片名:《馬隆布拉[電影解說]》
類型:短劇
上映時間:1942
上映地區(qū):其它
導(dǎo)演:Mario Soldati
主演:Isa Miranda,Andrea Checchi,Irasema Dilián,Gualtiero Tumiati,Nino Crisman,Enzo Biliotti,Ada Dondini,Giacinto Molteni,Corrado Racca,Luigi Pavese,Nando Tamberlani,Doretta Sestan,Paolo Bonecchi,Elvira Bon
集數(shù): 完結(jié)
語言:
短劇《馬隆布拉[電影解說]》十分經(jīng)典,由【柏強(qiáng)影院】為您推薦分享.《馬隆布拉[電影解說]》上映于1942年,因?yàn)樯钍艽蠹覛g迎,評分高達(dá)7.0.《馬隆布拉[電影解說]》由著名導(dǎo)演Mario Soldati指導(dǎo)拍攝,《馬隆布拉[電影解說]》場面宏大劇情生動,《馬隆布拉[電影解說]》的人物性格豐滿非常有趣,《馬隆布拉[電影解說]》的演員:Isa Miranda,Andrea Checchi,Irasema Dilián,Gualtiero Tumiati,Nino Crisman,Enzo Biliotti,Ada Dondini,Giacinto Molteni,Corrado Racca,Luigi Pavese,Nando Tamberlani,Doretta Sestan,Paolo Bonecchi,Elvira Bon表演到位,吸引了大批《馬隆布拉[電影解說]》的粉絲.追番就在【柏強(qiáng)影院】.
《馬隆布拉[電影解說]》劇情簡介：This utterly gorgeous Gothic melodrama would be widely hailed as a masterpiece, had it not been made in Italy during the Mussolini regime. A gross injustice, as Malombra - unlike Piccolo Mondo Antico, Mario Soldati's earlier film of an Antonio Fogazzaro novel - contains not one moment of triumphalist flag-waving or Fascist family values. Oddly akin to Rebecca in its atmosphere of death-haunted romance and voluptuous doom, it reaches a peak of visual refinement of which Hitchcock could only dream. Its star is Isa Miranda (famous, and not without reason, as Italy's answer to Garbo and Dietrich) playing a headstrong but unstable young noblewoman, confined by her uncle to a gloomy villa on the shores of Lake Como. A yellowed and crumbling letter, found in an old spinet, convinces her that she is the reincarnation of her uncle's first wife - another troubled beauty who died a virtual prisoner after being caught in a forbidden love affair. When a handsome young writer (Andrea Checchi) comes to stay, Miranda decides that HE is the reincarnation of the dead woman's lover. Gradually, she lures him into her web of sex and revenge... What more to say without spoiling the fun Miranda gives a performance to rival any of the great divas of Hollywood. Only Davis and Stanwyck, perhaps, could play a bad girl so boldly without losing all sympathy. The evocation of 19th century aristocracy, in its full decadent splendour, is visually and dramatically flawless - a model for such later Italian gems as Visconti's Senso and The Innocent. It helped, perhaps, that Soldati himself was a leading novelist. Blessed with an absolute respect for the classics he adapted, but in no way inhibited by them. He was also the guiding spirit of the now-forgotten 'calligraphic' movement, which brought the Italian cinema to such wondrous aesthetic heights during World War Two, only to collapse before the horror of Neo-Realism. Can we blame Soldati for giving up film-making in disgust and going back to writing novels So if you've ever felt (as I do) that Rossellini's much-touted Rome - Open City is the work of an amateur...well, Malombra is the film you have to see!
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