女巫Lestreghe(1967) TheWitches
導演：莫洛·鮑羅尼尼
編劇：朱塞佩·帕特羅尼·格裡菲/切薩雷·紮瓦蒂尼/阿傑諾雷·因克羅奇/富裡奧·斯卡佩利/貝納迪諾·紮波尼/皮埃爾·保羅·帕索裡尼/法比奧·卡爾皮/EnzoMuzii
主演：西爾瓦娜·曼加諾/安妮·吉拉爾多/弗朗西斯科·拉瓦爾/馬西莫·吉洛蒂/維羅尼卡·旺代勒/埃爾莎·阿爾巴尼/克拉拉·卡拉馬伊/瑪麗盧·托洛/諾拉·裡奇/迪諾·梅萊/赫爾穆特·貝格/布魯諾·菲利皮尼/萊斯利·弗倫奇/阿爾貝托·索爾迪/托托/尼内托·達沃利/勞拉·貝蒂/克林特·伊斯特伍德/瓦倫蒂諾·馬奇/PietroTorrisi/馬裡奧·西普利亞尼/彼得羅·托爾迪
語言：意大利語/英語
類型：劇情/喜劇/愛情
上映日期：1967-02-22(意大利)
意大利/法國 111分钟
女巫Lestreghe(1967)的劇情介紹
"TheWitchBurntAlive"
Afteraverylong,butvisuallyarrestinganimatedopeningcreditssequence,LuchinoVisconti(DeathinVenice)directsthefirststory,whichisthelongestofthefive,takingapproximatelyathirdofthefilm'srunninglength.Manganoplaysasuperstaractressandmodelwhotravelstoamountainresort,onlytofindthewell-to-doinhabitantshaveprejudicesandpreconceivednotionsaboutherbasedonherpublicpersona.Thewomenarealljealousandthemenallwanttosleepwithher,butallManganowantsistobeleftalone.It'samostlysombersatiricalpiece,butstory-wise,itlanguishesinitsmodestideaabitlong,becominginconsequentialtoallbutthosefascinatedbytherealitiesofbeingfamous.
"CommunitySpirit"
Bolognini'spieceisn'treallyastory.It'smoreofavisualgag,inashortsegmentthatfeaturesManganoofferingtotakeaninjuredmantoahospital,drivinghimatbreakneckspeedthroughoutthecity,butnotstoppingatlocationswherehemightfindaid.Iwon'tgiveawaythepunchlinehere,butitsucceedsinbeingamusing,evenifit'sthekindofthingthatonlyisinterestingthefirsttimethrough.
"TheEarthSeenfromtheMoon"
Theesteemedwriter/director,PierPaoloPasolini(Salo),craftsthemiddlesegment,whichisthemostartisticandmemorableofthefive.Reminiscentinstyleto"DonQuixote",arecentlywidowedfatherandhissontravelaroundthecountryinsearchofanewwifeandmother,andafteralongperiod,theydiscovertheliterallyspeechlessMangano.Shebringsjoyintotheirlives,buttheyarepoor,andinordertofindabetterlifeforthemselves,theyconcoctaschemetotrytomakesomequickcash.Thestoryiscontrived,andnotcompletelyinteresting,buttheoutlandishperformances,artwork,andcostumesdoesevokegreatcharmandlikeability.Althoughmute,it'sprobablythemostappealingofMangano'sfiveperformances,andTotoisterrific.
"TheSicilian"
FrancoRossidirectsthefourthanshortestpiece,astraight-forwardrevengestorythatcomesandgoesbeforeiteverhasachanceofbecominginteresting.It'sviolent,buteasilytheleastsatisfyingofthefivestories.
"ANightLikeAnyOther"
Eastwood'sappearanceisclearlythebiggestattractionhere,whichwasfilmedinbetweentheSergioLeone"Dollars"trilogy.It'sanenjoyabledeparturefromhisnormalroles,playingacomedicromanticlead,andheisaffablyfuntowatch.FamedItaliandirector,VittoriodeSica(TheBicycleThief,UmbertoD.)doesamasterfuljobwiththestory,whichperfectlyblendsthemundaneandthefantasyinavisuallysatisfyingway.Thestoryisaboutaboredhousewife(Mangano,ofcourse),whotriesinvaintogetherhusbandtorealizethatheisnotasromanticasheusedtobe.Thesceneisinterspersedwithcomedicromancesequencesrevolvingaroundthecouple'spastromanticinterludes,anddreamsofhowtheirlivesshouldbe.
Afteraverylong,butvisuallyarrestinganimatedopeningcreditssequence,LuchinoVisconti(DeathinVenice)directsthefirststory,whichisthelongestofthefive,takingapproximatelyathirdofthefilm'srunninglength.Manganoplaysasuperstaractressandmodelwhotravelstoamountainresort,onlytofindthewell-to-doinhabitantshaveprejudicesandpreconceivednotionsaboutherbasedonherpublicpersona.Thewomenarealljealousandthemenallwanttosleepwithher,butallManganowantsistobeleftalone.It'samostlysombersatiricalpiece,butstory-wise,itlanguishesinitsmodestideaabitlong,becominginconsequentialtoallbutthosefascinatedbytherealitiesofbeingfamous.
"CommunitySpirit"
Bolognini'spieceisn'treallyastory.It'smoreofavisualgag,inashortsegmentthatfeaturesManganoofferingtotakeaninjuredmantoahospital,drivinghimatbreakneckspeedthroughoutthecity,butnotstoppingatlocationswherehemightfindaid.Iwon'tgiveawaythepunchlinehere,butitsucceedsinbeingamusing,evenifit'sthekindofthingthatonlyisinterestingthefirsttimethrough.
"TheEarthSeenfromtheMoon"
Theesteemedwriter/director,PierPaoloPasolini(Salo),craftsthemiddlesegment,whichisthemostartisticandmemorableofthefive.Reminiscentinstyleto"DonQuixote",arecentlywidowedfatherandhissontravelaroundthecountryinsearchofanewwifeandmother,andafteralongperiod,theydiscovertheliterallyspeechlessMangano.Shebringsjoyintotheirlives,buttheyarepoor,andinordertofindabetterlifeforthemselves,theyconcoctaschemetotrytomakesomequickcash.Thestoryiscontrived,andnotcompletelyinteresting,buttheoutlandishperformances,artwork,andcostumesdoesevokegreatcharmandlikeability.Althoughmute,it'sprobablythemostappealingofMangano'sfiveperformances,andTotoisterrific.
"TheSicilian"
FrancoRossidirectsthefourthanshortestpiece,astraight-forwardrevengestorythatcomesandgoesbeforeiteverhasachanceofbecominginteresting.It'sviolent,buteasilytheleastsatisfyingofthefivestories.
"ANightLikeAnyOther"
Eastwood'sappearanceisclearlythebiggestattractionhere,whichwasfilmedinbetweentheSergioLeone"Dollars"trilogy.It'sanenjoyabledeparturefromhisnormalroles,playingacomedicromanticlead,andheisaffablyfuntowatch.FamedItaliandirector,VittoriodeSica(TheBicycleThief,UmbertoD.)doesamasterfuljobwiththestory,whichperfectlyblendsthemundaneandthefantasyinavisuallysatisfyingway.Thestoryisaboutaboredhousewife(Mangano,ofcourse),whotriesinvaintogetherhusbandtorealizethatheisnotasromanticasheusedtobe.Thesceneisinterspersedwithcomedicromancesequencesrevolvingaroundthecouple'spastromanticinterludes,anddreamsofhowtheirlivesshouldbe.
女巫Lestreghe(1967)的影評
女神西爾瓦娜收到的五個影像禮物(觀影随記) 本片的開頭是喜歡的類型之一，用超現實主義的卡通拼貼風圖片引出導演和演員：火燒鈔票，女巫坐火箭騎槍到處飛，變身保齡球……第一個片段：維斯康蒂拍了個女明星主宰不了自己生活的故事，男性與女性關于産品的讨論暗示男性對女性的物化，女明星伴着《 ...
4/4/5/4/5原來Pasolini比Wes Anderson還先發明Wes Anderson；Pietro Germi附身Franco Rosi；我對1960s電影的女權主義性持懷疑态度，但這一定是反男權片；此片大概是我最喜歡的omnibus film。
第一段維斯康蒂的火燒女巫，近四十分鐘篇幅算大部頭，嘲諷了明星虛榮，頗似甲方乙方裡徐帆那段；第二段社區精神，黑色反轉。隻有五六分鐘，比當年寶馬系列廣告還短，倒也匹配鮑羅尼尼的名氣地位；第三段帕索裡尼從月亮看地球，喜劇國寶托托太老，搞笑力不從心；唯一女主也找不到情緒點，“死了與活了沒啥兩樣”。第四段西西裡人，再次證明此片對馮小剛賀歲喜劇的影響：“打死我也不說”，全說了真打死！最有一段德西卡那夜如昨，曼加諾此次裝扮酷似英格麗褒曼，而對手戲的東木确實不太适合出演西部以外的意大利電影。三星半
帕索裡尼是有多恨女人，以至于稱她們為女巫？得知自己懷孕而失魂落魄的女星。号稱要救人卻隻顧自己趕路去約會的女人。聾啞妻子踩到香蕉皮。生死一個樣。與女鬼生活。詛咒男人的女人，父兄橫死街頭。夫妻間越發冷淡，丈夫累了，妻子還想要。男雕像都為她旋轉。三星半
似乎就是德勞倫蒂斯有錢任性，給Mangano女神搞的系列短片。從這個意義上說還是Visconti和De Sica比較良心，Pasolini那一段，估計德勞倫蒂斯很想找他退錢。 （但也是我唯一喜歡的一段了
三星半；女主貫穿的系列短片，以諷谑、荒誕的喜劇風格為主；最好玩的是德西卡之家庭主婦腦海劇場，克林特·伊斯特伍德帥極；最喜歡帕索裡尼之謬先生&謬小姐，惡搞路線，趣味十足，花花綠綠的童話寓言覆蓋之下是“死生都一樣”的主題。