女巫1967

比起那些追求风格统一的集锦片，《女巫1967》的叛逆之处在于五位导演各玩各的——德西卡拍出小品式的市井讽刺，维斯康蒂把女巫宿命拍成宫廷悲剧，帕索里尼那段更是直接让托托扮成老妇在街头撒野，荒诞得像一场恶作剧。托托顶着滑稽的假发满屋乱转那段，全场都在拍大腿；但转到克林特·伊斯特伍德那个段落，他冷着脸跟女主角讲道理，空气突然安静得让人心慌。 ❤。这些片段从不同角度撕开“女巫”标签背后的社会偏见与性别隐喻，时而荒诞滑稽，时而苦涩讽刺。有的段落像荒诞小品，有的又带点寓言味儿，风格跳来跳去，看得人一愣一愣的。演员阵容也绝了：托托还是那副滑稽样，克林特·伊斯特伍德居然也跑来客串，操着意大利语说台词，反差萌到爆。

　　"The Witch Burnt Alive"
　　After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous.
　　"Community Spirit"
　　Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through.
　　"The Earth Seen from the Moon"
　　The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific.
　　"The Sicilian"
　　Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories.
　　"A Night Like Any Other"
　　Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.

相关搜索：