朋友被捕后,贝尔纳打算离开剧院,并告诉玛莉翁他将去参加抵抗军。我本以为他能改变玛莉翁的冷眼,享受点英雄待遇,结果呢?他实实在在地吃了一耳光。
开始我蒙了,后来感觉到玛莉翁的深情,因为她怕他去送死,什么都来不及想,耳光就打出去了。纵有千言万语,难敌扇一耳光。很棒的情节。
所以真爱可以是鲜花拥抱,有时也可以是耳光。挨过耳光朋友体会一下。
The Last Metro was the most crowd-pleasing film of François Truffaut’s latter career, sweeping an armload of prizes at France’s Oscar equivalent, the César Awards. It was also as personal a film as he had ever made, and that denotes the film’s distinction: it is a private memoir graced with popular appeal. In it Truffaut conjures his memories of the German occupation of France, culling from his schoolboy years and his lifelong infatuation with the creative arts. Although the subject of the occupation had certainly been broached before in French film, it was still not a popular one at the time, with culturewide shame over collaboration lingering. But Truffaut, departing from the paranoid melodrama of Henri-Georges Clouzot’s 1943 Le corbeau and the psychological examination of Louis Malle’s 1974 Lacombe, Lucien—to name two well-known examples—took a guiltless approach to the
在犹太人被迫害的那段时间,经营剧院的吕卡斯是个犹太人,为了躲避麻烦,假装离开了法国,实际居住在剧院的地下室,他美丽的妻子玛丽恩曾是电影演员,白天经营剧院,晚上来陪丈夫,两人计划着丈夫先离开,妻子演满新剧50场后逐步离开剧院去找丈夫。新剧的排练请来了贝尔纳,与玛丽恩出演新剧男女主角,德国军官达可西亚时常从来剧院巡视,地下室的吕卡斯由于形势紧张一直无法离开逐渐崩溃,他改装地下室能够看到舞台的排练稍微得到安慰,并对排练情况进行调整。达可西亚发现吕卡斯没离开法国并告诉了玛丽恩
《最后一班地铁》电影剧本
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