在《公民凯恩》中,我们看到了类似的心理变化过程,查尔斯?福斯特?凯恩(Charles Foster Kane)如何逐渐被他理想中的苏珊?亚历山大(Susan Alexander)消磨殆尽──其实不是真正的苏珊本人,一个甜美普通的年轻女人,而是他将苏珊改造为一位歌剧女主角的做法,后者才能反映出他的伟大。
Kane as a character turned out to be uncannily prophetic of Welles's own life. Scottie as a character reflected not only Hitchcock's fetishes but his fears. The films originated in the self-knowledge of their makers (and in Welles's case, perhaps, the even greater knowledge about him of Herman Mankiewicz, the writer).
凯恩这个角色被证明是威尔斯自己生活的神秘预示。斯考蒂这个角色不仅反映了希区柯克的恋物癖,还反映了他的恐惧。这两部电影都源于导演的自我认知(《公民凯恩》或许也源于编剧曼凯维奇(Herman Mankiewicz)对威尔斯的更多的了解)。
After I am cornered and asked to supply my 'favorite film,' I am sometimes quizzed about the 'auteur theory' by people who 'loved,' let's say, Michael Bay's 'Transformers' movies. A whiz-bang director like Mr. Bay invites us to gaze in awe at his frantic cutting, bright lights and loud noises. An auteur director like Welles or Hitchcock guides our eyes: 'Look here . . . now there. . .focus on this . . . now that . . . make this connection . . . feel this absence. That is the best I can say about what it is like to be me.'
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