Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.
歌劇太難聽了,還是朗誦好。
#1800
7.5/10。①一對夫妻對他們的婚姻感到乏味,于是在一派對上分別與別的異性調(diào)情。影片講述了派對結(jié)束后他們回到家在家里一番爭論商討,最終決定婚姻的陪伴與穩(wěn)定比情人更重要。②聲音上是歌劇吟唱(由角色們發(fā)出),畫面上基本是各種劇情扮演。③以極簡的置景、克制的表演模式和簡約中帶著超驗(yàn)感的攝影美術(shù)/運(yùn)鏡調(diào)度營造一種更純粹的情緒感受與精神體驗(yàn)(同質(zhì)于《詞語》),并在此基礎(chǔ)上以歌劇吟唱為影像提供最主要的情緒魅力。④影像上的情緒沖擊力不夠強(qiáng)(沖擊力比《摩西與亞倫》輕)。
終于又看到一部能耐心看下來的施特勞布電影。
施特勞布夫婦展現(xiàn)了維系婚姻與歌劇表演之間的同質(zhì)性,是一場關(guān)于聲音和空間的設(shè)計(jì),歌劇中的“歌劇”又帶來了喜劇感,開場暴露舞臺與樂團(tuán)為影片有力的畫外空間提供了前提。
三星半。一對演員夫妻從頭唱到尾,后來來了另一對,然后一起唱
欠缺條理和節(jié)奏
乏
勛伯格同名歌劇改編。
這么看下來,其實(shí)施特勞部的電影都蠻難進(jìn)入的,更別說理解。純歌劇對應(yīng)的視聽反而要求更高,尤其是融合了歌劇,藝術(shù)性似乎背離影院的大眾?這一點(diǎn)看,也更能理解伯格曼拍攝劇場『魔笛』(同樣是純室內(nèi)拍攝)時候?qū)︾R頭和蒙太奇的選取了。但簡單地議論,不能說斯特勞布的電影就沒有精心的設(shè)計(jì)。攝影機(jī)的游移也許在純音樂性的引導(dǎo)下是更顯著的?『安娜巴赫簡史』中人物的形象就是通過音樂性和稱述(大概是因?yàn)楣诺湟舴ㄒ舱娴暮芎寐牐﹣硪龑?dǎo)日記書寫和畫面敘事,從而讓人意識到了接近布列松式的極簡。的確連續(xù)的觀看和接聽變成了一件很難的事,又讓人開始懷疑電影綿延本身的意義。