捷克斯洛伐克60年代新浪潮电影二十五面体

  • 斯特凡·乌赫尔 米洛斯·福尔曼 Jaromil Jireš 帕维尔·祖拉契克 扬·施密特 埃瓦尔德·朔尔姆 Jan
  • 120分钟
  • <p>  The 2-part feature-length… <p>  The 2-part feature-length documentary "25 ze šedesátých aneb Československá nová vlna" ("25 from the Sixties, or Czechoslovak New Wave") presents a complex view of the phenomenon of Czech and Slovak New Wave in the cultural and social context of the 60's. 25 fundamental films commented on by their makers and film historians offer the viewer a dramatic insight into the golden era of Czechoslovak cinema.<br/>  The documentary is a follow-up on the biographical TV series "Zlatá šedesátá" (Czech Television, 2009), based on the filmmakers' personal remembrances. As opposed to the series, the documentary presents the Czech and Slovak cinema of the 60's in the national, international and also inter-generational context. It describes the ways the New Wave crossed the existing artistic boundaries, how it variegated the world cinema and where it left an ineffaceable impression. It analyses the work of filmmakers in a state-funded cinema, under the pressure of ideological demands on one hand and commerce on the other. It presents the dilemma of a man - an artist - on the edge between contradictory social systems and incongruous aesthetic requirements. The existential drama of a man acting freely and at the same time mercilessly crushed by the wheels of the system.<br/>  The 60's are, from this point of view, mostly an era of fortunate historical constellation, not only in - at that time - Czechoslovakia, but on a world-wide scale. An era of expectations and upswing, but also an era of exemplary human decisions and artistic pursuit. Those are some of the things "25 ze šedesátých aneb Československá nová vlna" wants to commemorate.<br/>  Part 1 comments on:<br/>  ■"Slnko v sieti" ("The Sun in a Net," 1962) by Štefan Uher<br/>  ■"Konkurs" ("Audition," 1963) by Miloš Forman<br/>  ■"Křik" ("The Cry," 1963) by Jaromil Jireš<br/>  ■"Postava k podpírání" ("Joseph Kilian," 1963) by Pavel Juráček Jan Schmidt<br/>  ■"Každý den odvahu" ("Courage for Every Day," 1964) by Evald Schorm<br/>  ■"Démanty noci" ("Diamonds of the Night," 1964) by Jan Němec<br/>  ■"Intimní osvětlení" ("Intimate Lighting," 1966) by Ivan Passer<br/>  ■"Ať žije republika" ("Long Live the Republic," 1965) by Karel Kachyňa<br/>  ■"Obchod na korze" ("The Shop on Main Street," 1965) by Ján Kadár Elmar Klos<br/>  ■"Romance pro křídlovku" ("Romance for Bugle," 1966) by Otakar Vávra<br/>  ■"Sedmikrásky" ("Daisies," 1966) by Věra Chytilová<br/>  ■"Ostře sledované vlaky" ("Closely Watched Trains," 1966) by Jiří Menzel<br/>  Part 2 comments on:<br/>  ■"Kristove roky" ("The Prime of Life," 1967) by Juraj Jakubisko<br/>  ■"Stud" ("Shame," 1967) by Ladislav Helge<br/>  ■"Svatba jako řemen" ("A Hard and Fast Marriage," 1967) by Jiří Krejčík<br/>  ■"Drak sa vracia" ("Dragon's Return," 1967) by Eduard Grečner<br/>  ■"Marketa Lazarová" ("Marketa Lazarová," 1967) by František Vláčil<br/>  ■"Spřízněni volbou" ("Elective Affinities," 1968) by Karel Vachek<br/>  ■"Spalovač mrtvol" ("The Cremator," 1968) by Juraj Herz<br/>  ■"Zabitá neděle" ("Squandered Sunday," 1969) by Drahomíra Vihanová<br/>  ■"Pasťák" ("The Decoy," 1968) by Hynek Bočan<br/>  ■"Případ pro začínajícího kata" ("Case for a Rookie Hangman," 1969) by Pavel Juráček<br/>  ■"322" ("322," 1969) by Dušan Hanák<br/>  ■"Slávnosť v botanickej záhrade" ("Celebration in the Botanical Garden," 1969) by Elo Havetta<br/>  ■"Všichni dobří rodáci" ("All My Good Countrymen," 1968) by Vojtěch Jasný</p>
剧情简介
影片影评
经典台词
人物角色
从剧本到影像语言,《捷克斯洛伐克60年代新浪潮电影二十五面体》堪称一部用电影书写电影史的史诗级论文。马丁·舒利克摒弃了传统纪录片平铺直叙的解说模式,转而以蒙太奇拼贴和意象关联构建叙事节奏。例如,在讲述希蒂洛娃的《雏菊》时,镜头突然切换到现代广告片中的艳丽色彩,暗示消费主义对前卫美学的收编;在提及福尔曼时,穿插1960年代布拉格街头行人被便衣警察跟踪的新闻片段,让虚构与纪实形成互文。这种诗性剪辑不仅避免了‘资料汇编’的枯燥,更让观众直接体验到新浪潮电影人创作时的直觉与反叛。表演层面,尽管影片本身没有传统意义上的演员,但受访老电影人面对镜头时的神情、停顿、苦笑与含泪的目光,构成了最动人的表演——那是时间与记忆自身在出演。历史价值上,该片填补了英语世界对捷克斯洛伐克新浪潮系统性记录的空白,尤其对于1990年代后出生的观众,它提供了一把理解东欧冷战文化史的钥匙。舒利克并未将新浪潮浪漫化:他如实呈现了导演们对政治妥协的无奈,也毫不避讳某些作品在今天看来略显幼稚的实验主义。影片的缺陷在于,受限于2小时篇幅,对25位导演的分配并不均匀,福尔曼、门泽尔等国际知名导演占用了较多篇幅,而如雅诺什·斯扎茨、杜尚·哈纳克等相对小众的导演仅得到寥寥数笔,略显失衡。但瑕不掩瑜,该片以‘面体’为喻,精准捕捉了新浪潮多维的本性——它既是艺术解放的丰碑,也是政治阴影下的涂鸦,更是东欧现代性的一次集体痉挛。雷纳德·科恩的配乐与黑白的1960年代影像交织,营造出一种‘精致乡愁’的质地,让观众在理性分析之余,感受到电影作为生命痕迹的炽热温度。
米尔达
🎭演员:伏拉基米尔·布劳德斯基
《严密监视的列车》中二战背景下的小人物,表面玩世不恭实则内心敏感。角色以黑色幽默解构战争暴力,其对纳粹军官的敷衍监视,暗喻普通人在体制下的生存智慧。演员通过狡黠眼神与夸张肢体语言,将角色的复杂性演绎得淋漓尽致,成为新浪潮电影“体制边缘人”的经典符号。
玛尔塔
🎭演员:达格玛·维斯科莫娃
《雏菊》中的青年女性,象征1960年代女性意识觉醒。她与男友的爱情充满试探与反抗,演员以细腻表情和自然表演,展现女性在家庭束缚下的自由渴望。片中街头奔跑的镜头成为新浪潮“青春反抗”的视觉宣言,其雏菊般坚韧的生命力,成为时代青年的精神缩影。
扬·内梅克
🎭演员:扬·内梅克
导演自导自演的角色,在《我就是正义》中扮演被体制异化的青年。通过碎片化叙事与荒诞情节,批判社会主义体制下的虚伪,演员将角色的迷茫与愤怒融为一体,成为新浪潮“形式实验”的代表,其表演打破传统叙事逻辑,开创东欧电影的先锋表达。

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