[img=1:C][/img]说实话,我这真没看懂伍笛想要表达什么,.....也许是对与纽约街景和百老汇本身的致敬吧....[img=2:C][/img][img=3:C][/img][img=4:C][/img][img=5:C][/img][img=6:C][/img][img=7:C][/img][img=8:C][/img][img=9:C][/img][img=10:C][/img][img=11:C][/img][img=12:C][/img][img=13:C][/img][img=14:C][/img][img=15:C][/img][img=16:C][/img][img=17:C][/img]
偏向于叙事的电影。
跟Woody Allen更早期的比起来,其实还是蛮大区别的。这部电影的他尽管还是唠唠叨叨,但是基本没有晦涩难懂的政治、哲理类的讨论。(至少没有中文字幕我还是看懂了绝大部分。)
Danny Rose一直风尘仆仆,为表演出心出力,他发掘的人还是相继离开他,另觅出路。他还要为他培养的演唱者哄女人,还要为这个女人冒那么大的险,真是很符合描述小人物电影的一般规律---悲剧再悲剧,怎也挡不住。但是结局居然有点温情的成分。
除了主角本身还是很Woody Allen之外,其实这故事不是特别的他的风格。
Allen’s ‘80s black-and-white features x 2, ZELIG is a gimmick film, a mockumentary germinated from the inventive idea of a “human chameleon”, but the real star is DP Gordon Willis’ Promethean genius of inserting characters into archival footage and the application of rendering the newly shot footage a ’20’s archival veneer, to the astonishing effect of total harmony and verisimilitude (although the one with Hitler is a bust, the actor’s resemblance is wide of the m
《丹尼玫瑰》经纪人的工作就是让自己失业。
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