剛開始我還以為是范霍文那個(gè)伯內(nèi)黛特故事,后來才發(fā)現(xiàn)是19世紀(jì)法國(guó)小鎮(zhèn)的伯內(nèi)黛特!
剛開始還覺得無聊,當(dāng)看到當(dāng)?shù)毓賳T在探討修鐵路和圣跡對(duì)之影響,然后開始恐嚇女主后,我才覺得這片真是太好了!雖然這里人人都是天主教徒,但是當(dāng)一個(gè)人看到圣跡時(shí),并沒有人相信她,不僅不相信,還要審問她;最后還要強(qiáng)行把她關(guān)進(jìn)修道院;在修道院里她還要受到前輩修女的霸凌!這里面除了女主外,每個(gè)演員都演得好好啊!前半部分是母親這個(gè)演員,她好維護(hù)自己的孩子啊,令人動(dòng)容的母愛。后半段是教區(qū)長(zhǎng)的轉(zhuǎn)變,他最開始是不信任女主的,后來公平地看待她,最后維護(hù)她,臨行前的小卡片約定,最后教區(qū)長(zhǎng)看到小卡片時(shí),我心都碎了!還有就是女主愛慕者這條線,最后他在路邊許下我不會(huì)再娶的諾言,唉,太傷了,聯(lián)想到女主并不想到圣女,她還想著結(jié)婚組建家庭!
歐仁妮皇后這條線,真是太諷刺了,權(quán)勢(shì)的力量!但想到那個(gè)被治愈的小男孩是歐仁妮皇后唯一的孩子,這個(gè)孩子還戰(zhàn)死了,歐仁妮皇后白發(fā)人送黑發(fā)人,又讓人唏噓不已,感覺世事無常?。?/p>
A vintage Hollywood faction of the incredible story of Bernadette Soubirous (1844-1879), at the age of 14, her self-purported visions of a lady in white who identified herself as “Immaculate Conception” sparked national controversy and debate, and subsequently founded the pilgrimage site in Lourdes. Starring Jennifer Jones as Bernadette, this 2-and-a-half-hour tome, based on Franz Werfel’s popular eponymous novel published in 1941, and directed by veteran hand Henry King, won 4 Oscars out of its overall 12 nominations, notably winning Jones BEST ACTRESS IN A LEADING ROLE for her first attempt at the age of 25, which also heralded her second marriage with dignitary producer David O. Selznick. Jones’ beatific, ingenuous countenance and diffident but well-honed locution compellingly reflect Bernadette’s down-hone modesty and indubitable piety of what is bestowed only to her eyes and ears, that she will never gainsay whoever her interrogators are. And most convincingly Jones dispels any semblance of self-martyrization which might theoretically undermine Bernadette’s saintly iconography. Alongside the voyage from Bernadette’s first vision in a grotto near Lourdes to her untimely demise in the convent, the saga corrals a formidable cast of talents embellishes it in the supporting roles, among which three are rewarded with an Oscar nomination, two strong female characters leave indelible marks respectively in the first and second half. Anne Revere’s Louise is the stony-faced mother of Bernadette, afflicted by the household’s immiseration (her husband Fran?ois, played by a commendable Roman Bohnen, is a jobless mill worker earning pittance with demeaning odd jobs and they are four children to feed), who does swing from scolding-prone to heartfelt supportive of her daughter’s ordeal without toning down the ferocity ingrained within her persona; then there is the holier-than-thou Gladys Cooper as Sister Marie Therese Vauzou, whose stern deportment and self-willed disbelief divulge the obverse from Bernadette’s male-exclusive, higher-ranking naysayers, she is not driven by an ideological reason but a pure elemental demon, the green-eyed monster to which we can all relate (why you, not me?), and Ms. Cooper emanates sheer intensity through her hard-hitting tête-à-tête, albeit crimped by the wimple, excels in actualizing one hell of an about-face entirely on the strength of her facial expression near the end. As Abbé Dominique Peyramale, who denotes the pragmatical policy of the Catholic church on the prickly matter of commoner’s holy visions, Charles Bickford (likening an aging Joseph Cotten, anyone?) appreciatively embeds a more lenient, beneficent and high-minded personification and also delivers with a sincere avuncular amicability towards Bernadette. On the entirely different optics, Vincent Price’s debonair mien and oral cadence also strike a vehement chord as Vital Dutour, the Imperial Prosecutor who is bent on discrediting Bernadette’s enlightenment, mirroring the agnostic/atheist angle on benighted religious fools. Were it not for the occasionally functional spring water which possesses a miraculous healing power (whether it is psychosomatic or not, the film leaves it equivocal), and a divine intervention involving the henpecked Emperor Napoleon III and his wife (cameos by Jerome Cowan and Patricia Morison), Bernadette would not stand a chance to justify her flimsy story. Rarely subjected itself towards preachiness or loftiness, what is remarkable about THE SONG OF BERNADETTE lies in its matter-of-fact narratology, dialectical approach towards its subject matter and a life-affirming positiveness rising above any religious discord, as proven by Vital Dutour’s plea in the end, religion always requires a certain degree of blind faith, someone are equipped to accept that while others cannot, or at least not yet, discrimination is never the cure. A pristinely restored Hollywood flagship, this one has immensely wholesome value for anyone who cares to savor. referential entries: Henry King’s THE BLACK SWAN (1942, 6.5/10); William Dieterle’s PORTRAIT OF JENNIE (1948, 6.7/10).
信仰在理性之外——亦褒亦貶之語。
算是全面的給我補(bǔ)了看電影《盧爾德》時(shí)留下的課題。
真夠長(zhǎng)的。。。想去梵蒂岡 去看圣彼得大教堂 梵蒂岡博物館 西斯廷。。。不知道這部電影有沒有政治因素 如果有的話只能三星了
雖然有些說教,也表明了信者無需多言,不信解釋也是徒勞。但女主無論從個(gè)人氣質(zhì) 角色設(shè)定還是演技都很好地詮釋了這位被圣母瑪麗亞選中的貧家女伯爾納德就是人間天使,來解救眾生。
“對(duì)信仰上帝的人,解釋是必要的,對(duì)不信的人,解釋是多余的!”
也許有萬分之一的可能,上帝真的顯靈了,但是這個(gè)上帝只會(huì)極其偶然的回應(yīng)某些人的禱告,天主教徒或者基督徒應(yīng)該學(xué)會(huì)接受,神跡時(shí)代早就已經(jīng)結(jié)束了。這樣的電影拍出來誤人子弟,使人迷信。即使是再虔誠(chéng)信奉上帝的人,也不應(yīng)該把神跡當(dāng)回事
略顯冗長(zhǎng)。背景和經(jīng)歷交代得很詳細(xì),然而伯納黛特的對(duì)內(nèi)自照卻少得可憐。獨(dú)行在這條不能回頭無法規(guī)避的荊棘路上,是何等的孤獨(dú)凄楚啊。室內(nèi)戲?qū)τ霉庹娴暮芸季?,片尾病榻上珍妮弗·瓊斯凝在眼角的淚珠泛著炫目的反光,天知道為了達(dá)到導(dǎo)演的要求N了多少G。
珍妮弗.瓊斯的最佳演出。。。對(duì)信仰上帝的人解釋是必要的,對(duì)不信仰上帝的人解釋是多余的。。。
7-8年前看的了
正統(tǒng)虔誠(chéng)宗教片,視聽技巧高超。讓圣母顯形不如留給觀眾猜想,但這也是宗教立場(chǎng)使然。
157.52
三瓊封后表演,我寧可選瓊斯
Franz Werfel 發(fā)財(cái)之作 無法評(píng)價(jià)
4.5星 “For those who believe in God, no explanation is necessary. For those who do not believe in God, no explanation is possible."
這不是純粹的宗教奇跡劇,夾帶了大量私貨:同時(shí)批判了國(guó)家官僚和教會(huì)官僚。少女帶來了奇跡,地方官僚的直接反應(yīng)是維穩(wěn),要把她打成瘋子騙子,直到更高的趙家人(歐仁妮皇后)當(dāng)了“護(hù)法”,官僚才承認(rèn)群眾的宗教熱情為合法,并趁機(jī)發(fā)展地方觀光業(yè)。然而教會(huì)官僚卻不放過少女,他們無法體認(rèn)她是受揀選者,害怕她一旦“人設(shè)崩塌”會(huì)傷害奇跡的聲譽(yù),送她入隱修院出家,且直到她抑郁早夭前還反復(fù)質(zhì)問她奇跡的真實(shí)性。
第16屆奧斯卡最佳女主角:珍妮弗·瓊斯, 其他提名: 琪恩·亞瑟【房東小姐】,英格麗·褒曼【戰(zhàn)地鐘聲 】,瓊·芳登【永恒的少女】,葛麗亞·嘉遜【居里夫人】
就像影片開頭的字幕一樣:對(duì)于信仰上帝的人,解釋是必要的,而對(duì)于不信上帝的人,解釋是多余的。對(duì)于無神論者,本片會(huì)是一個(gè)神奇的故事~
“對(duì)于信者,無需解釋。對(duì)于不信者,解釋也是徒勞?!薄瓋H從引言部分的內(nèi)容來看,導(dǎo)演是偏向于信者的立場(chǎng),但也給予不信以一定的寬容??僧?dāng)你將圣母形象清晰呈現(xiàn)于畫面,并強(qiáng)制觀眾同女主人公一起看到之后,引言部分的模糊與寬容就消失了——“都親眼得見了,還不信?!”https://www.douban.com/people/hitchitsch/status/1879778575/
近期已經(jīng)不知道看了多少基督教的故事了,這類電影的故事普遍都挺吸引人的,但由于是無神論者只能用一種充滿懷疑的眼神看完整部電影。不是不好看就是信仰不同,本片也一樣。瓊斯的表演難度不大但完成的很不錯(cuò)。三個(gè)配角提名很難得我都找到了閃光點(diǎn),這還是早期配角(通常很水)。里維爾的表現(xiàn)是最出彩的
當(dāng)年奧斯卡上,同樣提名的英格麗褒曼一直握著詹妮弗瓊斯的手,希望她能獲獎(jiǎng),果不其然。英格麗褒曼說她看這個(gè)電影時(shí)一直在哭,對(duì)于她這樣的基督徒來說,這部電影的確純凈得令人感動(dòng)。