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女人花1994

导演:
王进
主演:
普超英,袁立,刘威葳,谢琳,郭昶,李欣,李易祥
别名:
未知
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简介:
取材于苏方桂的小说《姊妹风尘记》。 20世纪初的珠江三角洲一带,少女留长辫,婚后梳发髻。不愿嫁人的女子通过仪式改梳发髻,这样的女子人称“自梳女”。自梳女收养美丽端庄的幼女,精心培养,成年后卖给达官贵人或富商巨贾做妾,人称“妹花”。 尚美菊出身世家,因爱情受挫,誓不再嫁,独居一座大院,做起了“自梳女”的首领,家中收养着妹花。女子一旦自梳,绝不能和男人来往,否则被自梳会惩罚——沉江。 缫丝厂女工阿娣正式举了自梳仪式,举行完仪式,她却被自小订婚的丈夫谭阿福带人抢回老家强行结婚。尚美菊带自梳女追到谭家,以集体自杀威胁谭家放回阿娣。紧急关头,谭家族长出面调解,以“假婚”达成协议。自梳女可与男子结成形式上的婚姻,称为大婆,而男子仍可与别的女子结婚。自梳女死后由男方接回,葬于男方坟地。尚美菊同意了,但要三日后举行婚礼。 尚美菊收养的“妹花”胭脂18岁,亭亭玉立,美艳动人,尚美菊决定送她去广州有名的茶楼陶陶居,开出的身价是银洋两万元。胭脂的美艳和身价都使看客们望而却步。姐妹们为阿娣缝制了紧密的连衣裤,把阿娣送入洞房。阿福真喜欢阿娣,在洞房中要用强。阿娣被自梳女阿银救出。尚美菊因胭脂唱的一首“秋风辞”,触动了她内心的隐痛,向胭脂大发雷霆。自梳女阿琴自杀了,死因是与情侣阿强剪不断的情缘,终致怀孕而自杀。 四月初八“木佛节”,阿福接阿娣回家过节,阿娣对阿福渐生爱慕。一个神秘的老爷决定用两万银洋买胭脂。胭脂去找干妈,发现干妈和那个像男人的阿银在床上。阿娣和阿福幽会被发现,尚美菊带姐妹们来,准备给阿娣沉江的惩罚。阿娣毫不畏惧。阿娣即将沉江时,阿福带人来把她抢走。神秘老爷来下聘礼,尚美菊发现他就是自己多年前的情人。胭脂认清自己不过是商品,当着尚美菊的面自杀了。在重重刺激下,尚美菊疯了。她走在旷野,一支结婚队伍走来,新娘子就是她的妹花秀灵。欢乐的结婚队伍远去了,荒野上只剩下一个疯婆。

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简介:The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography.  The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic.  Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens.  The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film.  It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief.  "Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas.  Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film.  This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
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芳心封鎖