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三星半.長(zhǎng)鏡頭實(shí)在是看起來太舒服,羅西里尼的原則向來是攝影機(jī)的運(yùn)作總歸要晚于且遠(yuǎn)小于人物運(yùn)動(dòng),它必須因恰當(dāng)?shù)奈恢煤妥吡私輳讲?趕在前面",起到簡(jiǎn)化作用(安東尼奧尼或多或少繼承著這一點(diǎn)),正如里維特所說,其場(chǎng)面調(diào)度的全部哲學(xué)都在于:兩點(diǎn)之間線段最短.Cinematographea geodaetica.

God appears and God is light. To those poor souls who dwell in night. But does a human form display. To those who dwell in realms of day.《Auguries of Innocence》 / We live in a primitive time, don’t we. Neither savage nor wise. Half measures are the curse of it. A rational society would either kill me or put me to some use.??

這部算是讓人驚喜，Lean對(duì)于鏡面的運(yùn)用和刻畫人物心理巧妙結(jié)合， 在這種高度文本化敘事中效果倍增。而這種偏暗的打光也在特定情境下加深渲染力。劇情雖有跌宕起伏，在鏡頭上完全保持波瀾不驚，直至高潮，實(shí)是行云流水。故事也很有代表性，是現(xiàn)代都市人都能體會(huì)的愛情。

懶是不對(duì)的，勤勞才能戰(zhàn)勝大灰狼。

想不到大衛(wèi)里恩還拍過比艷陽天更小格局的女性電影