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Saraband

FANHALL ID: if01603
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片名: Saraband
其它片名: 夕陽舞曲/Anna (Sweden)
导演: Ingmar Bergman
编剧: Ingmar Bergman
摄影: Sofi Stridh, Stefan Eriksson, Jesper Holmström, Per-Olof Lantto
声音: Torbjörn Ehrnvall
剪辑: Sylvia Ingemarsson
主演: Erland Josephson, Liv Ullmann, Börje Ahlstedt
片长: 120分钟
年份: 2003年
类型:
国别: 瑞典
语言: 瑞典语
格式:
制作机构: Danmarks Radio (DR)

影片概述 . . . . . .

After thirty years without seeing each other, Marianne (Liv Ulmann) has a strong need to visit Johan (Erland Josephson), who is living in an isolated house that belonged to his grandparents after inheriting a fortune from a distant aunt. In the nearby cottage, Johan's son from another marriage, Henrik (Börje Ahlstedt), is living with his daughter Karin (Julia Dufvenious), after the death of his beloved wife Anna. Henrik is giving cello lessons to Karin to be admitted into a European music school and has an incestuous relationship with his daughter. Along the autumn, Marianne is involved in the troubled relationship between Johan and his son, and Henrik and his daughter.

In his last work as a director, Ingmar Bergman revisits the characters of 1973 "Scenes from a Marriage" thirty years older, with Marianne sharing the dramatic and complicated relationship of John's family. The first point that impresses in this movie is the always precise and careful direction of an 83 years old Ingmar Bergman, showing an amazing vitality and longevity in his career. I do not recall the last movie I have seen of Liv Ulmann, but this now senior actress is still fantastic. This theatrical movie is a great character study, as usual in Bergman's films, with excellent and emotional dialogs, and ends with many open issues. Why Johan and Henrik hate each other so deeply? What was written in the last page of Anna's farewell letter? I believe she knew that her husband was having an incestuous relationship with Karin. The unknown actress Julia Dufvenious is extremely beautiful and talented, and her contradictory character is also impressive. My vote is eight.

撒拉班德。最早接触这个词是在Sopor Aeternus的那张双唱片里。一种慢速三拍子,强音在第二拍的舞曲,十五世纪起源于波斯,十六世纪流行于西班牙。曲调严肃、沉缓、庄重、哀伤,不重旋律性,以和声结构缓慢推展。
  
  电影Saraband里有大段大段的对白。从没有看过哪部电影中会有如此多的篇幅来描写演员的语言。英格玛伯格曼的电影我看的并不多,除却早先的野草莓和第七封印,就是这部。整部电影是以Marion的回忆中展开的。年老的法学家去看望独居中的前夫,在停留的几日里见证了家庭内部成员复杂烦琐的关系,也是第二代和第三代的关系。前夫John的儿子Henrik,晚年面临失妻之痛,唯一的女儿Karin是他唯一的依靠和精神寄托,Henrik竭尽全力将女儿留在身边,而性格不羁自由的Karin却忍受不了父亲自私的爱,坚持要离开。而这此同时,前父John和Henrik的关系也依然僵硬没起色,父子二人同样倔强的性格让二人生活在彼此对彼此的厌恶和仇恨当中。
  
  本片据说是导演另一部电影《婚姻场景》的续篇。我没有看过这部电影,不明白其中John和Marion之间存在着什么样的故事,但我想那其间一定也存在着冰冷和僵持。John将自己完全封闭,不愿接受他人的关怀,对待他人也是极其冷淡。长期的隐居生活也使他显得古怪又难以接近。当Marion以外到访的时候,他并不显得激动和热情,而后当Henrik问起时,他也冷漠的答道,他讨厌惊喜。这一切和Marion的热情又善良的性格呈现出鲜明对比。在家庭内部矛盾尖锐的时刻,Marion成了疏通关系的导体。
  
  而电影中另一对矛盾的个体,Henrik和Karin,则是始终处于浪尖上的。Karin第一次见Marion就向她哭述父亲的自私和难以忍受。压抑的家庭气氛让她迫不及待的想离开,却又还是放心不下脆弱的父亲。相信在内心深处,Karin和父亲还是彼此互相深爱着的。他们的关系就像Henrik强迫Karin练习的第五章节的撒拉班德大提琴曲,表面沉静死寂,而每个音符下面都可能隐藏着爆发的可能性。
  
  故事以Karin的离开,Henrik的自杀未遂结尾。是意料之中的结局。John在深夜突然感到焦虑和悲痛,是从内心深处来的召唤,他无助的跑进Marion的房间,想得到安慰。曾经的情人赤身裸体的相对,却实在无话,除了晚安

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