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巴黎一妇人
2024-08-10 19:25:16
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年轻的法国农村姑娘玛丽与约翰·米勒私订终身，但约翰的父亲对此极力反对，于是两人约定私奔
私奔的当晚，约翰的父亲暴病身亡，无法赶往车站，玛丽以为他变了心，便只身一人前往巴黎
几年后，玛丽成了富翁皮埃尔的情人 而约翰也在父亲死后同母亲移居巴黎，成了名贫穷的画家 一天，他们在巴黎街头意外重逢，很快旧情复燃，约翰的母亲对此很不高兴 为宽慰母亲，约翰假意说不会跟玛丽结婚，但却被正好来访的玛丽在门外听到，她信以为真，重新投入醉生梦死的生活中 约翰得知情况后向玛丽表明心迹，并在她面前自杀而死 约翰的母亲见玛丽悲痛欲绝，才知道玛丽对约翰的爱是真心的 此后，玛丽同约翰的母亲相依为命地一起生活 Marie St Clair艾德娜·珀薇安丝Marie's FatherClarence GeldartJean MilletCarl MillerJean's MotherLydia KnottJean's FatherCharles K FrenchPierre Revel阿道夫·门吉欧FifiBetty MorrisseyPauletteMalvina PoloMasseuseNellie Bly BakerHead Waiter亨利·伯格曼Porter查理·卓别林BoyFrank Coghlan Jr Man in nightclubJean de LimurRevel's FiancéeStella De LantiMan dancing in nightclub查尔斯·法莱尔MannequinBess Flowers< 上一页|1|2|下一页 ><|||>默认显示|全部显示查理·卓别林查理·卓别林卓别林的作品大多自编自导自演，本片却是难得的例外，他只负责编导而没有参加演出 担纲主演的埃德娜．普文斯是卓别林最早期合作的女明星，她在片中扮演一名法国村姑玛丽 当地时间2023年1月13日，入选2023年第73届柏林国际电影节经典修复单元片单 此片在卓别林的导演生涯中是一部罕见悲剧，被卓别林自称为其“电影生涯中最重要的影片” 他在这部影片中用简约易懂的手法对环境和人物性格作了深刻的分析，并力图避免当时常见的平铺直叙而注意渲染剧情发展的起伏和高潮，以此证明了电影跟小说和戏剧一样具有丰富的表现能力 片中朴素的暗示和省略手法被影评家所称道，而此片采用的常规全景和中景的“镜头结构”，直到30年代初还依然是电影导演的借鉴 卓别林在事业巅峰状态下一次特殊的退于幕后，执意排除自己演绎的喜剧元素，呈现给观众纯粹的银幕正剧，应该说通篇叙事条理明晰，情节起伏尚可，但缺乏更出人意料的张力，至于影像表现力确实由于景别系统的落后与默片局限下全程的配乐而显得不那么符合现代观众的审美节奏，相比于其后期许多偏正剧的作品，张力与形上层次都稚嫩了很多，他最为拿手的应该还是社会讽刺幽默桥段和人文关怀融合架构，片尾温馨向上，倒是其一贯的电影风格（时光网评）
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