知己知彼

imdb Plot summary Born in a small town in the countryside surrounding Pistoia, Adriana is an attractive young girl who counts on using her looks to go places in the entertainment business in Rome. Moving to the capital, she works first of all in a hairdressing salon, then in a small cinema where she manages to get a job working in fancy dress. Meantime, she socializes with young men of the upper middle classes, who take her to parties and out on the town with the sole aim of taking advantage of her. Adriana knows their game, but plays along. In the meantime, she meets an agent called Cianfanna, a modest money-grubber who introduces her to a journalist friend of his so he can write an article on her. Having thus launched her career in advertising, Adriana decides to go home to visit her parents. Once home, however, she is distraught to learn of the death of her sister. Returning to Rome, she takes acting lessons, but during one lesson she suddenly faints: she is pregnant, with no idea o

看时想的居然是what a sexy movie应该标签“可以和对象打炮时看”Stefania在银幕上很有女神性感的特质。影片围绕她的性和情感生活展开，一开场就是满是垃圾无人观光的私人沙滩，配上喜庆的背景音乐，女人sexuality展露无遗，起身之后又是她free routine的描写。从她和沙龙老板的对话可以看出文化的衰退，不雅、不贞、滥交…社会生活就像电梯一样，在破败的居民楼里像是个新invention（现代化了）但实际上也没有给人们带去多少便利。到了事务所，从他们包装女星会说几国语言的说法可以看出，和60s意大利电影产业一样，社会各界人们都追求着所谓的国际化。

多次大特写推到Stephania脸上，她的脸能把所有细微的情感都表现出来太令人信服了。大家理剧本学表演Spinning scene那块特别讽刺，在高速旋转的模糊中感受到了执念、欲念的压迫，Zoom in和有张力的运镜一结合是本片的一大亮点，也增添了不少喜剧性。

几次出现的模特走秀反复点题人们当时生活的物质化，把女性sexuality当成通用货币。不自觉把Adriana和浪花悲歌Osaka Elegy中绫子的角色对比着看，两种文化以及日本和意大利两个社会对女性的影响是不一样的，绫子要照顾自己的家庭，身边的人也也认同做情妇是自毁名誉。绫子面临的是在material world没有选择，要么靠男人要么自生自灭。而Adriana是看似新女性有自由有选择权，但身边男性想要在他身上索取的，以及她无法和周围的资本化想法统一，都让她陷入了女性除没有身体自主权之外的另一重困境，是一种心理和思维的困境。很感谢这部电影的解构，A的状态在追求高速发展的当下中国也同样能让人共情：无欲望，不工作，没什么能给到惊喜，没有对明日的期待，就连今天的生活要做计划都太多了。

意大利电影中环境总是很有意思，狭小的事务所，不修边幅的城镇，嘈杂的声音，似乎是没有教养的人的行为举止，heterogeneity放在银幕上才是有趣的。音乐一首接着一首，伴随着永远都在的大音量背景噪音，身边的人轮流转，情绪一波接着一波。

这部电影最表层意义上其实是appeal to every kind of men…令我呕吐。敏感的人群都触及了，小男孩、黑人、有钱没钱、年老年轻… basically screaming that this young woman is fuckable。

有几次我都觉得这一定是结尾了吧这一定是结尾了吧，比如她坐在化妆镜前哭花了妆，比如最后party scene镜头拉远…结果ends with her suicide感觉是是弱化了她的空虚的痛苦，也对现实中的读者的生死观不负责。就像无声电影并不需要声音和对话去告诉观众这些演员的情绪是什么，本片中A明明一个眼神就可以让观众明白她心死了，但非要真的一死，当然这是另一重观点，死了去抗议资本化和文化堕落的社会。但我个人认为她自杀太轻而易举是没有什么动力支撑的，是把好不容易建立起的人物迅速摧毁掉的举动。自杀的结局很少有拍好的，在这个虚构的世界一死也是足够动摇观影体验的，我们会为她伤心吗，我们有足够的理由去伤心吗，如此一想就跳戏了。

A definite highlight of Italian filmmaker Antonio Pietrangeli’s career, on which would be tragically put a kibosh by his untimely death in 1968, in reality, people do die of drowning after falling off a cliff.

I KNEW HER WELL continues his streak of strong female presentation, first and foremost, it is a story about a prelapsarian countryside Italian girl Adriana (a 19-year-old Sandrelli uncannily likens a luscious Taylor Swift), who jauntily pursues her star-making dream in the capital city.

Pietrangeli and his co-writers configure a loosely chronological and episodic narrative detailing the interactions between Adriana anda smorgasbord of male characters, from boyfriends, bedfellows, exploiters to sympathetic have-nots, scathingly refracts the sprawling turpitude infesting the showbiz, that a young and unsophisticated Adriana is always given the short end of the stick, can never fall in love with the right guy, and occasional sparkling of kindness dims quickly since it is just not the right time, and the film's ostensibly disengaged observation gives way to an abrupt kicker in the end, where a dysphoria-stricken Adriana takes a radical step to purge her profound disillusion out of her existence.

Wonderfully concatenating manifold vignettes into a cogent case study pertaining to the disintegration of a starlet-to-be's pipe dream (often meld perfectly with era-specific tuneage and dancing routines),Pietrangeli enlists a swell group of multi-national supporting actors, nativesManfredi (unscrupulous), Salerno (pompous), Fabrizi (smarmy), Nero (four-square), joined by a French (Brialy), a German (Fuchsberger), an Austrian (Hoffman) and a Swiss (Adorf)to bolster the mainstay, among whom, Ugo Tagnazzi brilliantly steals the limelight with his backbreaking tap dance and abjectly obsequious attitude as a struggling has-been.

As our leading lady, Sandrelli is de facto a phenomenal wet-behind-the-ears ingénue, but also excels in bringing about a palpable strength of integrity and defiance that is well beyond her age, yet, more often than not, emanates a ghost of melancholia even when hijinks are in full swing. Unequivocally evokes a young girl’s version of Fellini’s LA DOLCE VITA, I KNEW HER WELL is an unalloyed Italian hidden gem exhumed from near obscurity with its shimmering amalgamation of vintage style, unaffected poignancy and incisive self-mockery.

companion pieces: Pietrangeli’s HUNGRY FOR LOVE (1960, 7.0/10);Federico Fellini's LA DOLCE VITA (1960, 9.3/10).