电影评论家不断地在问,“你最喜欢的电影是哪部?我发现回答《公民凯恩》很容易,希望这能让提问者的目光跳过,我就能避免一场争论了。现在,我可以说《迷魂记》了。当有人和我说:“我从没看出它有什么了不起时,我可以回答:“从自传的角度看,它很了不起。
Actually, I'm not sure either one is my 'favorite' film, but that's not what the poll asks for. I'm perfectly happy with 'Citizen Kane,' 'Vertigo' or a number of other films topping the list. My personal 'favorites' might also include 'Singin' in the Rain,' 'The Third Man,' 'Casablanca,' or Ozu's 'Floating Weeds,' which I love more than his 'Tokyo Story,' which is third on the Sight & Sound list.
实际上,我并不确定哪一部是我“最爱的电影,但这并不是这项投票所要的结果。我对《公民凯恩》、《迷魂记》和其他一些电影位居榜单前列非常满意。我个人的“最爱或许还包括《雨中曲》(Singin' in the Rain)、《第三人》(The Third Man)、《卡萨布兰卡》(Casablanca)以及小津(Ozu)的《浮草》(Floating Weeds),我喜欢这部胜过在《视与听》榜单上排名第三的他的《东京物语》(Tokyo Story)。
What is so great about 'Vertigo' and 'Citizen Kane?' To set aside matters of technique and artistry, which would keep us here all day, what fascinates me is that both films are intensely personal and autobiographical. Welles gives us a portrait of a gargantuan man of unlimited ambitions and appetites, whose excesses outran his resources. Hitchcock gives us a man obsessed with control, who had a fetish not simply for blondes in general but for the specific features of a specific blonde. Consider the fascination of Hitchcock's camera with the coil of hair at the back of Madeleine's head.
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