imdb Plot summary Born in a small town in the countryside surrounding Pistoia, Adriana is an attractive young girl who counts on using her looks to go places in the entertainment business in Rome. Moving to the capital, she works first of all in a hairdressing salon, then in a small cinema where she manages to get a job working in fancy dress. Meantime, she socializes with young men of the upper middle classes, who take her to parties and out on the town with the sole aim of taking advantage of her. Adriana knows their game, but plays along. In the meantime, she meets an agent called Cianfanna, a modest money-grubber who introduces her to a journalist friend of his so he can write an article on her. Having thus launched her career in advertising, Adriana decides to go home to visit her parents. Once home, however, she is distraught to learn of the death of her sister. Returning to Rome, she takes acting lessons, but during one lesson she suddenly faints: she is pregnant, with no idea o

看時(shí)想的居然是what a sexy movie應(yīng)該標(biāo)簽“可以和對(duì)象打炮時(shí)看”Stefania在銀幕上很有女神性感的特質(zhì)。影片圍繞她的性和情感生活展開(kāi)，一開(kāi)場(chǎng)就是滿是垃圾無(wú)人觀光的私人沙灘，配上喜慶的背景音樂(lè)，女人sexuality展露無(wú)遺，起身之后又是她free routine的描寫(xiě)。從她和沙龍老板的對(duì)話可以看出文化的衰退，不雅、不貞、濫交…社會(huì)生活就像電梯一樣，在破敗的居民樓里像是個(gè)新invention（現(xiàn)代化了）但實(shí)際上也沒(méi)有給人們帶去多少便利。到了事務(wù)所，從他們包裝女星會(huì)說(shuō)幾國(guó)語(yǔ)言的說(shuō)法可以看出，和60s意大利電影產(chǎn)業(yè)一樣，社會(huì)各界人們都追求著所謂的國(guó)際化。

多次大特寫(xiě)推到Stephania臉上，她的臉能把所有細(xì)微的情感都表現(xiàn)出來(lái)太令人信服了。大家理劇本學(xué)表演Spinning scene那塊特別諷刺，在高速旋轉(zhuǎn)的模糊中感受到了執(zhí)念、欲念的壓迫，Zoom in和有張力的運(yùn)鏡一結(jié)合是本片的一大亮點(diǎn)，也增添了不少喜劇性。

幾次出現(xiàn)的模特走秀反復(fù)點(diǎn)題人們當(dāng)時(shí)生活的物質(zhì)化，把女性sexuality當(dāng)成通用貨幣。不自覺(jué)把Adriana和浪花悲歌Osaka Elegy中綾子的角色對(duì)比著看，兩種文化以及日本和意大利兩個(gè)社會(huì)對(duì)女性的影響是不一樣的，綾子要照顧自己的家庭，身邊的人也也認(rèn)同做情婦是自毀名譽(yù)。綾子面臨的是在material world沒(méi)有選擇，要么靠男人要么自生自滅。而Adriana是看似新女性有自由有選擇權(quán)，但身邊男性想要在他身上索取的，以及她無(wú)法和周圍的資本化想法統(tǒng)一，都讓她陷入了女性除沒(méi)有身體自主權(quán)之外的另一重困境，是一種心理和思維的困境。很感謝這部電影的解構(gòu)，A的狀態(tài)在追求高速發(fā)展的當(dāng)下中國(guó)也同樣能讓人共情：無(wú)欲望，不工作，沒(méi)什么能給到驚喜，沒(méi)有對(duì)明日的期待，就連今天的生活要做計(jì)劃都太多了。

意大利電影中環(huán)境總是很有意思，狹小的事務(wù)所，不修邊幅的城鎮(zhèn)，嘈雜的聲音，似乎是沒(méi)有教養(yǎng)的人的行為舉止，heterogeneity放在銀幕上才是有趣的。音樂(lè)一首接著一首，伴隨著永遠(yuǎn)都在的大音量背景噪音，身邊的人輪流轉(zhuǎn)，情緒一波接著一波。

這部電影最表層意義上其實(shí)是appeal to every kind of men…令我嘔吐。敏感的人群都觸及了，小男孩、黑人、有錢(qián)沒(méi)錢(qián)、年老年輕… basically screaming that this young woman is fuckable。

有幾次我都覺(jué)得這一定是結(jié)尾了吧這一定是結(jié)尾了吧，比如她坐在化妝鏡前哭花了妝，比如最后party scene鏡頭拉遠(yuǎn)…結(jié)果ends with her suicide感覺(jué)是是弱化了她的空虛的痛苦，也對(duì)現(xiàn)實(shí)中的讀者的生死觀不負(fù)責(zé)。就像無(wú)聲電影并不需要聲音和對(duì)話去告訴觀眾這些演員的情緒是什么，本片中A明明一個(gè)眼神就可以讓觀眾明白她心死了，但非要真的一死，當(dāng)然這是另一重觀點(diǎn)，死了去抗議資本化和文化墮落的社會(huì)。但我個(gè)人認(rèn)為她自殺太輕而易舉是沒(méi)有什么動(dòng)力支撐的，是把好不容易建立起的人物迅速摧毀掉的舉動(dòng)。自殺的結(jié)局很少有拍好的，在這個(gè)虛構(gòu)的世界一死也是足夠動(dòng)搖觀影體驗(yàn)的，我們會(huì)為她傷心嗎，我們有足夠的理由去傷心嗎，如此一想就跳戲了。

A definite highlight of Italian filmmaker Antonio Pietrangeli’s career, on which would be tragically put a kibosh by his untimely death in 1968, in reality, people do die of drowning after falling off a cliff.

I KNEW HER WELL continues his streak of strong female presentation, first and foremost, it is a story about a prelapsarian countryside Italian girl Adriana (a 19-year-old Sandrelli uncannily likens a luscious Taylor Swift), who jauntily pursues her star-making dream in the capital city.

Pietrangeli and his co-writers configure a loosely chronological and episodic narrative detailing the interactions between Adriana anda smorgasbord of male characters, from boyfriends, bedfellows, exploiters to sympathetic have-nots, scathingly refracts the sprawling turpitude infesting the showbiz, that a young and unsophisticated Adriana is always given the short end of the stick, can never fall in love with the right guy, and occasional sparkling of kindness dims quickly since it is just not the right time, and the film's ostensibly disengaged observation gives way to an abrupt kicker in the end, where a dysphoria-stricken Adriana takes a radical step to purge her profound disillusion out of her existence.

Wonderfully concatenating manifold vignettes into a cogent case study pertaining to the disintegration of a starlet-to-be's pipe dream (often meld perfectly with era-specific tuneage and dancing routines),Pietrangeli enlists a swell group of multi-national supporting actors, nativesManfredi (unscrupulous), Salerno (pompous), Fabrizi (smarmy), Nero (four-square), joined by a French (Brialy), a German (Fuchsberger), an Austrian (Hoffman) and a Swiss (Adorf)to bolster the mainstay, among whom, Ugo Tagnazzi brilliantly steals the limelight with his backbreaking tap dance and abjectly obsequious attitude as a struggling has-been.

As our leading lady, Sandrelli is de facto a phenomenal wet-behind-the-ears ingénue, but also excels in bringing about a palpable strength of integrity and defiance that is well beyond her age, yet, more often than not, emanates a ghost of melancholia even when hijinks are in full swing. Unequivocally evokes a young girl’s version of Fellini’s LA DOLCE VITA, I KNEW HER WELL is an unalloyed Italian hidden gem exhumed from near obscurity with its shimmering amalgamation of vintage style, unaffected poignancy and incisive self-mockery.

companion pieces: Pietrangeli’s HUNGRY FOR LOVE (1960, 7.0/10);Federico Fellini's LA DOLCE VITA (1960, 9.3/10).