, of which only two are the most outstanding, the 1936 American version and the 1995 Polish wave. This article will analyze these two versions
of the 1936 American version of Garbo starring, because of Hollywood and star power, it is the most famous one, but it is by no means the best one, and it cannot even be called an excellent "La Traviata movie" ,
Different from La Traviata's profound cultural background and distinctive Parisian culture, the American version of La Traviata has too many superficial changes in values.
First of all,
the most disgusting thing for European audiences is that the American version uses Broadway-style singing and dancing. The aristocratic nightlife in Paris, Chinese readers who have read Western classical classics will feel that these are two different social atmospheres. Americans rely on their imagination and their own to interpret classical Paris. As long as the 36 version is compared with some classic European aristocratic films, the 36 version's Broadway party is noisy, and some charming elegance and ambiguity are lacking.
This is very important, the story of La Traviata unfolds in the charming elegance and ambiguous atmosphere of Paris, not the lively Broadway.
Second
, the American version of values has many unbearably superficial changes. There are many antagonistic relationships between people in the play. Margaret has such an obvious jealous and competitive relationship with another prostitute, and the male pig's foot has become an antagonistic rival in love with Baron Enke. A ridiculously superficial change. This is a superficial change that superficializes the inside. It's like when we watch the new version of the TV series "A Dream of Red Mansions", we must use our mouths to speak out the characters' hearts. The American version is expressed not only with the mouth, but with the externalization of all shapes, languages, and expressions. GOD~~~
Finally
, plastic surgery was performed on the character of Margaret, the Lady of the Camellias, and the plastic surgery became a completely different character, which made the readers of the original book feel extremely painful.
The American version first reshapes the tragic connotation of La Traviata into an externalized character. The American version first transformed La Traviata into a kind of tenderness and kindness in receiving people. Garbo's interpretation of La Traviata is always a weak and simple image. This internalization and externalization is typical of superficiality, and we are still criticizing it today. Many Korean and Hong Kong movies are for this reason. In fact, in Paris, women pursue a noble but charming effect, and the La Traviata is as proud as a lady. How out of place the American version of La Traviata is from this original Paris.
In the original book, Margaret rejected an earl, and the earl would not feel that his self-esteem was too hit, because Paris is infinitely tolerant of beauty~~~
The character of La Traviata is the exterior of Parisian sentiment, as well as poignant, pure and poignant. Internal bonding. It is this huge difference between the outside and the inside that makes people fall in love with this amazingly beautiful woman.
The 1995 Polish version of La Traviata
is by far the most faithful to the original and the best version.
Many people (including me in the past) take it for granted that Poland cannot make good movies. This is a complete misunderstanding. After the internationalization of modern movies, talented directors from any country can make amazing masterpieces. The great Polish director also shot the world-shaking "Pianist at Sea". This goes without saying.
The 1995 Polish version of La Traviata is played by a very beautiful heroine. In terms of beauty close to the original, far more than 36 years of Garbo. As we all know, La Traviata has "black jade-like hair" and "the curvaceous and slender beauty of Japanese women", and Garbo obviously does not have the appearance that can show this unique style. And the Polish version, people can only sincerely sigh.
In terms of artistic charm, it is far more than the 36th edition of La Traviata.
Just to say one thing, in the understanding and shaping of the character's character.
The character of La Traviata is the combination of Parisian sentiment, poignant beauty, and pure interior. When talking and interacting with many men of different identities, she shows the wisdom that matches her beauty.
When picking up the candied fruit handed to her by the old duke with pure white gloves, she looked at ease, much like a young lady of the duke's family. On the stairs, when he politely and indifferently refused the earl's visit, he showed charming aristocratic cultivation. Impatience will only seem dignified, and a bit of a whining tone will seem like the work of someone of low status.
These are the manifestations of La Traviata's "Parisian exterior" character.
And when she was sick, a gentleman who often gave flowers, she showed a little more than usual concern. In fact, later events let us know that she was very concerned about this, because her inferiority complex felt that people thought a sick person was sick. When the dying prostitute was like a pile of carrion, the mere act of giving flowers filled her with gratitude. Her heart is sensitive and fragile, but very strong.
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