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乞丐1961

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主演:弗兰科·奇蒂,弗兰卡·帕苏特,西尔瓦纳·科尔西尼,Paola Guidi,阿德里娅娜·阿斯蒂,Luciano Conti,卢恰诺·戈尼尼,Renato Capogna,Alfredo Leggi,Galeazzo Riccardi,Leonardo Muraglia,Giuseppe Ristagno,Roberto Giovannoni,马里奥·西普利亚尼,Roberto Scaringella,皮耶罗·莫尔贾,Adele Cambria,雷纳托·泰拉,埃马努埃莱·迪·巴里,Adriana Moneta

类型:电影地区:其它语言:其它年份:1961

 剧照

乞丐1961 剧照 NO.1乞丐1961 剧照 NO.2乞丐1961 剧照 NO.3乞丐1961 剧照 NO.4乞丐1961 剧照 NO.5乞丐1961 剧照 NO.6乞丐1961 剧照 NO.13乞丐1961 剧照 NO.14乞丐1961 剧照 NO.15乞丐1961 剧照 NO.16乞丐1961 剧照 NO.17乞丐1961 剧照 NO.18乞丐1961 剧照 NO.19乞丐1961 剧照 NO.20

 剧情介绍

乞丐1961电影免费高清在线观看全集。
  影片表现了罗马郊区的青少年、妓女和拉皮条的人的生活,反映了流氓无产者和被社会所唾弃的人的生活世界。这部影片充满自然主义,高潮部分带有强烈的宗教狂热,穿插着梦幻,但又有明显的社会和心理特点,影片以主人公富有隐喻的死结束。导演在该片中大量运用了实际生活中的语言。热播电视剧最新电影橄榄球之梦萝莉的时间一个国家的诞生2016生呀死呀父亲呀食客外滩探秘第三季偷猎者第一季私枭血高冷姐姐霸王少多彩庄家院 第二季一句顶一万句2016娘心计雷霆壮志黄飞鸿之铁血十三姨和谐孺子可教也奇迹·笨小孩历史眼·河西走廊古墓奇谭2穿越死亡海虚拟实惊恶魔少爷别吻我第一季刑警兄弟 (国语版)配角演员

 长篇影评

 1 ) 阿加东与维多奇

阿加东这样矛盾、极端又丰富的人物,好久没看到了。

一方面,他是个给妓女拉皮条,为食物欺骗朋友,偷自己儿子的项链,鄙视工作,整日高呼“打倒奴隶制”的无产者;另一方面,他愿意为了真爱去工作,压抑他的本性,也在朋友入狱后,坚持照顾朋友妻孩。他的矛盾是这个社会的矛盾,如果累死累活工作一天,还没有游手好闲,偶尔拉皮条挣得多,那为何要干正经工作?不如当个寄生虫,吸取妓女的血吧,这是阿加东的自大和偏执,他愤愤叫嚷着“让我去给别人卖血汗?只有畜生才工作!”,他嘲笑那些工作的人,以此获得心理优越感,好像成为了斗士,显得自己更高贵,其实不过是为了掩藏懦弱无能的自我麻痹。

有意思的是,后来他终于去工作了,他变成了以前的阿加东所不耻的工作者,反过来跟以前的狐朋狗友对骂。最后他躺在床上,陷入噩梦,梦里“无产者”阿加东死了,只剩下维多奇,一个普通的为生计奔波的工人。他对工作的恐惧暴露无遗,因为一旦工作,他就意识到自己没有任何的优势,他只能做一个乞丐,做一个没有自尊的无耻之徒。当这个社会让人失去羞耻,那将是个什么样的社会啊。 回过来看那个趴在床上一脸坚决地说出“要么世界将我毁灭,要么我将毁灭世界”的阿加东是多么天真又自我啊,他和这个世界,早就被毁灭了。

 2 ) A contradictory aesthetics---Film style analysis of Pier Paolo Pasolini’s cinema

Pier Paolo Pasolini has been one of the greatest directors in the world. Through astonishing imaginations and a peculiar perspective, he creates a distinct cinema style that visually and morally shocks many spectators. Having a complicated, disputed background and social belief, Pasolini’s work includes a whole range of contradictorily political and aesthetic features that are against moral decency and conventional social values. In the process of delineating reality, his film exceeds reality itself. Therefore, Pasolini’s film is a true combination of contaminations and poetry.
In his essay The Cinema of Italy, Patrik Rumble comments on Pasolini’s work,“Pasolini’s work has always been haunted by an often-unexpressed moral repugnance- often attributable to distress about the director’s homosexuality as well his identification with the historically marginalized and politically under-represented lower classes.” (The Cinema of Italy, 103) Indeed, in Pasolini’s film, it is difficult to find any elegant young lady or educated gentlemen. There is neither dream-like landscapes nor luxurious palaces. Pasolini concentrates on the lives on the lowest rungs of the social ladder: thieves, prostitutes, pimps, gangs who are always considered as the contaminants of the society. This theme was embedded early in his first film Accattone(1961), and consecutively presented in his later works as well. In Accattone, Pasolini tells the story of a young man-Accattone who has recently abandoned his wife and his son in order to become a pimp. Without any job, Accattone totally depends on the income of Maddalena who is a prostitute. The black and white pictures virtually show the everyday life of these people who have always been treated with contempt. For example in the sequence of Maddalena’s work, Maddalena is wearing a white dress. It is a huge contrast not only between the entire color setting of this scene but also between what she expects for her life and what she does for a living in reality. Later on, the pimps drive her to an isolated farmland. After Maddalena finishes her “job” with one of the pimps, they turn on the bright headlights and start beating her. The headlights cruelly show their degrading and abusive treatments; also violently accentuate the unequal treatment of Maddalena even in the lower class.
However, such portrayals were not pleasant to the majority of the audience. Pasolini’s another movie: Mama Roma (1962), depicting the relations between a prostitute and her son, was considered as an affront to the morality of his time. His last masterpiece, Salò o le 120 giornate di Sodoma (1975), was banned by many countries for years. On the other hand, Pasolini’s films are not merely about contaminants. We can always catch some original pure traits of human beings from his “degrading” characters. For example, before the beating scene in Accattone, the other pimps are lying down on the ground while Maddalena does her job. While waiting for her, they are watching the sky and singing a beautiful Italian song. This natural action alludes to their initial pursuit of happiness and beauty. In Ricotta, when Stracci ferociously devours his cheese, it is obvious to see his pure human desire through his melodramatic body gestures. Therefore, Just like Pasolini mentioned in his interview, “ I love the huge mingling of enormous amounts of people, races. The mixture of cruelty and innocence.“ Without adding any other elaborated techniques and extras, Pasolini’s pornographic and violent images truly represent the mixture of cruelty and innocence. Accordingly, his truculent and rebellious mixture completely subverts the mainstream ideology of the bourgeois. Therefore Pasolini’s literature and films have been accused thirty three times in counts due to the “harmful contents” in his work
As a great realism poet, Pasolini also intersperses the elements of poetry in his films: He establishes a unique Pasolinian style of self-expression- the cinema of poetry. Pasolini first provides a certain type of aesthetic intuition to demonstrate the reality. The famous Soviet Armenian director Sergei Parajanov comments on Pasolini, “He is like a god to me, a god of the aesthetic, master of style, one who created the pathology of an epoch.” Such sincere admiration is powerful enough to highlight Pasolini’s accomplishments in cinema aesthetics. His peculiar interpretations of beauty draw a completely different perspective from our original expectation. In the beginning of Accattone, we see a man holding flowers. The frontal close up magnifies his lower class features, which make this image perturbing: a distorted hatchet-face without teeth. This strong contrast between the flower and this ugly-looking man visually shocks the spectators because the audience cannot easily draw a parallel between these two figures from the standard aesthetic mode. Pasolini makes this combination not only to illustrate the beauty of the lowness but also to show and construct the reality. In A Film Maker's Life (1971), he suggests, “When I make a film I'm always in reality, among the trees and among the people; there's no symbolic or conventional filter between me and reality as there's in literature. The cinema is an explosion of my love for reality. “ In this sense, we can conclude that Pasolini’s film is the celebration of the beauty of reality. At the same time, it also reflects the poetic essentials of the reality itself.
Just like his poems, Pasolini uses dialects, which he considers as the language of poetry in his movies. More importantly, he enriches his films by combining western paintings and dialectal languages. Therefore we see the man lying on the ground with his arms crossing in Accattone; the settings of Pontormo and Rosso Fiorention’s paintings in La Ricotta; the “Gods” and “Goddess” dancing on the grass, talking in dialect, and even being entertained with a striptease at lunchtime; and Stracci who is tied up on the huge wood cross under the sun as the background of the movie. (La Ricotta) Pasolini utilizes the famous religious paintings and reconstructs them by changing individual figure with the lower class people. These imitations are profound. “Cinematic images work as mirrors that allow viewers to look beyond the immediately perceptible pictures, to go beyond the logos, opening themselves to subjective interpretations, while reflecting on the gaze as a subject and object of its reflection.” (Cinepoiesis: The visual poetics of Pier Paolo Pasolini, Michelangelo Antonioni and Franco Piavoli) Through this way, “the cinema of poetry” depicts the connections of the images and the reality. Pasolini employs the poetic expression to show his sympathy toward the petty-criminal underworld of the Roman borgate and to criticize the Roman bourgeois.
Pasolini is known as one of the most significant directors in the 20th century. However in my opinion, instead of being “the most significant director”, Pasolini is more like a wizard of cinema. He uses his “black magic” to create an illusion of reality. What makes the illusion distinct is that the illusion is so real that in some ways it replaces the reality itself. His films reflect a whole range of whom we’ve become as human beings. He illustrates that the ugly sides of us as well as the most beautiful sides of us. He is far beyond his time thus he has the courage to open Pandora’s box and to set all of the dark secrets under his bright spot light. In this way, he embraces both sides of life with all of his love and passion through the means of cinema. Therefore in the Pasolinian world, everything becomes beautiful and precious, just like an endless poem.












Works Cited:
1. Movie: Pier Paolo Pasolini. Accattone (1961). La Ricotta (1962). Mama Roma (1962). Salò o le 120 giornate di Sodoma (1975)
2. Movie: Carlo Hayman-Chaffey, Pier Paolo Pasolini: A Film Maker's Life (1971)
3. Book: Patrik Rumble. Accattone. The cinema of Italy, Ed. Giorgio Bertellini. New York & London: Wallflower Press. 2004
4. Essay: Pasolini on Pasolini-Interviews with Oswald Stack. Indiana University Press. Bloomington and London.
5. Essay: Silvia Carlorosi, "Cinepoiesis: The visual poetics of Pier Paolo Pasolini, Michelangelo Antonioni and Franco Piavoli" (January 1, 2006).
6.Essay: Gino Moliterno, Senses of Cinema-Pier Paolo Pasolini : http://archive.sensesofcinema.com/contents/directors/02/pasolini.html#film

                    

 3 ) 泛神论者的乞丐,帕索里尼旗帜鲜明的处女座

所有的帕索里尼影片都是宗教电影,充斥着模仿天主教仪式的画面抑或者屁民们的低俗狂欢。于是,人们认定了他的政治诉求压过了一切。他的这种类似方济各会的民粹主义在他的电影总是以寓言的方式优美地讲述一个个惊世骇俗又无法难忘的悲剧,Citti精彩饰演的阿卡托那是个彻头彻尾的游民无产阶级,但有着很强的自尊心(他厌恶作为皮条客,靠妓女养活的生活),淳朴朦胧的宗教情结(在谈论做小偷时看到葬礼,这一幕在结尾再次出现)。当然,影片运用出色的结构设置演示出一幅生动的群像——除了一些模糊不清的天主教暗喻,这些人是纯粹的流氓无产阶级。和《罗马妈妈》相比,《乞丐》要肮脏也有力的多。

从符号学角度说,最后阿卡托那去做工人是一种对资本主义的必然屈服,尽管他可以把一切想象成为了神圣的爱情。他的梦,作者指出是对资产阶级世界观的反讽,对原始宗教的乌托邦式回归。原始的宗教情感伴随着主题音乐一起连贯和渲染了影片:阿卡托那打架时那种刻意营造的歌剧感,暴民们在饥饿时谈论神明,却只看到正在兴建的高楼(象征资本主义对宗教的入侵),他们追逐女人时经常用父亲般的口吻,但是却再最后屈服,还有在电影里你经常常看德到小孩的意象。

总之,这是一部相当优秀的作品,处处体现帕索里尼大师的高品位与深刻独到的见地。帕索里尼表现了对社会和宿命题材的成熟掌握,他不仅仅在观察生活,更创作出了比生活更真实的人物,联系到日后对于神话题材的热爱,帕索里尼的确是了不起的诗人!

 4 ) 跳桥

三个和桥有关的镜头。

影片开头。阿加东和同伙打赌,他不信餐后游泳会丧命的鬼话——更确切地说,他不在乎是否丧命。如果能饱吃一顿,出个风头,丧命又有何不可呢?他脱光上衣站在桥上,双臂伸展,活像正在受难的耶稣。岸边的人纷纷抬头,阿加东俯瞰一切。看啊,这个无赖、醉鬼、不负责任的亡命之徒。“就当娱乐观众吧!”他纵身跳了下去,姿势甚至还算优美。镜头迅速地往下坠。

影片中段。阿加东让女孩陪别人跳舞。不怀好意的男人将女孩拥入怀中,指掌轻佻。这时镜头在女孩被抚摸的肩部和阿加东的脸之间来回切换。那手移动一寸,阿加东的自尊就觉醒一寸。终于,他羞怒地跳起来,像愚蠢的男孩想引人注意又毫无章法,他扬言要去跳河。“如果我跳下去,谁来买单?”尽管打赌是混混们唯一的消遣,此刻却没人这个赌感兴趣。何况,刚刚有人才输了一局——看到阿加东将女孩拱手相让之后,那个赌阿加东陷入爱河的倒霉蛋赔上了一件漂亮的外套。赢家顺手把这赌注扔进了河里——外套或爱情,谁在乎呢?阿加东一跃而起,朝桥头和更高的地方跑去。在黑暗中跳河可不是闹着玩儿的,有人追了上来,他们摁住他,倒不是要救他的命,只是不想让他继续发疯。

影片最后。阿加东加入了小偷的团伙。一次看上去异常顺利的偷窃后,警察出现了。阿加东拔腿就跑。他跑得真快啊,镜头跟着那些戴头盔的警察移动,跑过马路,跑过河畔,阿加东跑在镜头的前面。他似乎上了桥。我想他又要跳桥了,虽然不光彩,可毕竟已无路可走。我想错了。帕索里尼连这最后一次逞能的机会也不给他。阿加东停了下来,死于一场无聊的车祸。

 5 ) 或许在另一个世界里成人也可以整日像孩子一样玩耍

【故事】

“乞丐”是男主的绰号,他也告诉喜欢的女人,就叫他乞丐吧。他没有背景,没有资历,或许也没有学历,整日就在城市里游荡。找一份工作,或是投资一门生意,对他来说都是没有门路的。并且,“工作”对他与他的朋友们来说都是羞耻的。确实,找一个老板榨自己的血,而自己只能获得仅能支持生活的回报,这怎么不愚蠢呢?于是,“乞丐”整日与朋友们游荡,还PUA自己的女朋友去站街。

直到他遇到了一个新来的女人,她羞涩、单纯,很快他们陷入了爱情。但没过一整子,“乞丐”又顺水推舟让她去站街,果然爱情战胜不了生存的需求。女人去尝试了,但难以接受,乞丐也不忍心,便决心去工作,承担起照顾女人的责任。

第一天乞丐就搬了八吨的钢圈,但收成微薄,仅1000元。要知道,把儿子的项链买了都能得6000。于是乞丐改主意,和朋友们去偷窃,走了一天好不容易到手了几串香肠。然而,跟踪调查很久的警察突然出现,抓捕了三人。乞丐骑上摩托车逃跑,却意外出了车祸。他最后说道:“我现在感觉很好”。(the end)

【思考碎片】

-为什么大家都挤破了头地去被资本家/老板压榨呢?有学历、有背景、有人脉的人或许比一般人受压榨的少一些?

-所谓的社会秩序都是人(尤其是顶层人)规定的,可能在另一个世界里偷盗、站街都是合法甚至荣耀的,再或者成人也可以整日像孩子一样玩耍。

-影片中两次大笑让我印象深刻;第一次是乞丐和朋友四人被施舍了一袋意大利面。在另一个同样饥饿的朋友家等待煮面条时,一个朋友一把咬下桌上的花,人们都大笑起来。我感觉到了笑中的快乐与心酸;第二次是乞丐和朋友三人偷货车失败,他们坐在路边,十分沮丧。一个朋友脱下鞋来,按摩脚。乞丐突然发觉他的脚奇臭无比,便百般嘲讽他,开他的玩笑。他们又捧腹大笑起来,笑得左歪右倒,可以看出他们在绝望处的乐观与简单,也感受到了他们的自嘲。

 6 ) 无望

狂暴的帕索里尼处女作,纯正的意大利新现实主义,但也可从中窥见帕索里尼后期作品的影子。

主角阿加东是一个生活在贫穷的小村庄,无所事事,好吃懒做成天和同样不务正业的混混们虚度生命的皮条客。他会逼迫与自己同住的妓女在脚受伤的情况下接客,但他也会让拥有四个孩子的单亲妈妈寄宿在自己家里。所以他并不是泯灭人性的恶人,他在肮脏堕落的底层生活中依然有残存的良知。他之所以成为皮条客,完全是他价值观所致。正如他所说:“我绝不会为别人工作,我只会为自己工作。”帕索里尼在影片中将战后落魄的村庄里虚无的底层年轻们的生活和状态描绘的真实而残酷。被阿加东利用的妓女在荒郊野外与嫖客发生关系后又被四个嫖客殴打侮辱,但阿加东对此似乎并不放在心上。(这也为之后妓女向警察告发他并间接导致死亡埋下了伏笔。)他去前妻的住处,但遭到前妻及其家人的谩骂和驱赶,甚至与前妻的哥哥打成一团,最后落魄的离开。他在别人眼中是一个自私,冷漠,无能,颓废的废人,所以他也只能与同样的废人为舞。阿加东为了能少点人分面条吃从而用计谋将朋友们气走的行为让我们看到了底层人在生存面前展现的劣根性。

直到他遇见了一位单纯,善良又贫穷的干着体力活的年轻姑娘,他的人生才开始有了变化。他们发生关系后阿加东故伎重演让姑娘去卖淫,单纯的姑娘很爽快的答应了。可在嫖客的车上单纯的她最终拒绝了嫖客的需求被赶下车。阿加东在焦急的苦等过程中突然发现了自己对姑娘的爱,他是真的爱上了这个善良的姑娘,因此才会在路边如此煎熬的等待。他终于开始找工作,不在再做皮条客,试图靠自己的力量养活心爱的女人。可当了一天的搬运工就让他累得受不了。最讽刺的是结束工作后回家的路上,曾经那些无所事事的混混朋友们开始嘲笑他的工作,嘲笑他居然替别人工作。帕索里尼对人性的审视充满力度。他躺在床上在对自己的怀疑和反思中做了一个自己死去躺在棺材里送入墓地的梦。而身边的混混朋友们也都死在了梦里(想起了《野草莓》)他梦见了自己的死亡,在看看自己现实的人生,这个死亡的梦是对他生命最大的鼓励。第二天他与两个朋友拉着车干活时,因为参与同伴的盗窃行为被一直监视他的警察发现,逃跑中被开枪打死。他因为爱改变自己,也因为爱失去生命。这是对过往人生的惩罚,也是对底层生命无奈的叹息。宿命般的结局和之后的《罗马妈妈》如出一辙。

帕索里尼的处女作充满了原始的自然主义,野蛮,专横,粗暴,狠毒,破败的房屋和街道,非职业演员原生态的咆哮,无望的生存环境下滋生的懒惰和卑劣,蛆虫般潮湿的房屋,残酷无比。

 短评

与费里尼相似的意大利新现实主义电影。虽极度写实,但掩盖不了,谈话场面精准而流畅的调度与移动镜头,实在是美。而这群底层人的命运也牵动着观众的心,明知道帕索里尼不会赐予他们一个浪漫的结局,但是在欢乐笑声之后的死亡还是太过于让人心寒了。

7分钟前
  • mOco
  • 推荐

如命运冥冥暗示般,他梦见了自己的死亡,他预言了自己的死亡,从虚谈的葬礼到梦境的葬礼直至最终真实发生,这种朝着自毁狂奔的气质一开始就奠定。梦境和死亡一样,既降临得突然,也终结得超乎现实。彻彻底底的「现实主义」,在这片交织着辛勤劳作勉力苟活与享受虚无放纵的街区,阴暗,破落,衰朽,蛮荒,共通的是没有明天的未来;反正都要死——再次出现的主题,对于底层民众来说,唯有死亡才显得有所重量,也是自己唯一确信拥有的。于是,他在消耗感情和吞噬生命的较量中,体验到些许存在的感觉。“我不会为别人工作,我只会为自己工作。”连看三部“打工人”电影,丧到尘埃里了。

11分钟前
  • 欢乐分裂
  • 推荐

这部片子最好的名字叫寄生虫。乞丐的翻译让人误解导演的意图。帕索里尼 式的故事和画面。正如像罗马妈妈一样,作者的电影展现了底层人的生活。贝托鲁奇当年市这部片子的助理。40多年后贝氏说道,当他拍戏时觉得迷茫时,就会回到拍摄寄生虫的记忆中,获取营养。

15分钟前
  • woodylow
  • 还行

3月10日晚7点场资料馆小西天场,谢谢邻座的那位陌生小哥,你送我的票夹真的很好看!当时有点懵所以没有好好表达感谢实在抱歉

17分钟前
  • 麻辣兔头
  • 力荐

拉皮条触犯了法律和道德,但所谓的“劳动光荣”却造就了80%的财富掌握在20%的人手里。地铁里运输着生物机器,大多数人在拥有自我意识的同时却沦落为它人的工具,协作?合作?是否归根到底只是更为文明的剥削。或许所有来自于过去的评判标准都应该被颠覆,因为它们建基于一个不平等的时代。毫无出路。

21分钟前
  • Alprazolam49
  • 推荐

4.5 超越宗教层面的神性与诗意,PPP的思路非常人可以理解,完全不可复制,亦只有在1958-1968的意大利电影界才可能出现PPP,前无古人后无来者

26分钟前
  • LOOK
  • 推荐

尊严,享乐,牺牲与救赎在生存泥沼中的无尽循环,帕索里尼在摄影中对宗教场景的援引和巴赫的配乐所反衬出的唯有救世主令人绝望的缺席。只有宿命的死亡才能交换生命之花的绽放,那一刻的Accattone无疑像是一位圣人。

27分钟前
  • BLTEmpanada
  • 力荐

A / 镜头与空间完全不构成规则的宏观几何关系,哪怕对荒凉地景的扫描也不存在平整的垂直面。不断楔入每一个微观的人物互动场景,把它们切割成向心或对称的块、或是平行的弧形条带,从而最大程度又最隐秘地掌控了物的速度与面容的张弛。由此便有了跳水动作爽利的直线、叩问时滑向天空的曲度——甚至被抛向水中流去的衣服,都在抽象的形状中被提炼出情绪暗流。结尾对摩托车轰鸣声的抢夺与速度曲线的截断,不正是一种逆向的《罗马风情画》?

32分钟前
  • 寒枝雀静
  • 力荐

打工是不可能打工的 这辈子不可能打工的 。做生意又不会做 就是偷这种东西 才能维持的了生活这样子。进看守所感觉像回家一样 在看守所里的感觉比家里感觉好多了!里面个个都是人才,说话又好听,我超喜欢里面的!

37分钟前
  • lue
  • 推荐

掘墓人,请把我的墓挖远一点,到有阳光的地方去,这片土地布满阴影。

38分钟前
  • babyblue
  • 力荐

再次印证了那条电影铁律:坏人一旦转念想学好,那他就离死不远了。

41分钟前
  • 易老邪
  • 推荐

真正的无产视角.

42分钟前
  • 三川大地主
  • 力荐

帕索里尼第一部长片,人间已是幻灭处,无需天堂与地狱的衬托。宁肯食不果腹也不肯自食其力,就图一个自由自在穷风流,只是坑蒙拐骗无所不用其极,女性沦为男性游戏人间的牺牲品,无限重复母亲与其他女性的身体道路,根本无从叹起。是如此劣迹斑斑的主角,但当看到人在幻梦里,哀求掘墓者把墓挖在向阳处,还是会击中心头廉价的恻隐——谁个不是这惨淡世间的乞丐?#桃花岛观影团#

47分钟前
  • Mr. Infamous
  • 推荐

9.老帕真是个人才,拍新现实主义也跟别人完全不一样。别人找的都是些退休老人、卖艺人之类的,这片直接找了个“无产者”。看到每天无所事事的人坐了几桌,小偷公然开店成群作案,意大利的现状不言而喻。由剧情的走向和意识流的那段看得出男主本质不坏,只是在畸形社会下工作反而成了耻辱。

49分钟前
  • 灰色幽默
  • 推荐

《乞丐》(寄生虫)将乞丐逆向刻画成下层无产阶级的基督形象。影片开场引用但丁的《炼狱》,配音使用巴赫的《马太受难曲》,同时有阿卡通和基督的许多并行镜头。他就像基督一样兑现诺言。帕索里尼坚持在描写这个俗丽世界的每一幅画面里寻找审美效果。(意大利电影:151)

51分钟前
  • 江寒园
  • 还行

殘垣斷壁中,存在著神。舉止野蠻的人們,說著端莊的語言。結尾再次把我嚇到,他逃跑,所有人也跟著奔跑起來,毫無邏輯,影像卻突然起飛了。

52分钟前
  • 林西拿
  • 力荐

【上海影城 4K修复版】帕索里尼处女作,一个浪荡、粗蛮又不乏柔情的皮条客的回头之途。老帕的作品确乎难以参透。非职业演员、聚焦底层人群、松散的情节、自然光与写实的笔触都是典型的新写实主义路子,但影片却绝非如此简单明了。坚决不亲自干活(虽然还是做了一天搬砖体力活,累到晕倒)的工作伦理观很无产阶级,而作为配乐的巴赫[马太受难曲]、教堂后景、后半段多次插入的令人想及耶稣的上脸大特写(男主时而也被隐隐与基督相等同)及其他[圣经]引文与意象,都透现着浓厚的宗教性。摄影极为考究、有力。“乞丐”维托里奥的【四次死亡】:赌气似的饭后跳水;因内心狂乱纠缠(对爱人的嫉妒与旧有皮条客身份桎梏)而急欲投河;梦到自己的葬礼;车祸。最后的结尾是“意料之中,情理之外”。(7.5/10)

53分钟前
  • 冰红深蓝
  • 推荐

帕索里尼處女作。明亮灼人的畫面,夢幻與現實,一雙巡視的眼睛。

57分钟前
  • 介意
  • 力荐

4.5.帕索里尼的处女作,优于后一部《罗马妈妈》,开片稍显混乱,后逐渐明晰。无业青年、妓女、罗马的街头,60年代意大利的调调,但更直接、粗暴。皮条客与妓女,因爱获赎,难逃死亡,问题在社会。两段行走中的长镜头,分明起关系的变化。巴赫的配乐,犹如神助,构建起第三者的视角,投以悲悯情怀。

59分钟前
  • 把噗
  • 推荐

底层不再比中产阶级更亲切、更“懂事”、更善良,而是更丑陋、更麻木和更残忍。而影片却是以一种平视乃至敬畏的角度拍摄这一切,那超现实般的明亮画面,多么真切又奇妙啊

60分钟前
  • 重生之我是兔狲
  • 力荐