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片名: Skammen
导演: Ingmar Bergman
编剧: Ingmar Bergman
制片人: Lars-Owe Carlberg
摄影: Sven Nykvist
剪辑: Ulla Ryghe
主演: Max von Sydow, Liv Ullmann, Sigge Fürst
片长: 103分钟
国别: 瑞典
语言: 瑞典语
制作机构: Cinematograph AB

影片概述 . . . . . .

First of all the story is not so simple as many earlier reviewers tend to emphasize, it is actually a very complex story, unlike Bergman's other movies that are more bend towards character study. In Skammen we have two main characters but as we are thrown from the start in the middle of a war we have no idea who is fighting and why, everything is open for any resolution. This creates a huge tension and makes every event meaningful. As the story unfolds we are introduced to numerous characters, that are turned into symbols of humanity, both its dark and luminous sides. We have the example of the innocent bystanders who try to get by during an absurd war, the cynical doctor who makes fun of his patients and provides the only bitter humor of the whole movie, the perverse opportunists who try to make the best of an atrocious event (Bjornstrand's character), the innocent dead children, the nameless figures almost turned into animals from the boat etc. All of them are somehow seen through the eyes of Jan (von Sydow) and Eva (Ulmann), their characters are more restrained then in other Begrman films (En Passion) and this is exactly because what is important here is the story, the way exterior events have the capacity to radically change human nature.

Bergman made this film two years after Persona where the main conclusion expressed by the only word uttered by Liv Ulmann's character is INGENTING, nothing. That's it: the meaning of art and the meaning of life, the latter being nothing more than a play that includes all plays. But what about war? And especially the annihilating ones of the XX'th century. In Persona, the only real emotion suffered by Ulmann's character is when she sees a victim of the Vietnam war turned into a human torch. In Skammen that idea is extended to a complex analysis of the dehumanizing nature of war. In a nameless region of a nameless country (we only assume it's Sweeden) two factions speaking the same language fight an absurd war. Jan and Eva are two dreamers caught in the middle but their dreams are woven in a sort of counterpoint. Jan is at first an idealist, unable to react properly to the world and a subject to his wife's will. Towards the end he turns into a radically different personality, capable of unmotivated murder, strong-willed, pitiless (watch carefully the suicidal on the boat..the simplicity of the act is harrowing). On the other hand Eva progressively looses touch with reality and at the end she is completely suffused in her own unfulfilled dream.

From a technical point of view the whole movie delivers its message in a very effective way. Bergman places the viewer alongside the character, putting the camera in the car with the actors, or in an extreme close-up behind the actor. Nykvist manages an extraordinary control of the camera, there are some masterful "hand-held" effects, very good in making everything seem "real". The shots when the characters are captured by the army look remarkably documentary-like. The screenplay is minimalist but the story is quite complex for that matter. Actually the whole movie is paradoxical, it has an intensity in the subject that is in a sharp contrast to the coldness and lack of emotional involvement with which it is directed and filmed. Nothing is melodramatic here, there is no compassion, no hope and no apparent redemption. But, as in Liv Ulmann's dream at the end it is all so beautiful one cannot help but being amazed at it...It was not so awful since it was so beautiful!

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虽然伯格曼的电影常被称 “晦涩“,却从未妨碍我对于它们的喜欢。这一部《羞耻》(Shame)却是在所有曾经看过的伯格曼的作品中喜欢得最少的一部。看过之后,总觉得不大舒服,于是借回来再看。
  虽然《羞耻》的大背景是战争的背景,可是从始至终观众没有得到关于这场战争的任何信息。其他的战争片的背景基本上是历史上曾经发生过的战争,一战,二战,此战,彼战。而这部影片的战争背景完全是虚幻的,不,应该说是虚拟的。看其他的战争片,不论如何,它们都有结束的一天,而且我们都知道它们结束的具体日子,比如1945年5月8 日。我们这些观众,手中握着已知的故事,稳稳的坐在电影院里看过去发生的故事。那些故事发生在“他们”身上,然后那些故事已经完结了。于是不论多么痛苦与悲惨,我们都有一根救命稻草“唉!幸亏一切都已经结束了。”'
  不过在《羞耻》中,这些逻辑皆悉隐没,甚至打仗两方的士兵的制服看上去几乎一样。观影者找不到影片中战争的发生逻辑,于是丧失了判断的基石。影片中那么多的死亡,孩子趴在地上小小的躯体,一个连一只鸡都不敢杀的杨,竟然为了自己的前后杀了两个人,观众看到这些,希望从电影中得到理性的解释,以解决焦虑,可是观众得不到。为什么?--- 不为什么?没有原因和逻辑。在《羞耻》中,战争没有逻辑。
  影片中,当伊娃和杨忽然被带到了所谓的指挥所受审讯,在人群中,伊娃轻声跟杨说:“有时候一切都像是梦。不过不是我的梦,而是别人的梦,我在别人的梦里。如果那个人醒来了,为自己的梦而感到羞耻,会怎么样呢?” (At times everything is like a dream. It is someone else’s that I am part of. What happens when that person wakes and is ashamed?” )
——2009-03-20 16:30:05,4444上传

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