刚开始我还以为是范霍文那个伯内黛特故事,后来才发现是19世纪法国小镇的伯内黛特!
刚开始还觉得无聊,当看到当地官员在探讨修铁路和圣迹对之影响,然后开始恐吓女主后,我才觉得这片真是太好了!虽然这里人人都是天主教徒,但是当一个人看到圣迹时,并没有人相信她,不仅不相信,还要审问她;最后还要强行把她关进修道院;在修道院里她还要受到前辈修女的霸凌!这里面除了女主外,每个演员都演得好好啊!前半部分是母亲这个演员,她好维护自己的孩子啊,令人动容的母爱。后半段是教区长的转变,他最开始是不信任女主的,后来公平地看待她,最后维护她,临行前的小卡片约定,最后教区长看到小卡片时,我心都碎了!还有就是女主爱慕者这条线,最后他在路边许下我不会再娶的诺言,唉,太伤了,联想到女主并不想到圣女,她还想着结婚组建家庭!
欧仁妮皇后这条线,真是太讽刺了,权势的力量!但想到那个被治愈的小男孩是欧仁妮皇后唯一的孩子,这个孩子还战死了,欧仁妮皇后白发人送黑发人,又让人唏嘘不已,感觉世事无常啊!
A vintage Hollywood faction of the incredible story of Bernadette Soubirous (1844-1879), at the age of 14, her self-purported visions of a lady in white who identified herself as “Immaculate Conception” sparked national controversy and debate, and subsequently founded the pilgrimage site in Lourdes. Starring Jennifer Jones as Bernadette, this 2-and-a-half-hour tome, based on Franz Werfel’s popular eponymous novel published in 1941, and directed by veteran hand Henry King, won 4 Oscars out of its overall 12 nominations, notably winning Jones BEST ACTRESS IN A LEADING ROLE for her first attempt at the age of 25, which also heralded her second marriage with dignitary producer David O. Selznick. Jones’ beatific, ingenuous countenance and diffident but well-honed locution compellingly reflect Bernadette’s down-hone modesty and indubitable piety of what is bestowed only to her eyes and ears, that she will never gainsay whoever her interrogators are. And most convincingly Jones dispels any semblance of self-martyrization which might theoretically undermine Bernadette’s saintly iconography. Alongside the voyage from Bernadette’s first vision in a grotto near Lourdes to her untimely demise in the convent, the saga corrals a formidable cast of talents embellishes it in the supporting roles, among which three are rewarded with an Oscar nomination, two strong female characters leave indelible marks respectively in the first and second half. Anne Revere’s Louise is the stony-faced mother of Bernadette, afflicted by the household’s immiseration (her husband François, played by a commendable Roman Bohnen, is a jobless mill worker earning pittance with demeaning odd jobs and they are four children to feed), who does swing from scolding-prone to heartfelt supportive of her daughter’s ordeal without toning down the ferocity ingrained within her persona; then there is the holier-than-thou Gladys Cooper as Sister Marie Therese Vauzou, whose stern deportment and self-willed disbelief divulge the obverse from Bernadette’s male-exclusive, higher-ranking naysayers, she is not driven by an ideological reason but a pure elemental demon, the green-eyed monster to which we can all relate (why you, not me?), and Ms. Cooper emanates sheer intensity through her hard-hitting tête-à-tête, albeit crimped by the wimple, excels in actualizing one hell of an about-face entirely on the strength of her facial expression near the end. As Abbé Dominique Peyramale, who denotes the pragmatical policy of the Catholic church on the prickly matter of commoner’s holy visions, Charles Bickford (likening an aging Joseph Cotten, anyone?) appreciatively embeds a more lenient, beneficent and high-minded personification and also delivers with a sincere avuncular amicability towards Bernadette. On the entirely different optics, Vincent Price’s debonair mien and oral cadence also strike a vehement chord as Vital Dutour, the Imperial Prosecutor who is bent on discrediting Bernadette’s enlightenment, mirroring the agnostic/atheist angle on benighted religious fools. Were it not for the occasionally functional spring water which possesses a miraculous healing power (whether it is psychosomatic or not, the film leaves it equivocal), and a divine intervention involving the henpecked Emperor Napoleon III and his wife (cameos by Jerome Cowan and Patricia Morison), Bernadette would not stand a chance to justify her flimsy story. Rarely subjected itself towards preachiness or loftiness, what is remarkable about THE SONG OF BERNADETTE lies in its matter-of-fact narratology, dialectical approach towards its subject matter and a life-affirming positiveness rising above any religious discord, as proven by Vital Dutour’s plea in the end, religion always requires a certain degree of blind faith, someone are equipped to accept that while others cannot, or at least not yet, discrimination is never the cure. A pristinely restored Hollywood flagship, this one has immensely wholesome value for anyone who cares to savor. referential entries: Henry King’s THE BLACK SWAN (1942, 6.5/10); William Dieterle’s PORTRAIT OF JENNIE (1948, 6.7/10).
珍妮弗.琼斯的最佳演出。。。对信仰上帝的人解释是必要的,对不信仰上帝的人解释是多余的。。。
第16届奥斯卡最佳女主角:珍妮弗·琼斯, 其他提名: 琪恩·亚瑟【房东小姐】,英格丽·褒曼【战地钟声 】,琼·芳登【永恒的少女】,葛丽亚·嘉逊【居里夫人】
近期已经不知道看了多少基督教的故事了,这类电影的故事普遍都挺吸引人的,但由于是无神论者只能用一种充满怀疑的眼神看完整部电影。不是不好看就是信仰不同,本片也一样。琼斯的表演难度不大但完成的很不错。三个配角提名很难得我都找到了闪光点,这还是早期配角(通常很水)。里维尔的表现是最出彩的
也许有万分之一的可能,上帝真的显灵了,但是这个上帝只会极其偶然的回应某些人的祷告,天主教徒或者基督徒应该学会接受,神迹时代早就已经结束了。这样的电影拍出来误人子弟,使人迷信。即使是再虔诚信奉上帝的人,也不应该把神迹当回事
三琼封后表演,我宁可选琼斯
算是全面的给我补了看电影《卢尔德》时留下的课题。
4.5星 “For those who believe in God, no explanation is necessary. For those who do not believe in God, no explanation is possible."
这不是纯粹的宗教奇迹剧,夹带了大量私货:同时批判了国家官僚和教会官僚。少女带来了奇迹,地方官僚的直接反应是维稳,要把她打成疯子骗子,直到更高的赵家人(欧仁妮皇后)当了“护法”,官僚才承认群众的宗教热情为合法,并趁机发展地方观光业。然而教会官僚却不放过少女,他们无法体认她是受拣选者,害怕她一旦“人设崩塌”会伤害奇迹的声誉,送她入隐修院出家,且直到她抑郁早夭前还反复质问她奇迹的真实性。
157.52
Franz Werfel 发财之作 无法评价
“对于信者,无需解释。对于不信者,解释也是徒劳。”……仅从引言部分的内容来看,导演是偏向于信者的立场,但也给予不信以一定的宽容。可当你将圣母形象清晰呈现于画面,并强制观众同女主人公一起看到之后,引言部分的模糊与宽容就消失了——“都亲眼得见了,还不信?!”https://www.douban.com/people/hitchitsch/status/1879778575/
正统虔诚宗教片,视听技巧高超。让圣母显形不如留给观众猜想,但这也是宗教立场使然。
虽然有些说教,也表明了信者无需多言,不信解释也是徒劳。但女主无论从个人气质 角色设定还是演技都很好地诠释了这位被圣母玛丽亚选中的贫家女伯尔纳德就是人间天使,来解救众生。
信仰在理性之外——亦褒亦贬之语。
当年奥斯卡上,同样提名的英格丽褒曼一直握着詹妮弗琼斯的手,希望她能获奖,果不其然。英格丽褒曼说她看这个电影时一直在哭,对于她这样的基督徒来说,这部电影的确纯净得令人感动。
“对信仰上帝的人,解释是必要的,对不信的人,解释是多余的!”
7-8年前看的了
就像影片开头的字幕一样:对于信仰上帝的人,解释是必要的,而对于不信上帝的人,解释是多余的。对于无神论者,本片会是一个神奇的故事~
略显冗长。背景和经历交代得很详细,然而伯纳黛特的对内自照却少得可怜。独行在这条不能回头无法规避的荆棘路上,是何等的孤独凄楚啊。室内戏对用光真的很考究,片尾病榻上珍妮弗·琼斯凝在眼角的泪珠泛着炫目的反光,天知道为了达到导演的要求N了多少G。
真够长的。。。想去梵蒂冈 去看圣彼得大教堂 梵蒂冈博物馆 西斯廷。。。不知道这部电影有没有政治因素 如果有的话只能三星了