一直要走,最后却选择不走,就像一直想要改变,最后发现不变才是最好的一样。1.镜子中人物再转现实镜外的那个镜头很赞
什么都有的性情中出租车司机也很赞,这种容易共情的人也最容易让观众共情。一定要凑齐,关键的人物要在关键点出现多次。暂时凑不够140字了,景深的确用了许多次,用来展现“错过”是最好的。
Con Franco ha muerto en 1975, el ambiente cultura en España cambia muchísimo y tiene lugar lo que se llama la movida. La movida fue una auténtica revolución en el panorama cultural, especialmente en el mundo de la música y el cine. Esta película es una comedia muy divertida y todo está contado de una forma tan exagerado. Además, refleja muy bien cómo fueron los años 80 de la movida. Es una película maravillosa que vale la pena ver.
Almodóvar determined to establish positivity out of the melodrama’s natural chaos by making the women exactly be “on the verge.
Author: Coconuttree666, a Chinese student who wants to be a serendipper in film studies and capture a kaleidoscope of colors in each frame
The 1988 movie Women on the Verge of a Nervous Breakdown movie, directed by Pedro Almodóvar Caballero, is described in the academia as highly stylized with the “colorful characters, vertiginous plotlines and rich intergeneric allusions” (Acevedo-Muñoz, 2006, p. 173). Just as West (2013) stated, Almodóvar is among those filmmakers who insert personal experiences as motives and features within their films. Although tons of critics have discussed the film Women on the Verge of a Nervous Breakdown, I intend to specifically underline two idiosyncratic attributes of it in this film blog, namely the color and the references to Hitchcock’s work, within the biographical context of Pedro Almodóvar.
To start with, as the artistic director Antxón Gómez observes, “Pedro works with a very definite range of colors. He has trouble working with white, for example. He always says, ‘I don’t understand black and white.’” According to Oliva (2009), the recognizable use of color constitutes a dominant trademark in Almodóvar’s movies, frequently acting in concert with a neo-baroque aesthetic style that is prominent in Hispanic culture. From my point of view, the most astonishing aesthetical achievement in this film should boil down to the various outfit of the leading actress, Pepa Marcos cast by Carmen Maura (see the screenshots below).
In terms of semiology, the color can function as a signifier, which will denote deeper significance namely the signified, the process of which helps us to deconstruct the film as an aggregation of signs. In the first several scenes featuring Pepa, she is wearing a gray suit, which signifies professional and formal; yet after she feels extremely disappointed at her relationship with Iván, the frequent show-up of the color red could manifest that Pepa is the woman “on the verge of a nervous breakdown”, except for once she chooses to wear a blue suit pairing with a white shirt with black polka dots when she needs to be the adult for solving Candela (Maria Barranco)’s problems when seeing the feminist lawyer, where blue delivers a sense of calmness and intellect here (it can be somehow interestingly confusing with the same color constructing different meaning-making —— Candela, the character who represents irrationality and obtrusion, also wears a blue outfit when she shows up in the film for the first time). Furthermore, it is demonstrated by Oliva (2009) that the distinctive understandings of colors of Almodóvar might be triggered by his mother, Francisca Caballero, who made many cameos in his films before her death in 1999; as “bookish” as he could be, Almodóvar shows a sense of sensitivity through repeatedly claiming that his unlimited passion of narrative in the form of colorful visual compositions comes from his mother ——
As he said in a speech: “I like to think that my passion for color is not merely a function of the baroque style of my characters, but that it is also my mother’s answer to so many years of mourning, in which black was the dominant color. I was her extravagant reaction to the stultifying and excessive tradition of La Mancha (where Almodóvar grows up —— from the author)”.
…
“My mother was the territory where everything happened. I learned boldness from her, and something more: the need for certain doses of fiction so that reality can be better digested, better narrated, better lived… It was not a question of complacently accepting things, but of perfecting reality by adding a little bit of fiction.”
According to Zurian (2013) that when Almodóvar was eight, his family moved to Orellana la Vieja, a village with few traces of modernity, where he received the primary education under the religious supervision; at 17 he came to Madrid but never enrolled in the Official Film School since it ceased giving classes and gradually closed, then Almodóvar became an assistant in Telefónica, the national telephone company. Albeit lack systematic cinematic studies, he seems to be capable of expressing himself without any established rules; in the universe of narrative and film, his family, especially his mother seemingly leads him to a bigger illusionary world full of vivid colors that are conveying complicated connotations.
Moreover, it seems to have become a consensus in the sphere of film critics that Hitchcock should count as the primary textbook of Almodóvar, aesthetically and industrially; you can still tell new traces of the presence of Hitchcock in the form of appropriation in Almodóvar’s movies after accomplishing global success (Acevedo-Muñoz, 2007; Kercher, 2013).
Brill (1988) contended that many characters in Hitchcock’s films are victims of the inevitable and fatal traps of their past; conversely, Acevedo-Muñoz (2007) specifically argues that Almodóvar’s approaches are based partly on the unstable genre as a metaphor for national identity through direct quotations of Hitchcock’s oeuvre, but as a therapy to damage the social diseases from cultural and religious repression in Franco’s Spain.
For instance, at the end of Women on the verge, Pepa ultimately reach some emotional firmness when facing Lucía, the crazy mother, who also actively asks to be taken back to the mental hospital after the failed attempt to kill her ex-husband, which is allegorical of the nation’s process of recovery; therefore, Almodóvar determined to establish stability and positivity out of the melodrama’s natural chaos by making the women exactly be “on the verge” of insaneness, just as the title reads. To sum up, he is trying to pass the positive message that the national trauma could be cured ultimately, or at least offset by presenting that the negativity can be, “paradoxically, a redeeming force”, as Almodóvar himself mentioned in an interview: “I don’t want to let even the memory of Francoism exist in my films”.
(Word count: 942)
References
Acevedo-Muñoz, E. R. (2007). Melo-Thriller: Hitchcock, Genre, and Nationalism in Pedro Almodóvar's Women on the Verge of a Nervous Breakdown. In D. Boyd & R. Barton (Eds.), After Hitchcock: Influence, Imitation, and Intertextuality (pp. 173-194). Texas: University of Texas Press.
Allinson, M. (2001). A Spanish Labyrinth: The Films of Pedro Almodóvar. London: I.B.Tauris.
Brill, L. (1988). The Hitchcock Romance: Love and Irony in Hitchcock's Films. Princeton: Princeton University Press.
Kercher, D. (2013). Almodóvar and Hitchcock: A Sorcerer’s Apprenticeship. In M. D’Lugo & K. M. Vernon (Eds.), A companion to Pedro Almodóvar (pp. 59-88). Chichester: Blackwell Publishing.
Oliva, I. (2009). Inside Almodóvar. In B. Epps & D. Kakoudaki (Eds.), All about Almodóvar: a passion for cinema (pp. 389-445). London: University of Minnesota Press.
Townson, N. (1988). The Spanish Labyrinth. New Statesman & Society, 1, 40.
West, D. (2013). A companion to Pedro Almodóvar. Choice, 51(4), 644.
Zurian, F. A. (2013). Creative beginnings in Almodóvar’s work. In M. D’Lugo & K. M. Vernon (Eds.), A companion to Pedro Almodóvar (pp. 39-59). Chichester: Blackwell Publishing.
最最有趣的设定是那个喝了番茄汁昏睡的女友,在睡梦中不依靠任何帮助(尤其是男性,她男友最后也睡着了)享受了一番性爱愉悦,不再是处女了。将这作为影片的结尾,配合对着开阔天台展开的定格,遥想了一副抛弃男性的未来图景(看看《回归》吧!)。也就是说,这部电影并没有完全地对男性进行象征性地反歼灭,尽管我无数次以为Ivan会只以声音出现,不再具身。但将几个女人汇聚一堂,用舞台剧的调度细致讲述女性的情绪、动作,还是表露出阿莫多瓦的个人创作态度。比较喜欢“花里胡哨”的运镜,来回奔走的脚部特写成为崩溃女性的提喻,浇火、扔碟充满电影味。
女人的崩溃不是因为男人的爱怜,而是同性彼此间的攀比,因为,男人的抓狂才是她们美貌和青春的财富见证~
歇斯底里 紧张兮兮的
由本片开始,阿莫多瓦在女性题材中找到了自己的电影灵魂
阿莫多瓦作品总以激起观众群P欲望为高潮,用纯情地迷信真爱做结尾。
音乐动听,色彩运用浓烈,情节饱满人物出场环环相扣,场面热闹搞笑不止,将失恋女子中的那份竭思底里渲染到极致,还好是濒临崩溃,最终还是找回了真我。他人讲失恋总是令人伤感,而阿莫多瓦讲失恋真叫人痛快。此片遗憾的是主角们的模样都不怎么样。特别是那个马面女,怎么看都不顺。
阿莫多瓦的女性群像谱,关于情殇引致的焦虑与崩溃,或执著癫狂,或回归自我。1.多类型混融,一如片首拼贴画credits,情节剧和神经喜剧交织,大部情节发生在公寓中,契如舞台话剧,高潮时又兀自转为追车动作片。2.色彩艳丽浓郁,热烈的红与静谧的蓝贯穿始终。3.开篇时空跳跃蒙太奇妙绝,既指涉主角职业([荒漠怪客]配音),又与主线互文,展露出男性的花心与自恋情结;以银幕倒计时与多个滴答闹钟凸显女主焦虑不安。4.不少镜像反照(旋转猫眼、碎玻璃、虚实难辨的大镜子段落),似承继自塞克与法斯宾德。5.女主对邻家的窥视,反向致敬[后窗]。6.演杀手母亲的女主洗血衣的洗衣粉广告。7.将车内布置得周全如家、酷似导演的出租司机—跟踪:“我以为这只会在电影中出现。” 8.烧床,番茄汁下药,两摔电话,掷出窗外。9.在安眠春梦中脱离处女。(9.0/10)
本片入围1988年威尼斯电影节主竞赛单元,最终获得最佳剧本奖;1988年欧洲电影节最佳青年作品和最佳女演员奖;1988年纽约影评人协会最佳外语片奖;1989年歌雅奖最佳女主角(Carmen Maura)、最佳剪辑、最佳剧本和最佳女配角奖(María Barranco)。
患得患失其实只求一句交流的情人、走向绝路不管不顾的前妻、身陷荒唐陷阱只求爱情的傻子和昏睡不起的处女...男人、生活、情感都将他们推向“崩溃边缘”,一环扣一环变成了令人哭笑不得的女性浮世绘。P.S. 年轻时候的Rossy de Palma直到现在都长得还是那样...真是“不老脸”啊。
洗衣粉广告和跳楼换取注意这类小细节让人印象深刻,导演的故事切入点很细腻。
女主等几个人长得好man……阿氏作品看多了,就发现不是通俗剧的问题,不是狗血不狗血的问题,而是闹剧……
@西班牙大师展 有点愧疚,开场的时候不应该提醒后面两个聊天的阿姨安静。这个电影非常适合在影院里叽叽喳喳吃着爆米花嘻嘻哈哈歇斯底里地看了。
7.6 哈哈哈,就是个小品啊。想看重拍版,演员阵容如下:佩帕-牛本山 坎德拉-杏菜 伊万-亚瑟 伊万前妻-席丹丹 伊万儿子-贾隆平 伊万儿子未婚妻-傻脸娜 律师-接漏 出租车司机-火星哥 看门大姨-鸡腿呆 警察-贾婷婷&王宇直 电话修理工-黄老板 摩托车小哥&女友-哈卷&霉霉
女人疯起来真的不要命
5。女主角品味排行榜:1、阿莫多瓦;2、法斯宾德;3、待定
看阿莫多瓦的女性电影,总是很享受,看完就觉得那些无意义的爱算什么,男人的都是猪脑子,应该踢他们的卵。
还行吧,一群女人的故事
女主家里的那场戏绝了,超有爱的出租车,总之老阿的片子就是各路女人的群戏。
处于《崩溃边缘的女人》显然意识不到问题其实就出在自己混乱的房间,所幸阿莫多瓦在失调的时光中早早洞悉到了关键。然而他却宁愿将那些偏执、愤怒和疯狂的女人们聚拢在同个屋檐下来放飞各自破碎的独白,也不肯让她们在对方的身上看见救赎与反省。爱情这部有声有色的电影怕是只有于想象的梦中才能完整。
她可以喝下安眠药勾兑的蔬菜汁,把床铺烧出大洞,劫持哈雷摩托车手。崩溃边缘的女人,比要炸飞机的什叶派还恐怖。可是女人并不危险,她不过是想接到那通电话。喧闹的一夜过后,她踩上红色高跟鞋,像个胜利的女王小心躲过玻璃碎渣。可是爱情里哪有胜仗,养了成双对的动物,还是拯救不了无法成对的我们。