片名:《馬隆布拉[電影解說]》
類型:短劇
上映時(shí)間:1942
上映地區(qū):其它
導(dǎo)演:Mario Soldati
主演:Isa Miranda,Andrea Checchi,Irasema Dilián,Gualtiero Tumiati,Nino Crisman,Enzo Biliotti,Ada Dondini,Giacinto Molteni,Corrado Racca,Luigi Pavese,Nando Tamberlani,Doretta Sestan,Paolo Bonecchi,Elvira Bon
集數(shù): 更新至0集
語言:
正鑫影院為您提供這部精彩的短劇，馬隆布拉[電影解說]講述了一個(gè)精彩的故事，馬隆布拉[電影解說] 的演員有：Isa Miranda,Andrea Checchi,Irasema Dilián,Gualtiero Tumiati,Nino Crisman,Enzo Biliotti,Ada Dondini,Giacinto Molteni,Corrado Racca,Luigi Pavese,Nando Tamberlani,Doretta Sestan,Paolo Bonecchi,Elvira Bon，精湛的演技讓馬隆布拉[電影解說]的劇情更加入木三分。馬隆布拉[電影解說]由知名導(dǎo)演Mario Soldati傾情指導(dǎo)拍攝，馬隆布拉[電影解說]于1942年上映，馬隆布拉[電影解說]在其它上映后就收到大量粉絲的歡迎，馬隆布拉[電影解說]的觀眾更是記住了馬隆布拉[電影解說]的另一個(gè)名字 ，足見馬隆布拉[電影解說]是一部?jī)?yōu)秀的短劇。分享更多精彩影視動(dòng)漫視頻，盡在正鑫影院。
馬隆布拉[電影解說]的劇情講述了：This utterly gorgeous Gothic melodrama would be widely hailed as a masterpiece, had it not been made in Italy during the Mussolini regime. A gross injustice, as Malombra - unlike Piccolo Mondo Antico, Mario Soldati's earlier film of an Antonio Fogazzaro novel - contains not one moment of triumphalist flag-waving or Fascist family values. Oddly akin to Rebecca in its atmosphere of death-haunted romance and voluptuous doom, it reaches a peak of visual refinement of which Hitchcock could only dream. Its star is Isa Miranda (famous, and not without reason, as Italy's answer to Garbo and Dietrich) playing a headstrong but unstable young noblewoman, confined by her uncle to a gloomy villa on the shores of Lake Como. A yellowed and crumbling letter, found in an old spinet, convinces her that she is the reincarnation of her uncle's first wife - another troubled beauty who died a virtual prisoner after being caught in a forbidden love affair. When a handsome young writer (Andrea Checchi) comes to stay, Miranda decides that HE is the reincarnation of the dead woman's lover. Gradually, she lures him into her web of sex and revenge... What more to say without spoiling the fun Miranda gives a performance to rival any of the great divas of Hollywood. Only Davis and Stanwyck, perhaps, could play a bad girl so boldly without losing all sympathy. The evocation of 19th century aristocracy, in its full decadent splendour, is visually and dramatically flawless - a model for such later Italian gems as Visconti's Senso and The Innocent. It helped, perhaps, that Soldati himself was a leading novelist. Blessed with an absolute respect for the classics he adapted, but in no way inhibited by them. He was also the guiding spirit of the now-forgotten 'calligraphic' movement, which brought the Italian cinema to such wondrous aesthetic heights during World War Two, only to collapse before the horror of Neo-Realism. Can we blame Soldati for giving up film-making in disgust and going back to writing novels So if you've ever felt (as I do) that Rossellini's much-touted Rome - Open City is the work of an amateur...well, Malombra is the film you have to see!。
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