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    推荐电影
    忘了奥运, 看看电影。

    巴西影片:How Tasty Was My Little Frenchman
    ---------巴西野人,绝对全裸, 丝毫没有美国电影的虚伪。

    这部电影没有能够参加戛纳电影节的比赛,理由是裸体太多!

    特别适应女士看

    In 1594 Brazil rival French and Portuguese settlers are utilizing the indigineous people as allies in their struggle to establish control. The Tupinambas, who live in the Guanabara Bay area, are allied with the French, while the Tupiniquins are allied with the Portuguese.

    A Frenchman who has been captured by the Portuguese is then captured by the Tupinambás after they attack and kill a group of Portuguese. The Tupinambas don't believe that the Frenchman was a prisoner of the Portuguese they have killed, and the Chief thinks he is Portuguese because "No Frenchman would shoot at the Tupinamba." The tribe's shaman predicted they would find a strong Portuguese man to cannibalize as revenge for the chief's brother being killed by a Portugeuse musket ball. Now they have one.

    However, the Frenchman is allowed free run of the village area, is eventually provided with a "wife," and adopts traditional Tupinamba attire in place of his Western clothes.

    Another Frenchman comes to the village and tells the Tupinambas that their prisoner is indeed Portuguese -- he then promises the outraged Frenchman that he will tell the Tupinambas the truth when the Frenchman finds a hidden treasure that another European has hidden in the area.

    The relationship between the Frenchman and his Tupinanba "wife" remains enigmatic. It is unclear for most of the movie if she intends to save him from the group that wants to eat him, or if she has been assigned to win his trust and prevent him from escaping.

    After using cannon powder to defeat the Tupiniquins in battle, the Tupinambas eat the Frenchman as celebration.

    In the last seconds of his life the Frenchman refuses to play along with the ceremonial script that the Tupinambas expect him to follow and instead angrily (and loudly) tells the Tupinambas that his death will not revitalize them (as his death and the subsequent cannibal feast is intended to do) but rather will doom them all to extermination.

    The movie ends with a postscript that reveals that the Tupinambas were exterminated within a relatively short period of time after they killed and ate the "tasty" Frenchman.



    2. 3-Iron 韩国电影,对话很少,寓意甚多。

    Tae-suk, the hero of Ki-duk Kim's remarkable film "3-Iron" has a strange air of quiet, contemplative contentment. A beautiful young man with a shiny new motorcycle, he does not participate in the ordinary hustle and bustle of contemporary life. Instead, he methodically goes from door to door of stranger's homes, putting flyers in the keyholes, and then, later, breaks into the homes where the flyer has not been removed. He exists peacefully in the shadow of other people's lives, cooking himself simple meals, taking long baths, and watching television. He sleeps soundly in the master bedroom.

    A scene from Ki-duk Kim's mesmerizing film "3 Iron."Tae-suk is not a thief. Quite the opposite, while residing in these temporarily vacated homes, he does the tenant's laundry and he repairs broken items: a scale, a toy gun, a clock. Always a prankster, he leaves a small detail to make his presence known. He is also takes a self portrait in each home. This way of life seems to work well for the silent hero, but becomes complicated when he encounters an abused married woman Sun-hwa (Seung-yeon Lee) in a luxurious house he had broken into. She follows him through her own home for an extended period of time. The two enter a wordless game, slowly acknowledging each other's existence, recognizing their emotional connection. Without a doubt, the two are kindred spirits.
    Sun-hwa is clearly in need of healing, and Tae-Suk is a fine caretaker. He dresses his prodigy in innocent, child -like pink. He cuts her hair, and prepares her food. But before long, we discover that Tae-suk is not nearly the carefree man he first appeared to be. His attachment to a 3-Iron golf club he removes from Sun-hwa's home is a clear indicator. First he uses this club to smash tennis balls into the sunken chest of his lover's detested husband. Later, he rigs a golf ball to a wire, and hits the ball round and around a tree. Never before has the golf stroke revealed itself to be an act of unadulterated hate and violence.
    The most amazing aspect of Ki-duk Kim's film is that neither of the stars talk. They fall in together, fall in love wordlessly, and it absolutely works. Never does this unusual plot device ring false-- perhaps because other characters do, in fact, converse: the true inhabitants of the apartments and houses that are broken into, the police who are called in to investigate. Tae-Kuk and Sun-hwa's faces are so expressive, their gestures perfect, their performance so flawless that the absence of talk almost seems to prove the richness of their love. When Sun-hwa finally speaks, her words do not disappoint. "3-Iron" mesmerizes.

    意大利电影
    Cinema Paradiso 讲一个电影人回到家乡,回想起小时候失去父亲的他常常跟村里一个放电影的老头厮混,从而对电影产生了浓厚的兴趣。那时候,意大利社会很保守,放外国电影如果有接吻镜头都要略过。 一个人说,我20年没有在电影上看过接吻了。电影以这个电影人一个人看自己编辑的各种电影里的接吻镜头,热泪盈眶结束。这里还穿插一段没有结果的爱情故事,非常感人。

    中国也有个电影,讲一个小孩跟着村里一个放电影的,不知道是否受这个启发。