对于女孩子来说,用手机或者电脑看看美剧韩剧什么的,算是当下网络时代的一种消遣,但是同样是看电视剧,放到上世纪五十年代的美国,换个播放器——电视机,可能就有另外一种象征——孤独的家庭主妇消磨时光、打发日子的“跳蛋”,讲出来有点羞耻,但是实质上基本一样。
1955年的《深锁春光一院愁》便是把这种表象下的“禁锢”描述的跌宕起伏、委婉动人,虽然是好莱坞的一部制片厂电影,但是却被向来有高逼格之称的“CC标准”收录,光凭这一点,我们就不能把它当做“晚八点爱情狗血片”来看待,尽管电影在故事层面上,讲述的就是一个地地道道的烂俗爱情故事,但是因为那么一点点“不同”,就让它成为了一部“女权主义”电影。
故事讲述的是富裕的中产阶级寡妇凯瑞,和她年轻园丁荣恩之间的一段忘年恋爱,虽然和诸多爱情故事一样,他们经历过双方朋友的检验、邻居们的流言蜚语和家人的指责,但是最终还是有情人终成眷属,来了个完美大结局。然而这个故事是因为美国人在讲述,如果换了其他国家,可能就有不同的结局了,在韩国的话,有可能是《熔炉》般的无力,在丹麦的话,可能是《狩猎》般的忌惮。
之所以把一部爱情电影和两个根本和爱情无关的欧亚国家电影做比较,原因在于,他们都是有关“偏见”。《熔炉》中是众人对于校长一味的信任,而不相信处于劣势的聋哑孩子;《狩猎》正好相反,小镇居民都深信小女孩的所言非虚,而男老师则是邪恶的化身;《深锁春光一院愁》便是富裕的中产阶级对于下层工人的偏见。
将一个“偏见”讲述的到位并不容易,更何况导演道格拉斯·塞克并不希望直接开罪中产阶级,所以在剧情的处理上,颇为委婉,比如女儿的“悔过”,医生的奉劝以及朋友莎拉的好意和理解,但是这种侧笔反而更为讽刺。莎拉的行为更像是中产阶级主妇间的虚与委蛇,女儿的“悔过”更多显露的是一种“事后诸葛”的弥补,但是内心却依旧保守,如果我们联想到她之前动辄拿出弗洛伊德的理论显示自己的开明,后期女儿的“懂事”只会增添她的虚伪和表里不一;而医生,或许只是导演为了推动凯瑞的行为所做的无奈设计吧!
实际上,这群中产阶级的“偏见”只是对于男主角荣恩,对于凯瑞来说并不是“偏见”,而是限制、禁锢和道德捆绑。其实对于荣恩来说,“偏见”并 不算什么,由于人设的性格,荣恩并不在乎别人的看法,但是作为一个丧偶并有两个成年的儿女来说,这种“偏见”便是一种舆论禁锢了。表面上,它很开放,不仅允许,而且鼓励凯瑞找个夕阳伴侣,但是,这种允许是有选择性的,她必须在中产阶级的社交圈中寻找,而且必须年龄相仿,所谓的“爱情”并不是凯瑞这个寡妇的权利,找个合适的体面人组成适当的男女关系才是她可以做的事情。(从开头她和老年的夏飞约会受到儿女的鼓励和支持时就能够看出。)
凯瑞本身也不是那种周围的人一吓,她就放弃真爱的女人,然而当她面临儿女受到流言蜚语,并被儿女“警告”必须和荣恩分开时,她不得不做出让步。社会伦理对于女性的禁锢最可怕的不是来自于外部的恐吓,而是女性自身已经被驯化,她“必须”考虑儿女,她“必须”承担母亲的责任,换句话说,她必须“做一个母亲该做的”,这个“该”便是女性终极的“命运悲剧”。
有一个异常讽刺的场面,当初凯瑞因为还有儿女相伴,所以放弃了自己的真爱,也被儿子“命令”,祖屋必须留下,但是当她决定放弃真爱之后,女儿隔年就会出嫁,儿子即将远去巴黎上学,之后去伊朗工作,还被儿子“通知”:“祖屋太大了,你一个人住也是浪费,回头就卖了吧!”这种前后的荒唐状况可谓是鞭辟入里,更为可笑的是,在一开头凯瑞就异常讨厌“电视机”(因为它代表了中年女人的空虚),但是最后即将离去的儿女却攒钱给她买了一台电视机,从最后电视机屏幕中的凯瑞镜像,我们知道,儿女其实是在给凯瑞的后半生生活送葬。
《深锁春光一院愁》并不想让这种对于女性的压榨见针见血,而是试图用“曲笔”,讽刺性地表达了这一社会现状,可能在导演塞克看来,迎合地讲述痛苦比暴露地表达愤怒更有效吧!
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Douglas Sirk once said: “This is the dialectic—there is a very short distance between high art and trash, and trash that contains an element of craziness is by this very quality nearer to art.” When All That Heaven Allows was released by Universal Pictures in 1955, it was just another critically unnoticed Hollywood genre product, designed to appeal to the trashy “women’s weepie” audience. Now, in retrospect, it is considered to be closer to the art side of Sirk’s dialectic, and one of his key films. But this is part of a wider process of critical reevaluation in which his entire body of work has been rediscovered and reappraised by successive generations of filmmakers and historians.
No one seeing the film at the time of its release would have imagined its director to be an elegant, extremely erudite European whose career started in the theater of Weimar Germany and who was an early director of Bertolt Brecht’s The Threepenny Opera. After a short but successful career at UFA studios in the vacuum left by the massive emigration of Jewish talent after the Nazis came to power in 1933, Sirk made his way to Hollywood, directing his first film there in 1942. Following an unsuccessful attempt to return to Germany in 1949–50, he signed a contract with Universal. His movie career then culminated with his highest-profile films, the melodramas of 1952–58. By 1959, he was Universal’s most successful director. At that very moment, he left moviemaking and America. Until his death in 1987, he and his wife, Hilde, lived in Lugano, Switzerland.
All That Heaven Allows marks the final turning point in Sirk’s strange and varied career. On the back of Magnificent Obsession’s success the previous year, Universal gave him a budget and freedom that enabled his mature style to blossom. All That Heaven Allows contains all the elements of characteristically Sirkian composition: light, shade, color, and camera angles combine with his trademark use of mirrors to break up the surface of the screen. Here are all the components of the “melodramatic” style on which Sirk’s critical reputation is based and that has made him the favorite of later generations of filmmakers, from Rainer Werner Fassbinder to Quentin Tarantino, from John Waters to Pedro Almodóvar.
But at the time, Universal was just anxious to repeat its successful pairing of Jane Wyman and Rock Hudson in a romance between an older woman and an extremely handsome younger man. Wyman was still a big star but, by then, past her prime. Recently divorced from Ronald Reagan, and aware that her future lay with the soap-opera audience, she was pleased to be teamed with Hudson again. At the time, he was the new Hollywood heartthrob, who, although “out of the closet” in his personal life, had to be continually shut back in publicly and professionally by an anxious studio.
The All That Heaven Allows version of the May-September romance formula has Wyman playing Cary Scott, a well-to-do widow with two college-age children and a dull social life at the country club. The emptiness at the heart of her existence is filled when she meets Ron Kirby, the young gardener–turned–tree farmer who prunes the trees that line her all-American suburban yard—and then comes back to court her. This simple love story is disrupted by the vicious snobbery of her children and high-society acquaintances. Early in the film, Cary is at her dressing table, preparing for an evening with the Stoningham “elite.” To one side stands a vase containing the branches Ron cut for her earlier, so that Cary’s awakening interest in him carries over from the previous sequence. In a beautifully composed shot, the children first appear reflected in the mirror, coming between Cary and the vase, and then, as the camera pulls away, she is taken back into the room and toward the children. This one shot tells the story of the dilemma that Cary will face for the rest of the film and is typical of Sirk’s emblematic, economical use of cinema. His stars’ performances mesh well with this style. He gives them the screen space appropriate for their status, but the sexual charge between Cary and Ron is articulated through looks and gestures, and the roller-coaster highs and lows of their love are displaced onto the things that surround them.
Objects play their own significant part in expressing the emotions blocked by convention in small-town, middle-class 1950s America. Sirk creates a cinema in which the screen itself speaks more articulately than the protagonists, tongue-tied as they are by the codes of their fictional setting, the powers of censorship in Hollywood at the time, and the norms of the family melodrama genre. Out of these constraints, Sirk builds his film, while also using a typically melodramatic score to punctuate points and to accompany the tones and textures of the actors’ voices.
Years after their initial dismissal (and sometimes derision) by reviewers, Sirk’s successful string of big-budget soapers (and the director himself) have acquired a rich and complex critical afterlife, as different aspects and facets of the films have been reclaimed by successive phases of film criticism. For the auteurists and structuralists of the 1960s, Sirk’s mastery of cinematic language transcended the working conditions of the Hollywood studio system; feminists reclaimed him as a director of melodrama, with his women protagonists and dramas of interiority, domestic space, and sexual desire; gay critics today see a camp subtext in his films with Hudson, in which ambiguous situations can be read as double entendre.
The gap between the contemporary perception of All That Heaven Allows and that of the later critics is closed by Sirk himself, who once explained the conditions of work at the studio: “At least I was allowed to work on the material—so that I restructured to some extent some of the rather impossible scripts of the films I had to direct. Of course, I had to go by the rules, avoid experiments, stick to family fare, have ‘happy endings,’ and so on. Universal didn’t interfere with either my camera work or my cutting—which meant a lot to me.” Although All That Heaven Allows does, on the face of it, have a happy ending, its “happiness” is twisted with more than a touch of Sirkian irony. This piece originally appeared in the Criterion Collection’s 2001 DVD edition of All That Heaven Allows.
Jun 10, 2014
摘自CC官网://www.criterion.com/current/posts/96-all-that-heaven-allows-an-articulate-screen
An auteur maudit of his time, German émigré Douglas Sirk's renown has been considerably reappraised with much admiration for his trademark disposition of light and color, the swelling watchability sublimated from its saccharine source material, aka. the often derogated melodrama, and affecting emotional flux elicited from his sharply tricked-out players (Rock Hudson is among the staple).
Sirk's second Wyman-Hudson vehicle, ALL THAT HEAVEN ALLOWS, is a lean, Technicolor-fueled, frippery-free, love-overcoming-moral-prejudice romantic drama, a middle-class suburban widow Cary Scott (Wyman) gallantly accepts the marriage proposal from her much younger boyfriend Ron Kirby (Hudson), who is hailed from a different class bracket and has no ambition in pursuing affluence. What transpires in the wake of her decision trenchantly discloses the selfishness, snobbery, myopia and hypocrisy inherently pertaining to the objectionable mindset of small-town bourgeoisie. On paper, the story sounds platitudinous, but Sirk’s wow factor is, as always, his divine composition of the palette and setting, everything is undergone through a minutely preparatory process, from the impeccable cosmetic furnishing and elegant garbs of its dramatis personae, to its almost storybook environs, however, to counterpoise the richness on one’s eyes, Sirk is quite self-aware of not overreaching himself, ergo, the plot pans out in a reductive but expressively accurate manner, sansdevious routes, to sustain a vigorous lifeline that magically keeps a spectator rapt.
It goes without saying this approach often lives and dies with the performers, and in this case, it totally hits the bull-eye. Jane Wyman is a screen paragon who can yoke unperturbed grace with understated determination in a pinch, and step by step, Cary’s liberation from those fetters chained to a lonesome widow is limned through her pitch-perfect, layered felicity that it hits every right spot to accompany a viewer’s mirrored, visceral journey. Rock Hudson, a quintessential specimen of American masculinity and good looks, aptly elicits Ron’s larger-than-life symbol of perfection but at the same time, conveys his vulnerability and misery with pinpricks of impatience and disappointment, which injects a more personal note to the character.
As regards the peripheral roles,Gloria Talbott andWilliam Reynolds, who play Cary’s college-age children, both stoutly take it to themselves as the cardinal negative force impeding their mother’s new romance, with the former’s talk-the-talk, walk-the-walk turnabout and the latter’s sheer self-seeking callousness, god bless our offspring. But one’s heart easily goes with a solicitous Agnes Moorehead, who is always a pleasant sight as Cary’s matter-of-fact confidant and an effulgent Virginia Grey, radiating warmth even if she is not necessarily needed to do so.
Lastly, the purportedly compromised ending, stank with the inimical Catholic precept that one must suffer (both physically and mentally) plenty before finally gaining the reward, comes off as a fly in the ointment to wring a quasi-tearjerking effect, nonetheless, as vouched by Liszt’s timelessly enchanting Consolation No. 3 in the beginning, ALL THAT HEAVEN ALLOWS oozes a vintage vitality in its most luscious taste, isn’t that a delight?
referential films: Sirk’s MAGNIFICENT OBSESSION (1954, 7.1/10), WRITTEN ON THE WIND (1956, 8.0/10); Rainer Werner Fassbinder’s ALI: FEAR EATS THE SOUL (1974, 8.7/10); Todd Haynes FAR FROM HEAVEN (2002, 9.2/10).
小城之春董夫人,人言可畏苏丽珍,深锁一屋霓虹光,此身谁料是李纨,世上寂寞寡妇夜,愁煞多少电视机
瓦尔登湖、弗洛伊德,小镇中产阶级生活方式和道德(电视机)VS自由人的联合体,表现主义的色彩和用光、十分诗意,透过寡妇和年轻男子的爱情讲述了更深的主题。
结尾男主失忆认不出女主就神作了 这片子很好地印证了Klinger的批评 所谓的反抗型好莱坞也不过是主流好莱坞话语的变体 女主对自己城市中产的突破并不突破中产阶级底线 而只是建立一种新的中产生活--乡村中产 这种突破对于保守的观众是非常具有吸引力的但其真正匮乏的正是对主流的反抗
女人都是要别人替他决定;可是即使过了100年,我们仍要为他人而活。
有儿有女的卡蕾爱上小她一截的园丁罗恩,横亘在他们面前的不止闲言碎语、挖苦诋毁,还有卡蕾儿女的极力反对,于是卡蕾的世界从金黄灿烂的秋步入了冰寒冷冽的冬,无私给了爱情迎头一击,中年卡蕾缺乏的,是放手去爱,管它刀山火海的豁出去。
太喜欢了。把情节剧拍成这样了还要跟韩剧和琼瑶来比,大多观众果然只看故事。
好好看的melodrama! 看得我柔肠百转与千回... PS.看完之后在卫生间排队,一群奶奶在讨论Hudson好帅好帅这件事,让我想到了In Jackson Heights里面那几个老奶奶在Espresso 77一边织毛衣一边说着“我喜欢的男明星都是gay...”哈哈哈~
Melodrama,表现主义传统在色彩上的反映。瑟克极大影响了法斯宾德和阿尔莫多瓦,如前者酷爱的镜子框子和后者的色彩运用。剧作的社会意义在于女性独立及“传统社会”之人言可畏和子一代的对家庭瓦解(MD这就是个狗血版的小津啊)。音乐是大交响。
要欣赏塞克的作品需要的智慧真是不少,[深锁春光]这部杰作身体力行地给出了拍情节剧的方法。他用声画手法把阶级这个核心动机强调出来,让妇孺皆懂;同时又用这种强化手法制造了异化感,让人觉察到背后的讽刺。这部作品于是同时向外发出两个波段,灵敏的接收者应能捕捉到这种多声部造就的立体感。
瑟克使用了大量布莱希特式的疏离工具:框架镜头;歌曲插入;闪回;讽刺与戏讽;过分明显的俗套象征主义与颜色象征主义;反自然布光,等等。但这些工具并没有让观众从经常呈现情绪浓烈的主人公们的身上疏离。相反,他的电影高度情绪化,观众也严重融入角色。加之煽情音乐对于催泪效果的推波助澜,反而强化了瑟克“泪片大师”的盛名。
林肯中心把这部和《恐惧吞噬灵魂》《远离天堂》三部连放简直太厉害了,一脉相承的鲜艳色彩和细腻的女性心理刻画。很多那个时代的符号,比如电视机,就像一道枷锁;女主的女儿虽然上了大学,却仍旧是传统女性的思维。瑟克片里的纽约郊区小镇,简直全是恶意和无趣啊,当然,还好我们还有园丁
Everybody knows melodrama is a form of cliche, but somehow funny to make a analysis towards it.
stunning cinematography, fell in love with Douglas Sirk; doesn't Rock Hudson look like a greasy version of Gregory Peck
男主是典型的好莱坞老式帅哥~可是男对女的爱也太突然了吧 如果你要说“这就是爱情” ok 我服了。= =。可是结尾也太drama啦 女守在昏迷的男身边,他就醒了 囧。 我若是导演,就让她在看着儿子送来的电视机时哀怨的结束~~不过这样会被观众骂死的哈哈~~【男主的真相竟然是小基友!】色彩和光线很美好~
据说从戈达尔到阿莫多瓦都喜欢Douglas Sirk的mélo,据说法斯宾德照着这部拍出了《恐惧吞噬灵魂》,可是,可是《恐惧吞噬灵魂》比这好看太多了啊……也许是年代太久远也许是上世纪美国小镇的保守程度让人无法共情也许是男主那个五十年代万人迷标准发型(男主一出场感觉仿佛看到了Cary Grant,然后发现不是,然后觉得随便吧他们打扮也实在是差不多……)让人看着很出戏,总之除了色彩鲜艳到简直可以与Dario Argento的恐怖片相比(但又没有其他美学上形式上的追求)之外,实在不知道有啥值得注意的。也许在五十年代在美国mélo也只能拍到这样了,不能用阿莫多瓦的标准要求一个上世纪好莱坞导演……
琼瑶剧式的故事,却如此细腻动人,道格拉斯塞克很懂得节奏的掌控,不同阶层的矛盾、价值观与爱情的矛盾、人物内心的纠结与转折,每一个镜头都深思熟虑。喜欢影片的色彩~
男主掉雪堆里一幕笑死我了,这老电影的演员吧 ,表演的痕迹咋都那么重呢,,表情什么的都太好玩了,这男主真是一看就不是个好东西的脸啊,看到他就想到菊花+aids
瑟克的场面调度是对于平行蒙太奇的替代,而非如同(巴赞所提及的)奥森·威尔斯形成一种时空的完整性,反而暴露了时间的凝缩机制,成为好莱坞的一个潜在的自反时刻,甚至是《鸟人》,或迪士尼动画,高概念影片中技术处理之下的伪长镜头之雏形。另一方面,对于时间的迷恋构成了全片南方哥特基调,瑟克高饱和度的美国小镇是一个过去的精致镇纸,并随着儿子寄来的电视机——一个“新”技术物——构成了对人物精神的最后一击,作为50年代对于电影行业最大的冲击,电视在《深》中并非属于将来,而是沉浸在一种无法改变的秩序之中,维持gossip的包围——当然,也可以被理解为影像媒介本身的自反——因此吊诡的地方出现了,如果现代性无法形成某种解放,那么过时的银幕亲吻或作为道德的农场生活也不行。
精准地拿捏了“寂寞”的频率,是欲语对方却挂断电话的失望与欲望,或话已说完仍情留半晌;最后沙发的黄色用得真美,非复古风格可以模仿;看的过程中,曲意地想起鲁迅的话,不惮以最坏的恶意揣测国人,他人的恶意构成的多层次地狱,是剧本最精彩之处,当然还有剧本的细腻与完整性。
浪漫爱情片,中年寡妇与年轻男人的爱情可以反映出很多问题,核心就是过自己想过的生活,推崇《瓦尔登湖》里的自然主义,我想喜欢这本书的,其实都是非常渴望却不敢或不能脱离世俗的生活,不要听那些流言蜚语,追求自己爱情,追求自己的幸福,为自己而活。