The Doll is an adaptation of the novel, The Doll (novel) by Boles?aw Prus, which is regarded by many as one of the finest Polish novels ever written and, along with Pharaoh (novel), made Boles?aw Prus a potential candidate for the Nobel Prize in literature. The influence of émile Zola is evident, and some have compared the novel to Madame Bovary by Gustave Flaubert; both were Prus's contemporaries. The movie, however, may be more compared to Stendhal's Le Rouge et le Noir, (The Red and the Black). The Doll constitutes a panorama of life in Warsaw between 1878 and 1879, and at the same time is a subtle story of three generations of Polish idealists, their psychological complications, their involvement in the history of the nineteenth century, social dramas, moral problems and the experience of tragic existence. At the same time this story describes the disintegration of social relationships and the growing separation of a society whose aristocratic elite spreads the models of vanity and idleness. In the bad air of a backward country, anti-Semitic ideas are born, valuable individuals meet obstacles on their way, and scoundrels are successful. This poetic love story follows a nouveau riche merchant, Stanislaw Wokulski, through a series of trials and tribulations occasioned by his obsessive passion for an aristocratic beauty, Izabela Lecka, played by the famous Polish actress, Beata Tyszkiewicz. Plot: As a descendant of an impoverished Polish noble family, young Wokulski is forced to work as a waiter at Hopfer's, a Warsaw restaurant, while dreaming of a life in science. After taking part in the failed 1863 Uprising against Tsarist Russia, he is sentenced to exile in Siberia. On eventual return to Warsaw, he becomes a salesman at Mincel's haberdashery. Marrying the late owner's widow (who eventually dies), he comes into money and uses it to set up a partnership with a Russian merchant he had met while in exile. The two merchants go to Bulgaria during the Russo-Turkish War of 1877-78, and Wokulski makes a fortune supplying the Russian Army. The enterprising Wokulski now proves a romantic at heart, falling in love with Izabela, daughter of the vacuous, bankrupt aristocrat, Tomasz ??cki. In his quest to win Izabela, Wokulski begins frequenting theatres and aristocratic salons; and to help her financially distressed father, founds a company and sets the aristocrats up as shareholders in his business.The indolence of these aristocrats, who secure with their pensions, are too lazy to undertake new business risks, frustrates Wokulski. His ability to make money is respected but his lack of family and social rank is condescended to. Because of his "help" (in secret) to Izabela's impecunious but influential father, the girl becomes aware of his affection. In the end she consents to accept him, but without true devotion or love.(wikipedia)
詭譎的配樂+街道布景如修復(fù)的上世紀(jì)初影片+一貫的哈斯式的距離感的移鏡=賞心悅目的觀影體驗(yàn);在一個(gè)放蕩的國(guó)家,勤勞者給墮落者打工,愛了但不全愛,結(jié)果“玩偶”竟是我自己,還是趕緊遠(yuǎn)離渣女吧。
哈斯意識(shí)流的潛入意識(shí)深處作品會(huì)更有魅力
地域歷史,上流社會(huì)
他貌似手段強(qiáng)硬,實(shí)則內(nèi)心柔軟,他也努力在高尚和卑微之間、金錢和愛情中作出折中而正確的抉擇;編年史折射的個(gè)人流年,最終他選擇自我放逐;后半部意識(shí)的流動(dòng)、內(nèi)心活動(dòng)很精彩,首尾呼應(yīng),平移鏡頭很美,剪輯甚妙;雖沒看過原著,但部分場(chǎng)景的銜接略有突兀,看得出刪減之處。
在假裝擴(kuò)展我們體驗(yàn)的同時(shí),也能提供娛樂及凝聚力。作為個(gè)本質(zhì)不符于世的浪漫主義者,徘徊在墮落的貴族與憐憫的影子。他懷抱有一大片憂郁的土地,像觸手可及掠過的風(fēng),夢(mèng)醒不會(huì)無痕。最后拋卻放逐,甚至決然地明白:每個(gè)人都是浸著腐朽皮囊的玩偶。流動(dòng)文學(xué)。
看得有點(diǎn)痛苦,古裝歷史劇是死敵
沒有原著1/3精彩,刪減了些
珍惜眼前
現(xiàn)在中國(guó)為什么沒有批判現(xiàn)實(shí)主義小說,如果你看19世紀(jì)末的俄國(guó)東歐文學(xué),處處是中國(guó)的影子
夢(mèng)醒時(shí)分。鏡頭精彩。
76.04+75.25
懶惰,自私的波蘭貴族們從骨子里瞧不起生意人,即使你很會(huì)賺錢。愛上戴著虛偽面具的女子真是可悲。看的出來本片有刪減部分,喜歡片中兩處的平移長(zhǎng)鏡頭
刷
華沙生活全景
今天路過一建筑垃圾堆,歪倒的柜子上躺著一只安逸的胖貓,逗了一會(huì)貓沒理我,正想轉(zhuǎn)身的時(shí)候,突然想到了《玩偶》開場(chǎng)的廢墟長(zhǎng)鏡頭,女人坐在古董堆積成廢墟里,對(duì)著鏡子,泰然自若,正如這只貓一般,在那一瞬,我仿佛明白了導(dǎo)演想表達(dá)的東西。19-10-29更新
http://www.bilibili.com/video/av11342160/
文學(xué)性強(qiáng),好看
@Reflet Medicis修復(fù)后質(zhì)感太棒!古裝歷史劇典范,雖然兩個(gè)半小時(shí)但感覺表現(xiàn)大圖景還是倉促了,看完有點(diǎn)想刷原著,還是更適合拍成電視劇,或者在劇本層面更多聚焦。雖然沒落貴族和新興資產(chǎn)階級(jí)碰撞的故事有些俗套,但放在波蘭的歷史框架下饒有況味,中國(guó)還友情客串了一番,值得把玩。低角度鏡頭,餓殍遍野與浮華虛榮的凋零之美工整又典范。
私以為是哈斯電影轉(zhuǎn)型的起點(diǎn),低角度平行移動(dòng),“凝滯”的時(shí)空,時(shí)間的空間轉(zhuǎn)向,伯格森“綿延”
終於在很多年後的一天,他們兩個(gè)人在命運(yùn)的安排下有機(jī)會(huì)住在了同一間旅館的隔壁,只是故事中的二人相遇了,現(xiàn)實(shí)裡的人卻沒能。只有他為他哭??伤皇强吹搅怂谎?,聲音都沒能發(fā)出來倒地離去。