Fellini’s La Dolce Vita

十二月 7, 2008

說實話,義大利文配上英文字幕的電影讓我有些忙不過來:要是多看演員兩眼就會落了對白,專注對白又難免失掉一部分看電影的趣味。我又喜歡注意場景或臨時演員之類的瑣碎細節,所以看完第一遍只有些片段模糊的感受。 只是我還是想試著記下,也許下一次再看這部片能回頭有些不同的感受。

像是 Marcello 對父愛的陌生與依戀。 

父子之間雖然沒有煽情的對白、只有近乎客氣的對話;但夜總會裡對父親的極力招待與不時留意的眼神,和殷殷慰留父親多留一晚不成之後,跟在計程車側送別的身影,在在勾勒出一個生活像極父親年輕時瀟灑漂泊、但內心卻渴望親情的 Marcello。相像的父子倆因為聚少離多而有了情感上的陌生;即使父親挾帶對家庭的愧疚更珍惜著兒子、即使兒子因為童年的不足而對父親懷有更強烈的嚮往,費里尼終究只給了他們一晚的交會。


一次次可笑的聚會與荒誕的男女關係透露著這些資產階級虛弱的心靈,黑白畫面並沒有少呈現其中任何一個環節的喧囂,反而凸顯了它們。羅馬柱、噴泉、跑車,女人飽滿的胸線與曖昧的神態,Marcello 眼神中的自信、迷惑、輕挑—時而熱情時而悲傷。光鮮亮麗的生活和不定的戀情雖然帶來感官的刺激,卻也加深了內心的寂寞,歸屬感是從來就沒有過、或是在寂寞中漸漸失落的?費里尼沒有給答案。或許他認為觀眾自然會有自己的答案。

結尾並不是很明朗,不過 Marcello 好奇又無謂的神情是烙在我腦海中的最後一幕。

I always like to  pay attention to scenes and extras when watching a movie; yet in La Dolce Vita, it’s hard to do so while hearing Italian with English subtitle.  In fact, I couldn’t concentrate too much on either the details and the dialogues, so I have only fragmentary feelings about the movie.  Maybe I should just review the movie a few more times, but I believe that keeping a log of my feelings would help incubating more thoughts when next time I watch it.     

The conflict of Marcello’s mixed feelings to his father impressed me.  There’s only modest interaction between the father and the son; however, the son’s behavior talked.  He gave every effort to welcome his father carefully; after failing to keep his father stay for one more night, he followed his father’s leaving taxi disappointedly.  Marcello’s uninhibitedness is just the same as his father’s earlier life, but deep inside, I can feel his longing for his father’s love.  And with guiltiness of carelessness to his family, the father cared about his son as well.  Even though, Fellini gave them only one night getting together.

The illusory life, the adrift love and the lost sense of belonging fills the film.  Funny parties and absurd relationships once and once  revealed the feeble spirit of those capitalists; the black-and-white frames didn’t miss any of the fractions out but contrarily stood them out.  Rome pillars, fountains and open cars; women’s perfectly round busts and alluring looks; the confidence, confusion and frivolity in Marcello’s enthusiastic and lonely eyes.  The illusory living and adrift affairs bring excitement but also deepen the loneliness in a heart.  Does the sense of belonging never exist, or does it fade away over time?  Fellini wasn’t answering.  Maybe he just want his audiences to listen to their own answers.

The ending was obscure to me.  Just the curious and senseless look on Marcello’s face were snapshotted in my mind to be the last scene.




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