The first question is, “Why did she stay?”, followed by, “How would she stay?” It’s perhaps easier to analyze by exclusions: Jean-Marie did NOT stay for political reasons; nor for profit; nor for love of the land or culture (as Dinesen professed to be). In fact, Marie didn’t seem to be capable of sentimentalism, let alone living and dying for it.
Clues? “Your father said happiness is not enough for me.”
“I am a good fighter, too. How could I show courage in France? It would be absurd; no rhyme or reason. I’d slacken off, get too comfortable.”
These are not the finest examples of eloquence by any measure. But one can hardly articulate better, such being the revelation of the private psycology of colonialism.
该不该这么说,这整部片子都弥漫着一种“寓言感”。
一开始就把伊萨贝尔 .于佩尔放在了电影的中心处,也正好说明了丹尼斯把她当成是自己的化身了。而且这个优秀的女演员能使她满意。伊萨贝尔 .于佩尔在电影中的表演是很微妙的,她所饰演的女人被抛到不能控制的混乱的局势中,而她被抛到这个她所迷恋的陌生土地当中。在这样的一部电影中,她要做的不是很多:只需要做出是这片土地的人民的样子,其它的就恰到好处了。她很清楚这点,因此她有效地控制住了自己的表演,这些都显示出一个优秀演员的特质。
一贯的中景?随意。
这是一部典型的因迷恋某片土地而展开的电影——就如同我迷恋某个形象一般,这样的工作方式或者说思考方式是我比较倾向的。这样子就将电影的基调建立在寓言上面。在《 white material》中那些不说话,嵌着一双明亮眼睛的非洲的面孔,刚好加强了这种“寓言感”。
伊莎贝尔 .于佩尔希望和克莱尔.丹尼斯合作一部关于非洲的电影,以便将她带到非洲去。可不可以这么说,这部电影总得来说是关于土地的电影。
不小心下的法国电影
还是没变,一样的拖沓
拖沓的主题都模糊了,于是乎就让观众自己总结
我知道自己在干什么
故事和任何一个革命时期的电影一样
反映了革命
可这很不够
对于非洲来说太不够了
对于一个在非洲的白种女人就愈加的不够
那些冲突都不是矛盾的核心
矛盾的核心还不如《血钻》深刻
这些枪从哪里来?
我至今都不明白这些孩子为什么没有强奸她
因为她太明显了
而强奸和轮奸正是非洲女性每天要面对的——
无论年龄
从安理会的5个常任理事国来
Dream can be built in one's mind freely, also can be spreaded and hung on with one's spirit. But when the dream against the fact that cannot change, we should give up and hold the precious life, 'cause when everything is set up by humanity, you can recover your dream by your living, or you have to pay the suffering because of your stubbornness
白色物质:三星半,可惜了一个好故事
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