長廊Umbracle(1970)
導演：佩雷·波爾塔貝利亞
編劇：霍安·布羅薩/佩雷·波爾塔貝利亞
主演：克裡斯托弗·李/JeannineMestre
語言：英語/西班牙語
西班牙 85分钟
長廊Umbracle(1970)的劇情介紹
InUmbracle,analeatoryhorrorfilmthatpaintsacriticalimageofFrancoistSpain,Portabellacontinueshisexplorationofthelanguageofexperimentalcinemaanddevelopshisaestheticofcombiningdocumentarywithreenactment.HeworkedwithChristopherLeetoproducean"idealandpredeterminedcliché[d]"imageofanactor:"Leeofferedtoperformmyideaswithpleasure.Ievenmanagedtogethimtodothehardestthinganactorcando:nothing."
Low-budgethorror-filmstarChristopherLeemakesasecondappearanceastheiconiccenterpieceofaPortabellafilm(CUADECUC--VAMPIRwashisfirst),thistimeasanimposingbutghostlyfigurewanderingthestreetsofBarcelona.ThroughfilmclipsthatevokeChaplinandothersilent-eracomedians,Dadaistpoetry,andmysteriousmelodrama,PortabellamakesabidforunfetteredartisticfreedomcalculatedtoscramblethebrainsofFranco-regimecensors.
PerePortabella(b.1929,Barcelona)isaveteranSpanishfilmmakerwhosenarrativefeatures—richininterludes,plotdiversions,atmosphere,andunexpectedsynchroniesbetweensightandsound—limntheavant-gardeandexpandtheexpressivepotentialofcinema.Portabella,whobeganhiscinematiccareerasaproduceroffictionfilmsimplicitlycriticalofGeneralFranciscoFranco,hadhispassportrevokedwhenLuisBunuel'sViridiana(1961),whichhehelpedtomake,"embarrassed"SpainattheCannesFilmFestivalin1962.WhendemocracyreturnedtoSpain,PortabellaservedasasenatorintheCatalangovernment.However,throughouthisvariouscareers,Portabellacontinuedtomakecinema,investigatingmeaninginthemovingimageandflexingthenotionofgenre—particularlyforhorrorfilms,fantasyfilms,andthrillers.MoMAfirstscreenedaPortabellawork—VampirCuadecuc(1970)—onJanuary27and28,1972,initsCineprobeprogram.Afterathirty-fiveyearabsence,theDepartmentofFilmishonoredtowelcomePortabellabacktointroducetheNewYorkpremiereofhisrecentlycompletedTheSilencebeforeBach(2007).RoundtablediscussionswillalsobeheldatNewYorkUniversity,September27–28.AllfilmsdirectedbyPortabella.
http://www.chicagore
Low-budgethorror-filmstarChristopherLeemakesasecondappearanceastheiconiccenterpieceofaPortabellafilm(CUADECUC--VAMPIRwashisfirst),thistimeasanimposingbutghostlyfigurewanderingthestreetsofBarcelona.ThroughfilmclipsthatevokeChaplinandothersilent-eracomedians,Dadaistpoetry,andmysteriousmelodrama,PortabellamakesabidforunfetteredartisticfreedomcalculatedtoscramblethebrainsofFranco-regimecensors.
PerePortabella(b.1929,Barcelona)isaveteranSpanishfilmmakerwhosenarrativefeatures—richininterludes,plotdiversions,atmosphere,andunexpectedsynchroniesbetweensightandsound—limntheavant-gardeandexpandtheexpressivepotentialofcinema.Portabella,whobeganhiscinematiccareerasaproduceroffictionfilmsimplicitlycriticalofGeneralFranciscoFranco,hadhispassportrevokedwhenLuisBunuel'sViridiana(1961),whichhehelpedtomake,"embarrassed"SpainattheCannesFilmFestivalin1962.WhendemocracyreturnedtoSpain,PortabellaservedasasenatorintheCatalangovernment.However,throughouthisvariouscareers,Portabellacontinuedtomakecinema,investigatingmeaninginthemovingimageandflexingthenotionofgenre—particularlyforhorrorfilms,fantasyfilms,andthrillers.MoMAfirstscreenedaPortabellawork—VampirCuadecuc(1970)—onJanuary27and28,1972,initsCineprobeprogram.Afterathirty-fiveyearabsence,theDepartmentofFilmishonoredtowelcomePortabellabacktointroducetheNewYorkpremiereofhisrecentlycompletedTheSilencebeforeBach(2007).RoundtablediscussionswillalsobeheldatNewYorkUniversity,September27–28.AllfilmsdirectedbyPortabella.
長廊Umbracle(1970)的影評
吸血鬼，僵屍：一則長廊參觀公告 我們看到每分每秒的想象力都僅僅關注于進行新一次的鑿擊，去揭示出那獨特的、被埋藏的雕像。——雅克·裡維特你可以從這個“長廊”讀解出你想要看到的東西，佩雷并不像其他電影作者那麼吝啬至極到連些許微不足道的放權也不允許，隻想着完全占據影片的 ...
波爾塔貝利亞補完。1、繼德爾庫拉之後，克裡斯托弗·李第二次作為标識人物出現在波爾塔貝利亞的電影中，宛如鬼魅幽靈般遊蕩于巴塞羅那的街頭小巷，目擊綁架、參觀人類博物館，并與一名偶遇的少女進行無聲接觸。2、導演通過默片時代的偉大喜劇及佩德羅·拉紮加的反法西斯戰争片《菲尼迪諾》，達達主義詩歌朗誦和詭谲的情節劇搬演，以自身對于藝術自由創作的理想追求，評判弗朗明哥獨裁統治下西班牙非人道的電影審查體制與民權壓迫（屠殺活雞）。3、叙事銜接點:金發與高跟鞋。4、聲畫分離實驗，借由無相關的日常噪音（電話鈴/敲門錘擊）取代原聲對白。
1.攝影、音效、人物行為、結構、剪輯等方面都極富實驗，而且有其挑釁觀衆的感覺；2.先用紀錄片的形式介紹60年代西班牙的影片審查法規（完全适用中國内地電影），随後用各種類型的短片（戰争、宗教、情欲、隐喻等）進行回應；3.主人公漫步街頭，穿插剪輯查理·卓别林、巴斯特·基頓、哈羅德·勞埃德的經典默片，時空在此刻交彙貫通；4.角色在長椅上談話，卻沒有對話聲，隻有從畫外不斷傳來越來越大聲的敲門聲，讓觀衆感覺着恐懼與憤怒；5.養殖場的雞隐喻弗朗哥獨裁統治時期對民主的踐踏和人民的控制。
和Cuadecuc vampir是并列作吧？當然前者因為有個吸血鬼主題所以比較consistent？這部明顯是實驗性更重，或者如中段所述是“psychodrama/subconscious expression of film makers‘ frustration”。性、暴力、宗教、禁忌混雜在一起就變成了這種沒頭沒尾的art form。引用almighty神父的電影後接小醜standup也是很妙了。老李頭自由發揮的唱腔（which是老李頭珍貴銀屏musical片段）和Raven詩都相當适合出現在這部片裡，Dracula reference也夾得很可愛了XDD。哦再提下音效，不管是開頭disturbing的嗡鳴，後段配合鏡頭拉遠的拍打聲，亦或是默片用念的方式唱出音階，都好有意思！
英語字幕缺失了近半，但無妨這部影片是部佳作
7。這拍的帶感