猜你喜欢
剧照
详细剧情
长篇影评
1 ) [Film Review] The Tarnished Angels (1957)
Title: The Tarnished Angels
Year: 1957
Country: USA
Language: English
Genre: Action, Adventure, Drama
Director: Douglas Sirk
Screenwriter: George Zuckerman
based on the novel “Pylon” by William Faulkner
Music: Frank Skinner
Cinematography: Irving Glassberg
Editing: Russell F. Schoengarth
Cast:
Rock Hudson
Dorothy Malone
Robert Stack
Jack Carson
Robert Middleton
Christopher Olsen
Troy Donahue
Alan Reed
William Schallert
Rating: 6.8/10
THE TARNISHED ANGELS, Douglas Sirk’s cinematic adaptation of Faulkner’s Depression-era novel PYLON, repeats the winning formula of WRITTEN ON THE WIND (1956), with Hudson. Malone and Stack, all returning to the fold. Yet, for those who are ensorcelled by Sirk’s variegated palette, the big comedown is that it is a black-and-white fare.
Hudson plays Burke Devlin, a journeyman-cum-lush, gets interested in the barnstorming airshow, and meets Roger Shumann (Stack), a daredevil WWI ace and his wife LaVerne (Malone), a parachute stuntwoman, and their 9-year-old son Jack (Olsen), plus Jiggs (Carson), the grease monkey. Will he get a substantial story out of his involvement? The denouement is more than what he bargains for.
LaVerne is the neglected wife, sadly even her marriage is the outcome of a dice game, yet, between the good ol’ Jiggs and a stony-faced Roger, a woman is destined to pick the high-flying, handsome hero who is ill-equipped for love and family. Burke’s advent gives her an opportunity to make a clean breast of it, he is a charming, tender receptacle of her pent-up discontent, they might have a passionate affair, but that doesn’t change the status quo. Burke is far too righteous a man to interfere a holy union, and LaVerne can never get over her stolid Prince Charming, is indiscriminately at his beck and call, even for an immoral proposition, she will hardly demur. That is the draw of a man like Roger, his hard-nosed, hellbent masculine toxin that gins up eligible girls’ romanticized fancy of “a man worth marrying”, LaVerne would be far more happier with Jiggs, but both in Faulkner’s head space and in Hollywood’s propaganda mill, a soft touch like him has no chance of winning the girl, even second-handedly.
The love triangle is namby-pamby, Roger’s promised fresh start is tinged with a blasé fatality that even a toddler can outguess what is in the horizon, the emotional tangle in THE TARNISHED ANGELS is a few notches below the torrid quotient in Sirk’s other films, notably the three also starring Hudson. Even so, a Sirk’s picture is never unprepossessing, the striking chiaroscuro overshadows the dark corners of one’s unsaid vice, and the aerobatics are brilliantly maneuvered (LaVerne’s base jump is deceptively astounding) save for the final crash, obviously there is a shallow, artificial pond right in front of our eyes, how can they not find the body?
Acting wise, Stack is too self-serious and uptight to hint Roger’s inability of adjusting a fly boy’s life in peace time; Carson is a remarkable sidekick as Jiggs, who unfairly takes the short end of the stick when all is said and done (why no one wants to recruit such a proficient mechanic?), you feels sorry for him, but in the same breath thinks he deserves the misery because of his weakness; Malone asserts herself glamorously under the monochromatic allure, she could be a tamed man-eater, or a saintly mother, but never asks for our compassion; finally, Hudson appears as a solid lead, and delivers perchance his most eloquent monologue in the aftermath of the tragedy, a conventional Hollywood leading man in a full-bore mold, all square and virtuous, not unlike its soft-pedaled ending, extricating a woman from her seedy acquiescence and humorously setting up a future reunion, oh, what a dreamboat!
referential entries: Sirk’s LURED (1947, 6.5/10); WRITTEN ON THE WIND (1956, 8.0/10).
2 ) FIFF14丨DAY6《碧海青天夜夜心》：广阔的天空写不尽我们的一切
第14届#法罗岛电影节#无人知晓单元第6个放映日为大家带来《碧海青天夜夜心》，下面为大家带来前线彷徨众人们自我麻痹的评价了！
节南山：
文艺青年的忧伤爱情故事，但总显得略有些刻意。
我们敏熙：
又见错位爱情，在大部分时候洛克·哈德森的角色都处于旁观的状态，直到最后角色情绪才喷涌而出。影片情感的纵深度令人咋舌。
Msanctuary：
摄影技术飞行画面极佳，空中的表演很大胆。影片最后确实有点乱，情感的动摇，人物的对话，每个人的标签都带着些许的黑暗：绝望，孤独或是愤怒。
拉拉那个啦啦：
是纠葛的感情困扰彼此的一生，还是因为一生都在寻找这样的真实与复杂性所以变得曲折不堪？黑白片的魅力之一，是它的时代久远性，这会让人更理解人物内心。角色人物塑造得还是挺好的，有被打动。
非无想非有想：
没看懂，纠缠于两个男人间的女人，苦苦追寻飞行员老公的爱，最后终于确定了爱着彼此，老公却死了。又出来第三个男人——记者最后鼓励了她。第二个男人也就半路失踪了。我真的不知道想表达啥，云里雾里。
布谷卟咕：
故事发生在一个寻求刺激娱乐的沙滩周围，主线在我看来讲述了一个表演性飞行员被对天空的渴望不断吞噬，麻木他对生活不可控的恐惧感。克制的情感，强横的人物形象，对社会现象深入的刻画，都让这个故事显得辛辣有观点。
Pincent：
飞行比赛与空中杂技表演本身就有种自毁的气质，飞行是终极的逃离与自由，同时人又可能被其吞噬。视觉相对出彩，黑白对比强烈。当飞机划过天空，福克纳充满酒精与嘉年华的故事开始了，各有其过往的角色们在此微妙地相交，在残酷的生活之下，人物没有正邪没有好坏，只有理解与误解、问题与挣扎，不忽略三人中任何一人的视角，也不会落入俗套，最后他们仿佛都只能躺下来，将自己埋葬。
子夜无人：
来不及写完他的故事，先一步爱上他的妻子；蓝天白云的梦想只剩自我麻痹的酒精，唯有机毁人亡才是成全了你也圆满了我自己。多罗茜·马龙光芒四射，哪怕在一部双男主戏里、同时面对积忧成疾的罗伯特·斯塔克和深情款款的洛克·哈德森也傲人镇场。就如同这场情感的困局，只有她真正清醒，她留守的是一个男人的过去，而另一个男人爱上的只是她的幻影。爱情最多的时间就是被过去和幻影占据，因为现实是不敢触碰的真实，本体是一碰就碎的假体。
#FIFF14#DAY6的无人知晓场刊评分将在稍后为大家释出，请大家拭目以待了。
3 ) why bother
what a jerk abusing his admirers and prioritizing his own ego over his responsibility as a father and a husband. also cast a big sarcasm on the heartless and blind mass; a bunch of hypocrites taking the fools and the poor's advantages when they can. gross. this is a very difficult film to watch, to say the least. an impressive line from the reporter: "I've got the story in my aching heart. I got it by crawling through dirt and filth and muck and smut! By finding truth and beauty where you'd never expect to find it."
As an audience, I'm really tired of hearing Mr. Shuman's big dream and can't come near to appreciate his passion and his willingness to accept death as his fate. Maybe that says something about 21st century. My education in behavior/ brain science won't let me believe in 'the calling'. He chooses to be an unearthly man and it's not a decision easily understood by others. a dangerous threat to daily routines and social norms.
The hook really lies in the roughness and imperfection in every character, the kind of subtlety rarely seen in Hollywood. however, the ending is narcissistic. sick of listing to pedantic talk on 'follow your dreams.' what a waste of time. feel sad for Jiggs and the boss.
瑟克的电影是为了满足女人爱做梦的天性而造的梦，看他的电影只看到女性关怀而看不到深层反讽会少了很多乐趣。这部电影同样如此，所有男性角色都必须爱上女主角，他们是女主角可以自我欣赏美丽忠贞的一面面镜子，是女主角可以一次次冲动任性选择后丢掉的棋子，而最后女主角必须要放弃所有男人，独自承担起责任（孩子）上路，以表演她的独立坚强和自由，为了不太决绝，结尾还必须给女主角留下一线希望（男主之一送的书）...结尾Rock Hundson问女主角“你的梦想是什么...你今天的梦想是什么” ，其实一语点醒了观众，电影结束于女主独自带着孩子乘上飞机升上高空飞向远方，留下勇敢追梦的形象在观众心中.....忍不住赞一句，瑟克高级黑。
搞不懂为啥Sirk喜欢用Rock Hudson，傻大个儿好难看有没有
也不是看不明白瑟克的好啦，但是这种好和通俗情节剧的做作组合往往令人愕然。哈德森的角色可鄙至好笑，酷似让娜莫罗的多罗西马龙纤弱而无主张。每一个人的不幸都是由他们自己的愚蠢所招致的，使得最后那句“你的梦想是什么？” 的问句成了一个极端辛辣讽刺的笑话。
一位挚爱飞行逃避爱情勇敢却又恐惧的落魄战后英雄，一个爱上英雄将自己对他人的爱意视作对爱人诅咒的女人，一个三人行中毫无地位可言只能放任谣言流传自以慰藉的第三者，一个毫无悬念陷入自己的Antonia与其他男人间的旁观者。为什么他们的爱都这么扭曲阴微？为什么他们每个人都如此疲惫忧伤？
像所有伟大的艺术家一样，塞克对于人是充满了爱与理解的。这部被低估的杰作里的每个人都清楚地知道，自己执拗于的东西永远也得不到，可他们依然还是紧紧地抓着这层幻景不放。女主角是塞克作品里最复杂的角色，她名义上是她爱人的妻子，却永远赢不过一个甚至没有身体没有形状的小三，同时还要满足于她丈夫随手扔来的哪怕一丁点的爱意。她的一袭白衣标志着，她是这些“玷污的天使”里最突出的那个。在不无讽刺意义的最后一场戏里，她被从一个男人的手里拯救出来，却成了另一个男人“卡萨布兰卡”式舍己救人的幻想里的失足天使，盘随着高耸入云的男性性器官象征魂归苍穹。
3.5星，洛克.赫德森在这部电影里居然没有把到妹子，真难得啊，影片拍摄的时候塞克相当的不满，主要是这一次他无法拍摄一部彩色片了，塞克一向对彩色电影情有独钟。。。
从彩色换回黑白甚至一下子看不出是瑟克（以前看几部都是彩色的），但仍旧视觉上很突出，用各种明暗对比强烈的场景说话，跟用颜色道理大概是一样。剧情五角恋也是醉醉的，并且竟然真的是《苦雨恋春风》全套人马（少一个白考尔），罗伯特斯塔克就因为长得凶就老演惨角色，简直便宜了赫德森！
不狗血不怀春的塞克是无聊的。或许是福克纳原著影响，让赫德森大讲特讲文学性独白，煞风景。
太明显了有木有
7.7 细看瑟克的这部电影，其叙事以及表演并不是总是有效的，甚至还有些粗糙，但它在一种相当风格化的形式中却也成为了瑟克最具有诗意的电影之一，有着一战情节，有着对三十年代人们的精神面貌以及对游乐场与飞行表演时代的怀念，更有着风格化布置的场景中角色富有韵味的诗意对话或独白。
以1958年的标准来看，飞空场景拍的很写实。飞行员罗杰明知飞机（内心）不能修复，却义无反顾进行表演。用这种英勇行径掩饰内心的恐惧，勾勒出三角关系的无法沟通和与世界的疏离。因为他们都活在谎言之中。尽管洛克.赫德森演的还可以，但他并不太适合这个平凡的记者形象。
黑白瑟克一样精彩，大量使用百叶窗和栏杆来制造明暗对比，还有大量的阴影使用，完全就是一出黑色电影手法拍摄的情节剧，这个五角恋的故事与飞行主题进行了完美结合，动作戏份里增加不少主观镜头和心理暗喻制造出紧张感来，沉迷于事业的男人忽视了对女人的爱，瑟克总是带有浓厚的怀旧气息
总感觉像是角色个性夸张的舞台剧。且为黑白片，影评家也没了像对待《苦雨恋春风》那样的浮想联翩的空间……
結尾笑出聲了，Sirk始終是高級黑
3.5 那天晚上，LaVerne离开机房的时候，Roger、Jiggs、Burke 三个男人的眼神都是爱。
20.5.24 第二遍。劇本牛。可以和灰燼與鑽石對比著看。2015/12/3 第一次领略瑟克之美，本以为出自卡赞之手，性感又透着含蓄。法斯宾德不像瑟克 觉得瑟克张狂多了。Rock Hudson是不是脸庞子大了点啊 这种闷骚的小记者角色蒙哥马利克里夫会好点咩？
及格
这样的飞行比赛现在怎么没有了？
incertitude de l'amour...
继承《杀戮》里的「故事感」便是让《污点天使》变得十分具有可读性。在塞克这部发出强烈政治讯息的情节剧里，没有人能够真正在「碧海青天」里自由翱翔，也没有人能够尽情尽兴地享受「夜夜心」的乐趣。每一架雄心勃勃的飞行器都在浑浊的低空中盘旋，每一个有血有肉的骑士都被复杂的人际关系所牵绊。新闻人都在看他们你争我赶拼死拼活的好戏，以及等待着他们「油尽灯枯」葬身湖底。男人的《锅盖头》被机油熏得乌黑，而圣洁的《金盔》无疑是被玷污得最不像样子的一个。从未了解《八佰》的观众何以知晓战争原是如此残酷的秀场：为了响应和满足「狂欢节」的需求，不得不完成危险的表演。男主角无法将他的故事，以及故事里所描述的浪漫化的政治主张公之于众，在对腐败的体制抒发完怒火之后他也终于释怀：那些高耸入云的《标塔》正是英雄的墓地、故里和纪念碑。