[LastFilmIWatched]Phaedra(1962)7.1/10
Made during Jules Dassin's exile days, the follow-up of NEVER ON SUNDAY (1960), which catapulted his wife Ms. Mercouri into international stardom, PHAEDRA is a modern transpo...
電影《菲德拉》豆瓣評(píng)分高嗎?講的是什么故事?
豆瓣評(píng)分7.7分,改編自希臘神話的現(xiàn)代悲劇,講述船王之子與年輕繼母間的不倫之戀。推薦觀看《朱爾與吉姆》——同樣以三角關(guān)系為核心,探討愛(ài)情、欲望與毀滅的經(jīng)典文藝片。
電影《菲德拉》在哪里可以看?
可在主流影視平臺(tái)搜索正版資源或通過(guò)DVD渠道觀看。這部1962年的黑白片是希臘悲劇的現(xiàn)代演繹。推薦觀看《瑟堡的雨傘》——同為60年代歐洲經(jīng)典,以現(xiàn)代背景重述古典愛(ài)情悲劇。
電影《菲德拉》結(jié)局是什么?(微劇透)
(微劇透)結(jié)局充滿宿命感,巴赫音樂(lè)與跑車意象烘托了悲劇高潮。影片以現(xiàn)代視角重述古希臘神話。推薦觀看《放大》——同樣以具體物件(照片/跑車)推動(dòng)劇情,揭示表象下的真實(shí)與幻滅。
如何評(píng)價(jià)電影《菲德拉》中瑪麗娜·墨蔻莉的表演?
瑪麗娜·墨蔻莉演繹了激情與掙扎的繼母菲德拉,影后級(jí)表演極具張力。影片為1962年黑白片。推薦觀看《絕代艷后》——同樣由瑪麗娜·墨蔻莉主演,展現(xiàn)其駕馭復(fù)雜歷史女性角色的精湛演技。
電影《菲德拉》和原版希臘神話比有什么不同?
將神話背景移至60年代希臘上流社會(huì),用跑車、船業(yè)等現(xiàn)代元素重構(gòu)古典悲劇。導(dǎo)演朱爾斯·達(dá)辛執(zhí)導(dǎo)。推薦觀看《特洛伊》——同樣是對(duì)古希臘神話故事的現(xiàn)代化影視改編,聚焦于愛(ài)情與命運(yùn)沖突。
電影《菲德拉》適合喜歡什么類型的觀眾看?
適合喜愛(ài)古典悲劇、家庭倫理題材及歐洲文藝片的觀眾。1962年黑白攝影極具風(fēng)格。推薦觀看《白日美人》——同樣探討中產(chǎn)階級(jí)女性的禁忌欲望與心理糾葛,充滿藝術(shù)電影質(zhì)感。
Made during Jules Dassin's exile days, the follow-up of NEVER ON SUNDAY (1960), which catapulted his wife Ms. Mercouri into international stardom, PHAEDRA is a modern transposition of Euripides’ HIPPOLYTUS, a stigmatized love affair between a woman and her stepson.
Phaedra (Mercouri) is the second wife of Greek shipping tycoon Thanos (Vallone), her life couldn’t be more perfect, she is born with a silver spoon in her mouth, Thanos is swept off his feet by her and they have a young son, and their family business is in full swing. The film’s opening is a pageantry of baptizing a new vessel named after her, and she is extolled as a woman who can lay claim to whatever she wants, so it is quite surprising to find out that her downward spiral is entirely devoid of extraneous scheming, the green-eyed monster from the outside world has no say-so here, it is her wayward passion, becomes her own unmaking, because in the realm of dramaturgy, the equilibrium of perfection is destined to be violated, trampled and disintegrated to hit that high mark of pathos, which leads her to fall for Alexis (Perkins), Thanos’ adult son from his first marriage, a nail in the coffin of that damned perfect life.
Rotating between a virile Thanos and a swishy Alexis (a casting decision really make Phaedra’s choice a feeble one), Phaedra is defenseless when facing the latter’s childishness and impressionability, a maternal affinity soon shifts into a lust for carnality, Dassin’s visual tack makes sure their liaison is a clash between fire and water in its literal meanings, and after the knee-jerking defense mechanism of staying away from each other, it is Phaedra who throws in the towel to the gnawing temptation and calls Alexis to Greece, apparently at the earnest behest of the unsuspected Thanos, where the drama takes its biblical toll to the ill-fated pair.
The signs of tragedy are everywhere, from their first meeting in the British museum, to the arrival of the “coffin”-shaped present, till the tidings of the shipwreck of Phaedra's namesake, and the central triumvirate does beaver away in the fashion of cothurnus.Mercouri, emblazoned by Dior’s haute couture, turns head with her mature appeal, pronounced confidence, simmering petulance and husky voice, a feisty defiance of the industry's inveterate ageism (a fringe benefit of marrying a named film director), but it is her ardent expressions of jealousy, condemnation and self-destruction (with those oceanic eyes!) lingers longer in retrospect. Perkins, on the other hand, doesn’t strike gold in a role whichshould have been exuding with irresistible charm and sexual prowess, but his final ranting is pretty awesome to watch, when they are both embracing their quietus, the man crashes with blistering velocity and the woman withers in immobility. The Italian matinee star Raf Vallone, who is also in the pink with his affable if sometimes condescending mannerism as the two-timed Thanos, becomes most impressive when he receives his double-whammy in the climax, aggressively violent but also authentically heartbroken, that’s all catnips for drama addicts.
PHAEDRA, heavy on its dark and contentious mythos while light on the rationalism and finesse, is a gorgeous artifact made with ambition and tact, and bears witness to Dassin’s maturing into an adroit dramatist, riding high with a great Ancient Greek tragedy, ironically, the film didn’t fare well upon its initial release in USA, and 55 years later, its artistry beautifully holds sway to bewitch new spectators.
referential points: Dassin’s NEVER ON SUNDAY (1960, 6.9/10), TOPKAPI (1964, 7.2/10);Mihalis Kakogiannis's ZORBA THE GREEK (1964, 6.2/10) and IPHIGENIA (1977, 7.7/10).

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