The expression techniques in the movie The Legend of 1900 are symbolic—for instance, the fictional utopian ship, the swaying eyeballs of the trumpet player, or even the made-up pianist and the jazz inventor who comes to challenge him... Behind these symbolic characters, objects, or events lie complex historical changes and social contexts (as well as the creator's emotions). Therefore, from a realistic perspective, what we gain visually and auditorily from this film may be far less than what it actually involves! That requires some interpretation.
Of course, I’m not insisting on the necessity of interpreting this movie, as its sensory experience alone is enough to satisfy viewers at different levels. For example, a music student might draw inspiration from the professional skills depicted in the film; a drifting office worker might resonate with the narrator’s circumstances; or someone torn between ideals and career might find enlightenment in the relationship between the pianist and the trumpet player. This proves the exceptional quality of this movie—it balances entertainment and depth while remaining open to interpretations!
Alright, having clarified these two points, this article will guide you through three perspectives (the hidden elements behind the story, the meanings concealed behind symbolic techniques, and the content cut from the "extended version") to explore what we "didn’t see" in this film.
(Note: Our interpretation is based on the 165-minute extended version of The Legend of 1900 , while the version currently screening domestically is the 125-minute cut.)
Text: Mr. Friday \ Editor: Mr. Friday \ Images: Film Stills
1. What You Didn’t See Behind the Story
1. The Temporal (Era) Span of the Film
To understand the timeline of the story, pay attention to several key dates and lines mentioned in the film:
▼ First, the year 1900 : This is the protagonist’s name, the time he was discovered on the ship (the Virginian), and the starting point of the entire The Legend of 1900 story.
▼ Next, the age of 24 : This is when the trumpet player (also the narrator in the film) boards the ship. Assuming the trumpet player and the pianist are of similar age, and that the pianist was discovered shortly after his birth, we can deduce that the trumpet player boarded the ship in the early 1920s. (Note: The trumpet player is called "Yank," indicating he is likely a native American.)
▲ Note that the trumpet player appears in the opening flashback, which suggests this is not the beginning of the story but the time he boarded the ship at 24.
▼ 再次是1933年这个时间点：
▼ Then, the year 1933 : This is when the trumpet player leaves the ship and parts ways with the pianist (one on land, the other on the sea).
▲ Note the tonal contrast when the trumpet player leaves and the group of wealthy people ahead of him.
▼ Finally, a line from the music shop owner : "But after the war, people wanted to hear cheerful tunes (not jazz or blues)..."
The phrase "after the war" refers to the period after the trumpet player leaves the ship (1933), just before the Virginian is about to be destroyed and the trumpet player returns to search for the pianist. Clearly, this "war" refers to World War II ! The destruction of the ship marks the end of the story.
From this, we can infer that the timeline of The Legend of 1900 spans half a century, from 1900 to post-1945. This is truly an epic "film duration"!
2. What Happened in Europe and America During This Period
(Clues: Einstein’s photo, the ship connecting Europe and America)
Note: We focus on Europe and America because the Virginian primarily shuttles between these two continents, as repeatedly emphasized in the film (it mostly carries European immigrants).
With this in mind, let’s revisit the details tied to the earlier timeline points—
First , the pianist’s childhood and adolescence, roughly 1900–1920 (before the trumpet player boards): This period coincides with World War I in Europe, which directly triggered a massive wave of European immigration to America (as vividly depicted on the ship, reflecting refugees’ yearning for America).
Second , the years between the trumpet player boarding and leaving (1920–1933): Note that this era saw the Prohibition in America, leading to the collapse of many legitimate businesses and the rise of opportunists, gangsters, and mobsters (as portrayed in another Italian film, Once Upon a Time in America ).
The later years of Prohibition (1929–1933) also witnessed the Great Depression (marking the beginning of the "American Dream’s" collapse).
Third , after 1933, when Prohibition was gradually repealed. This is after the trumpet player leaves the ship. However, 1933 holds deeper significance—observe a subtle detail in the film:
The pianist lies in his cabin bed, surrounded by photos on the wall. The camera zooms in on one photo: a picture of him with Einstein (and if you look closely, another with psychologist Freud ).
Setting aside the director’s possible tribute to these figures, one thing is certain: these photos hint at the outbreak of World War II (Note: Einstein left Germany for America around 1933)!
In summary, here’s what happened in Europe and America during this half-century, as implied by the film: WWI, Prohibition, the Great Depression, WWII, and post-war industrial decline (the latter reflected in the trumpet player’s life after leaving the ship).
3. The Complementary Experiences and Identities of the Trumpet Player and the Pianist
If we examine the two main characters—the trumpet player and the pianist—against these historical events, we see how their experiences complement each other. In other words, the pianist’s life on the ship contrasts with the trumpet player’s life on land, which encompasses war, social turmoil, economic collapse, and the shattering of the American Dream...
Conversely, the pianist embodies the spiritual and artistic world the trumpet player never experiences!
This duality suggests that one character is a concrete representation of reality, while the other is an abstract artistic creation—one reflects real-life struggles, the other an imagined existence.
Together, they create a powerful artistic contrast and symmetry, with other symbolic elements in the film unfolding along this axis.
But what lies hidden beneath this symbolic contrast and symmetry?
2. What You Didn’t See Behind the Symbolism
1、关( guān)于讲故事的人与听故事( shì)的人
“You’re never really done for as long as you got a good stor and someone to tell it to"
\times. Moreover, when the trumpet player tells his story, the film repeatedly shows listeners being deeply captivated (through flashback transitions and their reactions). \
This underscores the director’s emphasis on storytelling techniques—a hallmark of Italian cinema. (The 1997 Hong Kong film The Mad Phoenix employs a similar narrative approach.)
Director Giuseppe Tornatore’s trilogy ( Cinema Paradiso , The Legend of 1900 , Malèna ) all use this storytelling style.
2. The Three "Fucks"...
Most characters in The Legend of 1900 are gentle and refined, making the rare instances of "F*ck" stand out. Specifically, the word is uttered exactly three times:
▼ First , the pianist’s father to the captain: "Fuck the law!"
▼ Second , the young pianist to the captain: "Fuck the regulations!"
▼ Third , the pianist to the jazz challenger: "Fuck jazz!"
These three lines are not random; they are carefully crafted to reflect the creator’s stance on politics, societal norms, and capitalist cultural values. They also infuse the Virginian with a utopian, democratic romanticism.
These three "F*cks" form the emotional framework of the film.
3. The Destroyed Ship, the Pianist, and the Decline of Jazz
This romanticism makes the ship seem increasingly illusory and unsustainable, which is why its destruction carries symbolic weight.
Note: Two other things are destroyed alongside the ship— the pianist and jazz .
The pianist’s demise is understandable; his persona is inherently unreal, incapable of surviving in reality. From a realistic perspective, it would be strange if someone like him thrived in "civilized society"!
As for jazz, the creator’s lament is evident in the trumpet player’s post-ship life. The film opens on a tragic note—he is impoverished, forced to sell his beloved Conn trumpet, which the merchant values at a mere six pounds (twenty-five dollars). These details symbolize the decline of "traditional jazz."
▼ Historically, jazz underwent two major shifts : The first, in the 1920s–30s, saw its migration from New Orleans to northern America, making it more mainstream but also more commercialized. The jazz musician who challenges the pianist in the film represents this shift.
The second, post-WWII, involved jazz’s fusion with rock, further commercializing it (e.g., Elvis Presley, The Beatles).
Thus, the director masterfully ties the decline of jazz to broader societal and historical decline.
4. The Pianist’s Near-Departure: Hat Toss and Return
Many viewers wonder why the pianist refuses to leave the ship, especially when a woman he loves awaits him. This question stems from a commercial-film mindset detached from reality.
Some attribute his choice to his father’s influence or the Italian man’s words, but these explanations rely on artistic contrivance.
If we view the pianist as a symbol of a certain type of person—one who cannot survive in reality—his decision makes sense.
So, what does "reality" (or land) represent? Observe the pivotal moment when the pianist almost disembarks:
Note the visual parallel between the flying bird and the tossed hat, both rich in symbolism.
My interpretation: The bird soaring over the smoggy skyscrapers symbolizes the uncertain fate of city dwellers, while the hat represents capitalist "civilization." By tossing the hat, the pianist rejects this potential life on land. His return to the ship signifies his final break with "civilized society."
5. Swaying Eyeballs and Swaying Ship
The romantic "swaying" on the ship contrasts with the trumpet player’s swaying eyeballs, symbolizing his unstable life—torn between sea and land, emotion and reason.
As the pianist says before his death: "Music created on the keys is infinite... but on this infinite keyboard (outside the ship), you can’t play. You’re sitting at the wrong piano."
3. What You Didn’t See in the "Cut Version"
1. Opening Trumpet Close-Up
The 125-minute cut begins with a top-down shot of the trumpet player on the stairs, his voice narrating. The extended version adds a close-up of the trumpet’s bell before transitioning to the stairs.
This shot emphasizes the "subjective narration" concept, reminding us to focus not just on the story but also the storyteller—a key to the film’s personal style.
2、F*ck the law
The 125-minute version omits the first "F*ck the law" scene, where young 1900 pranks the captain by smashing cake in his face, prompting the father’s iconic line.
This scene establishes the pianist’s upbringing, the ship’s utopian "family atmosphere," and is crucial for understanding the film.
3. Cabin Chorus
After Danny finds the baby and names him, the crew sings "Thanks Danny" —a minute-long sequence cut from the theatrical version.
This chorus highlights the unity of the working class, the very environment that nurtured the pianist’s genius. It echoes his later performances for the third-class passengers.
The film’s broader contrast lies in the first-class luxury versus the third-class chaos.
4. Third-Class Musical Reverie
During the pianist’s third-class performance, the camera zooms in on him, then follows the notes out to the sea—a mesmerizing, MV-like sequence sadly cut from the 125-minute version.
5. Italian Man’s Duet with the Pianist
Similarly cut is the Italian man’s duet with the pianist, described as "an irresistible performance." Its beauty is indescribable, yet it’s absent in the shorter cut.
6. The Woman at the End
The extended version ends with the trumpet player walking away as a woman in a sailor outfit passes him, then turns and disappears. The theatrical version removes her, leaving the street empty.
Her presence is deliberate, making her omission puzzling.
7. Other Cuts
Many transitional shots in the trumpet player’s narration are trimmed, affecting the film’s rhythm and emotional pauses.
4. My "Legend of 1900" Complex
I first watched The Legend of 1900 around 2000, captivated by the pianist’s dazzling performances. Other scenes faded over time.
Years later, rewatching it, I found myself resonating with the pianist’s loneliness—a feeling that isolates one from mainstream society, as he says: "You’re the minority."
Now, I realize the film’s appeal lies not just in the pianist but also the trumpet player, whose wandering struggles are equally poignant. Their experiences and the interplay of storytelling create the film’s emotional depth.
Yet, one question lingers: Is there no middle ground between sea and land? Can someone like the pianist truly survive between reality and idealism
The film offers no answer.
But one thing is clear: neither character provides a solution. Their paths are fraught with tragedy
, shaped by forces beyond their control.
And such tragedy , while beautiful in art, is too daunting to pursue in real life.
经典电影解读，关注( zhù)【星期五文艺】
星期五言： 电( diàn)影 《海上钢琴师》 的表现手( shǒu)法是象征性的，比如说那( nà)条虚构出来的乌托邦式( shì)的轮船，比如说那个小号( hào)手两只左右晃动的眼珠( zhū)，甚至于故事虚构出的那( nà)个钢琴师、那个来挑战钢( gāng)琴师的 爵士乐 发明者……而( ér)这些象征性的人或物或( huò)事背后隐藏的便是复杂( zá)的历史变革与社会背景( jǐng)（当然还有创作者的情感( gǎn)）。因此，从现实角度而言，我( wǒ)们从该片视觉听觉上获( huò)得的东西可能远远小于( yú)它所涉及到的东西！那需( xū)要一番解读。
当然，本人绝( jué)不是在肯定解读这部电( diàn)影的必要性，因为光是凭( píng)观感，它也足以满足不同( tóng)层次观者的需求了，比如( rú)说一个学音乐的人从电( diàn)影里的专业技能中得到( dào)的灵感；一个在外漂泊的( de)上班族在电影讲述者的( de)境遇上得到的共鸣；一个( gè)在理想与事业间徘徊的( de)人从钢琴师与小号手之( zhī)间获得的启示等等。这也( yě)恰恰证明了这部电影的( de)过人之处——它是娱乐性与( yǔ)思想性并行的，也是多元( yuán)化开放式的！
好啦，说清以( yǐ)上两点后，本文将带大家( jiā)从三个角度（隐藏在故事( shì)背后的东西、隐藏在象征( zhēng)性手法背后的东西、较“加( jiā)长版”删减的东西）来看看( kàn)这部电影那些我们“没看( kàn)到的东西”。
（注：我们的解读( dú)是以165分钟加长版《海上钢( gāng)琴师》为基准的，正在国内( nèi)上映的《海上钢琴师》为125分( fēn)钟版）
文：无名宫 \ 编辑：Mr.Friday \ 图片( piàn)：电影截图
一、故事背后你( nǐ)所没看到的
1、电影所跨越( yuè)的时（代）长（度）
要知道电影( yǐng)故事所跨越的时长，只需( xū)注意电影中人物提到的( de)几个时间点和几句台词( cí)：
▼ 首先是1900年这个时间点：
这( zhè)是电影主角的名字；同时( shí)也是男主角在船上（ 维吉( jí)尼亚号 ）被发现的时间；当( dāng)然也是整部《海上钢琴师( shī)》故事的起点。
▼ 其次是24岁这( zhè)个时间点：
这是小号手（也( yě)是剧中故事的讲述者）登( dēng)船的时间，如果我们假设( shè)小号手和钢琴师年龄相( xiāng)仿，再假设钢琴师被发现( xiàn)的时候离出生日不远，那( nà)么便可推算出小号手登( dēng)船的时间是美国二十年( nián)代初期。（注:小号手曾被人( rén)称呼“Yank美国佬”，这说明他应( yīng)该是个地道的美国人）
▲注( zhù)意小号手出现在电影开( kāi)端闪回镜头中，说明那不( bù)是故事的开端，而是他24岁( suì)登船的时间
▼ 再次是1933年这( zhè)个时间点：
这是小号手离( lí)船的时间，也是他跟海上( shàng)钢琴师分开的时间（自此( cǐ)两人一个陆上一个水上( shàng)）。
▲注意小号手离船时的色( sè)调反差以及他前面的那( nà)群富人
▼ 最后是琴行老板( bǎn)的一句台词：
“但战争结束( shù)后，人们都想听明快的曲( qū)子（不听爵士、布鲁斯了）……”
注( zhù)意“战争结束”字眼，它发生( shēng)在小号手离船（1933）后，那艘维( wéi)吉尼亚号船即将被炸毁( huǐ)、小号手再次登船寻找钢( gāng)琴师前。显然这个战争指( zhǐ)的是“二战”！而轮船被炸毁( huǐ)之时，也是故事的终点。
根( gēn)据以上，我们不难推断出( chū)《海上钢琴师》电影故事跨( kuà)越的时间是从1900年到1945年后( hòu)的半个世纪。这绝对是史( shǐ)诗级别的“电影时长”了！
2、这( zhè)段时间欧美发生了什么( me)
（提示：爱因斯坦的合影、连( lián)接欧美大陆的船）
注意：我( wǒ)们这里之所以说的是欧( ōu)美发生了什么，而不是世( shì)界发生了什么，那是因为( wèi)那艘维吉尼亚号船连接( jiē)的是欧美大陆，这在电影( yǐng)中反复被强调过（它承载( zài)的多为欧洲移民）。
▲注意英( yīng)国国旗和美国自由女神( shén)像的对应
带着这个问题( tí)，我们再来看前文那些时( shí)间点所涉及的一些细节( jié)——
首先 是海上钢琴师的童( tóng)年及青少年时期，这该在( zài)1900-1920年前（也就是小号手上船( chuán)前）：
显然，这段时间欧洲爆( bào)发了 “第一次世界大战 ”，而( ér)一战的爆发直接导致了( le)大量的欧洲人移民美国( guó)（这在船上有集中的体现( xiàn)，也不难看出那时的难民( mín)对美国的渴望）。
其次 是小( xiǎo)号手登船和离船间的那( nà)些年，这是1920-1933间的事情：
注意( yì)，这段时间美国颁布了 禁( jìn)酒令 ，国内大量正规行当( dāng)倒闭，同时投机分子、匪徒( tú)、黑帮盛行（这在另一部意( yì)大利人拍的电影《美国往( wǎng)事》里有集中体现）；
禁酒令( lìng)后期（1929-1933）爆发了美国 经济大( dà)萧条 （这也是“美国梦”破灭( miè)的开始）；
再次 是1933年后，美国( guó)禁酒令逐渐被撤销。这也( yě)是小号手离船后的时段( duàn)。然而，1933这个时间点所蕴含( hán)的意义远远不止于此，来( lái)看电影中的一个细节——
海( hǎi)上钢琴师躺在船舱卧室( shì)的床上，床边的墙上贴满( mǎn)了照片，镜头逐渐拉近，我( wǒ)们看到了其中一张照片( piàn)的特写：那是他跟爱因斯( sī)坦的合照（如果你再仔细( xì)看，还有钢琴师跟心理学( xué)家佛洛依德的合照）。
我们( men)抛开导演出此镜头向伟( wěi)人致敬的可能性，有一点( diǎn)是可以肯定的，这些照片( piàn)在提示我们一件事情： 二( èr)战爆发 了（注：爱因斯坦离( lí)开德国去美国大概就是( shì)在1933年）！
综上我们来做个总( zǒng)结，这半个世纪欧美发生( shēng)了什么，按电影里提示的( de)东西来讲，那就是：一战、美( měi)国禁酒时期、美国经济大( dà)萧条、二战、二战后的工业( yè)衰落（这段体现在小号手( shǒu)船外的戏份上）。
3、小号手、钢( gāng)琴师经历与身份的互补( bǔ)
我们如果以上面这些事( shì)件点为参照物来看《海上( shàng)钢琴师》两个主要人物的( de)设置（小号手和钢琴师），你( nǐ)会发现，刚好两个人的经( jīng)历起到了一个对现实事( shì)件互补的作用。换句话说( shuō)，钢琴师没经历的陆地上( shàng)的生活，那个小号手都经( jīng)历了！——这其中包括战争，包( bāo)括社会动乱，包括经济衰( shuāi)落，包括美国梦的破碎……
而( ér)小号手没经历的精神世( shì)界和艺术创作，海上钢琴( qín)师都干了！
如此看来，我们( men)是否可以说两个人物的( de)设置，一个是现实中的具( jù)象人物，一个是艺术上抽( chōu)象出来的人物；一个是对( duì)现实生活的呈现，一个是( shì)对幻想生活的假设……
两个( gè)人合在一起产生出了极( jí)强的艺术对比性与对称( chēng)性，电影其他各处的象征( zhēng)情节则都是在这两个人( rén)物连成的轴线下表达出( chū)来的。
那么在这种象征性( xìng)的对比与对称中，又隐藏( cáng)着什么我们没看到的东( dōng)西呢？
二、象征性背后你所( suǒ)没看到的
1、关于讲故事的( de)人与听故事的人
“只要你( nǐ)有一个好的故事以及听( tīng)故事的人，你就永远不会( huì)完蛋！”（原文：You’re never really done for as long as you got a good story and someone to tell it to）
这句话出自海( hǎi)上钢琴师之口，但通过小( xiǎo)号手复述不下三遍。非但( dàn)如此，电影在演到小号手( shǒu)讲故事的时候，多次表现( xiàn)出了那些听讲述的人被( bèi)深深吸引的迹象（表现在( zài)闪回前后衔接以及听者( zhě)反应上）。
这足以证明导演( yǎn)对讲（电影）故事手法和技( jì)巧的重视度了！也足以体( tǐ)现意大利导演讲故事善( shàn)用的方式了！（几乎同年上( shàng)映的港产片《南海十三郎( láng)》与此片讲故事手法异曲( qū)同工，请参看 《这部97港产片( piàn)竟神预演了中国电影的( de)命运》）
纵观意大利导演 托( tuō)纳多雷 的三部曲（《天堂电( diàn)影院》、《海上钢琴师》、《西西里( lǐ)的美丽传说》）用的都是这( zhè)种讲故事的方式。
2、三个 F*ck……
《海( hǎi)上钢琴师》里的主要人物( wù)总体来说都挺绅士的，都( dōu)文绉绉的、好脾气，因此，电( diàn)影中出现的为数不多的( de)几次“F*ck”显得格外显眼，其实( shí)准确的说正式从人口中( zhōng)说出的不多不少只有三( sān)次：
▼ 第一次是钢琴师父亲( qīn)对船长：F*ck the law（法律）
▼ 第二次是少( shǎo)年钢琴师对船长：F*ck the regulations（规则）
▼ 第( dì)三次是钢琴师对来挑战( zhàn)的乐手：F*ck jazz（爵士乐）
我认为这( zhè)三个 F*ck 可不是随手拈来的( de)台词，他是导演精心设计( jì)的具有一定象征性的台( tái)词，它体现出了创作者对( duì)政治、世俗以及资本主义( yì)国家文化价值观的态度( dù)，同时也为这艘维吉尼亚( yà)号轮船萌生了一层高度( dù)民主、乌托邦的浪漫色彩( cǎi)。
这三句话构成了创作者( zhě)整部电影的个人情感框( kuāng)架。
3、被炸毁的船、钢琴师以( yǐ)及没落的爵士乐
当然，也( yě)正是这层浪漫色彩让这( zhè)艘船越发显得虚幻、超现( xiàn)实、不得永久。这也是维吉( jí)尼亚号最终被炸事件的( de)象征性意义。
注意：与轮船( chuán)同时毁掉的还有另外两( liǎng)样东西——钢琴师和“爵士乐( lè)”
海上钢琴师随船毁灭不( bù)难理解，他的人格本身就( jiù)是不切实际的，是在现实( shí)中无法存活的，从现实角( jiǎo)度来讲，他这种人要能在( zài)“文明社会”活下去才不对( duì)劲儿了！
我们来看“爵士乐( lè)”。创作者的情感在那个小( xiǎo)号手船外的戏份上展现( xiàn)无遗。电影开篇就演出了( le)一种悲剧色彩——他（小号手( shǒu)）生活窘迫、要卖掉自己最( zuì)爱、最珍贵的那个康恩牌( pái)小号，而这个小号在商人( rén)眼里，只不过值六英镑（二( èr)十五美元）。这些数字和情( qíng)节足以象征化地表现出( chū)创作者对“传统爵士乐”没( méi)落的伤感。
▼ 现实中，爵士乐( lè)的发展曾经历过两此转( zhuǎn)变：
一次是上世纪二三十( shí)年代从美国南部 新奥尔( ěr)良 向北部地域上的迁徙( xǐ)。这次转变让传统爵士乐( lè)更普及了，但同时也更商( shāng)业化了。被商业包装下的( de)爵士明星在这个时期应( yīng)运而生，电影中那个从纽( niǔ)约赶来PK海上钢琴师的爵( jué)士乐手便是这种转变过( guò)程的象征性代表；
另一次( cì)转变是二战后爵士乐的( de)融合化、摇滚化，这也是爵( jué)士乐进一步向商业化靠( kào)拢的印证。（ 猫王 、 披头士 便( biàn)是在这一时期诞生）
如此( cǐ)看来，导演将爵士乐没落( luò)的个人情感与时代、社会( huì)没落捆绑到一起，其象征( zhēng)性手法极其高明。
4、钢琴师( shī)下船、扔帽子、回船
很多看( kàn)过《海上钢琴师》的人总在( zài)纠结钢琴师为什么不下( xià)船这件事，正所谓好死不( bù)如赖活。更别说还有个一( yī)见钟情的女人在等着他( tā)……
这种想法是典型脱离现( xiàn)实的商业片的思维模式( shì)。很多人可能会把不下船( chuán)的原因归咎于钢琴师父( fù)亲以及那个意大利人的( de)话对他造成的影响，但这( zhè)是建立在一种特殊性与( yǔ)艺术偶然性之上的！
如果( guǒ)我们把海上钢琴师当成( chéng)一类人的象征，并理解这( zhè)类人无法在现实存活的( de)概念，就不难理解钢琴师( shī)的选择了（这点前文提过( guò)）。
那么现实是怎样的呢（或( huò)者说陆地是怎样的），我们( men)来看片中钢琴师下船与( yǔ)留船的那个临界点——
注意( yì)：空中的飞鸟和被钢琴师( shī)扔出的帽子形成了视觉( jué)上的对应，两者具有极强( qiáng)的象征意义。
当然，这个意( yì)义不同的人有不同的理( lǐ)解，本人的主观感触是——
那( nà)个高楼大厦、烟雾缭绕的( de)飞鸟象征着在城市中打( dǎ)拼的人的未知下场，而那( nà)个帽子，象征着资本主义( yì)社会所谓的“文明”。钢琴师( shī)扔出帽子，也表现出了他( tā)对这种可能在陆地上发( fā)生的生活的恐惧与抵触( chù)。转身回船表现出了他与( yǔ)这种“文明社会”的诀别。
5、眼( yǎn)珠晃与船晃
如果你能把( bǎ)船上那些浪漫色彩的“晃( huǎng)”跟现实中小号手眼球的( de)“晃”形成对比，便不难体味( wèi)出这其中的象征性色彩( cǎi)。
自然，对于小号手，这个在( zài)海上陆地游移不定的人( rén)，他的生活也一定是游移( yí)不定、左右漂泊的，他在感( gǎn)性与理性之间也是游移( yí)不定的……
正像钢琴师临终( zhōng)说的那样：在琴键上创作( zuò)的音乐是无限的……而在（船( chuán)外）这个无限大的键盘上( shàng)你根本就无法去演奏，你( nǐ)坐在了错误的钢琴前……
三( sān)、“删减版”你所没看到的
1、开( kāi)头小号特写镜头
125分钟删( shān)减版的开端是镜头俯拍( pāi)楼梯上坐着的小号手，画( huà)外音小号手的声音开始( shǐ)讲述。加长版在这段戏之( zhī)前多了一个小号喇叭的( de)镜头特写，镜头稍微向后( hòu)拉，叠化致楼梯俯拍。
我认( rèn)为这一镜头的加入强调( diào)了故事“主观叙述”的概念( niàn)，提示了我们不仅要关注( zhù)故事，还要关注讲故事的( de)人！这也是这部电影个人( rén)化风格强烈的原因所在( zài)。
2、F*ck the law
之前我们提到过“三个F*ck”，125分( fēn)钟版本少了第一个“ F*ck the law（法律( lǜ)）”的前后场戏——这场戏大致( zhì)讲的是童年1900搞恶作剧，往( wǎng)船长脸上泼蛋糕，船长气( qì)的去船舱向其父亲告状( zhuàng)，之后父亲说了那句 F*ck 的话( huà)……
这段戏展现了钢琴师童( tóng)年的成长环境、教育环境( jìng)，以及他身边每一个人的( de)性格，同时也为这艘船增( zēng)加了乌托邦式的“大家庭( tíng)氛围”，因此，我认为它对整( zhěng)部电影的帮助理解不可( kě)或缺。 3、创舱里的大合唱
在( zài)老 Danny 捡到婴儿，拿到地下船( chuán)舱为其取完名字后，众人( rén)唱起了《Thanks Danny》之歌。当然，这是加( jiā)长版里的段落。
这短短一( yī)分钟的“集体大合唱”所带( dài)来的那种底层劳动人民( mín)团结一心的感染力是非( fēi)常巨大的。要知道，正是这( zhè)个底层、这个劳动环境孕( yùn)育出了海上钢琴师这种( zhǒng)音乐天才。这段戏与之后( hòu)钢琴师为船上三等舱工( gōng)人阶层演奏的戏份形成( chéng)了呼应与象征性的解释( shì)。
而整部电影形成的船上( shàng)的另一大对比便是：豪华( huá)舱的歌舞升平与三等舱( cāng)、底舱的脏乱闹腾...
4、三等舱( cāng)演奏神游
钢琴师在三等( děng)舱演奏时，镜头逐渐拉近( jìn)钢琴师，随之，镜头跟随那( nà)飘散的音符化致船舱外( wài)的大海，这段镜头犹如MV，让( ràng)人沉醉，可惜的是，125版本的( de)观众享受不到了，整段被( bèi)减掉了。
5、意大利人跟海上( shàng)钢琴师的合奏
与此段神( shén)游神似的戏份还有那位( wèi)意大利人（也就是那位钢( gāng)琴师一见钟情的女子的( de)父亲）与钢琴师的合奏，它( tā)出现在意大利人与钢琴( qín)师聊天之前，用意大利人( rén)的话：那是一种情不自禁( jìn)的演奏。
至于这段音乐之( zhī)美以及画面镜头之美，本( běn)人是在无法用言语表达( dá)，只可惜，删减版的观众还( hái)是无法享受了。
6、结尾“迎面( miàn)走来的女人”
家常165版本结( jié)尾处，当小号手走出琴行( xíng)，街道深处迎面走来一个( gè)女人，似乎一身水手服，两( liǎng)人迎面走，逐渐接近……然而( ér)，女人在另一个过道转弯( wān)，消失在镜头里，只剩下小( xiǎo)号手的背影；
而125版本，结尾( wěi)处，小号手走出门时街道( dào)空无一人。
显然，加长版那( nà)个迎面走来的女人不是( shì)随来之笔，125版本去掉了那( nà)个人，让人匪夷所思。
7、其他( tā)
小号手讲故事时，闪回前( qián)后的那些掐头去尾的镜( jìng)头删掉很多，其对节奏与( yǔ)观众气孔喘息的影响不( bù)可忽视。
四、我的“海上钢琴( qín)师”情节
本人第一次看《海( hǎi)上钢琴师》大概在2000年初，我( wǒ)清楚记得那时自己所关( guān)注的焦点——自然是在钢琴( qín)师那些赏心悦目的彪琴( qín)大戏上，除此之外大多戏( xì)份，大概随着时间都忘却( què)了。
数年后，工作之余第二( èr)次看此片，除了那些赏心( xīn)悦目的音乐外，我发现自( zì)己又多了些许在钢琴师( shī)那种孤独感上的共鸣，而( ér)这种孤独感会让你越来( lái)越孤立于主流大众，就像( xiàng)炸船前钢琴师对小号手( shǒu)说的那句话： 你是少数派( pài)（you are minority） ……
时至今日再看这部电影( yǐng)，方才发现原来吸引自己( jǐ)的不光钢琴师一个人，应( yīng)该还有那个小号手（那种( zhǒng)左右漂泊的心酸之味无( wú)法言喻）——如果没有两人经( jīng)历上的互补，没有两个人( rén)物结构上的对照，没有讲( jiǎng)故事和听故事的人，哪来( lái)的那些观影的感动与感( gǎn)触。
然而，困扰我的问题始( shǐ)终还在：难道海洋和陆地( dì)之间就没有一个中间地( dì)带可选吗，换句话说，在理( lǐ)想与现实间，像“海上钢琴( qín)师”这种人真的就不能存( cún)活下来吗？
可惜，电影没有( yǒu)给出答案！
但有一点我们( men)可以肯定，电影中的两个( gè)人都不是我们想要寻找( zhǎo)的答案，他们各自走的路( lù)都不是那么乐观，他们似( shì)乎被一种时代命运的东( dōng)西牵制着，呈现出一种悲( bēi)剧色彩。
而这种悲剧色彩( cǎi)，只有在电影艺术中才能( néng)产生出美来，现实生活中( zhōng)，谁又敢去追求呢！
