宅男专用app
地区:欧美
  类型:警匪
  时间:2025-04-24 21:04:52
剧情简介

这部纪录片真实再现了德国电影大师沃纳·赫尔佐格(Werner Herzog)用近五年的时间在秘鲁亚马逊热带丛林中艰难拍摄完成震撼世界的名片《陆上行舟》(Fitzcarraldo)的过程。本片记录了这段电影人寻找梦想的过程,宅男专用但这绝不是一部现今发行电影DVD时几乎必附的幕后花絮纪录片,宅男专用他没有对影片吹嘘拍马只是忠实纪录影片拍摄时面对的众多不可思议的困难日子以及一个为了电影近乎疯狂的导演。《陆上行舟》根据真实事件改编,爱尔兰人Fitzcarraldo酷爱歌剧,他想在热带雨林之中建造一个歌剧院然后请意大利男高音卡鲁索(Caruso)来演唱,为了凑到足够的金钱他买下来一块橡胶田做起橡胶生意,为了往来运输他必须弄一条船到雨林之中,在当地印第安土著帮忙之下,他终于把船从一条运河跨山而过运到了另一条河上。就在他兴奋无比之时,却不知土著有自己的打算,他们把船抛弃在河流之中让他顺流而下以献给河神,Fitzcarraldo的梦想最终破灭。他请了一个三流歌剧团来雨林表演以此完事。Fitzcarraldo的梦想没有实现赫尔措格却被之打动,他认为这种坚持梦想的行为本事就是伟大的成功,将之搬上屏幕成了赫尔佐格的梦想,却不知这是一个折磨了他五年带给他痛苦与快乐的梦想。在赫尔佐格的坚持下,影片在秘鲁内陆的雨林实地拍摄,拍摄之初便卷入了当地土著部落的权利之争,而在丛林中还有军营、石油公司各种势力,拍摄所需物资全部空运至搭建的营地。影片缓慢的拍摄。五周后,就在影片完成40%的时候,影片主演Jason Robards因病退出剧组,饰演Fitzcarraldo伙伴Wilbur的滚石乐队(Rolling Stone)主唱Mick Jagger则投身新专辑发行和巡演。影片陷入遥遥无期的停机状态。半年之后,赫尔佐格找来Klaus Kinski饰演Fitzcarraldo,摄制组再次进入雨林。影片拍摄过程中最大的矛盾出现了。在现实中,Fitzcarraldo将船拆散运过山坡后在另一头进行组装。赫尔措格却执意要将比现实中大得多船整个越过山坡,他认为这能将电影的主题形像化,给人视觉冲击。剧组请来的巴西工程师设计了一套复杂的装置供印第安临时演员们进行搬运,但即使是工程师也不相信这个装置可以搬运那个大家伙。赫尔措格已经听不进任何劝阻,执意实景拍摄。工程师因此退出摄制组留下“只有30%成功机会,如果失败还会有人会死”的话。 赫尔措格最终失败,30吨的船只移动了半米左右就退回了远处。此时另一艘用于拍摄的船则搁浅在浅滩之上,影片再次停机。赫尔佐格面对采访的摄影机开始抱怨诅咒这片雨林,又掩饰不了对这原始之地的爱以及对自己梦想的执着。又过了几个月,影片中最重要的“陆上行舟”镜头终于拍摄成功,影片顺利完成。此片为赫尔佐格赢得了1982年戛纳最佳导演奖,成为他最重要的作品之一。本片导演Les Blank对这片丛林充满崇敬之情,对其原始状态的消失而悲哀,片中的影像常常游离于摄制组之外,丛林中的蚂蚁、橡胶树、土著制作独特食物的过程、有着可口可乐标志的茅草屋、土著身上的米老鼠T恤、部落之间的争端、双凤求凰的争吵莫不忠实纪录下来。使本片具有独特的纪念价值,片中一句“专家计算,这些土著部落在2008年的时候都消失殆尽。”在当时看来还有遥远的26年,可现在再看,也只有短短的三年时间了。时间让纪录的影像残酷无比。赫尔佐格在影片中说:“在别人看来我是在做白日梦,但是我一定要做到它,我不想做一个没有梦想的人,这样的生命没有意义。”他用自己的经历和自己的电影告诉人们,拥有梦想的人无论成功与否,都拥有骄傲而又伟大的灵魂。梦想会有负累,因为负累我们才去梦想。

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秀爱组合

发表于9分钟前

回复 :世界級鼓藝演出團體「鬼太鼓座」是1969年由創辦人「田耕」(本名田尻耕三)帶領一群醉心傳統太鼓藝術的青年樂手,成立的音樂修行團體,並根據「立地而奔、立地而鼓、立地而舞」的精神宗旨,讓太鼓擊樂與奔跑、舞蹈等肉體鍛鍊融為一體,成為貫徹物我合一的極限演出形式。氣吞山河的鬼太鼓座也使用竹笛、三味線、尺八、箏等婉轉幽遠的日式傳統樂器共奏,藉以達到陰陽調和,剛柔並濟的太極之境…


张峰奇

发表于4分钟前

回复 :In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth."The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Marysia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era.The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved.The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair.At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth among themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance?Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experience or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground  under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'."After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others.In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."


赵传

发表于3分钟前

回复 :女主曦梦(孟真饰)与男友老墨(方野饰)相恋4年后发现男友已经结婚,便怒然选择与其分手。米兰(阎默涵饰)与青青是曦梦的闺蜜,三人合伙开了一家服装店。一次偶然的相遇岳峰对曦梦一见钟情。但米兰同样对岳峰心生好感,便从中作诡,挑拨岳峰与曦梦的关系。阴差阳错之下,曦梦陷入了感情泥潭,这场恩怨纠葛,多角角逐,究竟花落谁家?


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