2005年05月30日
《薩拉邦德》：柏格曼息影之作
「薩拉邦德」是一種慢速三拍子，強音在第二拍的舞曲，十五世紀起源於波斯，十六世紀流行於西班牙。曲調嚴肅、沉緩、莊重、哀傷，不重旋律性，以和聲結構緩慢推展。柏格曼在本片中選用巴哈大提琴無伴奏組曲第五號中的薩拉邦德舞曲，第五號組曲是巴哈六首組曲中最特別的一首，其中的薩拉邦德舞曲全以單音演奏，與其他用複弦演奏的組曲不同。
在電影中，人際關係的衝突仍然是柏格曼所探討與關心的主題。男女主角都是他的老班底，與柏格曼另一部電影《婚姻場景》（Scenes from a Marriage, 1973）一樣，Erland Josephson 飾演約翰，在片中即為柏格曼的化身，他也曾在《狂情錯愛》（Faithless）中飾演柏格曼；《狂情錯愛》的導演 Liv Ullmann 則飾演約翰的的前妻瑪麗安，實際生活中 Liv Ullmann 曾與柏格曼同居，兩人生有一女。
本片可視為《婚姻場景》的續集，瑪麗安去探視三十年不見的前夫約翰，他一人獨居島上，與兒子 Henrik 的關係不佳，時時被不安焦慮所困擾，並被孤獨啃噬著。約翰的孫女 Karin 是音樂學院學生，主修大提琴，在片中練習的曲子即是薩拉邦德舞曲。Henrik 教導 Karin 大提琴，兩人深愛也需要對方，卻不能互相理解。柏格曼將三代人痛苦不安的情感赤裸裸地攤在觀眾面前，他處理的方式依然真誠動人，讓人深刻感受到情感的張力與現代人寂寞的心靈。片中一再出現的安娜肖像，其實是柏格曼的最後一任妻子 Ingrid von Rosen，她於1995年因胃癌逝世，自從她過世之後，柏格曼就一直獨居 Faro 島，很少出席公開活動。
對片中印象最深的一幕是主角約翰作了惡夢，哭著跑到瑪麗安的房前，猶豫是否要敲門，反覆來回，八十幾歲的老人坐著哭得像個小男孩。最後敲了門，瑪麗安邀請他同睡，兩人脫掉睡衣赤裸相對，沒有激情，卻有貼近心靈的溫暖。
由於看的是大陸版 DVD，只有中文字幕，翻譯品質不佳，音軌也只有瑞典語和俄語，許多地方翻譯明顯有問題，使得理解有些障礙，本片將於2005年七月八日於紐約上映，希望今年也能在台灣的電影院看到這部電影，到時再來寫較為完整的觀後感。
● 瑞典電視官方網站
● Sony Pictures Classics
在電影中，人際關係的衝突仍然是柏格曼所探討與關心的主題。男女主角都是他的老班底，與柏格曼另一部電影《婚姻場景》（Scenes from a Marriage, 1973）一樣，Erland Josephson 飾演約翰，在片中即為柏格曼的化身，他也曾在《狂情錯愛》（Faithless）中飾演柏格曼；《狂情錯愛》的導演 Liv Ullmann 則飾演約翰的的前妻瑪麗安，實際生活中 Liv Ullmann 曾與柏格曼同居，兩人生有一女。
本片可視為《婚姻場景》的續集，瑪麗安去探視三十年不見的前夫約翰，他一人獨居島上，與兒子 Henrik 的關係不佳，時時被不安焦慮所困擾，並被孤獨啃噬著。約翰的孫女 Karin 是音樂學院學生，主修大提琴，在片中練習的曲子即是薩拉邦德舞曲。Henrik 教導 Karin 大提琴，兩人深愛也需要對方，卻不能互相理解。柏格曼將三代人痛苦不安的情感赤裸裸地攤在觀眾面前，他處理的方式依然真誠動人，讓人深刻感受到情感的張力與現代人寂寞的心靈。片中一再出現的安娜肖像，其實是柏格曼的最後一任妻子 Ingrid von Rosen，她於1995年因胃癌逝世，自從她過世之後，柏格曼就一直獨居 Faro 島，很少出席公開活動。
對片中印象最深的一幕是主角約翰作了惡夢，哭著跑到瑪麗安的房前，猶豫是否要敲門，反覆來回，八十幾歲的老人坐著哭得像個小男孩。最後敲了門，瑪麗安邀請他同睡，兩人脫掉睡衣赤裸相對，沒有激情，卻有貼近心靈的溫暖。
由於看的是大陸版 DVD，只有中文字幕，翻譯品質不佳，音軌也只有瑞典語和俄語，許多地方翻譯明顯有問題，使得理解有些障礙，本片將於2005年七月八日於紐約上映，希望今年也能在台灣的電影院看到這部電影，到時再來寫較為完整的觀後感。
● 瑞典電視官方網站
● Sony Pictures Classics
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你的BLOG內容豐富，我已經把它加入我的RSS FEED了，特別來這邊致意。
Posted by 酥餅
at 2005年05月31日 01:45
Taipei Times
`The beginning and the end and really everything' for Bergman
AFP , Stockholm
Tuesday, Jul 20, 2004, Page 16
Sweden's master of theater and modern cinema Ingmar Bergman offered fans a bitter gift on his 86th birthday this week, bidding his adieus for the third time, this time taking his leave of the stage for good.
Theater is "the beginning and the end and really everything," Bergman said in an interview in Swedish daily Dagens Nyheter on his birthday on July 14.
He insisted nonetheless that his more than 70-year theatrical career had definitely come to an end, and that his 2002 production of Ghosts by Norwegian 19th century playwright Henrik Ibsen had been his last.
"After Ghosts I decided that now it's over. Now it's enough. They won't have to carry me out of the theater. I'll walk out myself. No one is going to say, `Now the old man should know it's time to stop,'" he said.
Bergman's decision to leave the theater comes more than 20 years after his last film Fanny and Alexander graced the silver screen.
"It was a really fun shoot and I had a wonderful ensemble and fantastic co-workers," Bergman said of his work on the hit film, but added that by the time it premiered in 1982 he realized it was time to call it quits.
"I thought, this is the end, no matter how bloody and fantastic film work can be ... And you know, I have never regretted that decision. I haven't missed working with film for a single day," he said.
The director of such movie greats as The Seventh Seal and Wild Strawberries did not abandon the moving image completely however, continuing to make eight productions for television.
In his final film, Saraband, which was broadcast on Swedish public television last December, and which he has insisted should never be shown in theaters, the film legend resuscitates Johan and Marianne from his 1973 mini-series Scenes from a Marriage.
Bowing out of theater wasn't quite as simple for Bergman as his decision to leave the cinematic world behind. In the fall of last year, he went so far as to sell his Stockholm apartment near the Royal Dramatic Theater, or Dramaten, which he headed up in the 1960s, in an attempt to avoid being drawn back in.
`The beginning and the end and really everything' for Bergman
AFP , Stockholm
Tuesday, Jul 20, 2004, Page 16
Sweden's master of theater and modern cinema Ingmar Bergman offered fans a bitter gift on his 86th birthday this week, bidding his adieus for the third time, this time taking his leave of the stage for good.
Theater is "the beginning and the end and really everything," Bergman said in an interview in Swedish daily Dagens Nyheter on his birthday on July 14.
He insisted nonetheless that his more than 70-year theatrical career had definitely come to an end, and that his 2002 production of Ghosts by Norwegian 19th century playwright Henrik Ibsen had been his last.
"After Ghosts I decided that now it's over. Now it's enough. They won't have to carry me out of the theater. I'll walk out myself. No one is going to say, `Now the old man should know it's time to stop,'" he said.
Bergman's decision to leave the theater comes more than 20 years after his last film Fanny and Alexander graced the silver screen.
"It was a really fun shoot and I had a wonderful ensemble and fantastic co-workers," Bergman said of his work on the hit film, but added that by the time it premiered in 1982 he realized it was time to call it quits.
"I thought, this is the end, no matter how bloody and fantastic film work can be ... And you know, I have never regretted that decision. I haven't missed working with film for a single day," he said.
The director of such movie greats as The Seventh Seal and Wild Strawberries did not abandon the moving image completely however, continuing to make eight productions for television.
In his final film, Saraband, which was broadcast on Swedish public television last December, and which he has insisted should never be shown in theaters, the film legend resuscitates Johan and Marianne from his 1973 mini-series Scenes from a Marriage.
Bowing out of theater wasn't quite as simple for Bergman as his decision to leave the cinematic world behind. In the fall of last year, he went so far as to sell his Stockholm apartment near the Royal Dramatic Theater, or Dramaten, which he headed up in the 1960s, in an attempt to avoid being drawn back in.
Posted by Orpheus
at 2005年06月2日 11:47
Helas, 這部電影在法國上映時也只有巴黎看得到. 兩三週過後只剩三家戲院... 電影筆記還請了哲學家Jacques Ranciere來寫這部電影, 可惜只能看DVD.
Posted by bof
at 2005年06月3日 00:27
請問 Jacques Ranciere 的評論在網路上找得到嗎？很想看看哲學家的觀點。
今年三月香港電影節好像也有放映這部片，片名翻成「夕陽舞曲」，不太恰當。
今年三月香港電影節好像也有放映這部片，片名翻成「夕陽舞曲」，不太恰當。
Posted by Orpheus
at 2005年06月3日 11:55
Cahiers du cinema的網站六月似乎要改版
到時候可能會找得到評論...
不過台灣的圖書館應該會有電影筆記
這一篇在596期, 2004年的十二月號
到時候可能會找得到評論...
不過台灣的圖書館應該會有電影筆記
這一篇在596期, 2004年的十二月號
Posted by bof
at 2005年06月3日 21:31
改天去找找，謝謝！
Posted by Orpheus
at 2005年06月3日 23:29
在 Yahoo!雅虎中國看到電影簡介抄襲我的這篇文章，卻完全不註明出處。
私人網站的抄襲我已經懶得說了，但是這種商業大網站也抄襲，實在太惡劣了吧？即使不付稿費，至少也該來信詢問轉載，或最低程度註明出處。
這就是我前幾年很少在個人網站發表文章的原因，每每為了抄襲問題而煩惱，台灣媒體還好，寫信去至少能得到處理，而對中國大陸，我根本不抱指望。
之前也想過寫些心情流水帳之類的，比較沒有這問題，結果錯了，還是有。（為什麼會有人把別人的心情當成自己的文章發表？實在不懂）而且我也不想在網路上寫較私人的事情。
看來該好好思考之後的走向。
私人網站的抄襲我已經懶得說了，但是這種商業大網站也抄襲，實在太惡劣了吧？即使不付稿費，至少也該來信詢問轉載，或最低程度註明出處。
這就是我前幾年很少在個人網站發表文章的原因，每每為了抄襲問題而煩惱，台灣媒體還好，寫信去至少能得到處理，而對中國大陸，我根本不抱指望。
之前也想過寫些心情流水帳之類的，比較沒有這問題，結果錯了，還是有。（為什麼會有人把別人的心情當成自己的文章發表？實在不懂）而且我也不想在網路上寫較私人的事情。
看來該好好思考之後的走向。
Posted by Orpheus
at 2005年08月9日 02:28
今年金馬影展有這部片，晚了幾天上網購票，居然已經賣光，只好希望院線能上映了。>.<
Posted by 奧
at 2005年10月31日 01:17
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