德國(guó)移民的名導(dǎo)演埃里克.馮.施特羅海姆花費(fèi)了一百三十萬(wàn)美元和十一個(gè)月的時(shí)間攝制而成的超級(jí)文藝片,原拷貝長(zhǎng)達(dá)五小時(shí),公開(kāi)上映時(shí)濃縮成三小時(shí)半。由于耗資驚人,好萊塢大亨本來(lái)對(duì)埃里克頗有微詞,后因本片獲得意外的賣(mài)座成功而作罷。故事以1919年的蒙地卡羅為背景。埃里克扮演一個(gè)欺騙美國(guó)外交官女兒的白俄親王,靠著剝削他的情婦----一個(gè)貌丑的女仆為生。由于性虐待狂的驅(qū)使,他強(qiáng)奸了一個(gè)不幸的白癡女子。最后,他被人殺死,他的尸首很有象征意義地被扔在臭水溝里。埃里克對(duì)自然主義情有獨(dú)鐘,希望把一切情史都在畫(huà)面中表現(xiàn)出來(lái)。他特地在加州海邊搭建起蒙地卡羅的賭場(chǎng)和雄偉宮殿的布景,并且在采光上有十分大膽的處理方式。影像上也富于感官刺激的煽情暴力場(chǎng)面,甚至勞煩電檢單位剪掉了其中的一些鏡頭。在片中,埃里克用一種辛酸的悲觀主義眼光來(lái)觀察人類,對(duì)上層社會(huì)的腐朽和封建作出激烈的抨擊,流露出一種憤而感傷的憐憫色彩。而對(duì)低下層的人物和被騙上當(dāng)?shù)呐?,則寄予同情的關(guān)注,表現(xiàn)出獨(dú)特的“埃里克式人道主義精神"。
Erich von Stroheim’s third feature, the most expensive film made at that time, cost more than $1 million, this restored 142-minute version makes most of the surviving film footage to present its entirety, still elisions are evident, especially relative to the downfall to the protagonist “Count” Sergius Karamzin (von Stroheim), an imposter of aristocrats with his two accessories-and-kissing-cousins, “Princess” Vera and Olga Petchnikoff (Busch and George), the final blow is omitted.
Renting a cliffside castle in Monte Carlo (a magnificent replica built in the Hollywood studio) and tucking in caviar for breakfast, Sergius and co. must earn extra lucre to maintain their opulent existence besides the usual business with the banknote counterfeiter Cesare Ventucci (Gravina), who, inexplicably, still lives in the sleazy environs with his dim-witted but nubile daughter Marietta (Polo). When a US envoy arrives to meet Albert I, Prince of Morocco, Sergius finds his next quarry in the person of Helen Hughes (DuPont), the 21-year-old wife of Andrew Hughes (Christians, in his last picture), the said envoy.
This reviewer hopes he is not the only one who finds Sergius’ chaining-smoking, monocle-sporting, continental noble mannerism appallingly off-putting, but as beauty is in the eyes of its beholder, Ms. Hughes, derisively denoted as an unsophisticated, incredulous, cocooned American wife, embraces Sergius’ guise wholesomely, much to the chagrin of her husband, and precariously puts her own reputation on the line during a stormy night when she goes out with Sergius alone, saved by the fortuitous appearance of a passing-by monk (De Brulier), yet the unmitigated grubbiness of Sergiusnever relents, he soon easily ropes naive maid Maruschka (a woebegone Fuller) into giving up her petty savings on a false promise of matrimony, and simultaneously sows the seed of his undoing, which catches up with him after successfully extracting money from Ms. Hughes out of her own volition.
It smells like a vanity project, but von Stroheim at least manages to transmute his production excesses into something of a spectacle, not least for its money shots of a turret engulfed by fire and the actors’ desperate derring-do of jumping onto a spring mattress. Although the attendant metallic store by András Hamary of this restored version may not cleave closely to the emotional ups-and-downs of the narrative, von Stroheim’s FOOLISH WIVES, for what it is worth in its pieced-together form, like the meta-novel Mr. Hughes reads, cunningly reflects a satirical sting out of its full-fledged enterprise of a cautionary tale.
referential entries: Billy Wilder’s SUNSET BLVD. (1950, 9.0/10); F.W. Murnau’s FINANCES OF THE GRAND DUKE (1924, 6.3/10), SUNSET, A SONG OF TWO HUMANS (1927, 9.0/10).
第一次看默片看的那么投入...
3.5星,可以想象如果沒(méi)有被弄的支離破碎殘缺不全這一定是一部偉大的電影,現(xiàn)存的這個(gè)版本對(duì)后半部分的影響尤其的嚴(yán)重。施特羅海姆稱這是有史以來(lái)第一部“百萬(wàn)電影”,拍攝成本超過(guò)了100萬(wàn)美元。評(píng)論則認(rèn)為這是施特羅海姆導(dǎo)演生涯中排在第三的佳片。三條線如今只能夠清晰的看到一條線,也就是和大使夫人的一條線,和女仆以及少女的線都有點(diǎn)不太清晰但其實(shí)這也無(wú)妨可是在后半段失去了很多關(guān)鍵情節(jié)就有點(diǎn)讓人莫名了。相比雷雨和著火的橋段其實(shí)還是更喜歡一開(kāi)始男主角與大使夫人初遇的那個(gè)橋段,這一部分情緒的微妙變化拍的格外細(xì)膩。其他小的細(xì)節(jié)尤其是兩個(gè)女騙子都被抓掉了假發(fā)套,也可算是巧妙的黑色幽默。結(jié)尾被扔進(jìn)了下水道不但冷酷而且極其自黑。。。
雖然是默片,劇情還是很狗血的,性虐騙子覆滅記。
日落大道三十年前的Erich von Stroheim導(dǎo)/演功力領(lǐng)教了。他的極繁主義首先是為故事服務(wù)的,排場(chǎng)第二,所以奢華但又細(xì)膩敏銳,很有味道的默期大片,幕后軼聞也比比皆是,真是傳奇人物。
默片似乎都限制了施特羅海姆的發(fā)揮,這次是對(duì)女性迷戀男性外表的批評(píng),片中女主角兩次遇到同一個(gè)軍官做了絕妙的隱射
施特羅海姆演的角色怎么都是大奸大惡之人呢 自己當(dāng)導(dǎo)演咋還不給自己安排點(diǎn)好角色
對(duì)于這種貴族題材電影毫無(wú)感覺(jué),好在制作和攝影都無(wú)可挑剔,敘事到也不算太冗長(zhǎng),配樂(lè)重復(fù)來(lái)重復(fù)去,單調(diào)得令人發(fā)指。
太可惜了,可以明顯看出刪減造成的不對(duì)稱,140分鐘的最新添加版本更讓人好奇完整版本是怎樣的宏偉,幾條線中與美國(guó)大使夫人的線非常豐富,但其他兩條線就很簡(jiǎn)略了,但即使這樣也不妨礙施特羅海姆史詩(shī)敘事的強(qiáng)大技能,一戰(zhàn)過(guò)后對(duì)歐洲所謂貴族精神墮落毫不留情地批判,他們用虛妄的金錢(qián)和逢場(chǎng)作戲來(lái)維持虛幻的尊嚴(yán),殊不知自己進(jìn)入到道德的陷阱中,女人用了慘痛的代價(jià)終于看到了伯爵的真面孔,曾經(jīng)的真卻變?yōu)榱思?,這個(gè)世界遠(yuǎn)不是你所看到的那個(gè)樣子,布景太厲害了,完全以假亂真,最后那場(chǎng)大火的群戲調(diào)度更是嘆為觀止,當(dāng)然最終的悲劇是伯爵的宿命,這位花花公子和財(cái)迷終于找到了他最好的歸宿,被上流社會(huì)拋棄后貧民窟的幽暗下水道
8.3/10。①男主冒充伯爵勾搭上數(shù)個(gè)女人(美國(guó)外交官的妻子A、女仆、少女)并對(duì)她們實(shí)行性虐待+騙錢(qián),最終他因此被人殺死。②幾段大場(chǎng)面的調(diào)度水平很高;許多布景為達(dá)到最大的擬真效果花了海量金錢(qián)與精力;攝影水平很高(有的地方甚至把夜晚打成了白天);表演模式比起當(dāng)時(shí)其他默片相對(duì)自然主義(符合寫(xiě)實(shí)的影調(diào));暴風(fēng)雨劃船那段和賭場(chǎng)大火那段處理(剪輯調(diào)度美術(shù)等)地非常好。③作為傳統(tǒng)故事片三條敘事線除了男主與A的線外另兩條都或多或少不完整,這種不完整還導(dǎo)致敘事節(jié)奏較拖,加起來(lái)扣1.5。
漂亮朋友覆滅記
111 min / 35 mm / INT. FR. Ciné-concert de Sheep Got Waxed
跟Blind Husbands真的不是姊妹篇嗎?甚至連片名都是對(duì)偶的
【油管140分鐘 https://www.youtube.com/watch?v=1mmNCCp_IbA】情人節(jié),看個(gè)大片,里面有一對(duì)俄國(guó)獵狼犬,好像除了俄版《戰(zhàn)爭(zhēng)與和平》,我還沒(méi)在哪部電影中看見(jiàn)它們這么多鏡頭
寫(xiě)實(shí)主義。導(dǎo)演對(duì)于畫(huà)面里人物行為的精準(zhǔn)捕捉與超脫時(shí)代的環(huán)境寫(xiě)實(shí)確實(shí)讓人眼前一亮,也是很罕見(jiàn)地把臺(tái)詞卡當(dāng)做“聲音”運(yùn)作而不是第二“畫(huà)面”的默片導(dǎo)演,可惜太殘了。
沒(méi)人覺(jué)得姜文其實(shí)長(zhǎng)得蠻像這時(shí)候的Stroheim的?情節(jié)看似狗血,但主人公保持自我到最后一秒這點(diǎn),和后三十年的好萊塢比特別難得。
齊人有一妻一妾?去死的軍官和紳士,你他媽 根本就不是男人,非常的寫(xiě)實(shí)主義加細(xì)膩手法,最后的結(jié)尾非常偉大,影片有一種放縱的虛無(wú)意味
沖動(dòng)必須是赤裸的。只認(rèn)為沖動(dòng)會(huì)滿足于一個(gè)環(huán)境給它提供或保留的東西是絕對(duì)不夠的。這種滿足不是一種安命,而是一種巨大愉悅,沖動(dòng)從中發(fā)現(xiàn)了自己選擇的力量,因?yàn)閺纳羁桃饬x上看,它是改變環(huán)境、尋找新的環(huán)境開(kāi)發(fā)、分割的欲望,因而它會(huì)滿足這個(gè)環(huán)境提供的哪怕是最低級(jí)的、最令人厭惡的、最令人惡心的東西。沖動(dòng)的愉悅不能用情愫來(lái)衡量,即不能用可能對(duì)象的內(nèi)質(zhì)來(lái)衡量。//吉爾·德勒茲.電影1:運(yùn)動(dòng)-影像.[M].p207
可能已經(jīng)看了另一部,我只想說(shuō)...導(dǎo)演,你咋就這么愛(ài)這種劇情了,還都是親自扮演里面花花公子的角色,而且那套服飾基本一樣啊....然后,我本人更喜歡另一部。
人物刻畫(huà),大片。批判。
片中暴風(fēng)雨后的夜戲在當(dāng)時(shí)能有如此處理,難得。80分