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) 意大利詩人,文藝復(fù)興運(yùn)動晚期的代表。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(公元670年

—758年)，湖北襄陽人，俗姓高。。。。后來，神會在山東菏澤建寺，開創(chuàng)菏澤宗，他因此又叫菏澤神會。神會的禪法

稱為“無念禪”，即他說的：“不作意即是無念”(《神會語錄》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?！?《神會語錄》，見《景德傳燈錄》卷28)不過，神會最重視的是知見解脫，主張定、慧

同等。神會的菏澤宗持續(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擅長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個女人里, 唯一一個可以令他震撼, 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月的光景, 然而此后卻

保持著長達(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, 這是因為威尼斯大使福斯卡里尼(Foscarini)邀請其擔(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.
花了個天晚上，終于把時長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《戲夢巴黎》，一直想看《巴黎最后的探戈》，因為《1900》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，似乎那個時期歐洲也生產(chǎn)了很多較為純粹的電

影。
    里面有幾個主要人物的演員應(yīng)該是大家所熟知的，男一號羅伯特德尼羅（Robert De Niro）就不用說了，另一個男

一號居然是《你丫閉嘴》里的那個傻叉，名叫杰拉爾德帕迪約（Gérard Depardieu），反一號居然是唐納德薩瑟蘭

（Donald Sutherland），就是《大腕》里面的那個老頭（最近還看了他新演的《傲慢與偏見》，也是不錯的片子），

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

經(jīng)典。
如今，30年前那場關(guān)于《1900》（Novecento）的爭論仿佛早已塵埃落定。那是冷戰(zhàn)形勢最嚴(yán)峻的時期，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，因為他只想

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)過對弗洛伊德學(xué)說長達(dá)八年的研究后，我認(rèn)為同性戀是不可調(diào)和的一對矛盾，它不

可能存在。"

      除Robert De Niro和Gerard Depardieu這兩位歐洲和美國最有前途的明星外，Donald Sutherland——這位中國影

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€惡貫滿盈的法西斯分子，納粹倒臺后被憤怒的村

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)生在一個不知名的極權(quán)主義國家，沒有交代具體時間，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

顯然，卡薩瓦羅不是你理解的那種人。

 

作為歐洲最著名的浪子，竄行于貴婦、修女、千金小姐之間，是他的本能和本行。他可以與歐洲任何一個最有性能力的人比賽，他也因此四處被人嘲笑為“種馬”。但是他一直希望別人稱呼他為“哲學(xué)家”。他認(rèn)為自己有杰出的政治才能，能夠輔佐歐洲任何一位君主成就大事————只可惜的是，懷才不遇是他一生的宿命。

 

在一個心靈重于身體的時代，擁有身體是不幸的；而在一個重視身體的時代，擁有身體仍然是不幸的。這是因為，沒有人會真正把身體放到“靈“之上。人們對于身體的要求即便是公開的，毫無顧忌的，但是也難掩對于“靈魂”失落的巨大恐懼。

 

在人們心中，卡薩瓦羅是一個倒錯的人。他的身體征服了全歐洲的女性，但是他的靈魂卻不能引起哪怕一個馬夫的尊敬。貴族像對待角斗士一樣看待他，把他當(dāng)成一個“性斗士”，當(dāng)成一匹馬。貴族樂于提供最優(yōu)渥的環(huán)境來供其享受，其目的也不外乎滿足自己的感官刺激的需要而已。卡薩瓦羅，其最高的地位也不外乎是一個性能力和性技巧的表演家。

 

在影片的一開頭，卡薩瓦羅赴修女之約，前往孤島。當(dāng)他得知這一切不過是為了滿足魚眼背后窺探的大使的欲望時，他仍然非常樂意。他愿意假此為晉身之計。在他看來，身體是一種資本，一種交際手段。這種手段可以讓他俘獲任何女人的芳心，那么也一定能打動當(dāng)權(quán)者，由此及彼的意識到，如此強(qiáng)悍的身體之下是一個多么偉大的靈魂。但是——當(dāng)卡薩瓦羅向大使陳情表態(tài)之際，大使卻從魚眼睛背后消失了。消失的如此干脆利落，以致于卡薩瓦羅來不及鞠躬道別。

 

這個開頭就是卡薩瓦羅一身的命運(yùn)。政治，對于男性而言，是靈。是永恒的靈的運(yùn)轉(zhuǎn)。是宏大敘事的一部分。這個體制可以完全不考慮身體，甚至完全排斥身體。所以直至卡薩瓦羅的晚年，這個體制仍然如此的嫌惡他，將這個自命不凡的老頭看成是社會的異類，甚至敗類。

 

卡薩瓦羅不是沒有想到死。尤其是他在愛情幻滅，又在被一對母女欺騙之后（連女性都背叛了他）。但是他卻被一個女巨人吸引，而存活了下來。他知道，自己的生命的燃燒沒有終結(jié)，因為還有更強(qiáng)壯的女人沒有被征服。這種對女性的征服是一種本能。本能，就是超出死亡的“超越性”的最大動力。這種本能可以讓他發(fā)布女性優(yōu)良于男人的言辭，但是這不過是因為，他希望他的力量確證的對象的力量反過來確證他自己的力量罷了。

 

卡薩瓦羅最后一個情人，也是最后他在死亡前回想的情人是一個機(jī)器木偶小姐?？ㄋ_瓦羅終于找到了一個不會拋棄他的女人。那些貴婦在身體上被他征服，但是從來都是把他看成駕馭的對象。只有這個木偶，才是一個完全順從他的人。木偶無情，卻因為人的無情而變成了有情。

 

卡薩瓦羅在夢中回到了因犯罪而終身不敢回去故鄉(xiāng)，威尼斯。這個歐洲的水都，這個歐洲最繁華的小城，這個有著夢幻色彩的，充滿了各種稀奇古怪的風(fēng)俗和人物的地域，給了卡薩瓦羅最終的安慰。

 

卡薩瓦羅不是你理解的那種人。因為他不愿承認(rèn)自己被理解的事實。這個事實，固執(zhí)在這個傳說的心中，并將在許多人的身上延續(xù)下去————



PS：這片子在2005年有重拍版本——————稀爛+++

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意，那朦朧的靜謐的月色穿越時空，精妙無雙，我想這之所以迷人，是因為它體現(xiàn)出對人的悲憫的情懷，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。

費(fèi)里尼的又一部情色大作，主人公是在西方和“唐璜”齊名的“性斗士卡薩諾瓦”。老天賜給這哥們的天賦是超級強(qiáng)悍的性能力，他靠這個鬼混了一輩子，無奈晚景凄涼，最后愛上的是一個人工的機(jī)械美女，他用這種扭曲的愛了此殘生。
 
驚嘆于費(fèi)里尼電影中的化妝道具構(gòu)圖以及場景設(shè)置，為了達(dá)到理想的效果，他不惜代價的用黑色的塑料布包裹了海洋。而在很多室內(nèi)的鏡頭里，那種打光居然折射出倫勃朗油畫的味道，令人驚嘆無比。劇中出場人物眾多，形象千奇百怪，似乎格列佛游記中的妖魔鬼怪全部渙然一新隆重登場。巨人、侏儒、色情狂、神經(jīng)病、荒淫的貴族和下流的貧民，西方古典傳說中的生旦凈末逐一進(jìn)入卡薩諾瓦的生命。這種歷史題材是相當(dāng)難以把握的片種，不過以費(fèi)里尼的天才而言也不算什么。他熱愛小丑與馬戲的天性又給我們后人帶來了一場視覺的狂歡，黑色幽默與超現(xiàn)實主義猶如哈哈鏡一般，給這個傳奇人物披上了荒誕醒神的外衣。
 
性能力是衡量一個男人的基本指數(shù)，在荒淫無度的古羅馬，居然也可以成為進(jìn)身之階。片中卡薩君與車夫的做愛比賽令我爆笑，動物性的感官視覺永遠(yuǎn)都是人類不可或缺的精彩調(diào)料。那個總是在關(guān)鍵時刻蹦跳出來的機(jī)械小鳥，和著類似ＩＤＭ的電子音樂，在他每一次的做愛經(jīng)歷中充當(dāng)著計時器的作用。一群人在瞠目結(jié)舌的看著他進(jìn)進(jìn)出出，動作粗獷有力，各種女人在他的壓力下形神兼?zhèn)涞貋碇叱?。天黑或者性生活最好都閉眼，否則可能是引發(fā)一場噩夢的先導(dǎo)。
 
最后他老了，老了也就不存在什么最后了。機(jī)能衰退是人類必然的目的地，日子不重要，什么也不重要了。在滑稽的古堡里，這個曾經(jīng)出過風(fēng)頭的“性斗士”只能用顫抖的聲音，來索取他喜歡的通心粉。一個布滿裂痕的瓷器，就等著“啪嚓”一聲，然后遠(yuǎn)離這個希奇古怪的世界。
 
看詩人于堅在歌頌費(fèi)里尼，認(rèn)為寫得相當(dāng)精彩，我不如也。我從《甜蜜的生活》和《愛情神話》之后，就開始迷戀這個才華橫溢的造夢者。他寬大的額頭上銘刻著智慧的印記，他把人生和電影當(dāng)成他縱情演繹的馬戲團(tuán)，用小丑般的高超技能，為全世界熱愛電影的人們，奉獻(xiàn)出多次的影象高潮。