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5、60年代英国电影的内部,两股力量正扭打、激烈的斗争着:一方是以《周六晚上和周日早晨》(1960)与《孤独的长跑者》(1962)代表的社会现实主义潮流:另一方则是迈克尔·鲍威尔、艾默里·皮斯伯格或者Hammer制片厂为首的一千人所营造出的怪诞、浮华的梦境之旅。而林赛·安德森的名作《如果》却首度将这两股南辕北辙的势力拧在了一起,从它们的紧张对峙中阐发出诗意与力量。我们将《如果》定义为社会现实主义电影,并不仅是因为影片对寄宿学校生活
In the 1950s and 1960s, the internal forces of British cinema were being strained and fiercely battled: one was social realism represented by “Saturday Night and Sunday Morning” (1960) and “Lonely Long Runner” (1962) The trend: the other is the weird, flashy dream trip created by a thousand people, led by Michael Powell, Emory Piesberg, or Hammer Studios. However, Lindsay Anderson’s masterpiece, “If”, for the first time twisted these two diametrically opposed forces together and demonstrated their poetic power from their strained confrontation. We define “if” as a social realism movie, not only because the film lives in boarding schools