埃贡·席勒—过度 (1981)

Herbert Vesely was one of the promises for a new German cinema already in the 50's, but after the 60's his star was already dimmed. He made a small number of films in the 70's and 80's, all non too good. This biography of Egon Schiele, one of the most important Austrian artists, is an example of the pretensions and emptiness of a Vesely-film of later date.The life of Schiele is presented here as a puzzle; well, Vesely thinks that Schiele's life was a puzzle: the core of the story is centered around the famous 1912 pornography trial and using this as base the film shows fragments of past and future. The problem is that it never becomes a unity and that the order of scenes and sequences seems to be at random: a cut-and-paste job that could have had any other result. Indeed, after seeing it twice I am almost convinced of it that a unsatisfactory linear thought-out film was changed into the puzzle in the editing room. Egon Schiele was an enigmatic man, but not a total puzzle, and this film does not bring him any closer.The films also fails in conveying the eroticism and meaning of the Schiele's paintings: the camera watches and glides over the models without any understanding of Schiele's intentions, we only see beautiful naked bodies. If interested in Schiele, you better buy a book with his works in stead. 埃贡席勒在荷兰的唯一一副作品是他妻子Edith的肖像，Edith穿着席勒工作室的彩色窗帘做的彩色斑斓的条纹裙子在婚礼前夕被画入画中，尽管很多评论家解读Edith犹如木偶般手足无措，但我却看到新娘子满满的羞涩和对未来生活的大胆的凝望。埃贡的传记电影永远逃不开他的那几个缪斯女神，但是这部电影讨好到我，把真爱设定给了Edith，而陪他度过难关帮他躲过牢狱之灾帮他生活起居给他做模特提供灵感的沃莉被他轻而易举的抛弃，渣男&电影从他被未成年少女模特污蔑强奸（慎重雇佣免费劳动力）入狱开始，重点用四幅画串起他短暂的一生（被烧的未成年肖像，死神与少女，Edith的肖像和家人）脉络是清晰的，但是不能细品。看席勒的画倒是从未觉得恐怖，冷却的欲念凝结在纸上，给我的感觉是幽深，穿透力又很强。传记类电影都有些尴尬，生平可以复述，但演绎出来总是会走样的，不过还蛮喜欢片中那些呓语呢喃的段落，即使这已经成为另外一个故事。大概只有留下的作品永远在替作者说话了，也为ta见证着世人恒久的误解。#渴望之中隐藏着鬼怪从涉嫌诱拐未成年少女入狱到卷入两个女人的情爱纠葛，再到因疾早逝，影片以1912年的色情艺术审判为核心，通过众多的片段和以交替的闪回递进构建这位奥地利表现主义画家的生平。内心独白与宏观历史相结合。摄影机反复模拟画家视角凝视女性身体，以室内临床的欲望窥视反衬性压抑时代亲密行为伴随的风险。四分全歸於Burkin：Vally在頭靠在沙發角悲不自已的鏡頭是此片唯一帶著光芒的 飄零而無所依；查了資料 她有位遠親叫Wallace 和愛德華八世的那位Wallace；太愛你了除