我记得/男与女/游泳池

我买的第一张费里尼，昨天晚上终于看了。
没有了甜蜜生活和8部半里那种叫人瞠目结舌的东西
依旧是狂欢，影象和架构都趋向平调。
乌殃乌殃的回忆断片之下，带来一点老年的暖色。
看到二战那段儿，非常铁皮鼓，幸好很短就完了。
现在咱看里面Gradisca那个角色，肯定会想到马琳娜。
最喜欢的一出儿是他们全镇的人划船8海里去看全国最大游船经过
同样是向记忆致敬，费里尼给出一个最平易的入口，不像讨厌的老塔，拍了个镜子叫大家头痛。

喜欢。。。浪漫到家的新浪潮
虚镜用得美得要命，总在雨窗后面的两张俊脸也实在养眼。
最最好看的是那些黑白胶画面，正点得叫人屏息。。

还可以，Charles Dance演的那个小女孩儿的事儿都是拉普林想出来的吧？
似乎是这样儿。
最搞的是OZON在这个片子里选的那几个男演员品位无比的法斯宾德。。。
晕倒。。。

男与女。。。还以为是陶大宇果果裸得“毫发毕现”的那部。。。

Originally posted by Dionysos at 2004-5-24 04:28:
还可以，Charles Dance演的那个小女孩儿的事儿都是拉普林想出来的吧？
似乎是这样儿。

不是吧?

Originally posted by rags at 5-24-2004 11:56:
不是吧?

那是怎样？
讲解讲解
我看着觉得有关于那个小女孩儿的事儿都是她书里的情节
她一个人在那房子里，因为对出版商不满和占有欲，想到的。
还有何解？

Right up to the end, you give us no hint that Julie might be a character invented by Sarah?

Speaking as a director, I wanted to show an imaginary world in as realistic a way as possible - flat - so that fantasy and reality are shown as equivalents. I feel that when you are inventing worlds, things soon get very mixed up: when you tell a story or make a film, you identify with the characters to such an extent that you end up sharing their thoughts and feelings, you feel the same emotions as they do. In other words, in the creative process, things are never simple: what is true, what is not true? What distinguishes reality from fantasy? This theme brings us back to Under the Sand in which the character also confused fantasy and reality. But in this case, the fantasy is creative and therefore applied and channelled. It is not madness.

Originally posted by Dionysos at 5-27-2004 16:59:
Right up to the end, you give us no hint that Julie might be a character invented by Sarah?

Speaking as a director, I wanted to show an imaginary world in as realistic a way as possible - flat  ...

类似穆赫兰道那种？

Originally posted by eva at 5-27-2004 17:27:
类似穆赫兰道那种？

哦也，没看过
据说所思连看15，6遍。。

重看狂野的心，特失望
蓝丝绒和象人更是难看。。。