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    白酋长

    喜剧片其它1952

    主演:阿尔贝托·索尔迪  布鲁内拉·博沃  莱奥波多·特里耶斯泰  朱丽叶塔·马西纳  埃内斯托·阿尔米兰特  莉莉亚·兰迪  Fanny Marchiò  Gina Mascetti  约莱·西尔瓦尼  恩佐·马焦  Anna Primula  Mimo Billi  Armando Libianchi  Ugo Attanasio  Giulio Moreschi  安东尼奥·阿夸  埃托雷·马里亚·马尔加东纳  乔治·萨尔维奥尼  

    导演:费德里科·费里尼

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     剧照

    白酋长 剧照 NO.1白酋长 剧照 NO.2白酋长 剧照 NO.3白酋长 剧照 NO.4白酋长 剧照 NO.5白酋长 剧照 NO.6白酋长 剧照 NO.13白酋长 剧照 NO.14白酋长 剧照 NO.15白酋长 剧照 NO.16白酋长 剧照 NO.17白酋长 剧照 NO.18白酋长 剧照 NO.19白酋长 剧照 NO.20
    更新时间:2024-04-11 05:21

    详细剧情

      伊凡带新婚妻子旺达到罗马度蜜月,这是历史上最缺乏浪漫色彩的蜜月之行,严格死板的安排便是与亲人朋友见面,会见主教等。但年轻貌美的旺达痴迷于一个源于浮华表面的卡通英雄,于是临阵逃婚,开始寻找她那神往的白酋长……

     长篇影评

     1 ) A Waking Life

    Taxing as it might be for the audience to sympathize with Ivan Cavalli, when Wanda whispers to him at the end that she did not sin, and thus remains innocent, one is more or less prone to be touched by what seems to be a bitter-sweet reconciliation between a dreamy, starstruck young wife and a husband for whom the preservation of honor constitutes the singularly most important imperative: as Ivan smiles at Wanda's repentance and the camera zooms out, ending the movie with the couple running on the piazza to catch their appointment with the pope against the circusy music by Nino Rota, some might even be tempted to call it a happy ending.

    Great movies attain their greatness not merely through brilliant technical details but also through a rare perspicuity that is sometimes mistaken for simplicity. Taken at face value, The White Sheik might just be a simple comedy: a couple travels to Rome for their honeymoon, whereupon the wife sneaks away to meet a Fumetti star, the White Sheik, and the husband left to cover up for her disappearance in front of his not so gullible family. When Wanda realizes, however, that the White Sheik in reality does not live up to his image, she recognizes one of the many faces of the "cruel fate," as she rightfully puts it, and commits suicide unsuccessfully, to later return to Ivan and their marriage. The first difficulty for a more discerning audience, nevertheless, lies in the hint of Flaubertine note in the story. Just Like Emma, Wanda is fed up with the philistines around her and is bedazzled by a dream that is largely a product of, as Vladimir Nabokov might put it, her poor taste as a philistine herself. And just like Emma, Wanda attempts at closing the gap between reality and dream by performing -- indeed acting out -- the latter. What can be "rosy" about this neorealistic, intensely farcical flick, however, is that the writers (Tullio Pinelli, Ennio Flaiano and Michelangelo Antonioni along with Fellini) never allowed Wanda to pass the point of no return, which makes possible her later reinitiation into the family (the uncle -- the patriarch, after sizing her up for a while, extends a warm embrace) as well as the movie's deceptively light-hearted tone.

    In this way, Wanda, both in motivation and consequence, commits a lesser "crime" compared to Emma, and the way she is shielded from culpability -- as sanctioned by Ivan and the movie -- can be adequately attributed to her lack of ability to act/perform: she sneaks away only upon the White Sheik's invitation ("she doesn't know anyone in Rome," complains the unknowing Ivan), her little escapade prolonged only because the crew, without asking for consent, drives her to the countryside, 26 kilometers away from Rome, where they shoot the Fumetti. The movie never shows us how she gets a cameo on set, and when they sail out, the White Sheik's attempt at seducing her is sabotaged, not by her rejection, but by a timely swinging mast.

    Innocent, impressionable, and immobile, Wanda is in many ways "coaxed" into a "crime" to which she herself is no less an accomplice but which only actualized unconsciously. The "crime" here is not so much her disloyalty to her husband (her runaway is more of a child's blunder than a woman's willful deceit) as the effect of her disappearance on the Cavalli's good name, a fact that Wanda and Ivan as petits-bourgeois are only too painfully aware of, in a particular locus where catholicism has its tight grip especially on the more provincial parts (where Ivan and Wanda comes from, as the movie implies) and minds. Upon reuniting with Wanda, Ivan mistakes her for having had sex with another man, but despite his agony, his imperative pervails when he apopletically demands her to put on the proper attire and go see the pope, as scheduled by his uncle, who, though having suspected that something fishy is going on, is still under the impression that Wanda is only sick in bed. The ruse, on Ivan's side, lives on, and Wanda quietly takes up a renewed role of accomplice in the cover up of her own "crime."

    The dissolution of the "crime," a requisite for the farce to end, is then two-pronged: on one hand, through a miracle; on the other, through Wanda's passivity/innocence. Fellini does not intend this movie to carry much religious undertone, since the urgency of the couple's appointment with the pope derives from the fact that it is arranged by Ivan's uncle, who occupies a dubiously "important" office at Vatican, and not from the papacy itself. Such eagerness to oblige someone who lodges higher in the social stratum at the same time someone who assumes the role of the patriarch is, to be sure, both clearly presented and only worldly. The miracle we are talking about, nevertheless, is impossibly religious and hilarious. When Wanda attempts to commit suicide by the river, it turns out to be only ankle-deep, leaving Wanda baptized and, consequently, saved by an alerted passerby. This absolution arrives both as an aftermath and a herald to Wanda's innocence; the former, for Wanda has uphold her integrity by means of passivity; the latter, for the suicide allows Wanda to participate in the act of "redeeming" herself, and though her plan is botched, it nevertheless provides a pathway for her innocence to enter her consciousness: the will to repent can be, after all, a proverbial source of courage.

    What gets even more interesting is how Fellini utilizes moments of deus ex machina to jack up the hilarity (as well as the folly) of circumstances. The first one is Wanda's foiled suicide. Here, we are witnessing a woman who spends most of her time on screen in paralysis finally acting on her own will (though ironically one leading to her own destruction) and spectacularly fails because of a deceptively deep river. The other, the mast that almost purposefully knocks on the White Sheik, provides a perfect situation in which Wanda's danger of being seduced dissipates on itself and hence, no decision is to be made and no morality jeopardized. Admittedly, what keeps a farce going is the constant frustration of plans and desires, whose consummation would invariably end the chase once and for all. It is in this way that we might object that these two instances were but exemplifications of the most fundamental comedy law. But the joke does not simply end there. In these two monumental moments, Wanda is metaphysically stranded on the island between paralysis and activity: when paralyzed, she is merely shoved around, in fact transacted hand to hand, by those who "have a plan;" and when she takes on her own plan, it is bluntly thwarted. Besieged both way, Wanda is trapped in a quandary not only relevant to the problematics of feminism but also to the problematics of modernity, where the efficacy of action as a myth, a strategy, and a performance is called to attention, if not already bankrupted.

    Indeed, one laughs for many reasons when Wanda fails to drown. There's the classic irony of a person being denied of interacting with her circumstances meaningfully, and there's the affected, clumsy performance of suicide Brunella Bovo brilliantly adopts. The folly of innocence, when blended with the right amount of sentimentalism and poor taste, often leads to genuine and self-important emotional investment in actions that shrivel under the severity of intention. Almost as if she's too ill-at-ease with her newfound activity, at the same time too well informed of the burlesque, questinonably "exotic" and inexorably romantic adventure plot lines of the popular Fumetti, Wanda performs, with the tritest lines, her penitence when leaving a message for her husband, and, when she sees a painting of skull on the wall, is immediately inspired to stage her suicide, dictating instead of regrets her final words, in equally trite terms, to a concierge who appropriately couldn’t care less. To discuss the mawkish, indeed poor, theatricality of Wanda’s suicide is not, however, to discredit her genuine sorrow and her will to carry the deed out; it is precisely her seriousness, juxtaposed to the insignificance of her “crime,” that funds the hilarity of her failure, at the same time unsettling the audience with the disproportionate (self)punishment. Comical and sad at the same time, Wanda’s decision to die reveals not only the fact that she cannot act, but also the fact that she is trapped by clichés disseminated through popular culture that deprive her of any seriousness to be treated with.

    Such insignificance of action, thoughts, and will, though the common language of comedy, nevertheless serves a wide array of purposes. For someone like Fellini, who’s invariably interested in the variety show, the circus, the farce, the spectacle, the outsider, and the weirdo, there is a wistful tenderness to the idea of performance (taken to its extreme forrm, freak shows). On the one hand, the clowns make themselves the punchline of the joke; on the other hand, there is the haunting mediocrity and dullness of, inevitably, life, that invades the space where laughters cannot penetrate. Whether one is consciously or unconsciously subscribing to a given script, whether one has an audience or not, one performs according to a larger order that more often than not strips one of idiosyncrasy, originality, and creation, contrary to how one might have appeared. There are many small ways we get to usurp such order, as Michel de Certeau rightfully points out, but the order remains the reference point, exerting the centripetal force that keeps one spinning on and on around something located outside of oneself. It is made clear to the audience that the urgency of Ivan's task of locating Wanda derives, at least partially, from the need to maintain a certain social order, the compliance with which creates a sense of security at the same time an illusion of dignity. Above all, one is also led to question Ivan's notion of love when his plan for the honeymoon precludes Wanda's participation. When Ivan is haplessly wandering in the metropolis, he is strained not as much by the prospect of losing his love as by the possibility of subverting, inadvertently, the social order upon which his family and his sense of self is founded, flourishes, and now going to flounder. When prompted, he shares the photos of Wanda with Calibria, identifying her as someone that is altogether an illusion of what Wanda appears to the rest of us: a straight A student and a beauty, which is, again, in line with his delusions about his partner from the very beginning, which is also the reason why he can never anticipate her leaving. He runs on and on, breathlessly, around a center point, like an obstinate pair of compasses, whose futility, both of action and love, is only predetermined by his circular trajectory that would never lead him anywhere.

    Take the White Sheik, for another example. Alberto Sordi's excellent rendition of an haughty, debonair celebrity of a pulp production is inspired by an immemorial but stubborn idea of gallantry, complemented with equally trite speeches. Despite his suave mannerism, he remains just another Fellini's clown, who, by force of habit, continues to perform a character that is larger than life, whose later exposé again points to the precariousness of pretending what one isn't. But performance needs not be reduced to merely a lie. Fellini's sweetness is inherent in his treatment of performance as a dream as what dream in all truth is. It is spectacle fabricated and invented for us to behold and marvel at, an exit of life, which is easily blunted once our ability to fabricate and invent is dulled by the various orders we are initiated into. But it is also make-believe painstakingly created to pilfer the qualities of the reality: a dream would cease to be a dream if our attention is called to its nature as a fraud. To that extent, a dream also presents us with a paradox. Those who always wake up from it would find it more difficult to dream, and those who barely wakes up from it would no longer be able to distinguish the boundaries between fabrication and reality. The White Sheik and Wanda both belong to the latter, and there's almost a whiff of charming naïveté to it, particularly when one considers how dreams can also be fantastically offensive (the curious whiteness to the sheikdom, in addition to or as part of the fumetti's colonialist campaign to imagine the exotic, and the absolutely ridiculous story the White Sheik tells Wanda on the boat, which she believes).

    In The White Sheik, the dream and the reality constantly intercut with each other, which primarily functions to create a rather successful comedic effect. But the juxtaposition is also tasked to unveil an important dilemma. When Wanda realizes the truth about dream, she wakes up and reenter her reality as Ivan's wife, but one is left speculating whether marriage with Ivan, with his conventional ideas of family and women, indeed a dull man, is where Wanda's happiness finally starts. But on the other hand, we understand, just like Wanda now understands, that for all their glitz and glamour, dreams are nothing but mirage, illusion, sleight of hand, who promise not happiness but transitory and blissful oblivion that fends off quotidian sorrow and ennui. Forced to retreat to a banal reality from a fantastical dream made of platitude,Wanda, at the end of the day, is left in a position that is difficult to congratulate. As the couple flees their troubles and marches towards their now secured future, the tragedies lurking in the corners finally start to seep into the light core of the comedy. But Wanda isn't the unhappy one, let us not kid ourselves. She lives on in a wonderously woven dream. It is only us who are left to deal with the burns and jests of a waking life.

     2 ) 费里尼初印象

    我并不了解费里尼,之前只看过一点八部半、半部卡比利亚和本片的开头。实际大银幕和小屏幕观感相差是很大的。这部片子的角色其实都挺有喜感,一看就会想笑但是还不会笑出来那种。最好的是费里尼的妻子,虽然这个片子里面只是出现了一小段,但只要一出现观众马上就会认同这个角色。另外直观感受费里尼是个神经质,那些构图,跟拍扭屁股(喜欢屁股的没有坏人)正常人拍不出来。看了他的手稿展出,画了很多和白酋长老婆一样的巨大的丰乳肥臀的女人,应该对他有很大影响吧。

    伍迪极力推崇这部喜剧,在看的过程倒没有特别爆笑的段落,当然全程保持着一种喜感,他的幽默更偏于黑色幽默,有很多段落看了觉得非常讽刺,比如万念俱灰的女主下定决心跳河,结果那河水根本淹不死人,只是把自己搞的更加狼狈。这比刺激笑穴和抖机灵一类的喜剧就多了一层视角。

     3 ) 〓洋蜡讲故事〓 之“男梦与女梦”

    先说男梦,无非是权力与地位。
    男主角伊万新婚蜜月旅行中,之于妻子,他拥有了权力。影片刚开头我的男主角就一直喋喋不休,女主角都低声细语应着。
    然后是地位,他身出豪门,父亲是议员,叔叔为教廷工作,地位也有了,他自己在圈里也很有名气。
    可以说他已经可以很舒坦了,他现在要做的就是保持住现有,再不断的巩固。
    于是他制定了详细的社交流程,整天都排得满满,即便这是在本应二人世界的蜜月中。

    可事情想如此这番风顺需妻子的配合,而妻子却恰恰不配合。
    这又说到了女梦,女人追求的浪漫,白马王子--“白酋长”
    女主角旺达迷上了童话色彩的英雄“白酋长”,蜜月到达罗马,正好是个一睹偶像的机会。于是乎,她假借洗澡的名义偷偷的溜走了。

    如果说伊万是在“圆梦”的话,那么旺达则显得更天真一些,她是“追梦”,只是这两个过程因为分叉而导致冲突。

    旺达遇到了她梦寐的偶像“白酋长”,他高大威猛,玉树临风,身穿白色披风,腰里配着宝剑,旺达顿时(溶)化了。
    而伊万一觉醒来发现妻子消失了,他发现了可疑的字条,他到处寻找却空空而回,恰巧亲戚朋友全到了,他开始愁(/抽)了。

    其实此时的旺达的梦已经追到了,本可以到此为止。可人总是不满足现状的,她渴望更深的理解或享受。于是,她与偶像搭上了一条船。头晕却困扰了她,其实这可以理解为一种隐藏的警世,只是当时的她并不在乎。而偶像也因为远离了众人开始渐渐露出本相,他企图轻薄她,她自觉良知伦理却还含糊推辞,这其实还是在尽力维护着心理的那个伟大的形象。
    另一方面,伊万一面搪塞朋友说妻子不舒服在休息,一面时不时地给旅馆打回电话查问妻子是否回来。他还趁着大伙看演出的空子偷跑到警察局“报案”--又想保住名誉而不让警察做笔录或者名字,又心急火燎的给警察描述心理有多么的委屈。直到最后叔叔看出不对劲了想单独问他,他还是在极力的隐瞒,目的还是维护自己的好名声。

    直到偶像上岸,把偷船的责任抛给自己,然后是主动纠缠的罪名遭偶像恶妻的毒打,她的梦算是破灭了。几经波折回到罗马,她已经不敢面对丈夫,一个人默默地跳河自杀...
    而伊万一个人坐在街头哭泣,与陌生的两个妓女哭诉(其中一个是卡比利亚),而后报复式的又或者破罐破摔与其中一个走了。直到第二天早上也没有见到妻子回来,却瞧见亲戚朋友又都出现了,一个电话惊动了他,他讲到一半就眼前一黑...他的梦也完蛋了。

    如果我只写到这里,恐怕会极其误导大家,下面我尽量还原成费里尼本来的风格。

    伊万睁开眼,大伙正想把他抬进自己的客房,他“噌”就站起来把住门,还假装妻子在里面在门外呼话,说半小时教堂集合。亲朋刚走,他就急忙打车来到医院:原来妻子自杀未遂,那河浅得可以。什么都别说了,换衣服就走...补救成功。
    在走入教堂的前一刻,旺达哭了,她说自己虽然错了但还是纯洁的,伊万想了想昨夜的事却也说自己很纯洁。旺达说你是我的“白酋长”,伊万作了一个很诡异的表情...

    两个人的梦虽然都破了,但是他们的人生轨迹又重新交叉乃至重合,让人很欣慰。
    这是费里尼的第二部影片,不只是轻松流畅,还蕴藏着他天马行空的创意和他无所不在的热情,是一部罕见的费里尼式娱乐片

     4 ) 很主流

    费里尼初做导演的片子。故事圆润幽默,片子拍的也轻松滑稽,很多场面都有马戏团杂耍的味道。
    不论多大牌的导演,初入行时的作品都会相对主流。我想在各个国家,电影审查都会存在,只是不同的范围、强度的区别。米国的50年代绝对不可能让你去拍一部有社会主义意识形态的电影,苏联时代不用说,意大利也是这样……相对环境宽松的大概是西欧电影吧。白酋长也主流,迷途的新婚小夫妇最后终于回归到圣母玛利亚的恩泽之下。
    昨天和一个朋友聊起剧本,听了我的一句话描述后讲了一个刚刚的故事。他们报批一部电影,其中一个必须的情节是小偷偷了东西。这部片子最终获得了通过,但因为这段情节极尽周折。这段小偷偷东西的情节引起争议,情节不是描述警察抓获了小偷,也不是小偷费尽心机的得逞,只是需要这样个情节。于是审批遇到了麻烦:“我们是社会主义国家,我们没有小偷!”
    这个朋友给我讲这个故事的意思是,我想选择的那样题材是不可能获得通过的……
    这事其实对我来说心理层面的影响不如技术层面的影响大。既然想做这行,总是需要面对这种问题,只是环境恶劣和更恶劣的区别。抱怨骂街都没啥用处,除非你就此放弃。安塔、费里尼……所有所有在审查体制下的导演都要遵守这种规律。那么多苏联时代的电影成为经典,想做地下电影也要至少有完美的技术。

     5 ) 流氓窃贼骗子傻瓜,放浪笨拙

    正午刺目阳光里,他神情肃穆走向叮当作响教堂,心绪跟着步伐一起被钟声覆盖,闷不作声,好像他不在哭泣,好像她不在啜诉,两捆受潮的爆竹,昨天的记忆跟随黑夜里的浅浅河川流入下水道,帽檐下的苍蝇形状污迹,从此以后阳光不会像给其他凡人的平均剂量那样偶尔到访,一个男人,一个女人,他们说,生活的颜色原来是阴影的颜色,而生活依旧美好,生活总是是美好的,这是真真切切的,只是我们不再相信它。

     6 ) 白酋长

    2007.1.11

    白酋长 是费里尼1951年的电影。他独立执导的第一部电影。
        费里尼 是战后意大利电影的中坚,二战后的意大利影坛是黄金时代,维斯康蒂 罗西里尼 德西卡 费里尼 安东尼奥尼等等,大师群星闪耀。(题外话,最近HC 因子很盛。这些人里我最爱的是维斯康蒂。泪~~)
      费里尼 从家乡来到罗马,做记者画漫画做副导演做编剧。有关他的书有好几本,我只有一本三联出版的《我是说谎者》书里有他的电影海报和漫画。很趣怪。他的电影也是如此,正剧的底子里有荒诞的喜剧味道。
        白酋长是庞洛蒂买安东尼奥尼的几页小说来改编的,安东尼奥尼已经据此拍了记录片《爱的谎言)
       费里尼本是被找来做编剧的,几个人喝酒谈天,故事雏形渐渐形成,导演总是不凑巧。制片想起费里尼拍过片段,做过罗西里尼的副导演,就决定由他来做导演。
       费里尼 由此走上导演之路,之后电影叫好叫座,成为扬名国际的大师导演。他的代表作有大路 甜蜜生活。8又1/2等等。
       白酋长 说的是一次最悲惨的蜜月旅行。外省来的新婚夫妇,到达罗马,到梵蒂冈结婚。他家可是体面人家。父亲是地方议员。叔叔在教廷工作,姑姑家也是显赫人家。体面可是他的命。新婚妻子美丽大方很拿得出手。至于那美丽的小脑袋里想什么,也不过都是女孩子那些事吧?
       女孩子借口要洗澡。他先休息了。女孩子偷偷跑出来,他要去见她心中的英雄----白酋长。他是连环电影中的的英雄。她的偶像。她受到他的信。她要去见她。在昏乱中她跟随着剧组到了海边拍戏,那梦想中的偶像对她情谊绵绵。
      
       女孩陶醉其中,看着热闹纷乱的剧组,参加排戏,与偶像出海,听他说他的被调混的爱情。有点迷惑。但她心中还是明白有更重要的在。桅杆砸下来。正落在花言巧语的他头上,他们回到岸边。他彪悍的妻子到了。与她一阵扭打,偶像只灰溜溜的躲在一边。呵呵。何以堪,看者偶像与妻子相携离去,心中五味杂沉,不只是偶像倒塌一样简单吧? 不管怎样,她是清白的他是纯洁的。

     而那个发现新娘不见的新郎陷入混乱,体面的亲戚们可都来了,只好百般遮掩。听歌剧到餐厅,一遍遍真假的电话。她都没有回来,他摸不到头脑,她为什么离开,她去了哪里?她到底想要什么?他什么都不知道。他现在最重要的是不要露出破绽。不要丢了家族的体面。他忠贞他体面,她为什么要离开?

     夜晚,他坐在旅馆外大哭。有两个妓女同情他,带他走了。

     第二天早晨。他失魂落魄的回来,她回来了吗?他的亲戚都到了。怎么办?
    她的消息来了。好了。一切都好了。可以如期结婚了。
    他找到瑟缩的她,她昨晚羞愧难当,想跳河自杀。被人所救。
    他不管也不问,他只要准时举行婚礼。
    终于准时抵达。在转身的一刻。也许有泪。再转身还是笑脸。

     一干人等终于走在教堂广场,天使雕像默默注释着芸芸众生。

     短评

    【意大利电影大师展】1. OMG这不是《开罗紫玫瑰》《爱在罗马》mix《纽约的一个雨天》吗!老头子竟然是费里尼的小迷弟!2. Cabiria的人物构思原来五年前就有了欸,这次影展的场次安排让她的出现成了有梗客串,全场会心一笑。3. 沙滩上的定格拍摄,空中的白酋长,怀里的杏仁糖,还有马车驶过50年代的大街小巷,处女作里就充斥着费式风趣与浪漫主义。4. 在影城偌大的荧幕前做一名沉浸黑白影像哭哭笑笑的观众,仿佛回到了上世纪的场景。没有手机,没有屏摄,没有爆米花,只有纯粹的电影。配乐响起,镜头拉远,FINE出现,大家一起疯狂鼓掌,太幸福了。

    6分钟前
  • Mintnotsmall
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  • 今天在中国电影资料馆看的4k修复版,比预想中好看!最后女主说:“相信我,我是清白无辜的,都怪这多舛的命运。”不过,哪有可能是无辜的。虽然是大团圆收尾,两人的婚姻不太能幸福,多半是从各自愧疚中走出后,故态复萌。

    9分钟前
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