名導演秦劍將文藝愛情片加入了精神心理元素,破格又神秘。青年精神病科醫(yī)生仲寧(關山)從外國學成回來。有一天,他拜訪女友玉佩(林嘉),發(fā)現家中的神秘怪事,入夜後,傳來女子的嚎哭聲,原來,女子就是玉佩的嫂子高秀心(葉楓),患了精神病。仲寧主動為她醫(yī)治,直至秀心的病康復,兩人陷入情網。此事給玉佩知道,非常傷心。同時,秀心為了小姑的幸福,決心讓愛,逃避愛的糾纏。葉楓演活精神失常的少婦,眼前一亮。
what a jerk abusing his admirers and prioritizing his own ego over his responsibility as a father and a husband. also cast a big sarcasm on the heartless and blind mass; a bunch of hypocrites taking the fools and the poor's advantages when they can. gross. this is a very difficult film to watch, to say the least. an impressive line from the reporter: "I've got the story in my aching heart. I got it by crawling through dirt and filth and muck and smut! By finding truth and beauty where you'd never expect to find it."
As an audience, I'm really tired of hearing Mr. Shuman's big dream and can't come near to appreciate his passion and his willingness to accept death as his fate. Maybe that says something about 21st century. My education in behavior/ brain science won't let me believe in 'the calling'. He chooses to be an unearthly man and it's not a decision easily understood by others. a dangerous threat to daily routines and social norms.
The hook really lies in the roughness and imperfection in every character, the kind of subtlety rarely seen in Hollywood. however, the ending is narcissistic. sick of listing to pedantic talk on 'follow your dreams.' what a waste of time. feel sad for Jiggs and the boss.
Title: The Tarnished Angels
Year: 1957
Country: USA
Language: English
Genre: Action, Adventure, Drama
Director: Douglas Sirk
Screenwriter: George Zuckerman
based on the novel “Pylon” by William Faulkner
Music: Frank Skinner
Cinematography: Irving Glassberg
Editing: Russell F. Schoengarth
Cast:
Rock Hudson
Dorothy Malone
Robert Stack
Jack Carson
Robert Middleton
Christopher Olsen
Troy Donahue
Alan Reed
William Schallert
Rating: 6.8/10
THE TARNISHED ANGELS, Douglas Sirk’s cinematic adaptation of Faulkner’s Depression-era novel PYLON, repeats the winning formula of WRITTEN ON THE WIND (1956), with Hudson. Malone and Stack, all returning to the fold. Yet, for those who are ensorcelled by Sirk’s variegated palette, the big comedown is that it is a black-and-white fare.
Hudson plays Burke Devlin, a journeyman-cum-lush, gets interested in the barnstorming airshow, and meets Roger Shumann (Stack), a daredevil WWI ace and his wife LaVerne (Malone), a parachute stuntwoman, and their 9-year-old son Jack (Olsen), plus Jiggs (Carson), the grease monkey. Will he get a substantial story out of his involvement? The denouement is more than what he bargains for.
LaVerne is the neglected wife, sadly even her marriage is the outcome of a dice game, yet, between the good ol’ Jiggs and a stony-faced Roger, a woman is destined to pick the high-flying, handsome hero who is ill-equipped for love and family. Burke’s advent gives her an opportunity to make a clean breast of it, he is a charming, tender receptacle of her pent-up discontent, they might have a passionate affair, but that doesn’t change the status quo. Burke is far too righteous a man to interfere a holy union, and LaVerne can never get over her stolid Prince Charming, is indiscriminately at his beck and call, even for an immoral proposition, she will hardly demur. That is the draw of a man like Roger, his hard-nosed, hellbent masculine toxin that gins up eligible girls’ romanticized fancy of “a man worth marrying”, LaVerne would be far more happier with Jiggs, but both in Faulkner’s head space and in Hollywood’s propaganda mill, a soft touch like him has no chance of winning the girl, even second-handedly.
The love triangle is namby-pamby, Roger’s promised fresh start is tinged with a blasé fatality that even a toddler can outguess what is in the horizon, the emotional tangle in THE TARNISHED ANGELS is a few notches below the torrid quotient in Sirk’s other films, notably the three also starring Hudson. Even so, a Sirk’s picture is never unprepossessing, the striking chiaroscuro overshadows the dark corners of one’s unsaid vice, and the aerobatics are brilliantly maneuvered (LaVerne’s base jump is deceptively astounding) save for the final crash, obviously there is a shallow, artificial pond right in front of our eyes, how can they not find the body?
Acting wise, Stack is too self-serious and uptight to hint Roger’s inability of adjusting a fly boy’s life in peace time; Carson is a remarkable sidekick as Jiggs, who unfairly takes the short end of the stick when all is said and done (why no one wants to recruit such a proficient mechanic?), you feels sorry for him, but in the same breath thinks he deserves the misery because of his weakness; Malone asserts herself glamorously under the monochromatic allure, she could be a tamed man-eater, or a saintly mother, but never asks for our compassion; finally, Hudson appears as a solid lead, and delivers perchance his most eloquent monologue in the aftermath of the tragedy, a conventional Hollywood leading man in a full-bore mold, all square and virtuous, not unlike its soft-pedaled ending, extricating a woman from her seedy acquiescence and humorously setting up a future reunion, oh, what a dreamboat!
referential entries: Sirk’s LURED (1947, 6.5/10); WRITTEN ON THE WIND (1956, 8.0/10).
第14屆#法羅島電影節(jié)#無人知曉單元第6個放映日為大家?guī)怼侗毯G嗵煲挂剐摹?,下面為大家?guī)砬熬€彷徨眾人們自我麻痹的評價了!
節(jié)南山:
文藝青年的憂傷愛情故事,但總顯得略有些刻意。
我們敏熙:
又見錯位愛情,在大部分時候洛克·哈德森的角色都處于旁觀的狀態(tài),直到最后角色情緒才噴涌而出。影片情感的縱深度令人咋舌。
Msanctuary:
攝影技術飛行畫面極佳,空中的表演很大膽。影片最后確實有點亂,情感的動搖,人物的對話,每個人的標簽都帶著些許的黑暗:絕望,孤獨或是憤怒。
拉拉那個啦啦:
是糾葛的感情困擾彼此的一生,還是因為一生都在尋找這樣的真實與復雜性所以變得曲折不堪?黑白片的魅力之一,是它的時代久遠性,這會讓人更理解人物內心。角色人物塑造得還是挺好的,有被打動。
非無想非有想:
沒看懂,糾纏于兩個男人間的女人,苦苦追尋飛行員老公的愛,最后終于確定了愛著彼此,老公卻死了。又出來第三個男人——記者最后鼓勵了她。第二個男人也就半路失蹤了。我真的不知道想表達啥,云里霧里。
布谷卟咕:
故事發(fā)生在一個尋求刺激娛樂的沙灘周圍,主線在我看來講述了一個表演性飛行員被對天空的渴望不斷吞噬,麻木他對生活不可控的恐懼感??酥频那楦?,強橫的人物形象,對社會現象深入的刻畫,都讓這個故事顯得辛辣有觀點。
Pincent:
飛行比賽與空中雜技表演本身就有種自毀的氣質,飛行是終極的逃離與自由,同時人又可能被其吞噬。視覺相對出彩,黑白對比強烈。當飛機劃過天空,??思{充滿酒精與嘉年華的故事開始了,各有其過往的角色們在此微妙地相交,在殘酷的生活之下,人物沒有正邪沒有好壞,只有理解與誤解、問題與掙扎,不忽略三人中任何一人的視角,也不會落入俗套,最后他們仿佛都只能躺下來,將自己埋葬。
子夜無人:
來不及寫完他的故事,先一步愛上他的妻子;藍天白云的夢想只剩自我麻痹的酒精,唯有機毀人亡才是成全了你也圓滿了我自己。多羅茜·馬龍光芒四射,哪怕在一部雙男主戲里、同時面對積憂成疾的羅伯特·斯塔克和深情款款的洛克·哈德森也傲人鎮(zhèn)場。就如同這場情感的困局,只有她真正清醒,她留守的是一個男人的過去,而另一個男人愛上的只是她的幻影。愛情最多的時間就是被過去和幻影占據,因為現實是不敢觸碰的真實,本體是一碰就碎的假體。
#FIFF14#DAY6的無人知曉場刊評分將在稍后為大家釋出,請大家拭目以待了。
這樣的飛行比賽現在怎么沒有了?
從彩色換回黑白甚至一下子看不出是瑟克(以前看幾部都是彩色的),但仍舊視覺上很突出,用各種明暗對比強烈的場景說話,跟用顏色道理大概是一樣。劇情五角戀也是醉醉的,并且竟然真的是《苦雨戀春風》全套人馬(少一個白考爾),羅伯特斯塔克就因為長得兇就老演慘角色,簡直便宜了赫德森!
及格
太明顯了有木有
繼承《殺戮》里的「故事感」便是讓《污點天使》變得十分具有可讀性。在塞克這部發(fā)出強烈政治訊息的情節(jié)劇里,沒有人能夠真正在「碧海青天」里自由翱翔,也沒有人能夠盡情盡興地享受「夜夜心」的樂趣。每一架雄心勃勃的飛行器都在渾濁的低空中盤旋,每一個有血有肉的騎士都被復雜的人際關系所牽絆。新聞人都在看他們你爭我趕拼死拼活的好戲,以及等待著他們「油盡燈枯」葬身湖底。男人的《鍋蓋頭》被機油熏得烏黑,而圣潔的《金盔》無疑是被玷污得最不像樣子的一個。從未了解《八佰》的觀眾何以知曉戰(zhàn)爭原是如此殘酷的秀場:為了響應和滿足「狂歡節(jié)」的需求,不得不完成危險的表演。男主角無法將他的故事,以及故事里所描述的浪漫化的政治主張公之于眾,在對腐敗的體制抒發(fā)完怒火之后他也終于釋懷:那些高聳入云的《標塔》正是英雄的墓地、故里和紀念碑。
像所有偉大的藝術家一樣,塞克對于人是充滿了愛與理解的。這部被低估的杰作里的每個人都清楚地知道,自己執(zhí)拗于的東西永遠也得不到,可他們依然還是緊緊地抓著這層幻景不放。女主角是塞克作品里最復雜的角色,她名義上是她愛人的妻子,卻永遠贏不過一個甚至沒有身體沒有形狀的小三,同時還要滿足于她丈夫隨手扔來的哪怕一丁點的愛意。她的一襲白衣標志著,她是這些“玷污的天使”里最突出的那個。在不無諷刺意義的最后一場戲里,她被從一個男人的手里拯救出來,卻成了另一個男人“卡薩布蘭卡”式舍己救人的幻想里的失足天使,盤隨著高聳入云的男性性器官象征魂歸蒼穹。
總感覺像是角色個性夸張的舞臺劇。且為黑白片,影評家也沒了像對待《苦雨戀春風》那樣的浮想聯翩的空間……
黑白瑟克一樣精彩,大量使用百葉窗和欄桿來制造明暗對比,還有大量的陰影使用,完全就是一出黑色電影手法拍攝的情節(jié)劇,這個五角戀的故事與飛行主題進行了完美結合,動作戲份里增加不少主觀鏡頭和心理暗喻制造出緊張感來,沉迷于事業(yè)的男人忽視了對女人的愛,瑟克總是帶有濃厚的懷舊氣息
7.7 細看瑟克的這部電影,其敘事以及表演并不是總是有效的,甚至還有些粗糙,但它在一種相當風格化的形式中卻也成為了瑟克最具有詩意的電影之一,有著一戰(zhàn)情節(jié),有著對三十年代人們的精神面貌以及對游樂場與飛行表演時代的懷念,更有著風格化布置的場景中角色富有韻味的詩意對話或獨白。
20.5.24 第二遍。劇本牛??梢院突覡a與鑽石對比著看。2015/12/3 第一次領略瑟克之美,本以為出自卡贊之手,性感又透著含蓄。法斯賓德不像瑟克 覺得瑟克張狂多了。Rock Hudson是不是臉龐子大了點啊 這種悶騷的小記者角色蒙哥馬利克里夫會好點咩?
結尾笑出聲了,Sirk始終是高級黑
3.5星,洛克.赫德森在這部電影里居然沒有把到妹子,真難得啊,影片拍攝的時候塞克相當的不滿,主要是這一次他無法拍攝一部彩色片了,塞克一向對彩色電影情有獨鐘。。。
incertitude de l'amour...
以1958年的標準來看,飛空場景拍的很寫實。飛行員羅杰明知飛機(內心)不能修復,卻義無反顧進行表演。用這種英勇行徑掩飾內心的恐懼,勾勒出三角關系的無法溝通和與世界的疏離。因為他們都活在謊言之中。盡管洛克.赫德森演的還可以,但他并不太適合這個平凡的記者形象。
搞不懂為啥Sirk喜歡用Rock Hudson,傻大個兒好難看有沒有
瑟克的電影是為了滿足女人愛做夢的天性而造的夢,看他的電影只看到女性關懷而看不到深層反諷會少了很多樂趣。這部電影同樣如此,所有男性角色都必須愛上女主角,他們是女主角可以自我欣賞美麗忠貞的一面面鏡子,是女主角可以一次次沖動任性選擇后丟掉的棋子,而最后女主角必須要放棄所有男人,獨自承擔起責任(孩子)上路,以表演她的獨立堅強和自由,為了不太決絕,結尾還必須給女主角留下一線希望(男主之一送的書)...結尾Rock Hundson問女主角“你的夢想是什么...你今天的夢想是什么” ,其實一語點醒了觀眾,電影結束于女主獨自帶著孩子乘上飛機升上高空飛向遠方,留下勇敢追夢的形象在觀眾心中.....忍不住贊一句,瑟克高級黑。
3.5 那天晚上,LaVerne離開機房的時候,Roger、Jiggs、Burke 三個男人的眼神都是愛。
一位摯愛飛行逃避愛情勇敢卻又恐懼的落魄戰(zhàn)后英雄,一個愛上英雄將自己對他人的愛意視作對愛人詛咒的女人,一個三人行中毫無地位可言只能放任謠言流傳自以慰藉的第三者,一個毫無懸念陷入自己的Antonia與其他男人間的旁觀者。為什么他們的愛都這么扭曲陰微?為什么他們每個人都如此疲憊憂傷?
不狗血不懷春的塞克是無聊的?;蛟S是??思{原著影響,讓赫德森大講特講文學性獨白,煞風景。
也不是看不明白瑟克的好啦,但是這種好和通俗情節(jié)劇的做作組合往往令人愕然。哈德森的角色可鄙至好笑,酷似讓娜莫羅的多羅西馬龍纖弱而無主張。每一個人的不幸都是由他們自己的愚蠢所招致的,使得最后那句“你的夢想是什么?” 的問句成了一個極端辛辣諷刺的笑話。