茶花女
这是一部现实版的《茶花女》,片中将故事中的角色与历史上真实存在的人物(即茶花女的原型、艳冠巴黎的Alphonsine Plessis)贯穿在一起,上演了一出戏中戏。故事元素还是取材于原著,女主角(伊莎贝尔于佩尔 饰)原本是个贫苦的乡下姑娘,被父亲出卖后流浪到巴黎,凭着天生丽质过上了交际花的生活,被人称为是;茶花女最终因肺病发作而离开了人间。本片对原著做出的最大改编就是将原著作者小仲马的创作经历成为叙事的一条主线,与大仲马一同出现在故事中,爱上茶花女的年轻人;阿尔芒;也换成了小仲马本人。
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剧情提要
这是一部现实版的《茶花女》,片中将故事中的角色与历史上真实存在的人物(即茶花女的原型、艳冠巴黎的Alphonsine Plessis)贯穿在一起,上演了一出戏中戏。故事元素还是取材于原著,女主角(伊莎贝尔于佩尔 饰)原本是个贫苦的乡下姑娘,被父亲出卖后流浪到巴黎,凭着天生丽质过上了交际花的生活,被人称为是;茶花女最终因肺病发作而离开了人间。本片对原著做出的最大改编就是将原著作者小仲马的创作经历成为叙事的一条主线,与大仲马一同出现在故事中,爱上茶花女的年轻人;阿尔芒;也换成了小仲马本人。
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Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.
笑脸杀人狂
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