《尼克劳斯豪森之旅》是一部由Michael Fengler / 赖纳·维尔纳·法斯宾德执导，Michael König / 汉娜·许古拉 / 玛吉特·卡斯滕森主演的一部剧情类型的电影，特精心从网络上整理的一些观众的影评，希望对大家能有帮助。
《尼克劳斯豪森之旅》精选点评：
●奇片。圣歌和起义歌曲很好听。回想那个年代当德国人觉得政府独裁，体制，教育等都是控制手段，没有人权时，法斯宾德企图用戏剧来领导人民发动起义。
●拒绝蒙太奇通篇由若干长镜头组成，场面调度和表演依然很剧场化。取材于15世纪的故事，但是故事背景选择当代，讽刺的是统治者依然是中世纪的装束。喜欢穿着嬉皮服装的汉娜许古拉，但是这片子即使在法斯宾德的电影里也算比较生硬沉闷的。
●分三次看完，看睡着了三次。。。
●闷到死~
●你的理想，就是别人的混乱
●真的知道导演想干嘛 难道永远分不清电影和舞台戏剧之间的区别么
●9.1；美丽与哀愁
●第二遍碟就放不出来了
●后期能量弱密度下降
●没看懂。。。
《尼克劳斯豪森之旅》影评(一)：麦克风，麦克风
听错了一句歌词。王菲有一首歌，她自己填的词，“我把歌名给你，把麦克风给了他”。我听成了“我把革命给你，把麦克风给了他”。这让我惊诧。我想，王菲都写出这样的词来了，真是了不得。
当然，王菲还是那个王菲，这句歌词，只不过是我看了法斯宾德的影片《尼克劳斯豪森之旅》以后，脑子里常常转悠的一个句子。麦克风和革命。麦克风和革命有什么关系？
突然想起电影社团讨论。社团在每次观影后，我们的主持人就拿着一个粗笨的麦克风，裹挟着响亮低沉的混响声，周旋在每一个表情各异的就座者之间。兜兜转转，也总是会伸到我的面前，每当这时，我就像是见到一条蛇一样恐惧，本能地向后躲闪，像躲避一团快要蔓上身来的火。后来我曾经和朋友说过，我说我就是害怕这个物体，我不明白一个人的声音经过了它之后为什么就会变得完全陌生、可疑、失控、面目全非。我怎么能够在说话的时候，一边被迫抵抗着这种好似来路不明的声音，一边还可以清醒地掌握自己的思绪呢？我会被自己的声音吓倒的，我这样说。
但还是有一些人，天生就是属于麦克风的。比如《尼克劳斯豪森之旅》里的那个到处去做演说的年青人。或者更准确地说，这样的人，就是为麦克风而生的。
《尼克劳斯豪森之旅》讲的是三两个有着崇高政治追求的人，他们结盟成一个小党派，然后找了一个牧羊人来做他们的政治宣传员，因为他有着迷人的天使般的外表，有昂扬和激越的声音，所以他们挑选了他来做他们的男主角，假上帝的名，行革命的实。
这时候，我就想到了麦克风。麦克风和革命，这是同一个种事物。同一个概念相互对应的两种形态。其实，革命的本质就是话语和传播，这与麦克风的功能完全一样。麦克风的发明，为话语的扩张和传播提供了最高的现实，而革命，则赋予了麦克风社会学和哲学的精神内涵。可以说，革命，是麦克风的意识形态。而麦克风，是革命的物质载体。
你看那些电视和舞台上的主持人，你注意到了吗？他们无论在任何的时候也不会丢失他的麦克风，无论说话的人是谁，无论说话的人在哪里，麦克风始终在执事者的手里，麦克风,充当的是一个权利保障的基础。所谓“丢了麦克风，场面乱哄哄”，据说，这已经成为一项行业要求，被编进了以话语为职业的教科书里。
你看，原来，一切都是有根据的。所以，我也就坦然了。我想，我对麦克风的恐惧感并不是神经质，莫明其妙和没来由的。虽然我从小就崇敬那些大义凛然地站在麦克风前的人，他们的声音因为高亢，因为嘹亮，因为震耳欲聋而使他们从普通人中站立起来，特别是在旷野中和人群里，他们的形象因为声音而有了一种非自然的，从天而降的神圣感。我想，这样的人就是被挑选出来的了。被上帝，或者某几个人。
然而，我的性格是注定了无法胜任那个牧羊人的角色，我的声音不够宏亮，我的外形不够纯洁，我在任何时候看上去也不像个天使，那么澎湃，光辉，耀眼，意气风发。所以，一个朋友了解我，他对我说，即便你有鼓动革命的能力，也做不了一个走上前台的革命家。他是对的。倘若我决心从明天开始做一个革命家，那么我首先要做的，就是在今晚拼命练习，直到铿锵有力地说出这句话：给我麦克风！
说了这么多，事实上，法斯宾德的这部电影里并没有出现过麦克风。他讲的是一个十五世纪的故事，那时候还没发明麦克风。虽然法斯宾德把这个历史事件移植到了近代的一个时空里，但是，还是没有出现麦克风。发声的人只能在庭院里，农田边，屋舍旁声嘶力竭地说着，说着。每次，在他说之前和之后，就打起鼓来，咚咚咚的鼓声与麦克风何其类似，因为空间共鸣而产生震动的回响。
没有麦克风。但我还是坚持认为，这就是一部以麦克风为主题的电影。电影的结局是，说话的人被镇压了，烧死了，革命失败了。这不奇怪，在我看来，失败的原因何其简单：在没有麦克风的前提下，仅有激情是不够的。
法斯宾德真是一个革命家。除了这部正面描写革命的电影之外，它一生所有的电影都在马不停蹄地对观众演说着他的社会观、哲学观、价值观、性爱观和人生观，他把电影当作一个无比巨大而得心应手的麦克风，除了睡觉和死，他的一生都在滔滔不绝地说，不知疲劳地说。法斯宾德的一生，就是一个不断拿起麦克风的一生。
《尼克劳斯豪森之旅》影评(二)：《尼古拉斯豪森之旅》被枪杀的无政府主义者
题记：
在奴役别人的的土地上，你不会自由
――――法斯宾德
http://www.moviemeter.nl/images/covers/21000/21015.jpg
在70年代早期每一个西方青年都在68风潮的余晖里，口号式的台词留下了时代的影子。戏剧就是人生，
左翼的激进和宗教的狂热以及青年的躁狂其实都是那个年代最显著的博弈。法斯宾德的镜头语言是大胆的，单调的鼓声里一大堆宗教台词在缓推的镜头里显得空洞而沉重，那缓缓而上的台阶让人想到天国窄门的恐惧，祈祷的人里只有导演自己以吸烟的姿态表明他对于宗教的态度，一个急拉镜头之后，那变得遥远的教堂让观众看见的天堂遥不可及。
这部电影就像激进主义的活报剧如同数十年后张广天的那些玩意，诉求是所有有过理想的年轻人都有的愿望，甚至大段的台词里有着《资本论》物物交换的原则，做戏剧出身的法斯宾德在他早期的电影里留存着大量戏剧的痕迹，我们可以认为这是心灵的呐喊却始终和大众的审美需求远离，111年的电影史已经告诉我们通俗剧的力量，法斯宾德的存在只是艺术表达的方式，却在现实里和大众疏远着。
法斯宾德在访谈里谈到自己是一个浪漫的无政府主义者，《尼古拉斯豪森之旅》犹如一个莽撞青年的嚎叫，没有多少人会记取这样的疯狂，只有那资产阶级的垃圾场上赤裸的无产阶级轻声吟唱的《国际歌》让革命的激情向远方飘扬，观众必须记住这个镜头，这是一个废墟上经受阵痛的过程，人之的热血渐将染红资产阶级苍白的天空。
存在就像暗淡而有牢固的教堂他占据任何不完善的心，口号只是表明自己的主张，大地有时会以沉默或血腥记起我们的存在。在这部掺杂着天主教、原马理论、无政府主义论调的电影里法斯宾德并无力为众生指路，甚至当影片里宪兵扫射无政府主义者帐篷的时候，导演也只能以空洞地口号眼睁睁看着杀戮进行，即便导演最终让青年端起了武器进行他心目里的无政府主义革命，然而，革命之后的废墟上会结出怎样的果实。
我时常想我们这个年代的中国导演是否会拍摄这类虽然不够成熟但至少在思考的影片，倘若有观众又会以怎样的心态去接受这样的影像，特别是在那场废车堆积场的穿帮镜头会被口水淹没吗？在中国需要成熟思辨的导演还更需要有着思辨理性的观众。
电影一直在寻找救赎自己的力量，可是，自始至终导演都在迷惘的路上，在有着红色旅和赤军的70年代，在渴望主张自己的年代，在破旧立新的年代，青年以他们的血肉去撞击资产阶级冰冷的铜墙铁壁，至少他们尝试了，他们行走在路上。
这样的电影只适合于那个年代，在一个不再理想的年代，精神毫无意义。
法斯宾德的70年代正是西方世界转型时期，精神世界也正在通向新的时代，这个过程催生了这类意识形态电影的产生。
【附录：影片资料】
《尼古拉斯豪森之旅（Die Niklashauser Fart）》 1970西德
导演：宁那·华纳·法斯宾德(Rainer Werner Fassbinder) 、米契尔·芬勒（Michael Fengler）
主演：汉娜·许古拉(Hanna Schygulla)、玛吉特·卡斯滕森(Margit Carstensen)
片长：90分钟
个人评价：艺术性7.5，欣赏性5（导演早期的激进影片）
【自己】
博弈吗，我不感到自己开心。我只是希望有个朋友，在我想说话的时候，在我四十岁的人生里作为倾听者我听过太多的伤心，然而，我难道不是一个作为人的存在吗？我几乎不谈自己的故事，从2000年6月起我就是一面镜子。镜子不言痛，镜子也不会有痛，冷暖自知的岁月，踉跄而行，了然命运也就不再伤情，淡然地收拾起心境，一个微笑的面孔对于尘世，人情世故，我从1984就懂，没有人明白我一路怎么走来，我只知道寒凉的日子里我咬牙扛过……
2006年10月12日 星期四 上午12时10分 云间 寒鸦精舍
独立影评人：卡夫卡·陆（KavkaLu）
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联络方式：MSN:kavkalu1967@hotmail.com
邮箱： kavkalu1967@126.com
《尼克劳斯豪森之旅》影评(三)：[Quote] "Strictly for medieval shepherds on the look out for stray sheep."
Reviewed by Dennis Schwartz
This film was made for German TV (I have never seen something as daring as this on American TV, nor do I expect to). It's strictly for medieval shepherds on the look out for stray sheep. It twists a true story around to look something like a cross between Godard's Weekend and Buñuel's Simon of the Desert. An unwieldy avant-garde 15th century religious drama that's played out as an allegory on the political situation in the turbulent late-Sixties. What Fassbinder and his stock company were rebelling against seemed to differ from what I was rebelling against in America, as he was primarly concerned with class warfare and religion as the opium of the people while mine was a protest against the Vietnam War and a freedom of dress issue. In a 'Theater of the Absurd' way it combines medieval and contemporary imagery as the story follows Hans Boehm (Michael König), a shepherd who believes the Virgin Mary talks to him and wants him to be the Messiah to start a proletarian revolution in a place called Niklashausen. Fassbinder appears in his trademark black leather jacket playing the Black Monk, the rebellious instigator who stirs things up and catches the attention of a bunch of pilgrims who become followers of the shepherd. The shepherd gives up his humble farm home and declares his wife Johanna (Hanna Schygulla) is the Holy Virgin, and moves into the home of a bourgeois admirer where he entertains his loyal followers in style.
The movie veers from street-theater set pieces, rants against the oppressive nature of capitalism, arguments over what's a fair wage and the laws of "supply and demand," a defense of the Black Panthers (which looks dated and misplaced at this late date), quotations from Camillo Torres, diatribes against the racism in bourgeois society, the wisdom of a socialist revolution where the wealth is divided equally among all, preaching revolutionary slogans such as "Long live Lenin, smash fascism!", Margit Carstensen as the Countess hostess who goes into a heated frenzy over wanting to make love to the Messiah, the Messiah extolling the values of humanism while hoping to eliminate those he hates such as the wealthy and powerful in both the secular and church world, the oppressive pastor (Walter Sedlmayr) who opposes such radical humanistic ideas and throws his support to the the fascist ruling party, play acting among ecclesiastical and royal types who are in elaborate costumes and represent something decadent to Fassbinder and the creating of an atmosphere that's filled with doom. The would-be Messiah upsets the ruling class of the community in his social and religious uprising and pays the piper as he's crucified in a junk car lot and his followers wiped out by the local ruler, while the epicene Bishop (Kurt Raab), a ridiculous stereotypical 'diabolical sissy' type used by Hollywood to show gays in a bad light, survives to give the martyred shepherd the last rites.
It's unbearably strident, childish, not fully realized as drama, more tedious than humorous but, nevertheless, it strikes me as sincere, audacious and hyper in its visualizations (revolution must be continuous, constantly learning from its mistakes and influenced by the art world). A so-so Fassbinder that's still better than most good Hollywood takes on the Sixties revolutionary fervor.
REVIEWED ON 5/24/2006 GRADE: C+
Dennis Schwartz: "Ozus' World Movie Reviews"
This 1970 allegory about allegory veers from intellectual exercise into emotional exhortation and blurs the line between theater and film. Nesting complex visual strategies within simpler ones, writer-directors Rainer Werner Fassbinder (who plays a monk in a motorcycle jacket) and Michael Fengler present a series of scenes that demonstrate the martyrdom of a shepherd, who's also a performance artist and revolutionary, after his followers persuade him to abandon his sheep and take up residence in the home of a bourgeois chick who's got a big crush on him. The story alternates between this troupe—allegorical characters within the fiction of the movie as well as the street-theater pieces they perform—and a clan of ecclesiastical and royal types who seem to spend most of their time choreographing decadent scenarios in elaborate interiors. Amazingly simple editing and sound design—most scenes are complete in one shot and use only one or two sound effects or just music in addition to the dialogue—create a minimally realist and hypertheatrical vision of class conflict and potential doom.
y Lisa Alspector
Die Niklashausen Fart
"Who needs the revolution？" asks Rainer Werner Fassbinder, his black-jacketed back to the camera, in a stark Antiteater tableaux against a red brick wall. The people, of course, and in this early call-for-arms curio, co-directed for German TV with Why Does Herr R. Run Amok？ pal Michael Fengler, Fassbinder mines a feudal past for present-tense guerilla fare -- for him, as for Godard and Glauber Rocha around the same period, the possibility of revolution still throbbed. Ostensibly set in the 15th-century, the story follows a hippiefied shepherd (Michael König) who claims visions of the Madonna, rallies up the masses (or at least a bunch of Fassbinder axioms, including Hanna Schygulla, Günther Kaufmann, Margit Cartensen) against an epicenely oppressive ruler, and gets crucified and burned for his trouble. Bourgeois lucidity is the first casualty of the movie's recklessly anachronistic agit-prop, so that the rehearsal of a Virgin Mary soliloquy gets interrupted by news of the killing of Black Panthers founder Fred Hampton, the shaggy Messiah caps an al fresco sermon with a fervid "Long live Lenin, smash fascism!" and the conceptual audacity of the director's camera movements far outweighs the resources of cinematographer Dietrich Lohmann. In his most explicitly politicized (though far from best) film, Fassbinder suggests a temporal continuum of thwarted upheaval that can only be addressed (and, thus, confronted) by way of frontal artistic attack -- or, as one of the languid sleepwalkers in the opening sequence puts it, "agitation through instruction and militant example." With Kurt Raab.
--- Fernando F. Croce
Though this 1970s, made-for-German-TV relic will strike some viewers as an arcane, counter-culture home movie, Fassbinder fans will be spellbound. A passion play commemorating 15th-century shepherd Hans Rohm's "Niklashausen pilgrimage," during which went from town to town claiming that the Blessed Virgin Mary had advised him to foment a holy war against the decadent church and upper classes, is an annual event in Germany. In 1970, iconoclastic director Rainer Werner Fassbinder and Michael Fengler staged a new version that emphasized the story's political underpinnings. Viewers are whisked behind the scenes to witness Fassbinder's audition and rehearsal process. Fassbinder, in modern dress, seems a cool observer of his costumed cast members — almost like a teacher instructing pupils. As Fassbinder's distorted re-creation unfolds, Bohm and his disciples rail against the bourgeoisie, politicians and even the traditional Church. Fassbinder uses Bohm's religious proselytizing as a brickbat against societal conformity and repression. Ultimately, the bare bones of the centuries-old pageant rattle against the pre-conceived notions of the actors, who question its relevance to their era. For Fassbinder, Bohm's fervor reflects his own generation's contempt for the status quo, and one of the theater piece's subplots condemns the aristocracy for punishing Bohm as a heretic. Fassbinder pointedly expands the historic pilgrimage to embrace his concerns about the government's erosion of individual rights. However, as past and present clash, Fassbinder and his cast come to the realization that the more things change, the more they remain the same; it may take out-and-out revolution to finish what Bohm started. Invaluable for its depiction of Fassbinder's working methods, this chronicle of his performance-art exercise in political outrage shows Fassbinder's genius in gestation. Twisting a German tradition to his own ends, Fassbinder restyles Bohm's martyrdom as a provocateur's call to arms.
-- Robert Pardi