长廊Umbracle(1970)
导演：佩雷·波尔塔贝利亚
编剧：霍安·布罗萨/佩雷·波尔塔贝利亚
主演：克里斯托弗·李/JeannineMestre
语言：英语/西班牙语
西班牙 85分钟
长廊Umbracle(1970)的剧情介绍
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.
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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.
长廊Umbracle(1970)的影评
吸血鬼，僵尸：一则长廊参观公告 我们看到每分每秒的想象力都仅仅关注于进行新一次的凿击，去揭示出那独特的、被埋藏的雕像。——雅克·里维特你可以从这个“长廊”读解出你想要看到的东西，佩雷并不像其他电影作者那么吝啬至极到连些许微不足道的放权也不允许，只想着完全占据影片的 ...
波尔塔贝利亚补完。1、继德尔库拉之后，克里斯托弗·李第二次作为标识人物出现在波尔塔贝利亚的电影中，宛如鬼魅幽灵般游荡于巴塞罗那的街头小巷，目击绑架、参观人类博物馆，并与一名偶遇的少女进行无声接触。2、导演通过默片时代的伟大喜剧及佩德罗·拉扎加的反法西斯战争片《菲尼迪诺》，达达主义诗歌朗诵和诡谲的情节剧搬演，以自身对于艺术自由创作的理想追求，评判弗朗明哥独裁统治下西班牙非人道的电影审查体制与民权压迫（屠杀活鸡）。3、叙事衔接点:金发与高跟鞋。4、声画分离实验，借由无相关的日常噪音（电话铃/敲门锤击）取代原声对白。
1.摄影、音效、人物行为、结构、剪辑等方面都极富实验，而且有其挑衅观众的感觉；2.先用纪录片的形式介绍60年代西班牙的影片审查法规（完全适用中国内地电影），随后用各种类型的短片（战争、宗教、情欲、隐喻等）进行回应；3.主人公漫步街头，穿插剪辑查理·卓别林、巴斯特·基顿、哈罗德·劳埃德的经典默片，时空在此刻交汇贯通；4.角色在长椅上谈话，却没有对话声，只有从画外不断传来越来越大声的敲门声，让观众感觉着恐惧与愤怒；5.养殖场的鸡隐喻弗朗哥独裁统治时期对民主的践踏和人民的控制。
和Cuadecuc vampir是并列作吧？当然前者因为有个吸血鬼主题所以比较consistent？这部明显是实验性更重，或者如中段所述是“psychodrama/subconscious expression of film makers‘ frustration”。性、暴力、宗教、禁忌混杂在一起就变成了这种没头没尾的art form。引用almighty神父的电影后接小丑standup也是很妙了。老李头自由发挥的唱腔（which是老李头珍贵银屏musical片段）和Raven诗都相当适合出现在这部片里，Dracula reference也夹得很可爱了XDD。哦再提下音效，不管是开头disturbing的嗡鸣，后段配合镜头拉远的拍打声，亦或是默片用念的方式唱出音阶，都好有意思！
英语字幕缺失了近半，但无妨这部影片是部佳作
7。这拍的带感