The hardest part is letting go.
Fruit trees:The first black-and-white Visconti I saw was the simplicity of the structure and the sincerity of the characters.
Prometheus:Except for the ballroom dance scenes, everything else is boring and unreasonable, and there is no sense of substitution.
Luoxia Lonely Autumn Water Sky:The unrequited love affair is based on accumulation, and the heartbeat of several days is hard to match the lingering for years.
Her Majesty:Encounter, indulge, dance, wait, heartbreak. Mastroianni is not used to playing a playboy.
Poem to Edlin:Emotional modernity may originate from Tuo, and although Visconti's imaging is not as early as Ozu's, it is noble and realistic. Maria Cher is a smart emotional beauty, no matter whether she laughs or cries, she is so charming and pitiful, and the old horse is even more speechless, amazing!
Izzy granite:An encounter, a three-day dream. On a snowy night, the longing love returns to reality, your tears and your whispers are drowned in her laughter. Simple stories and tangled feelings become gentle and moving in Visconti's hands. Mastro is so pitiful, the dancing part is funny.
coco:Dostoevsky-style romance is integrated into the white nights of Venice. In Visconti's black and white images, two lonely hearts comfort each other, but only three nights are as long as a lifetime, dancing in the tavern, snow drifting in the middle of the night, The bell of dawn swayed a piece of romance and sorrow, love makes people frown, and love makes people heartbroken.
Ou Yin:A romantic, sad and lonely film. Love is a year of stubborn fantasies that have been waiting for a year without regrets; love is a trembling of the heart at the moment of meeting, and we only seek happiness for a moment when we are with each other day and night. Visconti injects a little fantasy into the story with delicate non-real scenes paired with shifting black and white light and shadow. After the snow on a white night, Yiren left, one person and one dog, walking for a long distance, feeling very sad.
Pinsent:The form is clear because it is only three nights, and it is light and gentle enough. It is a simple story about love at first sight. The intensity of some heartbreaking moments is no less than that of "Soulbroken Venice", timing is everything, love is like a quagmire, not necessarily Get a response, but the emotional concentration is high enough. It is also suitable for adaptation into a stage play. The foggy street is a bit like a street studio that pays attention to the performance of light and shadow and uses dry ice and fog. Until the "fake" heavy snow is used to depict the true feelings that are thick to the top, Nino Rota's soundtrack is still very moving.
Midnight no one:She remembered the mottled past, even if it was broken, and she smiled happily; he was facing a sweetness that he already had in his heart, but looking at her bright profile under the roof sheltering from the rain, it seemed that he also illuminated himself together Mood. "Finally I'm dancing too." The infatuation that was moved by the company was no match for the figure that suddenly appeared by the bridge. The important thing is not how to choose between "the person I love" and "the person who loves me", who is more "I love you" and "you love me", but "now I am in love". Chasing you has become my body's instinct, and at the moment of falling in love, I can't hear any sound except running wildly.White Night: Reckless in Romantic Love
SONGMJ23:Applying the theory in Professor Nowell-Smith's 2005 article, the bridge in Venice in the film connects two real spaces, one is the "real reality" of Mario's world, and the other is Natalia's "fantasy reality". It is true that Visconti's "remarkable final triumph of fantasy reality" injected fresh blood into the neorealist films of the time, but as far as the film itself is concerned, compared to this triumph, which is almost bluntly presented only in the final moment, The sincere, sharp, and sentimental collision and blending process between the two realities is the greatest charm throughout the whole article. Whether it is to show the characteristics of the two, or to push each other, the light and shadow used by Visconti are all accurate and irreplaceable. The white snow near the end seems to have sublimated a little too far, breaking away from the previous reality and turning into complete fantasy. It can also be regarded as a fairy tale that Mario said, a bit like creating conditions for the "final victory of fantasy reality", but I feel that the original romantic balance should not be broken so that the ending presents this victory time and space with the fantasy but no reality.
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