万世魔星

打开这部电影是因为看到了 知乎有位答主推荐了十部电影，我挑了其中的这部看起来想看的。

推荐原因是，荒诞的喜剧风格，表现宗教的另一面。

不知道为什么布莱恩喊做妈妈的是一位男性。其中有一幕是 一个人因为说出耶和华这个名字 要受到被人们用石头打死的惩罚。其中应和的民众中，一部分是女扮男装的人们在起哄。

1979年上映的，已经做了外星人的场面，飞出地球受到撞击又飞回来......挺搞笑的。

布莱恩不愿相信自己是罗马人，因而加入了犹太联合组织，想推翻罗马人的统治。然而这一组织的领头人，是一个，光说不做。让别人冲在前面做有生命危险的事，自己退在后边。当布莱恩遇到危险，甚至最后要死之时，也只会表示缅怀和尊敬，不去救他。

布莱恩在躲避罗马军队的搜查时，在演说家的地盘说了几句话，被人们当做伟大的智者而时刻追随。

电影最后他的命运似乎不会再有变数，此刻周围的人唱起了歌。似乎要乐观面对现在的情况。也随着这个歌声，影片结束。歌词里听的最清楚的一句就是“always see the bright side of the life”。

1.布莱恩 你们不需要跟着我 你们不需要跟着任何人 你们需要独立思考 你们都是独立的 你们都是不同的 你们都需要自己解决 2.与救世主一同出生的人 布莱恩差点被当成救世主，实际上他只是和救世主一同出生，恰好是邻居，这很恶搞。布莱恩糊里糊涂加入反抗组织，又糊里糊涂被当成救世主，被罗马军人送上十字架，结束了一生。 布莱恩的母亲实际上是男人扮演，父亲是罗马人，布莱恩有了唯一一个女友，然后就布莱恩被罗马人抓了。 布莱恩面对的人群都是乌合之众，热爱暴力、迷信盲从、易被煽动，这样的人让他不胜其烦，甚至在被绑在十字架上后，曾经的团队成员也来嘲讽，最终布莱恩送了性命。 3.歌曲点睛 一群曾经听耶稣讲道的人，被绑在十字架上，很无助，却吹起口哨，唱起歌。来到人世一无所有，离开人世也是一无所有，你没有失去什么。 总是看着生活中积极的一面 因为生命是如此荒诞 因为死亡才是最后的语言

Rōmānī ite domum.

Romans, go home.

Rōmānī: masculine noun, vocative plural for rōmānus, rōmānī

ite: (3rd conjugation) verb, imperative, 3rd person plural for eō, īre, iī/ivi, itum

domum: feminine noun, accusative singular for domus, domī

"He's making it up as he goes along!" That might be the funniest and most trenchant line in "Monty Python's Life of Brian," the 1979 comic classic that is being rereleased this summer as a sort of satiric antidote to the sanctimony that has taken over screen religion in recent months. The scene takes place in A.D. 33, when a Judean citizen named Brian Cohen (Graham Chapman) finds himself taken for the Messiah. The more he demurs -- he actually pretended to be a prophet while trying to escape from the Roman guards who were chasing him -- the more his protestations sound to his followers like divine pronouncements. As one disciple says, the surest sign that someone is a Messiah is that he denies being the Messiah. Such are the tautologies, inconsistencies and self-fulfilling prophecies of organized religion that the Pythons poke fun at in "Life of Brian," which in the years since its original release in 1979 has retained nearly every bit of its cheeky good humor. From the opening sequence, in which Brian is born in a manger next door to Joseph and Mary's, to the classic closing musical number of "Always Look on the Bright Side of Life," sung by a chorus of crucified criminals, "Life of Brian" leaves no piety unscathed. And it's the apotheosis of Pythonesque humor, an absurdist grab bag of the non sequiturs, puns and bawdy Britishisms that endeared the comedy troupe to the generation of Americans who came of age during the run of "Monty Python's Flying Circus" on TV in the 1970s. If a few of the jokes are dated -- who can laugh wholeheartedly at any line involving terrorists these days? -- the movie still holds up beautifully, as both pointed satire and silly, stakes-free comedy. The memorable set pieces still work, from the crowd scene at Jesus's Sermon on the Mount ("Did he say, 'Blessed are thecheesemakers?' ") to the hilariously interminable sequence during which Michael Palin's Pontius Pilate invokes over and over again a friend back in Rome whose Latin name is a sophomorically funny double-entendre. (You won't watch "Gladiator" again anytime soon without cracking up at Russell Crowe and Joaquin Phoenix's somber Latinate intonations.) The Pythons may have been brilliant, but they weren't above the broadest humor available, including giving speech impediments to Pilate and his friend; viewers are advised to go ahead and laugh -- there will be plenty of time to hate themselves in the morning. It's easy to forget that, as much fun as the Pythons have at religion's expense, "Life of Brian" was just as much a sendup of lefty sectarian politics. For the first half of the movie, the title character is a member of an anti-imperialist political cell that is determined to rout the Romans out of Judea. With their spot-on depictions of the movement's endless meetings, earnest self-seriousness and rhetorical excess, it's clear that the Pythons were impaling political correctness long before the term made its way into the public vernacular. John Cleese, who like his fellow cast members takes on multiple roles in "Life of Brian," is particularly effective as Reg, the hypocritical tyrant who leads the People's Front of Judea, a splinter group of the Judean People's Front. Whether he's playing an ancient version of a Weatherman or a Roman guard who forces Brian to correct his Latin while painting "Romans Go Home!" on a garrison wall, Cleese nearly steals the show in "Life of Brian," as does Terry Jones as Mandy, Brian's mother ("Now you listen here," Jones screams in his familiar falsetto when her son's followers show up at her home, "he'snotthe Messiah, he's avery naughty boy."). Chapman is suitably bland as the naif who becomes the repository of his disciples' most profound projections and anxieties. And it's in these sequences that "Life of Brian" isn't just ridiculous but sublime. Given "Brian's" combination of secular humanist whimsy and surprising theological wisdom, it's hard to believe that it was such a controversial film when it first came out. (It was banned in Norway, Ireland and parts of England for blasphemy; in America, Jewish, Catholic and Protestant leaders all denounced it.) Of course, given the current heightened tenor of religious rhetoric and paranoia, it may well wind up pushing brand-new buttons today. To quote Michael Palin quoting Jesus, "There's just no pleasing some people."