[img=1:C][/img]說(shuō)實(shí)話，我這真沒(méi)看懂伍笛想要表達(dá)什么，.....也許是對(duì)與紐約街景和百老匯本身的致敬吧....[img=2:C][/img][img=3:C][/img][img=4:C][/img][img=5:C][/img][img=6:C][/img][img=7:C][/img][img=8:C][/img][img=9:C][/img][img=10:C][/img][img=11:C][/img][img=12:C][/img][img=13:C][/img][img=14:C][/img][img=15:C][/img][img=16:C][/img][img=17:C][/img]

這幾天在讀《和奧遜威爾斯一起午餐》，奧遜說(shuō)他不喜歡Woody?Allen這個(gè)人，原因很簡(jiǎn)單，說(shuō)他拍的每部片子都是為了治自己的病。
然而奧遜算是那種靈光一現(xiàn)的天才，因?yàn)榭v觀他人生為數(shù)不多的作品，拿得出手的只有《公民凱恩》和《上海小姐》，除了拉不來(lái)投資，晚年的他也直言自己寫(xiě)不出來(lái)東西，知道自己能力如此，他的病無(wú)藥可救，Woody?allen拍電影除了治自己還能治別人，為什么會(huì)不被喜歡呢？
這片子由一群社會(huì)的上流分子談?wù)摰つ崃_斯開(kāi)始，用了兩個(gè)引子，再由其中一人開(kāi)始主要故事的敘述

Allen’s ‘80s black-and-white features x 2, ZELIG is a gimmick film, a mockumentary germinated from the inventive idea of a “human chameleon”, but the real star is DP Gordon Willis’ Promethean genius of inserting characters into archival footage and the application of rendering the newly shot footage a ’20’s archival veneer, to the astonishing effect of total harmony and verisimilitude (although the one with Hitler is a bust, the actor’s resemblance is wide of the m

“丹尼玫瑰”伍迪·艾倫作品，經(jīng)紀(jì)人的工作就是讓自己失業(yè)。
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