This was the first time I felt as involved in film as in working in theatre. My immersion in Parade’s End from the writing to the finishing touches took up the time I might have given to writing my own play but, perhaps to an unwarranted degree, I think of this Parade’s End as mine, such was the illusion of proprietorship over Ford’s characters and story.
—Tom Stoppard, from the Introduction
Tom Stoppard’s BBC / HBO dramatization of Ford Madox Ford’s masterwork takes a prominent place in the ranks of his oeuvre. Parade's End is the reinvention of a masterwork of modernist English literature produced by one of the most critically acclaimed and respected writers working today. Parade’s End is the story of Christopher Tietjens, the “last Tory,” his beautiful, disconcerting wife Sylvia, and the virginal young suffragette Valentine Wannop: an upper class love triangle before and during the Great War.
Parade's End is a three-part drama, directed by the BAFTA-winning Susanna White, and featuring internationally renowned actors including Benedict Cumberbatch, Rebecca Hall, and Adelaide Clemens. This edition includes bonus scenes which were not broadcast, an introductory essay by Stoppard, and a selection of stills from the production as well as photographs taken on location.
Tom Stoppard is a playwright. Among his many plays are "Arcadia" and "The Real Thing."
Ford Madox Ford was an English writer and critic, best known for his novel The Good Soldier, considered to be one of the greatest literary works of the 20th century; the Parade s End tetralogy, which was influenced by Ford s military service during the First World War; and The Fifth Queen trilogy, which chronicles the life of Henry VIII s ill-fated wife, Katherine Howard. As a critic, Ford championed new literature and literary experimentation, and his journals, The English Review and The Transatlantic Review, launched the careers of critically acclaimed authors like Thomas Hardy, Joseph Conrad, Henry James, D. H. Lawrence, and Ernest Hemingway. Ford died in 1939 at the age of 65. --This text refers to an out of print or unavailable edition of this title.
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我得说,初捧此书时,我有些不适应它的开篇,感觉像是被直接扔进了一个陌生的、充满陈规旧俗的社交场合。情节推进得缓慢,大量的时间似乎都花在了对环境和人物关系的细致铺陈上,让人一度怀疑这本书的焦点究竟在哪里。但坚持读下去,就像是在迷雾中摸索,最终会发现作者的布局是何等精妙。他用极大的耐心构建了一个庞大而又错综复杂的人际网络,每个人物的言行举止,看似随意,实则都埋下了日后冲突的伏笔。这本书的魅力在于其“不动声色”的力量,它不依靠突兀的戏剧性转折来吸引眼球,而是通过日常生活中那些微不足道的、被忽视的瞬间,慢慢地侵蚀读者的认知。它更像是一幅精心绘制的油画,需要你退后几步,才能看清全貌,体会到那种深层次的社会结构和个体命运的悲剧性张力。这种需要读者付出努力去“解码”的阅读体验,反而带来了巨大的成就感。
评分简直是一部关于“错位感”的教科书!我感觉自己仿佛跟随着书中主角们一起,经历了一场漫长而又疲惫的身份认同危机。他们似乎永远处于一个“等待”的状态——等待被认可、等待时机、等待一个明确的信号,然而,信号迟迟不来,或者等来的却是彻底的幻灭。作者对时间流逝的把握尤其令人称奇,那种感觉时间被拉长、被拉伸,又在不经意间被无情地吞噬,被拿捏得恰到好处。每一个场景的切换,都像是在翻阅一本厚厚的家族相册,里面记录的都是那些未曾说出口的遗憾和不得不做出的妥协。我读到最后,对人物的命运感到一种近乎宿命论的悲凉,但这悲凉并非虚无,而是根植于那个特定历史背景下,个体面对巨大惯性时的无力感。这本书需要静下心来细嚼慢咽,那些看似平淡的对话里,藏着足以颠覆世界观的暗流。
评分这本书的“味道”很特别,很难用一个简单的词来概括。如果非要形容,它介于尖刻的讽刺与深沉的同情之间摇摆不定。作者对社会风气的观察入木三分,那些关于阶级、关于道德准则、关于如何体面地“存在”的探讨,直到今天读来,依然带着令人不安的现实意义。我特别欣赏它在处理“失败”这一主题时的坦诚。书中描绘的那些人物,他们或许没有达成世俗意义上的成功,但他们努力过、爱过、挣扎过,他们那种在时代更迭中显得格格不入的坚持,反而成就了一种独特的人性光辉。阅读过程中,我几度停下来,深思那些关于“责任”和“义务”的讨论。它不给你廉价的安慰,而是逼迫你直面人生的复杂性。这种严肃且不失温度的笔调,是许多当代小说所缺乏的。它要求你投入情感,但绝不轻易许诺回报,完全是成人式的阅读体验。
评分这套书真叫人欲罢不能,读完后劲十足。作者的笔触细腻得像是老式留声机里流淌出的老歌,每一个细节、每一个场景都仿佛被施了魔法,带着一种难以言喻的怀旧感和历史的厚重。我常常在想,他究竟是如何捕捉到那个时代人们那种微妙的、在时代洪流中挣扎的心理状态的?特别是对那些贵族阶层逐渐没落的描摹,那种体面下的脆弱和无可奈何,读起来让人心头一紧。你明明知道结局的走向,却依然忍不住为书中人物的每一次微小挣扎而揪心。叙事节奏把握得极其老道,时而如平静的湖面,将你温柔地引入故事深处;时而又像突如其来的暴风雨,将你卷入情绪的漩涡。角色的塑造更是精彩绝伦,他们不是扁平的符号,而是活生生的个体,有着深刻的内在矛盾和难以启齿的欲望。读完合上书本的那一刻,窗外的世界似乎都蒙上了一层旧照片的色调,那种沉浸式的体验,不是随便哪本书都能给予的。我尤其欣赏作者对语言的运用,那种古典而又精准的表达,读起来简直是一种享受。
评分这本书的结构布局堪称精妙的建筑艺术。它不是线性的叙事,更像是一个多面体,每一个切面都反射出不同的光影和信息。我常常会因为一个不起眼的人物侧写,而对主线情节产生全新的理解。作者展现了一种近乎百科全书式的知识储备,无论是对当时政治气候的把握,还是对日常琐事的描摹,都显得如此真实可信,让人感觉身临其境。它更像是一部宏大的社会浮雕,将那个时代的各个阶层、各种思潮都细致地雕刻在同一块石头上,相互碰撞,相互影响。我最佩服的是,作者能够在如此广阔的背景下,依然保持对个体心灵世界的关注,使得这本书既有史诗的厚度,又不失亲密的温度。读完后,我强烈推荐给任何对历史背景下人性挣扎感兴趣的读者,它绝对值得你投入时间去细细品味,去反复思考其中蕴含的深刻哲理。
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