昨天想起来《宛如阿修罗》也是四个女儿的,更早的美国有个《小妇人》也是四个女儿,《红楼梦》里也有“元迎叹息”,四个女儿的这种组合倒是颇为热闹。
电影看完了,第一个感觉有点类似看完《其后》的感觉。还有类似筱田正浩的《濑户内小夜曲》的味道,就是不知道他说了什么。
其实很多时候不知所云的原因是没有找到自己想要的东西。
这个电影的画面美轮美奂我完全没有意见,但人物总感觉有些零乱,除了三个女儿之外的三个女儿都非常鲜活,但小百合的三女儿感觉有些用言语和镜头堆砌的感觉,没有入。譬如说那个最后确定的对象,如何如何都是“说出来的”,也许是篇幅?
两个上门女婿真是不容易啊,老大最后被获准去东京有感激之态颇令人摇头,不过我对他始终没有好感,总嫌做作。老二的老公竟然真就是那个导演伊丹十三,类似梁朝伟的样子总让我感觉有些好玩,不过他就颇为忍辱负重了,虽然那么喜欢偷腥,理发店一幕真让人感觉会咬人的狗不叫。
岸惠子的表演的确非同凡响,整部电影最值票价的也就是她了
"展现了当时资产阶级糜烂而颓废的人生"? What moron added that plot summary, Commissar?!
I watched this film about 5 years ago, and moments of its sublime beauty still stay with me. Faithfulness to the original plot aside, this is one of the greatest adaptation of literature on screen, in terms of the affinity of spirit. 谷崎润一郎's adoration of shadow (阴翳) as the primary symbol of Japanese asthetics finds an eloquent expression in the caressing canerawork of Kon Ichikawa.
If one must search for a sound-bite for this movie, it will have to be "the sorrow in beauty". This is an inherent and unescapable sorrow, because: (1) beauty is transient and will not last, like 红颜/樱花; (2) beauty, by its perfection, brings out the many imperfections and regrets in our lives; (3) And the ultimate futility of it all.
视听享受!此细雪非彼细雪
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