公民凱恩之后的奧胖之作，大量借鑒了20年代德國(guó)表現(xiàn)主義的審美，比如在這版中，幾何形狀的王冠，低角度的仰拍，面部大特寫，形式感極強(qiáng)的背景，草原民族感的服裝（感覺在致敬尼伯龍根的指環(huán)），極好地烘托出本片的宿命感和壓抑感，此外女主舞臺(tái)劇感極強(qiáng)的臺(tái)詞表達(dá)方式，更適合展現(xiàn)女主因?yàn)闄?quán)力欲望扭曲的心靈和精神狀態(tài)。
同時(shí)這部舞臺(tái)劇感十足，可以看做是奧胖導(dǎo)演藝術(shù)的過渡，到了午夜鐘聲時(shí)期，他只留下了表現(xiàn)主義，舞臺(tái)劇感就不那么強(qiáng)烈了！
看了這部感覺奧胖還是胖點(diǎn)好，這部還是太瘦了太像小伙子了
Macbeth's soliloquy in act 5, scene 5
"Tomorrow and tomorrow and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing."
---
FML
【麥克白】1948，Sound and fury
轉(zhuǎn)載請(qǐng)注明網(wǎng)址: http://www.mmedi.cn/archives/id-42697.html
