"Golden Age" movie script
Translation/Zheng Liming
Golden age
(L'Age d'or)
France 1930 black and white
Screenwriter: Luis Bunuel, Salvador Dali
Director: Luis Bunuel
Photography: Albert Duverge
Main actors: Gaston Modot, Leah Liss
Screening time: 60 minutes
1. Subtitle: "The scorpion is an arthropod. It was distributed in the hot areas of the ancient world."
1a. Close-up. There are three scorpions on the wall.
1b. Close-up. On a flat rock, a scorpion is raising its venomous tail hook.
1c. Close-up. Two scorpions are fighting.
2. Close-up. Looking down: A man is kneeling facing left, only his legs and arms can be seen. Holding a stick in his right hand, he picked up a scorpion and put it into the box held in his left hand. Then catch the second one and put it in the box.
2a. Close-up: A side view of two scorpions fighting each other. (The lens moves from the right to the left of the screen.)
2b. Subtitle: "Its tail is composed of five prisms connected together."
2c. Close-up. A scorpion.
2d. Close-up. The tail of a scorpion is standing upright.
2e. Close-up. It looks like the tail of a scorpion viewed under a microscope. (Circle)
2f. Close-up. Rock, a scorpion.
3. Subtitle: "Its clip is like the thigh of a crab, it is an organ for fighting and transmitting information."
3a. Close-up. Scorpion's pincers. (Circle)
3b. Close-up. Two scorpions are fighting each other.
3c. Subtitle: "The sixth section is the end of the tail. It is bubble-shaped and contains venom. A curved, pointed sting needle is injecting venom into a hole."
3d. Close-up. The scorpions are fighting.
3e. Close-up (circle). The sting of a scorpion.
3f. Close-up. Two scorpions are fighting, and the third one has been added.
4. Subtitle: "It likes darkness. In order to avoid the dazzling sunlight, it dug a hole under the stone."
4a. Close-up. A scorpion is hiding under a stone. The other crawled over and was rejected by the first.
4b. Subtitles: "They seldom communicate and reject anyone who disturbs their solitude."
4c. Close-up, continued shot 4a, the second scorpion insisted on going, but was refused.
5. Subtitle: "How fast and ingenious is its attack! ... Even the rat that is out of sight will die under its attack."
5a. Close-up. A mouse (actually a hamster) approached the scorpion and started fighting with it, but failed.
5b. Subtitle: "A few hours later..."
6. Gradually appear: a moonlit night scene (actually a small bay), slightly overhead view. A man turned his back to the camera and pointed at a nearby rock.
6a. Medium and close shots. The man's front, with a ferocious expression on his face, stood with a gun.
7.
From the bandit's point of view, four bishops in liturgical costumes were clearly seen on the coast, posing as if they were singing in the church choir.
8. Panoramic view. Looking up, the bandit is standing on the rock.
9. A lens slightly further away than 6a.
9a. Bishops.
On the front, I could just see the sea water and the waves lapping under their feet. The bishops are singing.
9b. Medium and close shots. The front of the bandit is still in the posture in shots 6a and 9.
10. Medium and close shots. Continuation of scene 9a, the bishops sing.
(Melt)
10a. Close shot, panning the bishops from right to left.
10b. Back to lens 9b. The front of the bandit.
The bandit who had been observing suddenly decided to leave here to report to his accomplices.
11.
Use any part of the scene as the background. The bandit dragged his weak body, leaning towards the camera at the fastest speed possible, holding the gun he was holding when he appeared in his hand.
11a.
He walked down the slope of a rock.
11b. Continued lens 11. The bandits were walking on the road.
A burst of dizziness hit him. But he cheered up and continued to run.
11c.
Pan the four bishops horizontally one by one, stopping each one in the middle and close shots.
11d. Panorama. In front of the bandit, he walked diagonally forward.
11e. Panorama. On the front of the bandit, he was getting tired.
His expression was painful, and it always seemed to be tortured by something like hunger, etc.
(Turns dark)
11f. Medium and close shots.
He walked a few steps and stopped to wipe his sweat. It looks like a high fever.
12. Panoramic view. Looking down at a dilapidated house.
panoramic. A pile of ruins. There is a ruined house not too far away, which is a hiding place for the bandits. The bandit entered the screen and walked towards the ruins with his back to the audience.
13. Medium and close shots. The front of the bandit.
13a.
Looking at the bandit from the ruins, the broken house where the bandit was hiding, he walked forward. Until the foreground. He is going to jump over a small ditch there. But he was too weak and unfortunately fell to the ground.
13b. Continued lens 13.
The posture in which he suddenly fell was unreasonable and incompatible with the obstacles they encountered. He looked very painful and continued to walk with a little limp in his leg.
14. Close-up. Continued shot 13a.
(Melt)
14a. Panorama. In a ruined house-a big house, like a breeding house or a garage. There are four people sitting in the background. Two people stand in the middle of the room. The one on the left is holding a pitchfork and the one on the right is holding a stick. The pitchfork and the stick are crossed together.
The room was in a panic, everything was severely damaged: the stove had been extinguished, and scattered chairs were littered all over the floor. A pile of straw is the bed where these bandits sleep.
14b. Close shot. The bandit leader (played by Max Ernst) sits with a bandit.
14c. Close shot. The two standing with pitchforks and sticks in hand.
14d. Close shot. Peyman (played by Pierre Previ) lies on a bale of straw. He wrapped a rope around a small wooden wedge (the end of the rope was tied to the intersection of the pitchfork and the stick).
14e. Close-up (from the shoulder). The bandit leader, looking down slightly.
14f. Close shot, continued shot 14c. The man on the left pulls the rope.
14g. Close shot, same as 14d. Peyman smiled.
15. Close-up (from the shoulder): The bandit leader called out an order.
15a. Close shot, standing two people put down their forks and sticks and walked towards the background.
15b. Close shot. Peyman was still lying down.
15c. Close-up shot, continued shot 15a. Two bandits walked towards the background.
15d. Close-up (from the shoulder). Look down at the bandit leader.
15e. Panorama: The two people standing in the middle sit between the two people in the background, and the latter moves to the sides to make room for them.
16. Close shot. The bandit leader touched the bandit's shoulder to his left with his elbow. The bandit stood up and walked towards the camera with a cane.
16a. Panorama. Peyman was still lying on the spot. The bandit on crutches came over, trying to cut the rope. There was a knock on the door.
16b. Medium and close shots. Three bandits are sitting. The one on the right side of the screen stands up.
16c. Close shot. The bandit was playing with a switchblade in his right hand.
17. Panoramic view. The bandit who stood up in camera 16b walked towards the door and pulled out a pistol.
17a. Close shot. The bandit leader scolded the bandit.
18. Panorama. The bandit installed the pistol and turned halfway around.
18a. Medium and close shots. The bandit standing next to Peyman on crutches looked at the bandit leader.
19. Close-up (above the chest). The bandit leader shouted an order.
20. Medium and close shots, continued shot 18a. The bandit on crutches dropped the rope and walked towards the door.
20a. Panorama. The bandit on crutches was walking towards the door.
20b. Close-up (above the chest). The bandit leader looked at him.
20c. Panorama, continued shot 20a. The bandit on crutches opened the door.
20d. Close-up shot. The bandit on crutches opened the door, and when the bandit who went to watch the watch came in, he returned to the place.
20e. Close-up (above the shoulder).
Bandit guarding the sentry: Could it be that I fell?
20f. Close-up (above the chest).
Bandit leader: No, we didn't see anything.
The bandit leader looked at the other bandits.
20g. Close-up shot, slightly looking down above the waist of two bandits, and then panning the other four bandits.
20h. Continued shot of the bandit leader 20f.
Bandit guarding: But...is there any news?
20i. Continue to watch the bandits 20f.
Bandit on guard: (somewhat scared, trying to recall) Yes, finally the people from Mallorca came.
20j. Close shot (above the chest). The bandit leader motioned to stand up.
Bandit leader: Come on! All action!
21. Panorama. The other bandits stood up and went to find their own weapons.
21a. Medium and close shots. The backs of the bandits, they ran to find weapons.
22. Panorama. The bandit leader stood by the door giving orders to his men.
22a. Medium and close shots. Continued lens 21a.
23. Medium and close shots. The bandits passed in front of the bandit leader and walked out the door.
23a. Panoramic view (photographed slightly upwards): The outside of this toppling house. The bandits came out of the house on the left and disappeared on the right. The last one, now walking to the right, a few meters away from the house, he stopped and sat down.
23b. Close shot. The bandit on crutches was sitting on the grass.
24. Medium and close shots. The bandit leader who had come out went in again.
24a. Close shot. The front of the bandit leader.
Bandit leader: Where is Peyman?
25. Close-up. Peyman lay down. Turning his eyes to the bandit leader.
Peyman: I'm bored.
25a. Close shot.
Bandit leader; we are the same, but let's go.
25b. Close-up. Peyman is lying down (same shot 25).
Peyman: Yeah, yeah, but you have accordions, hippos, keys and hooks to climb...
25c. Close shot.
Bandit leader: Ah, it's not promising! Forget it, forget it, let's go (he goes out).
25d. Close shot, Peyman is dying.
Peyman was panicked at first, and then, when the bandit leader walked outside, he opened a pair of hallucinating eyes, and tried his best to say the last sentence again.
Peyman: ...brushes.
His head dropped weakly on the straw.
26. Panorama. The door is on the left side of the screen. The bandit leader came out. Passed by the bandits sitting on the grass.
27. Panorama
There was a pit or a ditch in the scene where the bandit on guard fell. Still shot from the same angle. The bandits followed the leading bandit, turning on the right side of the screen, turning their backs to the camera. Everyone had to jump through the pit. Despite the hard work, everyone else passed, only the one who ran to inform the bishop of the arrival. He fell again, with his hands spread out, and he didn't have the strength to get up. He watched his companions walk away from the ground. The expression on his face was painful, he was exhausted.
28. Close to the scene.
The bandit lying on the ground watched his companion go away with his expression in the camera 27.
Dim quickly.
29. Fading:
Reversing the camera, the bandits walked across the screen one by one. It looks like they are already tired.
29a. Panorama. The four bandits are gone.
One of them fell behind the others, and he wanted to sit down, but fell to the ground. Just staying like this, he couldn't stand up.
29b. Close shot of the bandit on the ground: He got up, looked around, and fell down again.
30.
Looking down on a cliff, the bandits were about to climb up, and due to extreme fatigue, they fell to the ground one by one.
Close shots of them when they fell. When the two bandits were climbing the cliff, their bodies shook, their shoulders collided with each other, and then they fell and couldn't get up. Not only do they look absurd and ridiculous, but the expressions on their faces show fear, which makes it impossible to simply regard the plot as comedic.
30a. Close shot. One of the bandits who fell wanted to climb.
31. Close shot. The other face was on the ground, with his tongue sticking out.
32. Panorama. Only the bandit leader (front) moved on.
32a. Panorama. The bandit leader enters the screen (rear).
He continued to climb until he was in the foreground facing the camera. Then he turned his head halfway to see if his people had followed. He also looked tired. When the bandit leader turned his head, all the bandits were already lying on the ground.
A close shot of the bandit leader's front, he stared at the scene in front of him sadly and exhaustedly.
33. Overlooking the place where the sentry appeared at the beginning, the bishops were standing on the rock.
33a. Medium and close shots. The bandit leader gave his men one last look in anger and frustration.
(Fading out)
34. Panorama. Panning. Very close to the beach, there are 10-15 small boats and small boats (powered by gasoline engines) full of people.
35.
Take a panoramic view of a boat from the back, carrying the most important people participating in an upcoming ceremony or some public gathering. The first person to come down by the support of two men with military ranks is the governor. He wears a slow belt on his upper body to show his authority. Then there are other people, they are all big names.
35a. Panorama. Everyone who got off the boat walked in the same direction.
There should be a lot of people in this shot in order to appear crowded.
36. Panorama.
Another group of people got off the boat. One of them is a nun. She walked out of the frame from the right side of the frame and the left side of the camera, and others followed her. Walk towards the place where the corpses of the bishops should be. (Panning view)
36a. Continued shot 35a.
37. Continued lens 36.
38. Looking down.
The camera was placed where the bishops stayed. Take a picture of the entire crowd: everyone is moving towards the camera, and they are already very close.
38a. The governor (and his entourage) came first, and he walked in the forefront. Everyone stopped here for a moment and respectfully paid tribute to their attention. Then move on.
38b. Take a panoramic view of all people leaping towards the camera.
39.
Now it is the first time to photograph those bishops, or their bodies, from a public perspective. Judging from the level of messy and damaged vestments, and the bones buried in the beach (although one or two of them no longer exist), it seems that a long time has passed, even centuries. But in fact only two hours have passed since the bandits first saw them. One of the clothes was extremely shabby, still sitting on the rock. A sand dune buried another person's shin and foot. Here and there, there are rags of illegible clothes everywhere.
Voice (outside the picture): Hello!
39a. Continued shot 38b. The governor is in the middle of the front row. Everyone took off their hats, except for the soldier who asked "Hello".
40. Panorama. The corpses of the bishops.
40a. Panorama. Everyone put on their hats. (Overview) Walk to the cornerstone.
41.
The panorama in the first row is full of important people. Everyone calmed down, and then the governor looked at the few pages of the lecture prepared for the ceremony and prepared to read.
42.
After receiving the panorama, the governor took the speech in hand, and was considering how to say the first few sentences. Suddenly, shouts came from the last few rows of the crowd.
42a. Medium and close shots. The governor said a few words to an official, then looked at the speech, cleared his throat, and prepared to read it.
43.
Looking down from behind the crowd, people turned their backs to the camera, but as the shouts and scolding became stronger and stronger in the commotion, everyone turned their heads and looked at the place where the camera was. The shouts came from here.
44.
Looking down at some people in the last few rows, they are scolding someone behind them.
45.
Close shot, overhead shot. A lusty and dreamy man hugged a woman, and the two rolled on the mud.
46. (Originally in the script, deleted when editing) Close-up shot of this pair of lovers. She was gently at his mercy, as if a mother allowed her son to touch her. He bit one of her ears and showed a lustful expression of intoxication. People's hands and feet can be seen, they punched and kicked the lovers.
47. (The original scene in the script, deleted when editing) Another scene of the crowd was taken from a little farther away. Two or three people rushed to the lovers, separated them hard, and they took it. The woman lifted up and dragged her away roughly.
48.
Close to the scene. The woman walked forward with arms crossed by two people. The camera followed them. The woman turned her head and looked intently at the place where her lover was with loving, painful eyes.
49. Close-up shot in the top view. Men are occupied by a strange kind of madness. With a disappointed look in his eyes, he continued to roll in the mud (and was kicked), but in the end, people thought he was a lunatic and let him go.
49a.
close up. Man's head. His eyes were half-open and half-closed, as if appreciating an indescribable scene. There was a deep sense of happiness on his face, as if the rhythm of the illusion that aroused his pleasure made his head shake gently. He doesn't roll anymore. The camera focused on his expression immersed in the illusion of his heart in order to pick up the next picture.
49b.
Close-up shot. His lover sits on a white and flawless ceramic toilet (just a reminder about this is enough, it will be both that and not so accurate). She is wearing white clothes (in the film, it is actually gray, with floral decorations on her chest, and a long pearl necklace hanging on her neck). Her unfettered posture and expression feel that she is so pure and beautiful today.
(Melt)
49c. Close shot.
The picture is all the toilet, now there is no one. A roll of toilet paper was scattered, dragged on the ground, one end started to burn, and it was swallowed by flames. At last. The picture shook violently.
49d. Close shot.
A large piece of land, at the foot of a volcano, is where magma rushes.
49e. Close shot. Shot from another angle, the magma is boiling.
49f. Close shot. Shot from the third angle, the magma is boiling.
50. Continued lens 49a. A close-up of the male protagonist's head.
50a. Close shot.
The man was fantasizing, and the two police officers shook him desperately, awakened him from the fantasies, and then forced him to follow them. Nevertheless, although he has come to a sober from the fantasy. Still followed them with an absent-minded expression.
51.
After picking up this man (played by Gaston Modott) a little further away, the police forcefully dragged him away. At last, people looked at the rebellious man again, and then went back to the crowd, because the ceremony finally began, and people waited for the speech to begin. The police and the arrested person walked towards the camera.
52. Panorama. The police and the arrested were gone.
53. The camera is pulled back, and the person taken away by the police is photographed from the front. There was the sound of a dog barking, and the man shivered strangely. He looked behind—where the dog barked.
53a. Close-up. A puppy is barking.
53b. Continued shot 53.
53c.
Immediately afterwards, he pushed the policeman to the ground with his arms and ran towards the puppy.
54. Medium shot.
The man entered the picture, ran straight towards the puppy, flew up and kicked it a few meters away. Immediately afterwards, the police ran into the screen like a tornado, rushed towards the man, grabbed him roughly, and handcuffed him. They dragged him away severely. And once the man had done what he wanted to do, he showed his indifferent expression again.
54a. Medium shot. The policemen once again dragged him forward as they were in Camera 52.
54b. Close-up. The governor who is speaking.
55.
The camera moves (the camera moves on the rails) to the man who was taken away by the police in handcuffs. Moving back for a while, you can see the strange indifferent expression on his face. He walked, his eyes half-open and half-closed. The lens continues to move backward. At this moment, he was suddenly attracted by something on the ground on his right.
56. Panorama.
Take a shot taken from behind the location of the corpse. The first row is a few workers. They placed the first stone in front of the governor and his attache. The governor had finished speaking. He watched them put the stones and took a brick trowel stained with cement from a worker's hand.
57.
The arrested man struggled free from the police and entered the screen. He stared at the ground under his feet.
57a. Close-up. There is an insect on the ground.
57b. Medium and close shots.
He stopped abruptly (the camera also stopped moving), although the police tried desperately to stop him, he was still led away.
57c. Medium shot. The man is between the two policemen.
58.
Close-up of the arrested person’s legs and feet. A large insect crawled over calmly not far away. The arrested person was delayed for a while due to pushing and fighting with the police. Nevertheless, he caught the insect.
58a. Panorama.
As soon as his quirks were satisfied, he let the police take him away with an absent-minded expression of indifference. The police beat and pushed him a few times.
59.
The two policemen sandwiched the arrested person and walked out from the right side of the camera contemptuously. The background is a desert. They walked away.
(Turns dark)
60. Fading:
panoramic. Surrounded by two or three people, the governor, assisted by a worker, filled the first shovel on the foundation stone, and then returned to the spot and stood in the line.
(Melt)
60a. Close-up. Brick trowel and cement on the stone.
(Melt)
60b. Subtitles (the inscription in the script is carved on the stone):
"In 1930, at the location of the corpses of four Majorcans, this first cornerstone was buried and established..."
60c. Panorama of Rome taken from the air (data).
60d. Subtitles:
Roman Empire
60e. Continued panoramic view of Rome taken from the air.
61. Subtitles:
The ancient defender of the secular world, as the centuries passed, has now converted to this religious center since ancient times. This is the appearance of the Vatican, it is a strong pillar of religion.
61a. The front view of the Vatican.
62. At the front of the Holy See in the Vatican, the pope appeared in a window.
62a. Panorama. Part of the front of the Holy See in the Vatican. Among the various components of the building, a window attracts attention.
62b. Close-up of the window. The windows are divided into four panes, one of the panes of glass was broken, and a piece of paper was pasted on it. It was a letter, and the camera was facing this pane of broken glass.
62c. Close-up. A letter was pasted on the window lattice.
63. Same as written in the sub-screen script (except that Antonia was changed to Ninet, and the telegram was changed to a letter):
"I talked to the manager and he will give us a discount on rent. If you want, we will go directly to him from the station so that you can hand over the driver to Piero and Antonia. I really want to know about you. What was said in the telegram. Don’t go into details. Goodbye. Your cousin kissed you."
64.
A street, it can be Rome, or a street in any modern city.
64a. Subtitles:
However, it, an ancient imperial city, has also been involved in the whirlpool of modern life.
65. A panoramic view of a traffic jam at a street junction.
65a. Scaffolding slightly overhead.
65b. The front of the house photographed slightly upwards.
65c. Panorama. Crossroads, people walking on the road (overview)
66. The interior of the theater where the Christian holiday is being celebrated. (Panning view)
67. The window of a pharmacy.
67a. Panorama. Part of an outdoor cafe. Customers are sitting at four or five tables. A man walked out of the cafe, his body was dusty or white.
67b. Medium and close shots. The gentleman stopped and dusted his body.
67c. Panorama. Continued lens 67a. He continued to walk his way.
67d. A section of ordinary wall.
68. Subtitles:
Sometimes on Sunday...
68a. Panorama. a street. The explosion caused the houses to collapse one by one from the background.
69. Subtitles:
Diverse and picturesque urban scenery.
69a. An ordinary porch.
69b. A glimpse of a fountain in a small pond.
69c. A corner of the park fence, a stone pillar.
69d. The back of a statue in the park.
(Melt)
69e. Panorama. The window of a bookstore. A girl passed in front from right to left.
70.
Another sidewalk. A well-dressed gentleman came from the pedestrians. He stepped on a violin that fell on the floor. He did this with the kind of pretense peculiar to this kind of person, for example, he insisted not to step on the white line on the crosswalk.
71. Close-up. Pedestrian’s legs saw the violin being kicked forward by a person’s foot.
Followed for a while.
71a. Continued shot 70.
71b. Continued shot 71. The man's right foot broke the violin.
71c. Roof and sky.
72. A boulevard in Vilsayes Park is empty and lonely. The trees have lush branches and leaves. There is a statue in the foreground on the right with a stone on its head.
On the tree-lined road, a gentleman walked towards the camera with a rock like that on his head. The lens was overhead, so the character walked out of the picture from under the camera.
73. Close shot, follow this gentleman, with the stone on his hat.
(Turns dark)
74.
Fading: The background is any building, fence, wall, etc. The camera moved slightly, and the two policemen and the arrested entered the screen, and they walked towards the camera. Passing by an advertisement for a sock (there are other advertisements in the film, I will see below), the arrested person walked and looked at the advertisement, and finally had to look back.
74a. Close-up (above the shoulder): The front of the arrested person, he is looking at...
75. Close-up. advertise:
To make you more beautiful
Juda Feathered Hat
White and...
There is a woman's hand pointing to the feathered hat in the advertisement (hand and forearm are under "To Make You More Beautiful"; the feathered hat is under the trademark Leda).
75a. Advertising is in the foreground. The woman's hand above is white. Take a real hand, very similar to the one drawn in the advertisement, this hand is trembling nervously with one finger as the fulcrum.
The effect of this action will be shocking, because it clearly shows masturbation.
(Turns dark)
75b. Close-up. Take the previous shot.
The hand is still there, and the place where the feather hat was painted is now the hair.
75c. Continued lens 74a. Close-up of a man (above the shoulder).
75d. Medium and close shots, continued lens 74. The man and the police leave the ad.
76. Panorama. The man and the policeman marched towards the camera.
76a. Reverse the lens. Here comes a man carrying a sandwich advertisement (with billboards on the front and back). panoramic.
76b. Continued lens 76, medium and close shots. The arrested and the police.
76c. Continued shot 76a. The person carrying the sandwich ad walks to the middle shot.
77. Panorama. The man and the policeman passed by the person carrying the sandwich advertisement. The man was attracted by the advertisement on his back.
77a. Medium and close shots. Seeing the three people crossing the road from the back, the man looked back, that is, toward the camera, that is, the person with the sandwich ad.
78.
In the advertisement, there are several women's legs painted on them, all wearing exquisite stockings. From the way their legs are spread apart, they appear to be sitting. The camera is facing the advertisement, pulling back from the close-up.
79. Continued shot 77a.
80. Continued lens 78.
80a. Panorama. The policeman and the man walked forward.
80b.
Take a portrait shot of sidewalks and fences. The police and the arrested man came from far away. When approaching the foreground, one of the police officers quickly made a gesture to stop the other two. He took a cigarette from his coat pocket, lit it, and was helped by his companions, and then grabbed his arm. The three of them continued to walk forward and walked out of the screen from the left side of the screen.
80c. Close-up: The man is attracted by a photo posted on the glass.
80d. Close-up (above the shoulder): The man looks at the photo.
81. In the photo, a woman's head is tilted back lustfully. Much like his lover's head.
(Melt)
81a. A girl's head, with the same posture as in the photo. The camera zoomed back a few meters, and the girl could be seen lying on a sofa, shaking due to the vibration of lust.
The intention of pulling the camera back is to confirm the man’s imagination (replace the head in the advertisement with his lover’s head) and to confirm what the girl actually felt and did at the moment the man stared at the photo.
81b. Continued shot 80d. Close up of man.
81c. Same as lens 81.
82. Medium and close shots. The arrested person and the police filled the screen first, and walked down the street from the front of the camera.
83.
The close-up of that girl, her faintly intoxicated look is undoubtedly what she wanted to express. She straightened her body lazily and slowly. Finally stand up, the camera shakes. She walked towards the door...
83a. Panorama. The back of the man and the policeman, they are gone. A little boy followed them. A police officer turned around and scolded the boy. The boy pretended to leave, but then followed them.
84. Panorama. The girl (Lia Lisi) enters the living room through the door in the middle view. In the foreground, the mother is sitting on a chair with a book in her right hand to show that she is reading. She watched her daughter come by, and suddenly asked her a question.
84a. Medium shot, above the waist, the girl's front. She picked up a book from the table behind her, her right ring finger wrapped in a bandage.
84b. Close-up of the book in the right hand, with a bandage on the ring finger.
84c. Medium shot above waist. Continued shot 84a.
85. A close shot of the mother, the side of the body above the chest, and the face is front.
Mother: Is a bandage on your hand?
85a. Close-up shot above the chest. The girl raised her eyes and answered.
Girl: Yes, my finger hurts for more than a week. (Pause) Dad is back?
85b. Same as lens 85.
Mother: He is in the pharmacy. He will go back to the bedroom to change clothes for a meeting later.
86. Close-up. The girl's father, the Marquis, shook a narrow-necked bottle cramped. On the shelf behind him were bottles, cans, and medicine packets. His ring finger was also bandaged like his daughter's. As demonstrated on a flip chart, he put his ring finger into the thin bottle mouth.
The movement of the fingers made the whole hand tremble.
87. Close-up shot above the girl's breast (same lens 85a). (Same as in the script, except here the violin is changed to piano):
As soon as the scene of the father shaking the bottle in the pharmacy ended, the girl told her mother.
Girl: We came out together, there are already six Majorcans. The youngest one has a mustache. He sang like everyone else. Just lack of a pianist. But a member of Maria's Order who played the violin very well advised us. These luthiers are already rich, because six people sitting at the microphone have more voices than 60 people sitting 10 kilometers away. Of course, the sound is much weaker in the open air, but... we can arrange the guests in the closest place to the band. I thought...
87a. Close-up shot of mother (same lens 85 and 85b).
When the girl was about to end this long string of conversations, her mother interrupted her without waiting for her to finish.
Mother: Hurry up, the Mallorcanese will come at nine o'clock.
88. Panoramic view of the reception hall. The mother sat and watched her daughter walk through the living room.
89.
Emerging: a panoramic view of the room. (This room is the room where the desperate male protagonist enters after the scene of love at the end of the film, hitting his head heavily on a branch.) For a moment, the door is empty until the girl enters the screen and opens the door and walks away. Enter the bedroom. On the background, there is a cow lying on the girl's bed. She saw the cow and quickly walked towards the bed.
89a. Close shot of the girl standing by the door frame. She saw the cow and was about to walk over.
89b.
The cow lay on the bed, as calm as it was lying in the cowpen, and seemed to be used to lying here. The girl entered the screen and blasted the cow with her arms, like a dog.
89c. Continued shot 89a. The girl walked towards the bed.
89d. Continued shot 89b.
89e. Panorama. Bedroom, bed and cow. The girl walked over.
89f. Medium shot. The girl yelled.
90. Shoot from behind the bed. The girl is in the foreground and the cow is in the middle shot. It has gotten off the bed. The girl forced it out from the right side of the screen.
90a. Continued lens 89f.
90b. The cow comes down from the bed.
91.
Panorama, the door of the room, the cow is going out from inside. Almost following it, the girl went over and closed the door. (There has been a bell ringing in the bedroom during this time. Then the music started to start a scene in the dressing room.) As soon as the girl closed the door, she turned back and walked towards the dressing table.
92. Get close and medium shots. The girl walked over to the dressing table. Because it was taken diagonally, the image reflected in the mirror was not visible.
The girl walked over and sat on the opposite side of the dressing table. She looked peaceful and serene, even though the dreamy look in her drunken man's eyes showed that she was gazing at a dear image in her heart. She looked in the mirror casually; holding the nail clippers in her hand almost unconsciously. (These shots are very slow.)
93.
The girl is facing the camera sitting on the dressing table, front. She started to polish her nails subconsciously, but she didn't look at the nails, she repaired one and then another. After doing a few repairs in this way, she threw the nail clippers on the small table. She looked at her nails, but did not see them, and then looked into the mirror.
94. Panorama.
The arrested persons and the police appeared, and they walked on the sidewalk behind a fence. The man's expression was the same as the girl's, with tears in his eyes. He was handcuffed on his hands, and he put his hands on his heart like a girl.
94a. Girl
There were tears in her eyes. Crossed her hands on her chest beside her heart, but she always took an unconscious movement to avoid the stage flavor that this posture might have (...). The girl was still immersed in the dream of love, her brows were slightly furrowed, her eyes were full of tears, and her head gently shook. She was slightly startled when she heard the dog barking, and she became more emotional. She bit her lip and followed the action of the male protagonist in camera 95.
94b.
Fading: Taken from behind a fence in a park. In the foreground, a dog leaned on the railing and barked at someone who must have come from the sidewalk.
94c. Medium shot.
The arrested man looked at the dog tenderly, intending to stop.
94d. Panning shot. Dog behind the fence.
95.
The arrested person is still the same posture above. He bit his lip lightly and picked up the girl's expression in lens 94a.
96.
Close up, the girl looked like she was looking in the mirror attentively. Her hair and clothes began to fluctuate with a gust of wind in the mirror.
97.
A close-up of the mirror. There is neither her nor a room in it, but a beautiful sky with some oval white clouds slowly moving in the twilight. In the foreground, a silhouette of a tree swaying in the wind.
98. The girl looked into the mirror.
98a. Same shot 97, but the girl is in the foreground, with her back to the audience.
98b.
A close-up of the girl's profile and the mirror, but this time you can see what is reflected in the mirror. The girl's hair still fluttered with the wind. She cupped her face in her hands and pressed her forehead against the mirror.
(Fading out)
99.
Gradually. Take a sidewalk obliquely. The arrested person and the police came towards the camera. A gentleman walking in the opposite direction appeared in the camera.
100.
A close-up view perpendicular to the sidewalk, they intersect each other. As soon as the gentleman walked over, the arrested turned around and cursed him.
Captured: Aha, cow!
100a.
The back of Mr. walking away. Hearing the curse, he turned his head in surprise, and didn't stop walking.
100b.
Continued shot 100.
The police stopped when he heard the curse. Looking at the arrested furiously. One pushed him, the other punched him in the ribs.
Police: I'll smoke your mouth! Go your way, don't look for other people's affairs!
101. Back view. The three walked.
101a. Panorama. A blind man was walking on the road fangs.
101b. Panorama. Three people are facing. The man calls a taxi.
102. Panorama. The taxi drove over without stopping.
103.
Close shot. A close-up of the pick-up police and a close-up of the arrested person. When the two policemen saw the arrested person wanting to call for a taxi, they both approached him. One of them (...) asked him sharply.
A policeman: Do you want to joke with us? You have to clean up your meal.
So far, the arrested first noticed these two escorts. But he didn't look at their faces, it was an expression of contempt for them. He restrained it and spoke to them in an angry way, patted the pocket of his coat.
Arrested: Okay, enough. I have credentials in my pocket.
The two policemen looked at each other questioningly. With menacing expressions, they seemed to find a new excuse to add a grade to the detainee's crimes. One loosened one of his handcuffs and the other took his arm. The man took out a document from his jacket and gave it to the policeman.
104.
Take the overhead shot and take a close-up of the policeman's shoulder so that the ID he opened can fully attract attention.
The camera is facing the opened ID. I saw stamps and signatures everywhere. It looks like an extremely important document. You can see the first few lines of words, in which the arrested person’s name is given a high praise when it appears. He began to say:
"The General Assembly of International Charities today appointed Mr. X as a senior member of the new delegation and a royal representative."
104a. Panorama. The senior officials of the conference sat at the table: the male protagonist stood with his back to the foreground. At this time, the chairman (minister) was standing and handing over the certificate to the male protagonist and told him.
104b.
Chairman: "This certificate shows that we-the representatives of the motherland-place trust in you. We all expect you to be worthy of it. It will make your noble charity mission a success, just as we believe in you. Your lofty spirit of sacrifice, with your sincere courage, life belongs only to..."
105.
A close-up view of the arrested person. He still speaks in an unpleasant tone, because he wants to end the other person's speech, and he doesn't look at their faces. With the special rhythm of the children memorizing multiplication formulas in school, I took the minister's words.
The arrested: "...life belongs to hundreds of children, women and the elderly. Therefore, our honor and the honor of the motherland that undertakes the noble charity will be praised."
He didn't wait for the other person to speak. He wanted to get out of the screen because he saw another taxi approaching him.
106. Close to the scene. A taxi stopped abruptly, and the person who was compensated also happened to walk up to it. He opened the door.
107. The male protagonist (the arrested person) faces the front in the foreground, and the taxi driver's head is behind it. The hero quickly explained to the driver where to go.
107a. Medium and close shots. A blind man is on the road.
107b. The hero suddenly got out of the car and kicked the blind man. (The script is written about the aggressive blind man.)
107c. Medium and close shots. The blind man took a kick.
107d. Panorama. The hero got into the taxi again and the car drove away. The blind man lay down on the ground.
107e.
Close-up shot, two policemen. One of them still held the certificate. The two frowned and watched the captive go away angrily, but did not take any measures to stop him. On the one hand, they believed in his noble status, and on the other, they were stunned by what happened suddenly. At this time they were in shock.
(Turns dark)
108. Subtitles.
In a luxurious manor near Rome, Marquis XX and his wife are preparing to welcome guests.
108a.
Gradually. A fence in the garden of a rich family. The door was open, and the guests' cars came in one after another.
108b.
The camera faces the door leading into the room, so that the incoming car is directly between the camera and the door. A small car stopped, and a gentleman and a gorgeous lady came down. The car drove away to make room for the next car to come in. One servant was responsible for opening the door of the car, and the other stood at the door of the mansion and led the guests in.
108c. Medium and close shots. In the reception hall next to the cloakroom, guests go in (back view).
109.
The shot of picking up the second car to the door and stopping is only taken from the door. The servant pulled the car door, and a gentleman and a woman came down and walked towards the door (the camera).
109a. Continued shot 108c. The guest (back view) walked into the reception hall.
110. Panorama. Living room, all guests. In the background is the reception hall, where guests put their coats.
110a. Medium and close shots. Two people sit on the couch (waist above). Above them is a huge painting.
111. Medium and close shots. Marquis, marquise and a guest.
112. Close-up. The Marquis talked to a guest very seriously, and the guest was not on the screen. The Marquis' face was thin and tender, with white hair and several black spots on his face.
113. Panorama (same as lens 109). A car stopped, the servant opened the door and put an incense burner on the ground. The people in the car got off.
113a. Close shot. The incense burner and the legs of the man who got off the car (slightly looking down) followed by a woman.
114. Medium and close shots. The man and woman left the car and walked towards the entrance (camera), and walked out of the picture from the right. The servant put the incense burner in the car again and closed the door. This car drove away, and another car drove up.
115. Panorama. The president and his wife entered the back of the screen from the right side of the screen, and they went to the cloakroom.
115a. Continued lens 110. living room. The President—a short, well-dressed, bearded man, and his wife—were dry and thinner, taller than the President; they walked from the cloakroom into the living room.
115b. Medium and close shots. In the foreground, the back of the marquis and the lady, they stepped forward to greet the president and his wife and kissed them.
116.
Panorama of the living room. Almost all the guests are there. A coachman drove a wooden cart pulled by a three-headed female mule to the front hall. Let it walk to the door, and then take the next shot. None of the guests present were surprised. On the contrary, everyone continued their own conversation. When they encountered a crowded place, people drew away and let the cart pass by.
116a. Continued shot 115b. The president and his wife and the marquis went out from the left of the screen.
116b. Continued shot 116. The cart passed through the hall.
117. Panorama. The coachman drove the cart by. Two farmers got out of the cart, stood on the cart, holding a bottle of wine. One of them brought the bottle to his mouth.
117a. Guests. The cart passes through the background. The foreground is the Marquis, the President and his wife of the Marquis.
118. The cart passes by.
119. Continue lens 110a. They are sitting on the sofa chair. A person comes from the right side of the screen, walks in front of them, and sits next to the wife (on the left side of the screen).
120. Panorama. Look at the door to the mansion from the outside. Seeing Lin Ren came from the left, walked to the two servants at the door, and after a few conversations with them, they walked from the right.
121. The yard in front of the door, in the background is the house of looking at Linren. Watch Lin Ren enter the screen from the left side of the screen. In the foreground. Back view. Opposite him, a little boy in shorts and a belle cap was walking towards him.
121a. Medium and close shots. Look at Lin Ren and the little boy opposite him. Watch Lin Ren put down his gun and sit on a chair (side). The little boy sits on his left leg (front side). Watching Lin Ren took off his leather pocket and hugged the little boy tightly.
122. Medium and close shots. Inside the hall. The girl walked across the hall (from left to right) and walked towards a girlfriend who was sitting next to the window and the window.
123. Close-up of the girl.
She looked ahead, as if waiting for someone. A look intertwined with love and anxiety came out of her eyes. She put a hand on her chest, and a diamond gleamed on one finger. She stroked the diamond ring with the bandaged finger of her other hand, still using that trembling motion...
(Melt)
124. Close-up. A servant caressed a thin-necked cold water bottle. (The postures of people and things are the same as in the previous scene.) Then it's dried upside down.
125. Close-up shot, towards the door next to the servant. The servant emptied the ampoule.
126. Panorama.
Take the shots of the servants. Looking at the background from the front, there is a door between the two servants. This door does not lead to the hall. It is a small door leading to the rest of the house. Suddenly the door opened wide, and smoke and fire spewed out. A maid screamed in panic and ran out of the fire...
127. Medium and close shots. The woman, yelling, fell almost suffocated.
127a. Panorama.
The servants turned around and instead of saving the woman, they picked up a large tray and ran towards the door leading to the hall in panic. The servants walked out of the picture from the right side of the camera.
128. Panorama.
Taken from the reception hall, the foreground is a close-up of the door, you can see in the reception hall, the flames are still escaping from the small door. The servants were so panicked just now, but they calmed down almost immediately and walked into the hall with their trays. However, there was still a servant who turned his head towards the fire.
128a and b. The woman who fell to the ground was almost suffocated.
129. Medium and close shots. The servants offered wine glasses. (To the Marquis and Marquise.)
130. Medium shot. Watching Lin Ren sitting and rolling a cigarette, the boy looked at him with a smile beside him. The child is always unable to calm down. (It's a girl in the script.)
131. Close-up. The child looked at his father and smiled, as if thinking about making a joke with his father. He looked at the cigarette that was rolling in his father's hand.
131a. Close-up.
The boy snatched his father's cigarette like a joke. The father was furious. Looking at his son ferociously, his reaction was to slap him or slap him. But the child dodged cleverly, he ran away, very happy, it seemed that he was just playing around.
131b. Panorama. The boy ran back from time to time as a child. In the distance, he fell to the ground, but immediately stood up again.
131c. Close shot. Slightly looking down, the child made a strange look at his father (where the camera is).
131d. Medium shot. The father looked at his son and picked up the gun behind him.
131e. Panorama. The boy continued to run.
131f. The father holds the gun and looks at the child.
131g. Father raised the gun.
132. Panorama. The child is running.
133. Medium and close shots.
The father kept tracking his son, took the gun in his hand, paused briefly, and aimed.
133a. Panorama. The child is running.
133b. Medium and close shots. The father takes aim, takes aim and shoots as the child runs. He carefully aimed at the child who had fallen due to the first shot, and fired a second shot at him.
134. In the distance, the boy ran into the picture, was being shot (first shot), fell to the ground, and suffered fatal injuries.
135. Close-up. The boy lay on the ground, motionless.
135a. Close-up. In front of his father, he put down the gun, then took aim again, and fired a second shot.
135b. Close-up. The boy was lying on the ground, almost facing away from the camera. After being shot for the second time by his father, an aluminum block stirred up a cloud of dust around his neck. The boy convulsed.
136. Medium and close shots. The marquise was talking with some friends. The three of them heard gunfire. After listening for a while, the marquise went to the balcony and two friends followed.
137. Take a close-up. Take pictures of the balcony from inside the house. The marquise went to the balcony, followed by two guests.
137a. Continued shot 136.
137b. Continued shot 137. The marquise and the guest walked towards the balcony.
138.
Continued a shot, shot from outside the balcony. The guests immediately looked at the place where the child's body was. Their reaction to the phenomenon they witnessed seemed to be dissatisfaction, but it was far from the kind of false sentiment that might be caused in practice. This shot is very short, I will pick up the next one right away.
139.
From the balcony, the child's body was lying on the ground. (...) A servant knelt down and looked at the (child's) body. The father stood aside and explained to the other servant what happened. When the marquise and the guests watched them from the balcony, the father stopped explaining to the servant, and the other servant was running towards the corpse.
140. The lens shifts sideways.
Tell a few people on the balcony in detail. The marquise shook her head unhappy, even a little disgusted. The reactions of the other two were different.
140a. Depicts the president in detail.
141. Close shot.
Father explained how things happened lately, and the other party shook his head as if he didn't believe it. In fact, he thought that his father's actions were too much. But that's it.
142. Panorama.
The marquise waited to leave the balcony and scattered in the hall (don’t forget that many guests did not leave when they heard the gunshot). Others walked out of the screen from the right and left of the camera towards the background of the hall.
142a, b, c. Shots of guests leaving the balcony.
143.
Taking the shot of the girl, she walked to a sofa with her girlfriend and sat down. She is in the foreground. His girlfriend was smiling and shrugging her shoulders; but the girl was undoubtedly not interested in her girlfriend's talk and laugh: she didn't listen at all. Others gather here and there, but she is absent-minded. In fact, the girl's mind is not here at all.
143a. Same as lens 142. The Marquis entered the hall.
143b. Continued shot 143.
144.
Panorama of the lobby. In the background, on the right is the entrance of the hall, and on the left is the small locker room. The well-dressed male protagonist comes in, holding a dress in his right hand, the same as his lover's dress tonight. The clothes were dragged on the floor. He walked to the center of the front hall, and a servant walked over and took his coat and hat. He still held the dress and walked towards the hall.
145.
A close-up shot of the male protagonist. The camera took him into the picture as he walked, so that the clothing that was in the foreground at first appeared on the picture as he walked away. When that dress is in the middle and close shots. He was walking to a chair by the door of the living room. He paused and threw his clothes on the chair. Then he entered the hall.
146.
close up. Man throws clothes on the back of the chair.
146a.
Girl, at the same angle as the clothes on the chair. Still sitting where I was just now. She looked ahead, at the entrance door. Suddenly, her face shook, and a beam of joy flashed. She saw the hero walk in.
147.
Look at the hall door from the inside. The man came in and walked to the foreground.
147a. Continued shot 146. Clothes on the chair.
147b. Continued shot 146a. girl.
148. Connect lens 147.
A peculiar expression (of the male protagonist) intertwined with love and evil. He also saw the girl. He cautiously made a hint to her and motioned with his eyes: there are so many people around, wait for a while to be alone with her.
148a.
Now his expression suddenly changed: eyes half closed, biting lip vigorously. Then he showed his horny expression again.
148b.
The girl's almost whole body view, her gaze looked at her lover inquiringly. Her head swayed slightly, with love and tenderness. She also bit her lip, but repayed the hero's desire in an imperceptible way.
149. Medium shot. Above the waist of the man. A man and a woman entered the screen from the left side of the screen, stopped in front of the hero, and talked briefly with him.
149a, b. After speaking with him, the couple walked out of the screen from the right side of the screen.
150.
The girl's close-up shot, she looked at him eagerly.
150a. Picking up the hero, he walks towards the girl. The marquise came from the right. The protagonist kissed her hand and asked her to sit down, sitting next to her, but still looking at the girl.
151. Panorama. The girl stood in the center, anxious. Several people came over on the screen.
152.
Medium shot. The hero didn't even pay attention to the marquise talking to him. Although he wanted to look at her, when she was talking to him, the small wheel table pushed past them, and his eyes stared at the wine glasses in the tray on the small wheel table recklessly. Then he stopped looking at the marquise, so as not to not look at the other things in the tray.
152a. Medium and close shots. Two friends walked up to the girl and dragged her to play.
153. Medium and close shots. The hero and the marquise.
153a. Close-up, Marquise, front.
153b. Close-up. Male protagonist, front.
153c. Continued lens 153. The hero and the marquise.
153d. The front of the Marquise.
153e. Close-up. Tray with wine glasses. On the left side of the screen, one hand picked up a wine bottle wrapped in napkin and filled a wine glass.
153f, g, h, i, j. The following shots flashed quickly: the hero, the marquise, the two of them, the tray with the wine glasses.
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