迫其他人去适应普通的观众，同样Clara因为Jon是普通人而瞧不起他也没意义，起码人家还帮你们交房租呢。

很不幸的是，他们当中似乎除了Frank，所有人都喜欢用自己的人生标准卡别人的生活，这样的发展，结尾不撕逼，老天都看不下去。

因此不要觉得那刀桶的突兀，简直太在情理之中了。

看到后面，Jon找回了Frank，Frank对着怪胎朋友们而不是Jon唱“i love you all”的时候，觉得冷酷又温馨。

是啊，我们又做回了陌生人，不再扭曲自己去适应你的轨道，多么好。