量子
缺集或无法播，更换其他线路.无尽
缺集或无法播，更换其他线路.非凡
缺集或无法播，更换其他线路.剧照
剧情介绍
故事发生在1938年5月6日，这个日子无论是对罗马人民或是对平凡的家庭主妇安东尼泰（索菲娅·罗兰 Sophia Loren 饰）来说，都是不平凡的一天。当日，独裁者希特勒和墨索里尼来到罗马参加高峰会议，无限吹捧他们奉行的法西斯主义，在慷慨激昂的讲话的蛊惑人心的词语之中，整个城市陷入了一片疯狂的躁动。 然而，这狂热的一切似乎都和在家中洒扫整理的安东尼泰无关，此刻的她正陷于深深的忧郁之中，被困在枯燥的婚姻和苍白的生活内无法自拔。这时，她邂逅了新搬来的邻居加布瑞乐（马塞洛·马斯楚安尼 Marcello Mastroianni 饰），在极短的时间内，两人相知相恋，迸发出了巨大的激情，可黑夜过后，一切重归平静，仿佛什么都没有发生过。为你存在的每一天英叔之古墓狂魔柏林亚历山大广场不良神探欢迎来到雷克斯汉姆特丽独行确定地可能上海1920越光宝盒国语乐高蝙蝠侠大电影垂死一眼花落宫廷错流年第一季黄金篷车大作战金光御九界之仙古狂涛今天少主不在家命中不注定恶魔高校D×D 特典神秘博士第九季冤大头乌金血剑波巴·费特之书格列佛最后的旅行我们的时间就在当前金钱男孩中国兵王宅门恩怨导演对我下手了闪电侠 第四季洗发水铁娃 鐵娃神打军火厂越南无极限约定破碎岗山最后列车我们的四十年2018黑水仙的美女超次元学院2《目击者》陪酒女离奇自杀
长篇影评
1 ) 二分法是时代的粗暴，而人性始终是复杂的
在法西斯和反法西斯的两个对立阵营的冲突之下，语言与文化的内涵、群体的分类、个人内心的痛苦、甚至人性的复杂性都被粗暴地挤压到可怜巴巴的地步。而斯科拉用他锐利的镜头告诉你，在两分化的粗暴分割之下，人类的内心是多么幽深细腻而充满感情。法西斯与反法西斯是特定的时代背景加上的一面哈哈镜。它放大一切政治因素与集体强权。在这样一面镜中，人类的面孔夸张而异化。但斯科拉敲碎了这面镜子，然后拾起漫长人生的一块碎片告诉观者，看，无论什么特殊的历史境遇下的人类，都要面对一种日常的艰难，也必须承认人类情感的复杂性。
除了法西斯与反法西斯之外，人类还可能被分成男人与女人、有道德的人与良知败坏的人、受过教育的人和未受教育的人、异性恋和同性恋、忍受秩序和反抗秩序的人、享受者与遭难者、聚光灯下备受瞩目的人与黑暗中的边缘之人。
影片最后灯一盏一盏熄灭的长镜头，与开片第一个镜头有着同样的追身拍摄手法，而人物的感情与心境却以天翻地覆。这个镜头十分克制，配以轻柔的钢琴配乐，却令人久久无法平静。
2 ) 特殊的一天
总有一些不合群的人，把时代当成幕布，非要演一出与众不同的戏码。他说，我不是反法西斯分子，是法西斯反对我。港译两颗寂寞的心不妥，其实是两颗压抑的心，处于宏大建构两极。难得的是也有讽刺性，同性恋左派知识分子和边缘化的主妇的状态都抓得很准。我还觉得导演应该让索菲亚·罗兰在临睡前把那只关着的小鸟放飞。
3 ) They rise from their own hell and give each other a hug
This strikingly beautiful and touching movie starts with a short video shot by the fascists, where the Italian people are very uniform and they are welcoming the arrival of Hitler.
Plot
On this special day, the woman's family are all going to the parade, but she is just going to stay at home to clean up the mess for her husband and six children. This could be a daily day for her, but fate made this day also special for her. Her pet parrot flew away, so she had to visit her neighbor in order to catch the parrot. And the man, her neighbor, was just attempting to commit a suicide, but was interrupted by her door bell rang. He is so willing to escape from his own pain and he felt very thankful to the woman, so he hoped the woman could stay longer and tried to talk about the book and dance with the woman. Then the phone call come in, which causes the woman to think that the man has a lover, so she just came back home. Then the man called his former boyfriend and wished him healthy, then payed this woman a visit. During the visit the woman came to know that the man is actually a nonfascist. So she wanted the man to leave. The man followed the woman to the platform and tried to amuse her. The woman realized that she cannot hold her feelings anymore, and she kissed the man but the man seemed not excited about it. The man has to explain that he is gay and the woman don't believe in it, they had some conflict and seperated. But the woman finally decided to say sorry to the man, they talked about their own stories, made love in the man's house with the woman's attempt. The woman felt satisfied, but the man said that he only loves man. They kissed and said goodbye. In the evening the woman's family came back, she watched the man left and turned off all the lights.
Questions
book and picture
"Fires"
The first scene as the woman's first appearance, the audience shortly grasp the woman as a busy housewife not that respected by the whole family. Even the parrot always call her name as "part of the family". And she is really not doing the housework in a quite efficient way perhaps because she really doesn't have much to do in the daytime.
At first the woman and the man both just want to seek some joy and relief from each other. They show each other their amazing parts, the beauty, the husband's good job, the decency, the humor sense. But then the woman knows something about the man's not faithful. This makes the woman hesitated about having fun with the man. She tried to calm herself down with the daily housework. But the man still gives her butterflies and she kissed him on the platform. Here the first boundary of fasinism is broken.
Then the woman came to know that the man is gay. But again, as human, our commonity is a lot more than the disparation. So finally they shared their deep sorrow and pain, and find out that they can understand each other as two human beings, with no labels given by the society and the era.
Most Striking part is that they made love. Yes, a woman and a gay. Now they do it to warm each other's heart.
Contrasts
the color
the positions of the windows of the man and the woman
beautiful dancing music and Fransis music
the gentle love and the rude radio of the parade
playfulness and seriousness
woman's attitude to the album and the Fransis
the old woman's craziness, the woman's compliance and the man's negative resistance
homosexual and heterosexual
nonFransis and Fransis
educated and under-educated
mainstream and marginalized
One of the most beautiful movies I have ever seen
The color, the frames and the actor stance of the movie are really amazing, especially considering the limitness of the scene (mainly platform, woman's house, man's house and a few hallway and buildings).
The hue is somewhat close to the hue of a black and white film, but with some dim lighting mixed, which gives the whole movie a sense of holy and peace. The only obvious color of the whole movie is the color of the flags of the fascis, which is also what occupies the inner worlds of Italian people. Each frame can be taken as a drawing and the actor stance really indicate their relationship.
In the following plot, the woman is looking at the man from a distance, with the wall seperating them into two worlds. But the man attracts the woman, so she finally crossed the line.
The movie is certainly about war, but it is in general introduced in a pretty reserved way. Although the radio is playing all the time, only at some points will we be caught attention to the radio related to the war. For example after the sex, when they kiss each other.
Deep sorrow and despair, yet great love
The man and the woman, both feeling isolated, marginalized and discriminated by the whole world , coming to understand each other despite all the differences between them. As long as there is still standard and law of the stronger of any form, there will be the majority and the minority, and we cannot expect that we are always in the majority side. But as mankind. And that is the most cruel part of war, that people are forced to be the same, like the soliders, the children and the adults wearing the same uniform and we can barely notice their difference.
This is a special day for them. But tomorrow is another routine day, the woman still buried in housework, the man still not accepted by the whole society. As the light of the woman's home dim down, the woman's heart went into despair, and the future is nothing but darkness.
4 ) 美好的一天
导演：埃托尔·斯科拉 索菲娅·罗兰、马塞洛·马斯楚安尼、约翰·沃侬、弗朗索瓦丝·贝德主演
导演开篇用了一串很长的特写镜头（这也是意大利电影史上最长的特写），来讲述发生在1938年的三月，希特勒来到罗马参加高峰会议（鼓吹法西斯主义）的一天的故事，将观众的视线带进了家庭主妇安东尼泰的家中，她的手臂上正搭着刚熨烫完的衣服，手里拿着一杯刚煮好的咖啡来到卧室递给她的丈夫，安东尼泰的丈夫更是一个忠实的法西主义者，当天自然是张罗着家中所有的孩子前去观礼，只有安东尼泰被留在了家中，作为家庭主妇她必须留下来料理家务。然而这狂热的一切似乎与安东尼泰无关，在枯燥的婚姻与苍白的生活中她邂逅了邻居加布里埃尔，这两个看似毫无关系的男女在那个充斥着法西斯氛围的意大利，他们从初识到暧昧到激情到热情褪去回归冷静，也是特殊的一天，仿佛什么都没有发生。
斯科拉的镜头向来锐利而深刻，罗兰和马斯楚安尼的对手戏更是让人期待。人们向来喜欢将事物一分为二，在粗暴的两分化的时代下，在法西斯和反法西斯的对立冲突下，人内心中的细腻情感又该何去何从。因为在任何时代，感性的东西永远不能被是或不是所定义。
另：一切的起因源于那只出逃的鹦鹉，它逃离了安东尼泰的家，来到了对面的那栋加布里埃尔所在的公寓楼——正当他考虑自杀时。
“相遇并不需要太多理由，只需要跟随一只从阳台离家出走的印度黑鸟，就敢于在更高的露台上，在阳光下晒千的床单中，用心的颜色照亮褪色的天空”。
这就是安东尼泰与加布里埃尔相遇的方式，索菲亚·罗兰也在她的回忆录 《 昨天、今天、明天：我的人生》也对此有所提及。
盛佳蓝光标注
5 ) 法西斯主义下的弱势群体—女性和同性恋
影片开头花费了很长时间展现女主Antonietta的生活，六个孩子和一个人全包的家务。在父权制度下，女性的任务：做家务，生育。对于男人来说，女人就是奴隶，是生孩子的工具。而没有受过教育的女人当然不会自知自己成为了男人的附属品，即使每天没有在笑也默默执行男性世界的规则并以遵守规则为骄傲。而男主Gabriele正是让她意识到/承认自己在法西斯统治的父权社会下的不快乐的契机。但是生活就是如此现实，即使你意识到也无能为力，该片的结局更是加深了父权社会下女性的悲剧色彩。
而在父权制度下，还有这么一群男性也是受害者，那就是同性恋。男主Gabriele，在“男人就是丈夫，父亲，军人”的社会中因为同性恋而不被认为是男人，因为他不符合法西斯推崇的男性形象，但他的可爱善良深深吸引了Antonietta。很能理解为什么女主喜欢他，谁会不喜欢幽默又欣赏女性的男人呢，性向不同又如何？
6 ) La malinconia sta passando
Quando si insite nella propria fede, si diventa ostinato e furioso, però nessuno ha la propria colpa. Quindi l’amore per partito del marito di Antonietta superò quello per sua moglie, di cui non si può rimproverare, però causò il complesso di inferiorità di sua moglie.
Invece, nella vita quotidiana, salva la fede, ancora ci sono le altre cose, per esempio, l’amore, la famiglia, ecc.
Ognuno ha la propria vita, non vive assolutamente per gli altri, quindi, oltre i ruoli di moglie, di madre, di credente fascista, Antonietta in particolare è una donna, che vuole l’amore, il rispetto e la gioia. Quindi dalla vita banale, Antonietta devette respirara l’aria fresca. Lascando i letti sfatti, le stoviglie sporche, Antonietta aprì la finestra felice e vide il suo signore giusto. Però la storia d’amore è successa nel tempo non idoneo: una era la moglie di un altro uomo e fascinata da Mussolini, uno era omosessuale e antifascista. Forse l’amore non avessi il confine di fede, di status, Atonietta e Gabriele si incontrarono, si conobbero, e si innamorarono. Antonietta tradì suo marito e la sua fede fascista e seguì il proprio sentimento. Questa storia d’amore improvvisa salvò la vita di Gabriele e lasciò una bella memoria alla sua vita futura al confino.
Però, per me, non posso tollerare nessun traditore, quindi a me non piace Antonietta. Ognuno vive a proprio favore, però non può pensare solamente a sé stesso, deve ricordarsi la sua responsabilità e il suo ruolo. Antonietta dovesse assumersi la sua responsabilità di una moglie di qualcuno, però di fronte al suo sentimento, si dimenticò la sua responsabilità.
Forse Antonietta trovò l’amore autentico, ma non sono sicura dell’amore di Gabriele, secondo me, lui era passivo, la amò veramente o no? Comunque, questo non fu importante, loro ebbero sola una giornata, nella stessa serata, lui dovette partire, a chi interessa il domani?
Domani Gabriele scriverà le lettere con la sua bella calligrafia ad Antonietta? Antonietta continuerà a leggere il libro? Loro ritornarenno alla loro vita normale rispettivamente? La loro storia d’amore fu un gioco? Una parte di loro fu il passante della vita di un’altra? Si ricorderanno?
Si dice: Quando il fiume si è seccato, sulla riva due pesci si dà l’acqua con la saliva, è meglio che loro si dimenticano in un altro fiume. Forse per Antonietta e Gabriele, in quella epoca fascista e nella loro situazione, domani loro si dimenticheranno, quella storia è solo un episodio. L’amore è passato con il vento, domani è un’altra giornata.
空间受制于时间，以镜窥人。
十多年后重看还是依然被感动到几欲落泪，久久动弹不得。在自上而下、全面笼罩、渗透到日常生活毛细血管的级拳政治面前，超越了性向、道德、知识、意识形态的情感交流方显出人性穿透性的伟岸深邃之光！斯科拉个人标志性的纯内景空间风格在本片中完全对应了个体大于时代的主题，从卡夫卡到张爱玲，这是第一流现代艺术家反复伸张的现代性母题之一。尤为可贵的是，影片展现出的大于时代的个体情感，其显现形式是不断滑动在无限的轻柔曼妙和沉重压抑之间，这是非常意大利式的情感表达，非敏感到一定程度的艺术心灵表达不到。马叔和罗兰精彩绝伦的演出亦是影片调度成立的重要原因，神情最细微处爱意表达的幻灭与翻转，全在二人叹为观止的互动演出中。无愧于意大利电影黄金年代收官作。
最后镜头远远的轻微的向索菲亚罗兰摇去，太悲伤了，她愈平静，而代表着观众的镜头就愈不平静，我很喜欢罗兰在这个电影里的表演，是她也是安东尼泰，她很优雅，正是这种优雅才可以将琐碎演得那么的诗意，第一场戏那种主妇的庸常忙碌，完全不用快剪辑和烦闷的表情来展现，她甚至步履缓慢，但就是一种日常。也是这种优雅才可以将情绪间的转换变得合理，她的表演时而让我想起赫本的《长夜漫漫路迢迢》，都是处理得恰到好处的表演。
非常好看，表现手法、人物塑造都很精彩，黄金搭档完美发挥。【有种“我们实在太搭了想不在一起好难”的感觉
当一个男人拥有上佳的品位，不俗的谈吐，温和的性格，能恰到好处的flirt，十之八九是个gay。
动我心弦，好像我最在乎的一切尽在其中。试想“文革”前夕，一位儿女们都做了红卫兵的母亲，在锣鼓喧天的游行日，广播里传来昂扬话语，她跟比邻而居的作家（木心式的人物）不期而遇，发生了意想不到的肌肤之亲。在这漫长又短暂的一天尽头，他跟着密探走了。// 大街上是高调的政治、历史性的时刻，室内是捕捉八哥、跳伦巴、磨咖啡、修电灯等琐琐碎碎。喜欢片子这严重失饱和的黄色调，这是历史上的一个“黄昏”，也是这两个年华渐老的男女的一个黄昏。晾衣天台上你退我进的游戏、言语肢体的冲突，始终在雪白的被单之间发生，它们拍着翅膀，如鸽子，飞不出这片天空。
普天同庆的日子，两个寂寞人的相遇。平凡的家庭主妇被男人的英俊和浪漫触动心弦，左派的同性恋男人则得到了一丝母爱的慰藉，没有停下来过的军乐声其实在宣告着末日来临。坏掉的吊灯、散落的咖啡豆、三个火枪手，这些细节的设计都太好了，我还觉得导演应该让索菲亚·罗兰在临睡前把那只关着的小鸟放飞。
20130507 "我單身" "要繳單身稅吧" "孤獨也是財產"／說不出有多喜歡這部，看完太難過了。／那些細緻的動作一直讓我想到Colin的A single man／寂寞的人都是一樣的，他們在這一天互相成全。
脆弱又精细，两人的你来我往暗潮汹涌，让人怜惜。六个孩子，广播音乐，门房大妈都是符号象征。但，这一天，小鸟飞出去了。毫无预征，却又那样自在。他与你共喝咖啡，修好灯泡，天台上出其不意的拥抱，楼梯间的吼叫…直至最后完全赤裸内心给对方。是的，这一天，小鸟飞出去了。
两人相知相恋，迸发出了巨大的激情，可黑夜过后，一切重归平静，仿佛什么都没有发生过
小空间内一天的情节，剧本算得上工整流畅，对话写得很好。港译两颗寂寞的心不妥，其实是两颗压抑的心，处于宏大建构两极。难得的是也有讽刺性，同性恋左派知识分子和边缘化的主妇的状态都抓得很准。一直处于背景声地位的广播，最后终于被温柔明亮的钢琴曲盖过。
一天，一幢居民楼，两个人。大时代下的小故事，戏外是希特勒与墨索里尼的会面、游行，戏内是两个萍水相逢的人，结合得特别好。台词细腻，生活的细节也很丰富。很完美的电影，从未间断过的广播背景音、如同让时间停止一般的漂亮摄影、两位主角的演出都让它余味无穷
8.5 纳粹政权阴云下，元首相聚的礼宾仪式广播声中，被迫害的同性恋者与被压垮的家庭主妇，两个不可能的角色相互找到短暂的依靠。流畅的调度下，泛黄的质感中，特殊的一天在镜头中静静流淌结束于平静离去后的默默收场，伴随着索菲亚罗兰与马斯楚安尼的完美表演带来一部静静流淌于心灵深处的电影。
外面的世界希特勒驾临罗马全民庆典，房里的世界却打破一切禁忌渴望真爱。一个笃信法西斯主义视墨索里尼为偶像的已婚妇人和一个被打成左派的危险自由分子发生了一日情，更有甚者那男人还是个同志，在这一天中他们拯救了彼此也成全了彼此，同时也给了法西斯一记响亮的耳光。PS有限空间展现无限可能
特殊的一天，对面六楼那位英俊的陌生人。三个火枪手。感人的色彩、运镜和质感。这栋建筑无论往下俯瞰还是往上爬到天台，都充满了层次美。SL和MM合作次数多到胜过老夫老妻了，怎么说MM说自己是个gay就跟“Il bell'Antonio-1960”里说自己不举一样简直无法服众！
完美的电影运动和节奏，灵动的镜头穿越法西斯的噪音，进入这两个悲情的人物中，实在精妙绝伦，罗兰与马斯楚安尼这对老搭档更是出神入化，旋转在厚重沉郁的气氛和点滴的幽默动感之间，谁能不被动容。
感人的色彩、运镜和质感，无论往下俯瞰还是往上爬到天台，都充满了层次美。
修复后铅黄的色调渗透每个角落一如末日 不曾断绝的广播声时刻提醒着极权的在场 景深和长镜头在前半部分充当着两人来回迂走的显性标志 而在时间和空间的不断限制下由粗暴的特写拉开情感的闸门 超越一切的性爱之后世界被一分为二 犹如对政治的隐喻一般 被某种无法感知的力量困在原地 回归现实的同时亦是常态崩塌的开始
在相遇之前，她盲目的活着，爱着男人中的男人，不知道自己脸上爬满沧桑。像大多数人一样随波逐流不留痕迹。总有一些不合群的人，把时代当成幕布，非要演一出与众不同的戏码。他说，我不是反法西斯分子，是法西斯反对我。仿佛锣鼓喧天的世界就在脚下。这样的日子，只活一天也好。
广播玉音放送，地下偷欢男女，好似今村娼平。生活悠如长镜，政治历史激情，一盏一盏揿灭