非常冗長，平鋪直敘，靠旁白推進(jìn)劇情。50年代的美國電影非常大而不當(dāng)，手法顯得越來越陳舊。最后竟然是打秋風(fēng)引發(fā)悲劇結(jié)尾，有點(diǎn)低俗。

艾娃加德納在現(xiàn)在看來太大只，已經(jīng)不符合審美了。香港的林黛和臺(tái)灣的葛蘭也是這樣的形象，翻篇了。。。。。。。。。。。。。。。。。。。。。。。。。

簡而言之就是野雞飛上枝頭成了鳳凰，卻又被人當(dāng)做獵物打死的故事。艾娃扮演的西班牙鄉(xiāng)土女郎被好萊塢大老板挖掘，經(jīng)過的調(diào)教成了大明星。她習(xí)慣于周旋在男人中間，越爬越高，爬到了伯爵的身邊，誰知道伯爵是個(gè)活太監(jiān)，只是利用她做個(gè)擺設(shè)，在新婚之夜才講這個(gè)底細(xì)告訴她。正值盛年的少婦哪能受得了這個(gè)，她竟然自作主張找了個(gè)野男人妄圖傳宗接代，她不懂貴族對(duì)名譽(yù)看得比生命還重要！最后伯爵毫不猶豫地槍殺了她和那個(gè)倒霉蛋。

劇情很聳動(dòng)，如果 拍能成一部很好看的melodrama，可惜導(dǎo)演非要用旁觀角度敘事，廢了很多力氣，加了很多旁白，顯得特別累贅，尤其是雨中下葬一場戲就浪費(fèi)了很多時(shí)間，反復(fù)出現(xiàn)，毫無用處。

本來也能拍成黑色電影，但50年代的電影人已經(jīng)動(dòng)則求變，尤其是本片還是彩色片，就更不能落入黑色電影的套路。

現(xiàn)在看來，艾娃加德納演的還是太正派，沒有那種交際花的妖媚，最后的結(jié)局鋪墊不夠，顯得太突兀。

最近剛好買到了薩岡的《心有戚戚》來讀。最開始在書店，一眼便看到封底上出現(xiàn)了艾娃加德納的名字。薩岡與艾娃，兩個(gè)頗具傳奇色彩卻仿佛在不同世界的名字，立馬就對(duì)她們的交集產(chǎn)生強(qiáng)烈好奇心了。

喜歡舊塢這么久，對(duì)艾娃的了解卻十分有限。還記得從前，以為舊塢的種種“性感符號(hào)”只是時(shí)間交替的代際傳承，如今倒深刻認(rèn)識(shí)到了，每個(gè)人都有無法被替代的個(gè)人特色：珍哈露，麗塔海華斯，艾娃，夢露，用同一的“性感符號(hào)”來一并概括實(shí)在是太辜負(fù)各位女神。

艾娃，世界上最美麗的脊椎動(dòng)物，還有從前在貼吧里在她的寫真下有人評(píng)論：“精氣神從骨子里透出來！”，但當(dāng)時(shí)受困于局限的審美，起初是沒意識(shí)到她的美麗的：太陽穴微微凹陷，外擴(kuò)的臉頰，歐米茄下巴......萬萬沒想到有一天，這些都成為了她身上最最迷人的特征，成為她雕塑般的面容上最讓人難忘的細(xì)節(jié)。

前段時(shí)間為了欣賞艾娃年輕時(shí)的美顏下載了《維納斯的一觸》。劇照里，盤起發(fā)髻、披掛潔白絲綢的艾娃果真如愛神一般，渾然如她幻身的那座雕塑；然而，到電影之中跳躍著看了幾個(gè)片段，卻在動(dòng)態(tài)影像里更直觀地感受到了從前發(fā)覺的那些“缺陷”，心存疑惑，難道愛神果真就只是如此？還好，我看到了這部《赤足天使》。

感謝博主冰紅深藍(lán)的分享，博主的介紹、高清修復(fù)的畫面和修訂的中字讓觀影的動(dòng)力倍增。影片畫面色彩非常飽和，同往常的technicolor修復(fù)效果似乎有所出入，或許是在畫幅改革之際，影響了畫面色彩？但影片看下來，發(fā)現(xiàn)艾娃完全能駕馭這樣艷麗的色彩。有人說，影片節(jié)奏拖沓、結(jié)構(gòu)松散；然而，在我眼里，艾娃的存在就足夠吸引我坐下、牢牢地抓住我的眼球。

就如短評(píng)所說，艾娃的性感是致命而脆弱的——我最喜歡艾娃的，是她側(cè)面或者45度斜側(cè)面時(shí)完美的面部輪廓，鼻尖、嘴唇、下額、脖頸，更在于她眼眸低垂時(shí)流露出的脆弱與憂愁，張揚(yáng)的五官和精巧的下巴充滿著原始小獸般的野性，但眼角眉梢又流露出無限繾綣，這樣對(duì)立的特征在艾娃的面容上竟完美地調(diào)和融匯，使得原本雕塑般的面容在銀幕上、在觀眾面前鮮活而具有強(qiáng)大的生命力。

Has fear gone?

眸光低垂、嘴角牽動(dòng)，致命又脆弱的性感

最美麗的脊椎動(dòng)物

風(fēng)光無限的大明星

看完電影，我立馬想起從前看到的一張艾娃的電影截圖，一幕黑白電影中的，艾娃躺下的面部特寫，也是那樣朦朧微合、眸光流轉(zhuǎn)的勾魂眉眼，慵懶、繾綣，種種透著致命氣息卻又難以抵御的字眼忍不住都加諸在她身上。

看完《心有戚戚》中艾娃的那篇，作為沖著艾娃去看有些失望，客觀的描述記敘較少，更多是薩岡自己的個(gè)人發(fā)揮，兩人似乎也只是短暫的接觸和交集。印象深刻的，是說艾娃“美貌勝過一切，除了美貌，還是美貌”。也記得說，艾娃晚年淡出熒幕，過上了放蕩混亂的生活。也許，艾娃自己就是“赤足天使”，脆弱而幻想，曾經(jīng)擁有而又經(jīng)歷幻滅。“灰姑娘”貫穿了電影的始終。曾幾何時(shí)灰姑娘的美夢幾乎就要成真，極致的幸福與溫暖的微光里把人捧上云端?，F(xiàn)實(shí)又如同lousy script一般荒謬。

懷揣夢想的灰姑娘

Maria Vargas (Gardner) is dead, this is the premise of Joseph L. Mankiewicz’s Technicolor extravagance THE BAREFOOT CONTESSA, in her ceremonious funeral, erected with an alabaster statue of her, several men’s voiceovers reminisce the gone-too-soon Spanish bombshell who starts as a saloon dancer, then a short stint in the Tinseltown and finally, the titular contessa to an Italian count.

The first man is the veteran Hollywood director Harry Dawes (Bogart), who, at the peremptory behest of producer Kirk Edwards (Stevens), a scion rolling in money, earnestly ropes Maria into Hollywood and after three pictures together, she becomes a red-hot star, but their relationship remains strictly platonic, he becomes a father figure and eventually sends her down the aisle, Maria opens to him about her Cinderella dream, to love and be loved on her own terms. Soon she falls out with the haughty Edwards, and opts for leaving with Latin American playboy Alberto Bravano (an eyebrow-enhanced Goring miscast as a bloviating Latinx high-roller), equally wealthy if not more, also jumps ship is Oscar Muldoon (O’Brien), a perspiratory publicist who gets fed up being Edwards’ unctuous lackey, and he becomes the second voiceover recounts his side of the story, as plausible and effervescent as his role requires, O’Brien’s Oscar win might feel like a head-scratching fluke.

Clear as day, Alberto is just another interim provider for Maria, finally, it is the blue-blooded Count Vincenzo Torlato-Favrini (Brazzi), the tertiary voiceover, that catches her eyes and encaptures her heart, only their fateful encounter has a sting in the tail, hinted by the disconcerted reaction from Eleanora (Cortese, expressive and memorable as ever during her succinct presence), Vincenzo’s widowed, childless sister, in response to his brother’s seemingly normal decision to marry Maria, which would make the latter the last contessa in their pedigree, but what does the “l(fā)ast”mean? And what the siblings’ conversation alludes to would only strike like a bolt out of the blue for Maria on her nuptial night, and Mankiewicz’s peregrinating script decidedly does not furnish the aristocratic impotence with a fig leaf, not so much as a scintilla of decency resides within any ordinary human being (the secret has been withholding until they tight the knot), moreover, to say nothing of Vincenzo’s own outrageous, macho final act.

The victimology of Maria Vargas befits Hollywood’s (and by extension, Mankiewicz’s) traditional objectification of an impeccable female presentation, free-spirited and drop-dead gorgeous, an unbridled soul unsullied by the showbiz depravity, yet, her pipe dream of living happily ever after with a royal prince comes unstuck like a slap in the face (in hindsight, Grace Kelly would have been a more apt choice in this role for obvious reasons), and it is also morbidly at her own life’s expense, that fantasy indwells long and entrenched in a straight man’s noggin.

Gardner asserts herself ravishingly as the glamorous puss with an untainted heart, even against the script’s infantilization, her Maria comes off as more multi-faceted, mysterious and unattainable as one assumes, yet her male-costars fare less well, especially Bogard, bogged down by the lurid cosmetics and somewhat verbose voiceover, his avuncular persona fizzles out cravenly in the end. THE BAREFOOT CONTESSA, however old-fashioned and untimely in its female-gazing perspective and idealization, retains its stunning wow factors as a gorgeous-looking picture enfolded with poise, gravitas and pathos, that can live down its maker’s own jaundiced view and shed a chink of light on the treacherous nature of living high on the hog, though hardly a reverberating cautionary tale material.

referential entries: Mankiewicz’s SUDDENLY, LAST SUMMER (1959, 7.4/10); CLEOPATRA (1963, 6.3/10).

　一個(gè)出身底層的女子被電影導(dǎo)演發(fā)掘并成名，卻始終保有豪放不羈的吉普塞作風(fēng)，不為金錢和闊老們所左右，一心等待自己心目中完美的愛情和王子。終于，她遇到了一個(gè)看上去很有騎士風(fēng)度的貴族，并愛上了他，卻豈料成為了這個(gè)衰落的貴族家庭最后的女伯爵。由于丈夫無法生育，她與人私通并希望為貴族家庭生下孩子，最后被丈夫殺死。 　　 　　影片采用了多角度和倒敘的結(jié)構(gòu)，以女主角的葬禮作為中心舞臺(tái)，從三個(gè)男人--她的導(dǎo)演，制片人和丈夫的回憶中，觀眾拼湊出一個(gè)模糊的女人形象，一個(gè)潑辣狂放，追求自由和愛情，卻最終被毀滅的美麗女人。曼凱維奇寫作臺(tái)詞的天分十分高超，本片中的許多臺(tái)詞都具有哲學(xué)與文藝深度，在娛樂化的美國電影中實(shí)為罕見。而我以為，這些閃爍著老練智慧的臺(tái)詞是本片最大的亮點(diǎn)，值得人們深思。 　　例如，影片的初場，女主角向?qū)а葜v述自己貧寒悲慘的童年，說道，象很多窮孩子一樣，我買不起鞋，所以恨鞋，就總赤著腳，我的腳只有踏在泥土里才感到舒服，穿上鞋反而覺得很不適應(yīng)了。