After a very long, but visually arresting animated opening credits sequence, Luchino Visconti (Death in Venice) directs the first story, which is the longest of the five, taking approximately a third of the film's running length. Mangano plays a superstar actress and model who travels to a mountain resort, only to find the well-to-do inhabitants have prejudices and preconceived notions about her based on her public persona. The women are all jealous and the men all want to sleep with her, but all Mangano wants is to be left alone. It's a mostly somber satirical piece, but story-wise, it languishes in its modest idea a bit long, becoming inconsequential to all but those fascinated by the realities of being famous. "Community Spirit" Bolognini's piece isn't really a story. It's more of a visual gag, in a short segment that features Mangano offering to take an injured man to a hospital, driving him at breakneck speed throughout the city, but not stopping at locations where he might find aid. I won't give away the punchline here, but it succeeds in being amusing, even if it's the kind of thing that only is interesting the first time through. "The Earth Seen from the Moon" The esteemed writer/director, Pier Paolo Pasolini (Salo), crafts the middle segment, which is the most artistic and memorable of the five. Reminiscent in style to "Don Quixote", a recently widowed father and his son travel around the country in search of a new wife and mother, and after a long period, they discover the literally speechless Mangano. She brings joy into their lives, but they are poor, and in order to find a better life for themselves, they concoct a scheme to try to make some quick cash. The story is contrived, and not completely interesting, but the outlandish performances, artwork, and costumes does evoke great charm and likeability. Although mute, it's probably the most appealing of Mangano's five performances, and Toto is terrific. "The Sicilian" Franco Rossi directs the fourth an shortest piece, a straight-forward revenge story that comes and goes before it ever has a chance of becoming interesting. It's violent, but easily the least satisfying of the five stories. "A Night Like Any Other" Eastwood's appearance is clearly the biggest attraction here, which was filmed in between the Sergio Leone "Dollars" trilogy. It's an enjoyable departure from his normal roles, playing a comedic romantic lead, and he is affably fun to watch. Famed Italian director, Vittorio de Sica (The Bicycle Thief, Umberto D.) does a masterful job with the story, which perfectly blends the mundane and the fantasy in a visually satisfying way. The story is about a bored housewife (Mangano, of course), who tries in vain to get her husband to realize that he is not as romantic as he used to be. The scene is interspersed with comedic romance sequences revolving around the couple's past romantic interludes, and dreams of how their lives should be.
尊敬的作家/导演皮尔·保罗·帕索里尼(Pier Paolo Pasolini,Salo)创作了中间部分,这是五个作品中最具艺术性和纪念性的一个。让人想起《堂吉诃德》,一对新近丧偶的父子周游全国寻找新的妻子和母亲,在很长一段时间后,他们发现了这个几乎无语的曼加诺。她给他们的生活带来欢乐,但他们很穷,为了给自己找一个更好的生活,他们编造了一个计划,试图赚些快钱。这个故事是精心设计的,并不完全有趣,但古怪的表演、艺术品和服装确实唤起了巨大的魅力和可爱。虽然是哑巴,但这可能是曼加诺五场表演中最吸引人的一场,托托也很棒。
伊斯特伍德的出现显然是这里最大的吸引力,这是在塞尔吉奥-利昂“美元”三部曲之间拍摄的。这是一个愉快的离开他的正常角色,扮演一个喜剧浪漫的领导,他是和蔼可亲的乐趣看。意大利著名导演维托里奥·德·西卡(Vittorio de Sica)(自行车贼,翁贝托·D.)对这个故事做了出色的处理,以一种视觉上令人满意的方式完美地融合了世俗和幻想。这个故事讲的是一个无聊的家庭主妇(当然是曼加诺),她试图让丈夫意识到他不再像以前那么浪漫,但徒劳。场景中穿插着围绕这对夫妇过去的浪漫插曲展开的喜剧浪漫情节,以及他们应该如何生活的梦想。
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