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更新時(shí)間：2024-04-11 05:04
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長(zhǎng)篇影評(píng)
1 ) 字?jǐn)?shù)太多了，去寫影評(píng)吧
Damn！更臟更亂的荒唐輕浮版的《甜蜜的生活》，丑惡性欲的《八部半》，十八世紀(jì)背景的淫亂無愛的《愛情神話》。 開篇我就知道，費(fèi)里尼這家伙作為一個(gè)image maker又開始了。美術(shù)和布景依然是華麗，群戲的場(chǎng)景依然是粗俗至極的精致。塑料袋的海洋太有意思了。人物方面這次著重“丑”或“更丑”。 費(fèi)里尼對(duì)卡薩諾瓦的反感和看不起從始至終，那個(gè)有音樂有頻率的鳥太搞笑了。很多的女性崇拜。 一共10個(gè)女性事件，干了8場(chǎng)。（如有誤歡迎指出）。
記錄一下：修女（魚眼無敵 鳥的首秀）、紡織女（卡薩諾瓦真是無孔不入）、取種女（真正的儀式感好吧）、協(xié)助女（身在曹營(yíng)心在漢太有意思了）、大提琴女（唯一好看的）、
倫敦母女（丟卡薩諾瓦下車 之后卡薩諾瓦就想去自殺）、巨人女（卡薩諾瓦意淫的女神）、比賽（太搞笑了 之后就是針灸）、兩輪群*（太牛了太牛了拍的 我能說很有音樂性嗎）、最后的假人（音樂好像是李斯特的《鐘》）。
正兒八經(jīng)一個(gè)威尼斯炮王的可憐一生，一部顛覆性、寓言性的傳記。 有意思的地方太多了！男男短劇那段的對(duì)話和表演都很印象深刻，唱丘比特那倆丑可愛丑可愛的。
巨人女是讓卡薩諾瓦只看一眼就放棄自殺的救命恩人，這貨真是獵奇/獵艷之王本性。
之后的馬戲團(tuán)那段超神，鯨的王后莫娜的通道太吊了。有意思的是緊接其后的一段兒提到了李白的詩(shī)，《月下獨(dú)酌其三》的最后四句。
最后的兩場(chǎng)糜爛趴體把這片兒的荒唐淫亂推向高潮，太吊了。
驚人的片段實(shí)在是多，還有扇滅巨大的蠟燭燈的鏡頭、巨大的龜?shù)某霈F(xiàn)，太狠了。費(fèi)里尼總是能讓我們?cè)谒碾娪袄锊惶摯诵?，第無數(shù)次嘆服于他的想象力。
卡薩諾瓦被費(fèi)里尼一次又一次地扒光：他真正的男性氣概的部分，和作為人的血性的部分，全都在他的懦弱和卑鄙面前死去；他所謂的自我吹噓的才華還來不及驗(yàn)證，就敗給了他作為“種馬”的能力；他沒有自己的骨氣和感情，沒有長(zhǎng)期的追求，他只是一個(gè)性欲機(jī)器，一個(gè)空殼。
他最終老去，連同老去的自然還有他的性能力。他完全的成為了一個(gè)行尸走肉。在別人的嘲諷和他無法逃出的孤獨(dú)里，我自作主張，替費(fèi)里尼對(duì)他產(chǎn)生了些許的憐憫。我看著他依然可悲的自稱著“藝術(shù)家”“作家”；看著他對(duì)著他的肖像，介紹自己是“威尼斯的吉奧柯莫卡薩諾瓦”，介紹自己是個(gè)“哲學(xué)家”。
這個(gè)可憐的家伙，在最后一次被嘲笑之后，在夢(mèng)里，他回到了威尼斯。在那里，在夢(mèng)幻的馬車的見證里，卡薩諾瓦與機(jī)械假人共跳了最后一支舞。
是的，他最后的念想和柔軟，在死去之前，都獻(xiàn)給了夢(mèng)里的那個(gè)機(jī)械假人。
2 ) 那道傷口，使用了錯(cuò)誤的紗布前去包裹，雖發(fā)出疼痛泛出鮮血，卻始終不曾為人發(fā)現(xiàn)…
一直不喜費(fèi)里尼構(gòu)圖與鏡頭設(shè)計(jì)，總覺籠雜而多三分糜爛 然結(jié)合費(fèi)里尼生平確不難了解此緣由 不過魂?duì)繅?mèng)繞的一字“性”而已，故隨不喜卻不愿受此而影響評(píng)分
影片講述意大利情圣卡薩維諾風(fēng)流往事與凄切沒落晚年。至影片結(jié)束之刻仍不時(shí)自問該當(dāng)對(duì)“卡薩諾瓦”其人作何定義（想購(gòu)其人自傳，但是真他喵的貴??）那是一種上天賜予的獨(dú)特能力便是“性”，影片開篇“卡薩諾瓦”向大使自述便顯出其人所欲絕非“性交”二字，其擁有真正的理想“詩(shī)歌”“哲學(xué)”“政治”，他僅僅是欲以性能力這一獨(dú)特天賦作為跳板躍于高處（倒是想起 “有權(quán)力的人，只要輕聲細(xì)語，每一個(gè)人也能聽得詳細(xì)；沒權(quán)力的人，就算聲嘶力竭，也沒人聽聞。”此言）自認(rèn)政治文化才能可得認(rèn)同 卻未曾想始終僅為區(qū)區(qū)一匹玩物，無論上層，女性…眾人所視僅僅區(qū)區(qū)“性能力”而已 待年邁色衰之時(shí)便如無味雞肋棄之足底。
何其悲乎，曾以身體征服女性卻也因此被所有女性視作游戲 片刻或一夜風(fēng)花雪月之后便紛紛轉(zhuǎn)身離去，無人相信“卡薩諾瓦”欲追求之真情，或許到最后他所追求的僅僅是那一份小小的理想，一份真誠(chéng)的愛情，一位真正的朋友…可惜到最后“性交”成為了他表達(dá)愛戀或是真情唯一知曉的方式（因?yàn)樗辉闷渌绞浇煌^）（從與木偶性交便可看出他僅知曉這唯一的方式）然而風(fēng)流的生涯與情史卻使所有女性都將他表達(dá)的真心與情感視作單純的肉體渴望。卻不知肉體不再，當(dāng)年邁身軀終不再借助“性”這一跳板，高詠詩(shī)歌卻受眾人取笑之時(shí)，不知獨(dú)坐書房之間等待死亡并活于記憶之中的孤單老人可曾為自己作為種馬無愛的一生而感到悲傷……
3 ) 難耐的殘酷
這部電影講的是欲望，孤獨(dú)的欲望在虛無的夜空中漂浮，就像威尼斯的月亮一樣難以忍受。
欲望是怪誕的丑陋的驚人的，但也是自然的、人所無法企及的，它要么高懸夜空要么深陷水底，只有卡薩諾瓦能看到它，所以卡薩諾瓦既是孤獨(dú)的，也是滑稽的。
令我驚奇的是電影中迷人的詩(shī)意，那朦朧的靜謐的月色穿越時(shí)空，精妙無雙，我想這之所以迷人，是因?yàn)樗w現(xiàn)出對(duì)人的悲憫的情懷，導(dǎo)演以上帝的目光洞察人的可憐之處，并以上帝的笑聲給人以撫慰。
欲望是怪誕的丑陋的驚人的，但也是自然的、人所無法企及的，它要么高懸夜空要么深陷水底，只有卡薩諾瓦能看到它，所以卡薩諾瓦既是孤獨(dú)的，也是滑稽的。
令我驚奇的是電影中迷人的詩(shī)意，那朦朧的靜謐的月色穿越時(shí)空，精妙無雙，我想這之所以迷人，是因?yàn)樗w現(xiàn)出對(duì)人的悲憫的情懷，導(dǎo)演以上帝的目光洞察人的可憐之處，并以上帝的笑聲給人以撫慰。
4 ) “我殘缺的靈魂仍在尋找?！?/h4>冰冷的月亮，虛無的迷霧。
極近粉飾的繁華優(yōu)雅下隱藏著人類殘酷無情的精神荒漠。
床第之歡是肉體的溝通，那靈魂呢？
無盡的喧鬧下靈魂的溝通顯得那么的寸步難行，卡瓦薩諾的每一句話都無人傾聽。
“我是一個(gè)哲學(xué)家，詩(shī)人，文學(xué)家.....”
有誰在乎？
大家想看的，不過是你小丑一般的性愛表演，人們?yōu)槟悄遣┯[群書的敏感靈魂找到與之相當(dāng)?shù)膶?duì)手，是一夜七次的野蠻馬車夫。
你勝利了，卻是精神文明的慘敗。
在那個(gè)哲學(xué)藝術(shù)文學(xué)全都消失的年代，你活的只能是個(gè)低等動(dòng)物。
挫敗的你向你愛人傾訴衷腸，期望得到愛的回應(yīng)。
得到的卻是沒有解釋的永別。
這片刻的肉體歡愉，從來都不是孤獨(dú)者的游戲。
庸俗的人們發(fā)笑，只有你將嫖客與妓女的交易誤以為是愛情。
一場(chǎng)場(chǎng)歇斯底里的肉體歡愉，難道不是另一種死亡？
再何況，你自己豈非不樂在其中？
你真可恥，但也真孤獨(dú)。
欲望像是一個(gè)詛咒，詛咒著肉體凡胎終會(huì)衰敗。
當(dāng)蒼老的卡薩諾瓦在嘈雜的宴會(huì)中又一次發(fā)出微弱的聲音，悲壯的如同聲色犬馬的世界最后一名理想主義戰(zhàn)士。
宴席散盡，疲倦的老人摟抱著人偶在月光下翩翩起舞，喃喃訴說著永無人傾聽的情話，這具無靈無肉的軀殼，能否承受得了一個(gè)人一生的理想與期許。
“再見，你愛我嗎？”
“我愛你。”
那個(gè)片頭出現(xiàn)擁有奇特笑容的明艷修女，一夜之歡，卻是最終唯一說過“我愛你”的女人。
卡薩諾瓦的一生，到頭來，也不過是在瀝青一般的塑料黑海中獨(dú)自航行。
航行的目的地在哪里？
故鄉(xiāng)，永遠(yuǎn)回不去的故鄉(xiāng)。
5 ) 臺(tái)詞回顧
195
00:28:02,480 --> 00:28:06,314
What can I do if I am in love
with you, Annamaria ?
Your spiritual beauty attracts
the artist that is inside of me.
I would like to model you
like a wax statue,
like the statue
I thought you were.
I would be your pygmalion, I would
give vital breath to my creature
and would give you my life
with my own blood.
My own fire would burn
inside of you.
曼森與西王母 印度佛陀王子
237
00:34:30,920 --> 00:34:34,151
She, herself, was an expert
in necromancy.
-----
I am in contact
with the Queen of Saba.
Oh, how kind !
She has returned to us.
What is the water that does not
come from the rocks,
that does not fall from the sky,
that does not come from the earth ?
Answer, the sweat of a horse.
They are the enigmas of Salomon.
That is his answer to the queen.
We received the message.
Thank you.
245
00:35:16,800 --> 00:35:20,554
If you really believe
in these extra-human contacts,
246
00:35:20,640 --> 00:35:24,315
why do you not move inside the soul
of the Queen of Saba ?
She has soul deficiency,
as all women do.
The Council of Trento gave judgement
on this nonsense.
Women possess only two soul
qualities. Men have three.
Women lack the noble soul,
the immortal one.
But for a real woman,
even one soul is more than enough,
as long as it blends in with that
of a man, in perfect harmony,
with the fusion of their bodies.
========
She want us to hear the opinion
of her young niece, Edvige,
who is very learned in theology.
I was reading Saint Augustine,
which I found absurd.
I think I can disprove
some of his statements.
His theory on the mother
of the Savior.
Saint Augustine sustains that Mary
conceived Jesus through her ears.
- Do you doubt it ?
- Yes, for three reasons.
First: because God, since He is not
material substance,
needs no hole through which
to enter or exit.
Second: the hearing tubes do not
communicate with maternal alveolus.
Third: if the Virgin Mary
had conceived through her ears,
she should have given birth
through her ears, right ?
But in this case... Excuse me...
In this case,
the Catholics are right
in considering the Virgin,
a virgin before she conceived.
=============
338
00:44:14,480 --> 00:44:15,799
Selene.
Anubis.
Osiris.
Let us go beyond
the pleasures of the flesh.
Let us concentrate on melting
our souls together in perfect unison.
Scent of Venus !
Love is the source
and root of life.
Love generates both good and bad
impulses and passions.
Love generates the eternal flame,
both divine as well as human.
Love generates gods and demons.
352
00:45:40,280 --> 00:45:43,670
Giacomo, the hour of Venus has come.
I am yours.
May the great work be accomplished.
Wait.
I must first complete
my calculations.
I think we are still
in the hour of Mars.
只見高高晃晃車廂不見馬輪
422
00:52:32,160 --> 00:52:35,470
We were invited to a concert
at the hunchback Du Bois' home.
He was an eccentric gentleman
with uncertain amorous boundaries,
just as uncertain were
the boundaries of the Parma dukedom,
divided between the Spanish
and the French.
That evening, two civilizations,
two opposite conceptions of life,
faced each other.
428
00:52:49,680 --> 00:52:53,150
An antique proverb says,
"What is lighter than a feather ?
Ashes.
And what is lighter than ashes ?
The wind.
And lighter than the wind ?
Woman.
And lighter than woman ?
Nothing."
437
00:53:10,840 --> 00:53:14,150
We exercise much power over women,
much tyranny,
and we made them accept it
only because
they are kinder,
more reasonable,
more generous than man.
Such qualities which should have made
them superior to us,
instead, put them at our mercy,
because men, in fact, are a hundred
times more unreasonable,
more cruel, violent.
They are more inclined
by nature, to oppress.
447
00:53:39,960 --> 00:53:44,238
Women's kisses are like a glass
of wine.
You drink and drink,
and drink... and then succumb.
449
00:53:47,760 --> 00:53:52,276
He who never speaks badly of women,
does not love them.
Because to understand them and love
them, you must suffer for them.
So then, and only then,
can you find happiness
on the lips of your beloved.
453
00:54:05,400 --> 00:54:10,190
A kiss is just the desire
of devouring what you kiss.
454
00:54:11,280 --> 00:54:15,432
I really think that Du Bois
has that sort of appetite !
455
00:54:16,880 --> 00:54:18,632
What is a kiss ?
Simply the desire to get lost
in the soul of the woman you love.
塔索,T.(Torquato Tasso 1544～1595) 意大利詩(shī)人,文藝復(fù)興運(yùn)動(dòng)晚期的代表。出身富有文化教養(yǎng)的家庭
588
01:10:33,160 --> 01:10:35,754
I will go dressed
with my best attire,
the one I wear for festivities.
Soon I shall be ready
to enter into the antique courts
of antique men.
In the peace of Limbo,
they will welcome me.
I will meet Horace, Dante,
I will converse with Petrarch,
with Ariosto,
and with you, Torquato Tasso.
My tender friend whose verses
come to my mind
in this supreme moment.
========
6
00:00:49,280 --> 00:00:52,431
Egard ! How strange to meet you.
Maybe you can help me. Listen.
"When I am drunk, I know neither
the sky nor the earth.
I lie alone,
immobile in my bed.
Until, in the end,
I forget that I exist.
And at that moment
my happiness has no limits."
Lung-ho-Tse: a Chinese poet
of the Eighth Century.
You travel in lands
that do not exist, Egard.
Oh, Giacomo !
I travel much too,
but in the real world.
But where do your travels,
in the bodies of women, take you ?
No place.
Something strange happened to me.
Life, having nauseated me,
I wanted to kill myself.
謝君豪 Kwan-Ho Tse
Lung-ho-Tse 謝龍豪Ho Tse Ho 何子豪 Ho-tse Shen-hui (670-762 ce ) A Chinese Ch'an monk who is
historically credited with instigating the Northern-Southern School controversy唐代禪師荷澤神會(huì)(公元670年
—758年)，湖北襄陽(yáng)人，俗姓高。。。。后來，神會(huì)在山東菏澤建寺，開創(chuàng)菏澤宗，他因此又叫菏澤神會(huì)。神會(huì)的禪法
稱為“無念禪”，即他說的：“不作意即是無念”(《神會(huì)語錄》第一殘卷《與拓跋開府書》)，又說：“法無去來，前
后際斷，故知無念為最上乘。”(《神會(huì)語錄》，見《景德傳燈錄》卷28)不過，神會(huì)最重視的是知見解脫，主張定、慧
同等。神會(huì)的菏澤宗持續(xù)了150年，到唐末便衰竭了。狄龍/Lung Ti ………… Ho Tse Sung;
=============272
00:29:00,080 --> 00:29:02,674
My God, how beautiful you are.
Your gracious smile
is so descreet.
It is like those figures
on Etruscan tombs.
A merry and deathly smile.
Deathly ? Is that how you speak
to who saved you from death ?
Only to deliver me to another
sweet death, that of love.
I feel that I want to be annulled
inside of you, my wise Minerva.
What a strange man you are,
Giacomo.
You cannot talk about love
without using deathly figures ?
The sweetest of deaths. You want
to annul yourself in love...
Maybe there is more to love.
You wish to die ?
As late as possible,
enchanting Isabella.
When that moment comes, I want
to be able to squeeze your hand.
今天做的是POLENTA起司口味便利包(FORMAGGI是義大利文的"起司" ) 在義大利超市買了不少,說是貪圖便利,倒不如說是
...臺(tái)灣稱作"玉米粥"or"玉米糕",在北義許多地區(qū)喜愛POLENTA 更甚Pasta!吃法更是千變?nèi)f化
肉絲炒通心粉 fried macaroni with shredded meat 3. 番茄汁炒通心粉 fried macaroni with tomato
sauce...macaroni with butter 5. 雞肉火腿炒通心粉 fried macaroni with chicken and ham
其中包括Icosameron之類的作品. 這些政治家們是需要一個(gè)擅長(zhǎng)以文藝為其宣傳的人, 所以這些作品并不是單純的文學(xué).
令卡薩諾瓦真正進(jìn)入文學(xué)殿堂的作品非其自傳《我的一生》(Histoire de ma vie)莫屬, 籍著這部作品卡薩諾瓦達(dá)到了
文學(xué)上的...
治愈系代表作－－水星領(lǐng)航員(ARIA The SERIES)(ARIA
1749年卡薩諾瓦遇見了一生中與他有染的132個(gè)女人里, 唯一一個(gè)可以令他震撼, 寢食不安且甘愿為其拋棄性命的女人(
卡薩諾瓦自傳語)－海麗特(Henriette), 一個(gè)為了逃婚而匿名游歷的艾克斯普羅旺斯(Aix en Provence)女貴族, 在一次
音樂會(huì)上的中提琴演奏令卡薩諾瓦如癡如醉并深深的愛上了她. 雖然此后兩人相處不過短短三個(gè)月的光景, 然而此后卻
保持著長(zhǎng)達(dá)廿年的通信聯(lián)系.
1783年1月卡薩諾瓦離開了威尼斯前往維也納, 這是因?yàn)橥崴勾笫垢Ｋ箍ɡ锬?Foscarini)邀請(qǐng)其擔(dān)任秘書的工作. 在
不久后卡薩諾瓦又收到年輕的波希米亞伯爵華倫斯坦(Waldstein)邀請(qǐng)其擔(dān)任達(dá)克斯城堡圖書館理員的工作. 就在卡薩諾
瓦來到達(dá)克斯不久之后, 德國(guó)戲劇家席勒把華倫斯坦伯爵作為悲劇男主角寫進(jìn)了他的劇作《華倫斯坦》當(dāng)中.
Isabella沒有來啊 ·······The script also highlights a number of other incidents from Casanova's
life, including his escape from a Venetian prison and his visit to a London Frost fair.
Fellini identities a film director with the demiurge of a Great Spectacle. "My films are not for
understanding. They are for seeing," Fellini reminds anyone who persists in undervaluing the aim of his
aesthetic orientation.
===
I'd like to ask you a question concerning the costumes you draw for your films, which sometimes are
particularly elegant, as if they were from a different era than ours. What does this mean?
In certain films like Satyricon or Casanova, the costumes of the era were necessary because the films
were historical. That's obvious. I have the habit of looking back to styles of the '20s and '30s, because
this unconscious reference goes back to an emotional reality when I discovered and noticed things.
Lights, colors, attitudes, moods, usages, rhythms belong to this emotional reality.
In addition, there is another fact. A person's clothes make up part of his character. I draw the
character with his costume. I suggest it to the stylists with my drawings; the drawings translate some of
my emotional impressions. For me elegance happens when there is a correspondence between a person's
personality and how she dresses herself Finally, don't forget that costumes, like dreams, are symbolic
communication. Dreams teach us that a language for everything exists — for every object, every color
worn, every clothing detail. Hence, costumes provide an aesthetic objectification that helps to tell the
character's story.
Nino Rota’s music is another delight, taken to a new level in Casanova, abandoning the typical jazzy
circus-music arrangements for a more melancholic and experimental score and an electronic music-box-like
arrangement for the clockwork mechanical bird which symbolises Casanova’s bedroom exertions.
Casanova is not one of Fellini’s best films. Like Satyricon, the subject itself is of little interest to
Fellini, who after La Dolce Vita had nothing more to say about Italian society and history other than
those areas that pertained to his own obsessions. Those films are of interest therefore for the
particular Fellini-esque slant he applies to them, but they never make the full connection that would
make Fellini’s Roma such a delight, and his lack of interest in those aspects that could not be filtered
through his own ego is evident particularly in Casanova.
-----
My personal dissatisfaction with the film however comes from the fact that I think he has tackled these
obsessions much better elsewhere and I don't find Casanova to be the best medium for them, much as I
don't find Giulietta Masina a good conduit for Fellini's personal obsessions in Giulietta degli Spiriti -
but that's just a personal view and another topic entirely.
----
Also, Sutherland's performance has been commented as being as great as Brandos in LAST TANGO IN PARIS
which would make sense considering both films deal with sexuality in an exploitative manner.
I'm not sure why you consider Fellini's displeasure for Casanova a flaw considering the output. You have
to have to look no further than the film title itself: IL CASANOVA DI FEDERICO FELLINI, which immediately
says all you need to know about what is to come.
花了個(gè)天晚上，終于把時(shí)長(zhǎng)318分鐘的《1900》給看完了，貝托魯齊的片子總是那么經(jīng)典，雖然之前看過的只有《末代皇
帝》和《戲夢(mèng)巴黎》，一直想看《巴黎最后的探戈》，因?yàn)椤?900》的制作成本主要是來源于《巴黎最后的探戈》在商
業(yè)上的成功，他拍的電影大多和歷史變革相關(guān)的。這部片子拍于1976年，似乎那個(gè)時(shí)期歐洲也生產(chǎn)了很多較為純粹的電
影。
里面有幾個(gè)主要人物的演員應(yīng)該是大家所熟知的，男一號(hào)羅伯特德尼羅（Robert De Niro）就不用說了，另一個(gè)男
一號(hào)居然是《你丫閉嘴》里的那個(gè)傻叉，名叫杰拉爾德帕迪約（Gérard Depardieu），反一號(hào)居然是唐納德薩瑟蘭
（Donald Sutherland），就是《大腕》里面的那個(gè)老頭（最近還看了他新演的《傲慢與偏見》，也是不錯(cuò)的片子），
1976年的他們好年輕啊！比現(xiàn)在看起來要瘦得多，不是聽人說我還真認(rèn)不出來，只有杰拉爾德帕迪約的大鼻子和唐納德
薩瑟蘭的笑樣讓我感覺是在哪見過。羅伯特德尼羅在1976年還拍過《出租車司機(jī)》，繼74年的《教父2》之后塑造又一個(gè)
經(jīng)典。
如今，30年前那場(chǎng)關(guān)于《1900》（Novecento）的爭(zhēng)論仿佛早已塵埃落定。那是冷戰(zhàn)形勢(shì)最嚴(yán)峻的時(shí)期，由于《巴黎最后
的探戈》在商業(yè)上的巨大成功，使得貝托魯齊有能力制作一部大成本的史詩(shī)作品。他聘用了超豪華的cast，陣容包括
Robert De Niro、Gerard Depardieu、Burt Lancaster、Donald Sutherland、Sterling Hayden、Dominique Sanda、
Stefania Sandrelli以及Laura Betti，其中扮演老Berlinghieti的Burt Lancaster甚至沒有收取任何片酬，因?yàn)樗幌?br>
看到貝托魯齊是如何在監(jiān)視器后工作的。
影片中Robert De Niro和Gerard Depardieu之間的友誼含有過于曖昧的同性戀意味，不乏有人將貝托魯齊的影片視
為"gayness"，而貝托魯齊卻說："經(jīng)過對(duì)弗洛伊德學(xué)說長(zhǎng)達(dá)八年的研究后，我認(rèn)為同性戀是不可調(diào)和的一對(duì)矛盾，它不
可能存在。"
除Robert De Niro和Gerard Depardieu這兩位歐洲和美國(guó)最有前途的明星外，Donald Sutherland——這位中國(guó)影
迷熟悉的加拿大演員在影片中有堪稱最為優(yōu)異的表演，他扮演當(dāng)?shù)匾粋€(gè)惡貫滿盈的法西斯分子，納粹倒臺(tái)后被憤怒的村
民打死。本片是他在意大利所拍攝的三部電影中的第二部，之后他又主演了費(fèi)里尼的《卡薩諾瓦》，同樣令人印象深刻
。
故事發(fā)生在一個(gè)不知名的極權(quán)主義國(guó)家，沒有交代具體時(shí)間，在一座因關(guān)押政治犯而臭名昭著的監(jiān)獄里，獄警喬(范恩斯
飾)負(fù)責(zé)看守著名的政治犯，劇作家索恩（唐納德·薩瑟蘭 飾）。Land of the Blind
Sutherland's performance (certainly one of the most neglected performances he gave in the 70's) managed
to undercut the more over-bearing elements of Fellini's direction, and gave us a real character filled
with pain, fear and emotional contradiction. The pace and structure of the film and the idea of a central
character as a writer telling the story as it unfolds is reminiscent of La Dolce Vita, something that
other viewers and critics have pointed out elsewhere, with the idea that the two films are merely
different variations on the same story 6 ) 古代人“甜蜜的生活”——《費(fèi)里尼的卡薩諾瓦》
費(fèi)德里克 費(fèi)里尼 Federico Fellini小組：http://www.douban.com/group/15635/
本片是費(fèi)里尼關(guān)于傳奇人物卡薩諾瓦的歷史傳記，不必指望是維斯康蒂式的莊重歷史畫卷，這不過是一部古代版的《甜蜜的生活》——頹廢糜爛的生活畫面，宗教信仰在世俗道德前的“淪喪”如出一轍。
影片具有費(fèi)里尼作品中后期的顯著標(biāo)簽，夸張而寫意的布景、服裝，大量超現(xiàn)實(shí)主義場(chǎng)景的運(yùn)用，解構(gòu)了一個(gè)傳奇人物的神話?？ㄋ_諾瓦不再只是個(gè)風(fēng)流浪子，他更多地被費(fèi)里尼描繪成了孤獨(dú)而痛苦的靈魂。及時(shí)行樂之時(shí)，在卡薩諾瓦臉上看到的似乎也不是滿足，而是冷漠與虛無，肉體上的歡娛僅是填補(bǔ)內(nèi)心的寂寞。當(dāng)卡薩諾瓦與女機(jī)器人翩翩起舞，悼念自己的輝煌歲月時(shí)，我也似乎讀到了費(fèi)里尼的寂寞心事。
冰冷的月亮，虛無的迷霧。
極近粉飾的繁華優(yōu)雅下隱藏著人類殘酷無情的精神荒漠。
床第之歡是肉體的溝通，那靈魂呢？
無盡的喧鬧下靈魂的溝通顯得那么的寸步難行，卡瓦薩諾的每一句話都無人傾聽。
“我是一個(gè)哲學(xué)家，詩(shī)人，文學(xué)家.....”
有誰在乎？
大家想看的，不過是你小丑一般的性愛表演，人們?yōu)槟悄遣┯[群書的敏感靈魂找到與之相當(dāng)?shù)膶?duì)手，是一夜七次的野蠻馬車夫。
你勝利了，卻是精神文明的慘敗。
在那個(gè)哲學(xué)藝術(shù)文學(xué)全都消失的年代，你活的只能是個(gè)低等動(dòng)物。
挫敗的你向你愛人傾訴衷腸，期望得到愛的回應(yīng)。
得到的卻是沒有解釋的永別。
這片刻的肉體歡愉，從來都不是孤獨(dú)者的游戲。
庸俗的人們發(fā)笑，只有你將嫖客與妓女的交易誤以為是愛情。
一場(chǎng)場(chǎng)歇斯底里的肉體歡愉，難道不是另一種死亡？
再何況，你自己豈非不樂在其中？
你真可恥，但也真孤獨(dú)。
欲望像是一個(gè)詛咒，詛咒著肉體凡胎終會(huì)衰敗。
當(dāng)蒼老的卡薩諾瓦在嘈雜的宴會(huì)中又一次發(fā)出微弱的聲音，悲壯的如同聲色犬馬的世界最后一名理想主義戰(zhàn)士。
宴席散盡，疲倦的老人摟抱著人偶在月光下翩翩起舞，喃喃訴說著永無人傾聽的情話，這具無靈無肉的軀殼，能否承受得了一個(gè)人一生的理想與期許。
“再見，你愛我嗎？”
“我愛你。”
那個(gè)片頭出現(xiàn)擁有奇特笑容的明艷修女，一夜之歡，卻是最終唯一說過“我愛你”的女人。
卡薩諾瓦的一生，到頭來，也不過是在瀝青一般的塑料黑海中獨(dú)自航行。
航行的目的地在哪里？
故鄉(xiāng)，永遠(yuǎn)回不去的故鄉(xiāng)。
00:28:02,480 --> 00:28:06,314
What can I do if I am in love
with you, Annamaria ?
Your spiritual beauty attracts
the artist that is inside of me.
I would like to model you
like a wax statue,
like the statue
I thought you were.
I would be your pygmalion, I would
give vital breath to my creature
and would give you my life
with my own blood.
My own fire would burn
inside of you.
曼森與西王母 印度佛陀王子
237
00:34:30,920 --> 00:34:34,151
She, herself, was an expert
in necromancy.
-----
I am in contact
with the Queen of Saba.
Oh, how kind !
She has returned to us.
What is the water that does not
come from the rocks,
that does not fall from the sky,
that does not come from the earth ?
Answer, the sweat of a horse.
They are the enigmas of Salomon.
That is his answer to the queen.
We received the message.
Thank you.
245
00:35:16,800 --> 00:35:20,554
If you really believe
in these extra-human contacts,
246
00:35:20,640 --> 00:35:24,315
why do you not move inside the soul
of the Queen of Saba ?
She has soul deficiency,
as all women do.
The Council of Trento gave judgement
on this nonsense.
Women possess only two soul
qualities. Men have three.
Women lack the noble soul,
the immortal one.
But for a real woman,
even one soul is more than enough,
as long as it blends in with that
of a man, in perfect harmony,
with the fusion of their bodies.
========
She want us to hear the opinion
of her young niece, Edvige,
who is very learned in theology.
I was reading Saint Augustine,
which I found absurd.
I think I can disprove
some of his statements.
His theory on the mother
of the Savior.
Saint Augustine sustains that Mary
conceived Jesus through her ears.
- Do you doubt it ?
- Yes, for three reasons.
First: because God, since He is not
material substance,
needs no hole through which
to enter or exit.
Second: the hearing tubes do not
communicate with maternal alveolus.
Third: if the Virgin Mary
had conceived through her ears,
she should have given birth
through her ears, right ?
But in this case... Excuse me...
In this case,
the Catholics are right
in considering the Virgin,
a virgin before she conceived.
=============
338
00:44:14,480 --> 00:44:15,799
Selene.
Anubis.
Osiris.
Let us go beyond
the pleasures of the flesh.
Let us concentrate on melting
our souls together in perfect unison.
Scent of Venus !
Love is the source
and root of life.
Love generates both good and bad
impulses and passions.
Love generates the eternal flame,
both divine as well as human.
Love generates gods and demons.
352
00:45:40,280 --> 00:45:43,670
Giacomo, the hour of Venus has come.
I am yours.
May the great work be accomplished.
Wait.
I must first complete
my calculations.
I think we are still
in the hour of Mars.
只見高高晃晃車廂不見馬輪
422
00:52:32,160 --> 00:52:35,470
We were invited to a concert
at the hunchback Du Bois' home.
He was an eccentric gentleman
with uncertain amorous boundaries,
just as uncertain were
the boundaries of the Parma dukedom,
divided between the Spanish
and the French.
That evening, two civilizations,
two opposite conceptions of life,
faced each other.
428
00:52:49,680 --> 00:52:53,150
An antique proverb says,
"What is lighter than a feather ?
Ashes.
And what is lighter than ashes ?
The wind.
And lighter than the wind ?
Woman.
And lighter than woman ?
Nothing."
437
00:53:10,840 --> 00:53:14,150
We exercise much power over women,
much tyranny,
and we made them accept it
only because
they are kinder,
more reasonable,
more generous than man.
Such qualities which should have made
them superior to us,
instead, put them at our mercy,
because men, in fact, are a hundred
times more unreasonable,
more cruel, violent.
They are more inclined
by nature, to oppress.
447
00:53:39,960 --> 00:53:44,238
Women's kisses are like a glass
of wine.
You drink and drink,
and drink... and then succumb.
449
00:53:47,760 --> 00:53:52,276
He who never speaks badly of women,
does not love them.
Because to understand them and love
them, you must suffer for them.
So then, and only then,
can you find happiness
on the lips of your beloved.
453
00:54:05,400 --> 00:54:10,190
A kiss is just the desire
of devouring what you kiss.
454
00:54:11,280 --> 00:54:15,432
I really think that Du Bois
has that sort of appetite !
455
00:54:16,880 --> 00:54:18,632
What is a kiss ?
Simply the desire to get lost
in the soul of the woman you love.
塔索,T.(Torquato Tasso 1544～1595) 意大利詩(shī)人,文藝復(fù)興運(yùn)動(dòng)晚期的代表。出身富有文化教養(yǎng)的家庭
588
01:10:33,160 --> 01:10:35,754
I will go dressed
with my best attire,
the one I wear for festivities.
Soon I shall be ready
to enter into the antique courts
of antique men.
In the peace of Limbo,
they will welcome me.
I will meet Horace, Dante,
I will converse with Petrarch,
with Ariosto,
and with you, Torquato Tasso.
My tender friend whose verses
come to my mind
in this supreme moment.
========
6
00:00:49,280 --> 00:00:52,431
Egard ! How strange to meet you.
Maybe you can help me. Listen.
"When I am drunk, I know neither
the sky nor the earth.
I lie alone,
immobile in my bed.
Until, in the end,
I forget that I exist.
And at that moment
my happiness has no limits."
Lung-ho-Tse: a Chinese poet
of the Eighth Century.
You travel in lands
that do not exist, Egard.
Oh, Giacomo !
I travel much too,
but in the real world.
But where do your travels,
in the bodies of women, take you ?
No place.
Something strange happened to me.
Life, having nauseated me,
I wanted to kill myself.
謝君豪 Kwan-Ho Tse
Lung-ho-Tse 謝龍豪Ho Tse Ho 何子豪 Ho-tse Shen-hui (670-762 ce ) A Chinese Ch'an monk who is
historically credited with instigating the Northern-Southern School controversy唐代禪師荷澤神會(huì)(公元670年
—758年)，湖北襄陽(yáng)人，俗姓高。。。。后來，神會(huì)在山東菏澤建寺，開創(chuàng)菏澤宗，他因此又叫菏澤神會(huì)。神會(huì)的禪法
稱為“無念禪”，即他說的：“不作意即是無念”(《神會(huì)語錄》第一殘卷《與拓跋開府書》)，又說：“法無去來，前
后際斷，故知無念為最上乘。”(《神會(huì)語錄》，見《景德傳燈錄》卷28)不過，神會(huì)最重視的是知見解脫，主張定、慧
同等。神會(huì)的菏澤宗持續(xù)了150年，到唐末便衰竭了。狄龍/Lung Ti ………… Ho Tse Sung;
=============272
00:29:00,080 --> 00:29:02,674
My God, how beautiful you are.
Your gracious smile
is so descreet.
It is like those figures
on Etruscan tombs.
A merry and deathly smile.
Deathly ? Is that how you speak
to who saved you from death ?
Only to deliver me to another
sweet death, that of love.
I feel that I want to be annulled
inside of you, my wise Minerva.
What a strange man you are,
Giacomo.
You cannot talk about love
without using deathly figures ?
The sweetest of deaths. You want
to annul yourself in love...
Maybe there is more to love.
You wish to die ?
As late as possible,
enchanting Isabella.
When that moment comes, I want
to be able to squeeze your hand.
今天做的是POLENTA起司口味便利包(FORMAGGI是義大利文的"起司" ) 在義大利超市買了不少,說是貪圖便利,倒不如說是
...臺(tái)灣稱作"玉米粥"or"玉米糕",在北義許多地區(qū)喜愛POLENTA 更甚Pasta!吃法更是千變?nèi)f化
肉絲炒通心粉 fried macaroni with shredded meat 3. 番茄汁炒通心粉 fried macaroni with tomato
sauce...macaroni with butter 5. 雞肉火腿炒通心粉 fried macaroni with chicken and ham
其中包括Icosameron之類的作品. 這些政治家們是需要一個(gè)擅長(zhǎng)以文藝為其宣傳的人, 所以這些作品并不是單純的文學(xué).
令卡薩諾瓦真正進(jìn)入文學(xué)殿堂的作品非其自傳《我的一生》(Histoire de ma vie)莫屬, 籍著這部作品卡薩諾瓦達(dá)到了
文學(xué)上的...
治愈系代表作－－水星領(lǐng)航員(ARIA The SERIES)(ARIA
1749年卡薩諾瓦遇見了一生中與他有染的132個(gè)女人里, 唯一一個(gè)可以令他震撼, 寢食不安且甘愿為其拋棄性命的女人(
卡薩諾瓦自傳語)－海麗特(Henriette), 一個(gè)為了逃婚而匿名游歷的艾克斯普羅旺斯(Aix en Provence)女貴族, 在一次
音樂會(huì)上的中提琴演奏令卡薩諾瓦如癡如醉并深深的愛上了她. 雖然此后兩人相處不過短短三個(gè)月的光景, 然而此后卻
保持著長(zhǎng)達(dá)廿年的通信聯(lián)系.
1783年1月卡薩諾瓦離開了威尼斯前往維也納, 這是因?yàn)橥崴勾笫垢Ｋ箍ɡ锬?Foscarini)邀請(qǐng)其擔(dān)任秘書的工作. 在
不久后卡薩諾瓦又收到年輕的波希米亞伯爵華倫斯坦(Waldstein)邀請(qǐng)其擔(dān)任達(dá)克斯城堡圖書館理員的工作. 就在卡薩諾
瓦來到達(dá)克斯不久之后, 德國(guó)戲劇家席勒把華倫斯坦伯爵作為悲劇男主角寫進(jìn)了他的劇作《華倫斯坦》當(dāng)中.
Isabella沒有來啊 ·······The script also highlights a number of other incidents from Casanova's
life, including his escape from a Venetian prison and his visit to a London Frost fair.
Fellini identities a film director with the demiurge of a Great Spectacle. "My films are not for
understanding. They are for seeing," Fellini reminds anyone who persists in undervaluing the aim of his
aesthetic orientation.
===
I'd like to ask you a question concerning the costumes you draw for your films, which sometimes are
particularly elegant, as if they were from a different era than ours. What does this mean?
In certain films like Satyricon or Casanova, the costumes of the era were necessary because the films
were historical. That's obvious. I have the habit of looking back to styles of the '20s and '30s, because
this unconscious reference goes back to an emotional reality when I discovered and noticed things.
Lights, colors, attitudes, moods, usages, rhythms belong to this emotional reality.
In addition, there is another fact. A person's clothes make up part of his character. I draw the
character with his costume. I suggest it to the stylists with my drawings; the drawings translate some of
my emotional impressions. For me elegance happens when there is a correspondence between a person's
personality and how she dresses herself Finally, don't forget that costumes, like dreams, are symbolic
communication. Dreams teach us that a language for everything exists — for every object, every color
worn, every clothing detail. Hence, costumes provide an aesthetic objectification that helps to tell the
character's story.
Nino Rota’s music is another delight, taken to a new level in Casanova, abandoning the typical jazzy
circus-music arrangements for a more melancholic and experimental score and an electronic music-box-like
arrangement for the clockwork mechanical bird which symbolises Casanova’s bedroom exertions.
Casanova is not one of Fellini’s best films. Like Satyricon, the subject itself is of little interest to
Fellini, who after La Dolce Vita had nothing more to say about Italian society and history other than
those areas that pertained to his own obsessions. Those films are of interest therefore for the
particular Fellini-esque slant he applies to them, but they never make the full connection that would
make Fellini’s Roma such a delight, and his lack of interest in those aspects that could not be filtered
through his own ego is evident particularly in Casanova.
-----
My personal dissatisfaction with the film however comes from the fact that I think he has tackled these
obsessions much better elsewhere and I don't find Casanova to be the best medium for them, much as I
don't find Giulietta Masina a good conduit for Fellini's personal obsessions in Giulietta degli Spiriti -
but that's just a personal view and another topic entirely.
----
Also, Sutherland's performance has been commented as being as great as Brandos in LAST TANGO IN PARIS
which would make sense considering both films deal with sexuality in an exploitative manner.
I'm not sure why you consider Fellini's displeasure for Casanova a flaw considering the output. You have
to have to look no further than the film title itself: IL CASANOVA DI FEDERICO FELLINI, which immediately
says all you need to know about what is to come.
花了個(gè)天晚上，終于把時(shí)長(zhǎng)318分鐘的《1900》給看完了，貝托魯齊的片子總是那么經(jīng)典，雖然之前看過的只有《末代皇
帝》和《戲夢(mèng)巴黎》，一直想看《巴黎最后的探戈》，因?yàn)椤?900》的制作成本主要是來源于《巴黎最后的探戈》在商
業(yè)上的成功，他拍的電影大多和歷史變革相關(guān)的。這部片子拍于1976年，似乎那個(gè)時(shí)期歐洲也生產(chǎn)了很多較為純粹的電
影。
里面有幾個(gè)主要人物的演員應(yīng)該是大家所熟知的，男一號(hào)羅伯特德尼羅（Robert De Niro）就不用說了，另一個(gè)男
一號(hào)居然是《你丫閉嘴》里的那個(gè)傻叉，名叫杰拉爾德帕迪約（Gérard Depardieu），反一號(hào)居然是唐納德薩瑟蘭
（Donald Sutherland），就是《大腕》里面的那個(gè)老頭（最近還看了他新演的《傲慢與偏見》，也是不錯(cuò)的片子），
1976年的他們好年輕啊！比現(xiàn)在看起來要瘦得多，不是聽人說我還真認(rèn)不出來，只有杰拉爾德帕迪約的大鼻子和唐納德
薩瑟蘭的笑樣讓我感覺是在哪見過。羅伯特德尼羅在1976年還拍過《出租車司機(jī)》，繼74年的《教父2》之后塑造又一個(gè)
經(jīng)典。
如今，30年前那場(chǎng)關(guān)于《1900》（Novecento）的爭(zhēng)論仿佛早已塵埃落定。那是冷戰(zhàn)形勢(shì)最嚴(yán)峻的時(shí)期，由于《巴黎最后
的探戈》在商業(yè)上的巨大成功，使得貝托魯齊有能力制作一部大成本的史詩(shī)作品。他聘用了超豪華的cast，陣容包括
Robert De Niro、Gerard Depardieu、Burt Lancaster、Donald Sutherland、Sterling Hayden、Dominique Sanda、
Stefania Sandrelli以及Laura Betti，其中扮演老Berlinghieti的Burt Lancaster甚至沒有收取任何片酬，因?yàn)樗幌?br>
看到貝托魯齊是如何在監(jiān)視器后工作的。
影片中Robert De Niro和Gerard Depardieu之間的友誼含有過于曖昧的同性戀意味，不乏有人將貝托魯齊的影片視
為"gayness"，而貝托魯齊卻說："經(jīng)過對(duì)弗洛伊德學(xué)說長(zhǎng)達(dá)八年的研究后，我認(rèn)為同性戀是不可調(diào)和的一對(duì)矛盾，它不
可能存在。"
除Robert De Niro和Gerard Depardieu這兩位歐洲和美國(guó)最有前途的明星外，Donald Sutherland——這位中國(guó)影
迷熟悉的加拿大演員在影片中有堪稱最為優(yōu)異的表演，他扮演當(dāng)?shù)匾粋€(gè)惡貫滿盈的法西斯分子，納粹倒臺(tái)后被憤怒的村
民打死。本片是他在意大利所拍攝的三部電影中的第二部，之后他又主演了費(fèi)里尼的《卡薩諾瓦》，同樣令人印象深刻
。
故事發(fā)生在一個(gè)不知名的極權(quán)主義國(guó)家，沒有交代具體時(shí)間，在一座因關(guān)押政治犯而臭名昭著的監(jiān)獄里，獄警喬(范恩斯
飾)負(fù)責(zé)看守著名的政治犯，劇作家索恩（唐納德·薩瑟蘭 飾）。Land of the Blind
Sutherland's performance (certainly one of the most neglected performances he gave in the 70's) managed
to undercut the more over-bearing elements of Fellini's direction, and gave us a real character filled
with pain, fear and emotional contradiction. The pace and structure of the film and the idea of a central
character as a writer telling the story as it unfolds is reminiscent of La Dolce Vita, something that
other viewers and critics have pointed out elsewhere, with the idea that the two films are merely
different variations on the same story
本片是費(fèi)里尼關(guān)于傳奇人物卡薩諾瓦的歷史傳記，不必指望是維斯康蒂式的莊重歷史畫卷，這不過是一部古代版的《甜蜜的生活》——頹廢糜爛的生活畫面，宗教信仰在世俗道德前的“淪喪”如出一轍。
影片具有費(fèi)里尼作品中后期的顯著標(biāo)簽，夸張而寫意的布景、服裝，大量超現(xiàn)實(shí)主義場(chǎng)景的運(yùn)用，解構(gòu)了一個(gè)傳奇人物的神話?？ㄋ_諾瓦不再只是個(gè)風(fēng)流浪子，他更多地被費(fèi)里尼描繪成了孤獨(dú)而痛苦的靈魂。及時(shí)行樂之時(shí)，在卡薩諾瓦臉上看到的似乎也不是滿足，而是冷漠與虛無，肉體上的歡娛僅是填補(bǔ)內(nèi)心的寂寞。當(dāng)卡薩諾瓦與女機(jī)器人翩翩起舞，悼念自己的輝煌歲月時(shí)，我也似乎讀到了費(fèi)里尼的寂寞心事。
他需要的是一個(gè)朋友而不是女人。。。
"大腕"主演的費(fèi)式卡薩諾瓦，依舊馬戲的感覺，電影以一種玩戲式的方式表現(xiàn)了許多的性愛場(chǎng)景，這在情色橫行的70年代，估計(jì)普通觀眾看了肯定要大罵，呵呵。老費(fèi)到底還是那個(gè)看馬戲團(tuán)里表演的老費(fèi)啊。
#費(fèi)里尼影展# 場(chǎng)景奢華，喜歡歌舞和短劇的段落和對(duì)于影子的運(yùn)用，末尾朗誦詩(shī)歌遭嘲笑和木偶的段落頗有批判性?？蓪?duì)照看今年另一部講卡薩諾瓦的新片：西班牙導(dǎo)演Albert Serra的《我的死亡記事》。
費(fèi)里尼對(duì)卡薩諾瓦的批判不是對(duì)他個(gè)人的批判，而是要通過這個(gè)敗類的一生引起人們的思考和聯(lián)想，他的矛頭絕非只是一個(gè)卡薩諾瓦，而是像這個(gè)角色一樣的一些人和以他們?yōu)橹鳂?gòu)成的那個(gè)社會(huì)。
9.5分。這才是費(fèi)里尼后期的絕對(duì)代表。拿掉墨鏡的費(fèi)里尼完全釋放自己的才華，完成了這出“靈與肉”巨作，在滿溢的肉欲之下掩藏的是最深的孤獨(dú)與恐懼。我將其視作男版的《卡比利亞之夜》，兩者都在不斷追求精神上的愛情，卻一直被拋棄，區(qū)別是這個(gè)結(jié)局更為深刻與悲慘。
萬花叢中穿過，誰想機(jī)械力學(xué)才是殘余的溫暖?！短鹈鄣纳睢芬浦凉艜r(shí)，留下了一派糜爛放縱，也勾出了一種落寞空虛，但就是缺乏那種發(fā)光的魅力。本來挺帥的唐納德·薩瑟蘭，在片中造型古怪得仿佛科洛·塞維尼加馮遠(yuǎn)征。但費(fèi)里尼真是再次發(fā)揮得汪洋恣肆，無數(shù)精巧的布設(shè)與思量，都很能讓人驚呼，也能感應(yīng)到自在創(chuàng)作的快感，這比作品本身更迷人。三星半。
情色片的頂峰，即使全片沒有任何裸露鏡頭?？赐曛蟆端鞫喱?20天》《卡尼古拉》簡(jiǎn)直是小兒科，雖然后兩者感官上更加昭然，與《卡薩諾瓦》相比簡(jiǎn)直沒有講到點(diǎn)子上。豆瓣整體才7.2分，太underrated了。
現(xiàn)代比古代寂寞多了——費(fèi)里尼的古裝劇都是拍給現(xiàn)代人看的荒誕劇?，F(xiàn)代社會(huì)里那種驕奢淫逸的縱欲主義氛圍全部由《卡薩諾瓦》頭頂上那面“風(fēng)月寶鑒”真實(shí)地反映了出來，照木心的說法——性欲是裸體的，愛情是穿衣裳的。從主題上來看，這部彰顯古典形式主義美學(xué)的“時(shí)裝”大戲的確是《甜蜜的生活》在十八世紀(jì)的演繹。影片借著男主角的游歷嘲諷了那些過著卡薩諾瓦式生活的現(xiàn)代人——以性能力征服世界的人。盡管費(fèi)里尼賜予主人公一個(gè)極富漫畫感的相貌，然而他卻實(shí)實(shí)在在代表了現(xiàn)代人的形象——就像他身邊的那只機(jī)械鳥一樣。我們?cè)谄淦吹囊簧性僖部床坏健叭恕钡嫩櫽?，因?yàn)樗鲆姷娜瞬皇切涡紊男〕缶褪菦]有情感的木偶。更為荒誕和可笑的是，這些沒有靈魂的人物卻都在追求一種形而上的情愛——這無疑是“上帝”對(duì)他們喪失檢視和自省能力的嚴(yán)厲懲罰。
人物丑，情節(jié)荒誕夸張，刻意追求美術(shù)置景不真實(shí)。單取中間好多幕，都是濃烈的油畫感，更有狂放不羈肆意潑灑。有曰：一夜七次，不敵時(shí)間流逝。又曰：能力再好，機(jī)械最高。
我就說嘛，看05版傲慢與偏見的時(shí)候，覺得那位老爹怎么那么眼熟。查來查去，雖然找到幾部我看過他參演的電影，但總覺得跟我那個(gè)模糊又清晰的印象合不上?？偹阍谶@里找到了，敢情lizzie她爹就是Fellini手下的Casanova!
著名的威尼斯冒險(xiǎn)家，人們只記住了他雄壯的搖晃，他遍游歐洲，所到之處群花為之綻放，他丟掉了欲望之外的才華，成了一具簡(jiǎn)單的機(jī)器，只能與木偶繼續(xù)最后的放縱，當(dāng)年華老去，無盡的侮辱之后，剩下了空洞的悲涼，全片腐朽之氣極盛，已是費(fèi)里尼的癲峰。
費(fèi)里尼式情色，豐乳肥臀與古怪癲狂大雜燴。大師的性幻想腦洞大到出奇。
避無可避的消逝&狂歡后的孤寞。1.最美頭尾:片首波光粼粼的固定長(zhǎng)鏡,映照出歡宴景致的湖面，尾聲致敬雷諾阿[金馬車]+夜晚威尼斯的空寂廣場(chǎng),卡薩諾瓦與人偶相擁,緩緩轉(zhuǎn)圈。2.在黑色塑料布海洋上劃船。3.銀色內(nèi)室與舞動(dòng)的金屬鳥。4.修女與護(hù)士的黑白雙項(xiàng)。5.紫色云雨,性愛比賽,大力士女巨人。（9.0/10）
美術(shù)極好，置景構(gòu)圖精致，想象力驚人。結(jié)尾好悲涼，悵惘無盡，回想一下，費(fèi)里尼的電影，結(jié)尾拍得都好。這么多的性，卻沒有一丁點(diǎn)愛。堪稱十八世紀(jì)版《甜蜜的生活》。但費(fèi)里尼對(duì)于講述卡薩諾瓦的故事缺乏激情，某種程度上，費(fèi)里尼和他電影里的貴族一樣，視卡薩諾瓦為玩偶，于是對(duì)主角欲望與孤獨(dú)的表現(xiàn)，只能是浮于表面、套入榮格式模板又以失控癲狂形飾虛無，難以復(fù)制《甜蜜的生活》的感染力和深度。就像塑料布海洋很有想法，但畢竟只是塑料布。費(fèi)里尼最應(yīng)該去拍的是《十日談》和《巨人傳》。
casanova每次那啥之前會(huì)先打開一個(gè)盒子，里面一只鳥翻飛上下，電子樂笛笛篤篤的。太色情了，“性愛比賽”神馬的……最終精盡人亡的時(shí)候，愛上一個(gè)無欲無求的女機(jī)械人。華麗的欲望，荒涼到底。
這部費(fèi)里尼以前沒看過哦 意思不大 尺度不小 有性無愛還造什么愛 縱欲者真可憐 連造愛這么重要的人生樂趣都失去了 某種意義上也是閹割了自己 （今天發(fā)太多廣播了 快過年了摸魚過度 過于悠閑 明天可得收收心了……
費(fèi)里尼對(duì)卡薩諾瓦這個(gè)人物的情感投射逐漸變化的體現(xiàn) 放蕩 虛弱 可憐 最后給予了他一個(gè)機(jī)械化身的假夢(mèng)結(jié)尾 男性符號(hào)作用在不斷消解 整個(gè)時(shí)代的洞穴影子也在不停逝去 他既是 stallion 也是個(gè)形而上的 guru p.s. 除了無主之作 卡薩諾瓦自然也有我村提及 還有什么黑炮事件 尼基與弗洛 以及 the eyes of a masturbator 這算不算太黑唐納德了 2333
9/10。陰莖狀的機(jī)械鳥象征卡薩諾瓦就是個(gè)只求欲望的機(jī)械人，每逢他做愛這只鳥會(huì)上下轉(zhuǎn)動(dòng)模擬人的動(dòng)作，鼓風(fēng)機(jī)制造的塑料海波濤洶涌，不了解愛情的卡薩諾瓦在苦海中漂泊一生，結(jié)尾冰上伴舞的機(jī)械玩偶成了這位性愛機(jī)械人最理想的歸宿。費(fèi)里尼多次強(qiáng)調(diào)一條諧音為陰戶的鯨魚，卡薩諾瓦由于性能力被女人嘲笑（趕下馬車的查柏林母女）企圖自殺，跟隨大群男子走入鯨魚肚子（陰戶）得到救贖，魚肚里幾幅魔燈投射的圖案把女人性器官描繪成卷走男人的漩渦！費(fèi)里尼對(duì)男人以征服者自居的玩笑還不限于此，卡薩諾瓦與修女的禁忌關(guān)系被宛如鏡面的魚眼偷窺到，杜拉斯想通過與之性交來投胎做男人，他曾與全劇團(tuán)的女人動(dòng)感狂快地性交，也受到消失于迷霧的女巨人愛的壓迫....猶如扮演昆蟲的短劇表演，聲稱愿為愛人與整個(gè)歐洲軍隊(duì)宣戰(zhàn)的情圣，最終淪為了供人取笑的哭泣小丑。
卡薩諾瓦歐陸獵艷史，千萬注意不能和家人一同觀看。男主長(zhǎng)得太像杰克·鮑爾，一查居然真是鮑小強(qiáng)的父親，爺倆簡(jiǎn)直一個(gè)模子刻出來的。我也著實(shí)想理解些人物內(nèi)在的悲哀，但看到的和記住的全是荒淫交媾，以及那每次隨之上下起舞的金屬鳥和電子樂，一遍又一遍，一遍又一遍。
費(fèi)里尼敞開了拍，丁度·巴拉斯都是浮云啊；一段經(jīng)歷就是一場(chǎng)夢(mèng)，夢(mèng)與夢(mèng)之間不需要關(guān)聯(lián)；雜耍藝人的鏡頭少不了，舞會(huì)之后的散場(chǎng)太寂寥；女巨人泡在浴桶中，吟唱著悲傷的思鄉(xiāng)之歌，留下一滴眼淚；那場(chǎng)“競(jìng)賽”的出產(chǎn)地應(yīng)該是[甜蜜的生活]