The character Madeleine, played in the movie by Judy (and both played by Kim Novak), represents the emotional heart of the film. When 'Madeleine' jumps into San Francisco Bay and Scottie pulls her out and brings her unconscious to his apartment, is she really unconscious, or is Judy just pretending to be? And when he warms her and puts her gently to bed, is that when she begins to pity him for the deception that she has committed?
在电影中朱迪(Judy)假扮的角色玛德琳(两人均由金?诺瓦克(Kim Novak)扮演)代表了电影感性的核心。当“玛德琳跳入旧金山湾(San Francisco Bay)时,斯考蒂把她救上来,并把不省人事的她带回自己的公寓,她是真的失去意识,还是只是朱迪装成这样?当他温暖她的身体,并温柔地将她抱到床上时,她是否开始因为自己的欺骗而开始同情他?
Hitchcock invites us to follow Scottie's time line, but the film's emotional depths are hidden in Judy's version of events. Scottie is the butt of the joke. Judy is the victim.
希区柯克邀请我们跟随斯考蒂的时间线,但电影的情感深度隐藏在朱迪对事件的视角中。斯考蒂是个笑柄,而朱迪是受害者。
In 'Citizen Kane,' we see a similar psychological dynamic in how Charles Foster Kane grows consumed with his idea of Susan Alexander. Not the real Susan, a sweet, ordinary young woman, but his reinvention of Susan as an opera diva who would reflect greatness on him.
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