伟大的安巴逊

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主演:约瑟夫·科顿,提姆·霍尔特,多洛雷斯·卡斯特洛,安妮·巴克斯特,阿格妮丝·摩尔海德

类型:电影地区:美国语言:英语年份:1942

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 剧情介绍

伟大的安巴逊电影免费高清在线观看全集。
20世纪初,Amberson家族在当地是一个名门望族。年轻人Eugene Morgan(约瑟夫·科顿 Joseph Cotten 饰)苦苦追求Amberson家的Isabel(多洛雷斯·卡斯特洛 Dolores Costello 饰)无果,Isabel最终嫁给了Wilbur Minafer(Donald Dillaway 饰演),两人生下儿子George(提姆·霍尔特 Tim Holt 饰)。George在父母的溺爱下长大,从小就是个骄横的孩子,长大后更是变本加厉。从大学回家的George遇到了来他们家做客的Eugene Morgan,此时的Morgan已是一个在研究动力车的人,他的妻子去世,留给他一个女儿Lucy(安妮·巴克斯特 Anne Baxter)。George爱上了Lucy,而George的姑姑似乎也对Morgan青睐有加。不久George... (展开全部)   20世纪初,Amberson家族在当地是一个名门望族。年轻人Eugene Morgan(约瑟夫·科顿 Joseph Cotten 饰)苦苦追求Amberson家的Isabel(多洛雷斯·卡斯特洛 Dolores Costello 饰)无果,Isabel最终嫁给了Wilbur Minafer(Donald Dillaway 饰演),两人生下儿子George(提姆·霍尔特 Tim Holt 饰)。George在父母的溺爱下长大,从小就是个骄横的孩子,长大后更是变本加厉。从大学回家的George遇到了来他们家做客的Eugene Morgan,此时的Morgan已是一个在研究动力车的人,他的妻子去世,留给他一个女儿Lucy(安妮·巴克斯特 Anne Baxter)。George爱上了Lucy,而George的姑姑似乎也对Morgan青睐有加。不久George的父亲去世了,George开始在Amberson家族里当家做主。他听闻了Morgan和他母亲的一些传闻,严厉阻止了其发展,并带着他的母亲去欧洲旅游。而Morgan的汽车研究正在不断壮大,却遭到了George的轻视。无视社会发展的George正在随着Amberson家族的没落而渐渐失去了他原有的一切......鬼话连篇2002登陆日:猛犬连直言真相 第二季割草者奇妙的时光之旅回到爱开始的地方网红男孩安娜,我的爱恭喜发财2诺妞的奢华喜剧 第一季牧场趣事第二季七月物语在西伯利亚森林中国王的选择满满喜欢你孽债迷情白粉飞第二季上海王2008洛城生死恋无限2021刺客冷血请和男护士恋爱吧逃生摩天楼揭秘 被黄沙埋没的埃及古城乡味记第二季女理发师彼方之歌黑豹2杀手疗法现场清理人第二季神秘拼图国语偷拐抢骗英语极道女流氓传说:审判与侵略美国革命家:陈玉平的演进狩猎之夜达拉斯买家俱乐部目标小姐疯狂的足球2021率直的男人枪林弹雨中的爱情爱有来世那天的氛围

 长篇影评

 1 ) 选择伟大的生活

Welles选择伟大的生活,那么就要付出巨大的代价。

所谓华丽的镜头是指把人物之间矛盾激化的镜头。而展开(矛盾激化)的花朵就是伟大的。

所谓伟大的片子是指具有伟大意义的片子。意义不切实际便引起虚无。

归根结底奥逊维尔斯是遵循“人往高处走的”。

 2 ) The Magnificent Ambersons FAQ

http://ambersons.com/FAQs.htm

What is The Magnificent Ambersons about?

The Magnificent Ambersons is about the proud and celebrated Amberson family. The story shows how the family refuses to change with the times, and the subsequent deterioration of the Amberson name as a result.

The story is set in Indianapolis in the late 1800's/early 1900's, and shows how the beauty of a small town was slowly destroyed by the advent of the automobile. A number of dramas carry the movie along. Isabel Amberson is the town beauty and is courted by various beaus, one of whom is the brash and handsome Eugene Morgan. Eugene plans an elaborate serenade for Isabel in front of the Amberson mansion, but makes a fool of himself by falling on his bass viol in a drunken stupor. Eugene tries repeatedly to win Isabel, but she refuses. Even though she is in love with Eugene, the embarrassment from this one incident and the social customs of the time prohibit her from having anything to do with him. Isabel eventually marries Wilbur Minafer, who is less flashy than Eugene, but respectable. Isabel isn't in love with Wilbur, however, and their one child George is incredibly spoiled by Isabel and grows up to be extremely arrogant, righteous and self-absorbed. George has an air of entitlement because he is an Amberson, and has no use for anyone who wants to work for a living. This includes Isabel's true love, Eugene, who left town after losing Isabel. Eugene returns twenty years later with his daughter Lucy, having made his fortune by developing one of the first automobiles. After Wilbur's death, Eugene pursues Isabel again. Wilbur's sister Fanny is also in love with Eugene, though this is not returned by Eugene. Even though Isabel and Eugene are both still in love, their plans are thwarted by George. George hates Eugene not just because of his profession, but because he has to share his mother's attention for the first time. When George learns that the townspeople are talking about Eugene's love for Isabel, George becomes enraged by this supposed scandal and does whatever he can to prevent Isabel and Eugene from marrying. George and Isabel leave on a trip around the world and are gone for five years. Despite Isabel's poor health and longing for Eugene, George insists that they both stay abroad, returning only when Isabel is colse to death. George's attitudes and actions help to ruin his family, as well as his chances of having a relationship with Eugene's daughter Lucy. Eventually George receives his "comeuppance", learning humility after suffering the tragic consequences of his own devices. George reconciles with Lucy, and asks for Eugene's forgiveness. By then all of the members of the Amberson family have either died, moved away or become destitute.

Is this movie based on a book?

Yes. The book The Magnificent Ambersons was written by Booth Tarkington, for which he received the Pulitzer Prize in 1919.

When was this movie made and who directed it?

The movie was released in July 1942 and was directed by Orson Welles. It was his next project after right after Citizen Kane.

I've heard of Citizen Kane, but not The Magnificent Ambersons. Why?

The Magnificent Ambersons was supposed to be as big as if not bigger than Citizen Kane, but many events contributed to this classic becoming an obscure Hollywood memory (see next FAQ). The short explanation is that Ambersons is an artistic film that was not well received by mainstream audiences when it was released, and it just never caught on the same way that other classics do.

What happened to this movie to make it such a tragic piece of Hollywood history?

In its original form Ambersons was 131 minutes long, and was very upbeat for about 45 minutes, afterwhich it took a sudden dramatic turn to become a very sad story without an uplifting ending. Once most of Ambersons was finished, Welles left for Brazil by request of the US State Department to make another film, which was intended to foster relations between the the US and South America (the film was never finished, but would later be released as "It's All True"). The final process of editing was left to the film's editor Robert Wise. There are conflicting reports of what happened next, but a number of scenes were cut, ordered either by RKO or by Welles himself. Either way, the shortened version was previewed at a theater in Pomona, CA, so that audience reaction could be used to make changes if necessary.

The Pomona preview was a disaster. Before Ambersons played, the audience had watched the rousing musical The Fleet's In, so the audience was probably not in the mood for a slow-paced and depressing period piece. Audience members (consisting mostly of teenagers) talked at the picture, kidded it, and laughed at the wrong places. After the film, audience members filled out "comment cards" to express their opinions. While some of the responses praised the film, most of the cards were very negative, with comments like "it stinks", "rubbish", and "a horrible distorted dream". The president of RKO, George Schaefer, was at the preview and wrote to Welles "Never in all my experience in the industry have I taken so much punishment or suffered as I did at the Pomona preview".

At this point RKO had invested over $1,000,000 in a picture that could possibly bomb. The next action was to make more changes and preview it again. Again, there are two different versions of what happened - either some of the original cuts were put back in, or more cuts were made. Either way, another preview was held two days later in Pasadena. This preview was much more favourable, although both audiences had problems with some of the same aspects. The film at this point, while shorter (about 117 minutes), was still relatively intact. Rather than leaving the film alone, however, RKO believed that Ambersons would only appeal to a more mature audience, which was how Pasadena was perceived. Because the largest part of movie revenue would came from the younger crowd, substantial changes would have to be made to make the film shorter and more upbeat. Ideally, Welles would have to be present during this editing process, but since Welles was in South America (and working on another movie), he could only communicate changes by telegram. Attempts to send Robert Wise to Brazil were prevented due to wartime travel restrictions. Correspondence from RKO with detailed changes were sent to Welles, and Welles in return made his own attempts to make changes, to no avail (see below).

It wasn't long before RKO took Ambersons away from Welles completely. Input from a number of studio executives was given to try and save the picture. One in particular that is somewhat amusing was from producer Bryan Foy, who said that the film was "too f*ckin' long", and that forty minutes had to be cut ("just throw all the footage up in the air and grab everything but forty minutes"). Eventually, about 50 minutes was cut from original Ambersons, and some scenes were written and shot by others, all in Welles' absence. Many of the cuts were made to eliminate the more depressing aspects of the film, like how Major Amberson and Fanny had lost their money in bad investments. In addition, the original sad ending was cut and reshot to be more uplifting. The final version, running at about 88 minutes, was released in July to so-so results, and was effectively abandoned by RKO. The film lost over $600,000, an enormous amount for a relatively small studio like RKO.

What happened to Orson Welles as a result of the Ambersons?

Welles was recalled from South America before the filming of "It's All True" was finished and his contract with RKO was terminated. Because of the problems with Ambersons, and the fact that the South American project was scrapped by the new authorities at RKO, Welles developed a reputation for not finishing projects. He was never entrusted with a major Hollywood production again. In Welles own words, "They destroyed Ambersons and it destroyed me." Welles did go on to direct and star in many more pictures, but without the luxuries that he enjoyed at RKO. Welles spent much of his career acting (sometimes in roles that were quite beneath his talent) so that he could raise money to fund his own projects. His next major project as director was Touch of Evil, which was also severely cut prior to release (fortunately, this movie was recently restored).

How did Welles try to save Ambersons during the editing process while he was in South America?

From the time Welles arrived in Rio de Janeiro he was in constant contact with several poeple at RKO. Communication was mostly by telegram, between February and June 1942, with memos between Welles and various people at RKO, including Robert Wise, Jack Moss, Joseph Cotten, and George Schaefer. It's clear from these memos how much of an effect the Pomona preview had on RKO. Welles made several suggestions to try and make Ambersons work, even though he was fully occupied with filming in Rio. Despite his attempts, Welles was to have little influence over the editing process.

Lawrence French, a fellow Ambersons fan, has compiled many of these memos. You can see them here, along with many images from the film. One can only imagine Welles' anger and frustration, knowing what was being done to his work in his absence, not to mention the fact that his standing in Hollywood was now in serious danger.

What are some of the unique aspects of this film that make it (or made it) so special?

Welles definitely wanted to transcend the traditional Hollywood movie, both with Citizen Kane and Ambersons. Welles used a variety of film techniques to achieve his goal. Deep-focus photography, overlapping dialogue, long takes, expressionistic lighting - all were used to make Ambersons a work of art.

1. The Ambersons mansion. This was one of the most elaborate and expensive sets ever built at the time. Incredibly detailed and elegant, it was probably the first movie of its time to give the illusion of being in an actual mansion, allowing multiple rooms and areas to be captured in a single scene.

2. The ballroom sequence. When George returns home for Christmas holiday after his sophomore year at Harvard, his family held a ball in his honour ("the last of the great, long-remembered dances that everybody talked about"). One sequence, which was largely cut from the original, was a continuous series of backward-moving camera shots through four rooms, following different characters as they made their way through the ballroom in the Amberson mansion. Long, continuous shots like this are very unusual, particularly because the large, bulky camera is moving backwards along a circular course. Welles liked long takes, and other long takes are in the film, such as the scene with Fanny, George and Uncle Jack in the Amberson kitchen.

3. The sleighride. The morning after the ball, most of the Ambersons go out for a ride in Eugene's horseless carriage. The sleighride is one of the most unique sequences in film, and fortunately this scene was left relatively intact (see below). To make this scene as realistic as possible, a soundstage was set up in an icehouse called the Union Ice Company, which was in downtown Los Angeles. This icehouse allowed a more authentic recreation of an outdoor winter scene, with real snow and visible breath from the actors. The quality of the dialogue recorded at the icehouse wasn't suitable, however, so the actors re-recorded their lines on the RKO roof, sitting on planks that were being rocked up and down. This simulated the bouncing motion of Eugene's automobile, so that the vibration of their voices could be picked up. While the result is truly exceptional, the filming was technically demanding and put the film behind schedule. As well, Ray Collins, who played Uncle Jack Amberson, contracted pneumonia and was out for ten days.

4. Major Amberson's speech. Shortly after Isabel's death, Major Amberson sits alone in front of a fire and ponders the origins of life. This is often cited as one of the most beautiful scenes in the film. While Welles narrates, the light from the flickering fire illuminates the Major's bemused face, while he struggles to understand what life is about. The scene fades away, and there is no further mention of the Major, and the assumption is that he has died. In the original version, the Major continues to wonder aloud. George asks him if he wants a glass of water. The Major responds "No -- no, I-I don't want anything at all. I wish somebody could tell me..." The scene then dissolves to two tombstones, Isabel's and the Major's. This obviously would have been much more powerful and less confusing than the edited version, and presumably was cut because it came shortly after Isabel's death and increased the sadness of the film.

So, if this is such a great movie, why did it bomb?

Welles blamed the failure of Ambersons on RKO, since they were responsible for cutting so much of the film. However, it seems just as possible that Ambersons was just not that interesting to a general audience. Understandably, audiences in WWII America were more interested in musicals, comedies and patriotic fare than they were in some depressing period drama. If the original version existed, it would likely be hailed today as a masterpiece, much the same as Citizen Kane. And Ambersons didn't entirely bomb, since it was nominated for 4 Academy Awards including best picture. As well, Agnes Moorehead won the New York Film Critic's award for her role as Aunt Fanny.

Has anyone ever found the missing Ambersons footage?

No. The cut footage was kept in film vaults for a few months, and was eventually burned due to a shortage of storage space. There are lots of stills from the cut footage, and the movie trailer (which is on the VHS tape from Turner Classic Movies) has a few seconds of film that isn't in the movie.

The January 2002 issue of Vanity Fair magazine has a great article on Ambersons, including interviews with several people who have tried unsuccessfully to find the original version, both in the US and South America. Although no one can say for sure that the missing footage no longer exists, the take-home message of the article is that it's gone for good.

What was the original ending to the Ambersons?

In the original ending, after Eugene hears that George is in the hospital after being hit by an automobile, Eugene goes to visit Fanny in the cheap boardinghouse where she and George now live. Eugene is rich and successful, and Fanny now lives in poverty, having once enjoyed the luxury of the Amberson mansion. Eugene seems completely oblivious to Fanny's plight, and instead tells Fanny about his visit to see George in the hospital, and how George asked for his forgiveness, and that Lucy believes that she and George will get married. During this time Fanny is seated and rocking back and forth in squeaky rocking chair, while a silly vaudeville record plays in the background, and a variety of old maids play cards and listen in curiously. While Eugene talks, Fanny responds unemotionally. There is nothing between them anymore, and she has given up on the possibility that Eugene may finally show some romantic interest in her. Eugene finally adds that he could sense Isabel's presence in the hospital room, and that through him she had brought George under shelter again, and that he had been true at last to his true love. Eugene then says goodbye, leaves and the movie ends.

While there is some closure in this ending, the lingering effect is that of the destitute and lonely Fanny. Welles believed this to be the best scene in the movie, and said that it was about "the deterioration of personality, the way people diminish with age, and particularly with impecunious old age". This was the final reminder of the end of the great Amberson era.

The original ending was reshot and shows Eugene and Fanny at the hospital. Eugene's dialogue is about the same, but after Eugene tells Fanny about Isabel's presence in the room, Fanny beams with joy and she and Eugene walk away, accompanied by a great swell of happy music. Everyone is going to be OK.

What was the Mercury Theatre?

The Mercury Theatre was a theatrical producing company formed in 1937 by Orson Welles and John Houseman. By then Welles was already an accomplished radio personality, with his intense dramatic sensibilities and mellifluous voice. The Mercury employed many personalities who would work with Welles in film, including Agnes Moorehead, Ray Collins, Joseph Cotten, and Bernard Herrmann. In 1938 the Mercury produced a radio series called Mercury Theatre on the Air, which dramatized great novels (including Ambersons) and Shakespearean plays. The series was most famous for their 1938 radio broadcast of H.G. Wells' War of the Worlds. Because of the considerable attention and notoriety that Welles received from this broadcast, the Mercury Theatre on the Air became The Campbell Playhouse (after being sponsored by the Campbell's Soup Company). In 1939 Welles and Houseman signed a contract with RKO, and The Mercury Theatre soon moved to Hollywood to make Citizen Kane and The Magnificent Ambersons.

Is Ambersons available on video or DVD?

There have been several VHS releases of Ambersons (same movie, different distributor). Some of these are available on amazon.com. After years of waiting, the Region 1 (North American) Ambersons DVD is finally available, but only as part of the Citizen Kane 70th Anniversary Collectors Edition Blu-ray set. At this point this set is available exclusively on amazon.com. There are several Region 2 DVD releases - French, Japanese, German, British, and Spanish. The German DVD (Der Glanz des Hauses Amberson) is available from Kinowelt Home Entertainment. I can't attest to the quality of this DVD, although the website dvdscan.com gave it a poor review. The French DVD comes with some extras, including excerpts from This is Orson Welles, and a booklet with Ambersons information, all in a large collectible box. This DVD is available from amazon.fr. The best version of Ambersons that I've seen is the Criterion laserdisc, which also comes with a wealth of extras. The laserdisc is out of print but is frequently for sale on eBay. For more information on Ambersons video availability, as well as a comparison of the French and Japanese DVDs, go to Wellesnet.com, a great Orson Welles resource.

Where can I read more about the Ambersons?

The most complete reference is Robert L. Carringer's book The Magnificent Ambersons - A Reconstruction. This book describes the history of the making and undoing of the Ambersons. This is also the only book that has all of the dialogue from the original 131 minute version of the Ambersons, as well as various storyboards, sketches, stills from the lost footage, and the complicated details of the editing process and Welles futile attempts to influence it from South America. Even with just the script, the intense sadness of the original ending with Fanny and Eugene in the boarding house is heartbreaking. Another book by the same author is The Making of Citizen Kane, which has a short but detailed chapter on Ambersons.

Another terrific reference is This Is Orson Welles by Orson Welles and Peter Bogdonavich. This book has a condensed version of the original script, as well as excellent conversations between Welles and Bogdonavich about Ambersons. This is also a great book for anyone who wants to know more about Welles' other movies and his life after Ambersons.

BFI Film Classics The Magnificent Ambersons by V.F. Perkins. This book also has a description and analysis of the Ambersons, much like the Carringer book but without the script.

 

 3 ) 一个被惯坏的公子哥

  Orson Welles声称这是唯一一部它看过第二遍的自己拍的电影,也就是说这是它自己的“最爱”了。
   但我并不认为这是他最好的作品, 这主要还是因为那个其实是被愚蠢的制片方硬梆梆嫁接上去的“大团圆”结局。(据说这还是原著小说的结尾!?)
   在我所看过的Orson Welles的所有作品中,它是唯一一部,没有使用很多让人目眩神迷的“交叉蒙太奇”的电影,比前者更难得的是,它居然是一部以感情戏为主的电影!
  细腻,温润的让人感觉快要让人认不出来是(Orson Welles的电影了)。
  整部影片的(主线)基本上就是详述一个被惯坏的富家子弟大半辈子的人生(心路)历程。扮演“富家子”的Tim Holt在这部电影展现了天才般的演技,他是这部电影的灵魂!(甚至可以说,比导演本人更重要)。

 4 ) [Film Review] The Magnificent Ambersons (1942) 7.8/10

A quintessential archetype of the irreconcilable chasm between studio system’s groupthink and individual’s directorial reign in Hollywood, butchered, reshot, and then cobbled together by RKO studio, THE MAGNIFICENT AMBERSONS, the sophomore feature film of Orson Welles, runs about a concise 88 minutes (almost an hour shorter than Welles’ original version, which is allegedly lost forever), bemoans a tampered chef d’oeuvre that should’ve matched the achievement of CITIZEN KANE (1941).

Set in the belle-époque Indianapolise, The Ambersons is the leading patrician household in the city, Major Amberson (Bennett) begets two children, son Jack (Collins) is a bachelor, daughter Isabel (Costello), after getting miffed by the embarrassment of her sweetheart Eugene Morgan (Cotten), marries Wilbur Minafer (Dillaway), a man she doesn’t really love and they have a son George (Holt), who is terribly spoiled by the family as the only offspring, and becomes a terror of the town.

Nearly 20 Years later, George is a young adult and Eugene, now a widower with an eighteen-year-old daughter Lucy (Baxter), meet for the first time in the Amberson’s mansion, George takes an instant liking for a comely and demure Lucy, but instinctively loathes her father, an innovative investor of the new “horseless carriage” technology, auguring the forthcoming era of automobiles. After his father passes away, George’s instinct is validated when Eugene and Isabel prepare to reignite their passion, and George will go out of his way to nip that in the bud, meanwhile, George’s patrilineal aunt, the spinster Fanny Minafer (Moorehead) is also besotted with Eugene and often is submitted to be the laughing stock of George’s cruel tease.

Tracking the downfall of an aristocratic family, Welles makes a monster out of George the whippersnapper, an enfant terrible whose derision of and detachment from the progressive society, whipped up by his insufferable egotism, renders him and his sort an endangered species, the whole town is waiting for George’s comeuppance, which is ironically brought about by his anathema of all things.

Welles’ groundbreaking idiom of deep focus makes a spectacular impression in the interior scenes (namely, the Ambersons’ palatial residence), counterpoised by mesmeric arrangement of chiaroscuro, and Bernard Herrmann’s sonorous score (also mangled and redacted), the film breathes into life by its own pluperfect imagery alone, where the story goes is taken a backseat, especially with such an obdurately unsympathetic character in the center.

The main cast all has his or her moments, Joseph Cotten eloquently withdraws his ire in exchange of an air of gentility that one might deem erring on the side of being nice; silent film star Dolores Costello is so vulnerable in sight that one might even forgive her for cosseting her heir. Anne Baxter elicits a strong presence of poise and dissembled helplessness when facing off a perennially surly Tim Holt, who does justice to the description “the terror of the town”, a brat born of old money, yet has no facility to carry on the torch. But if anything, the most inexcusable crime of this bastardized final product is that it robs Agnes Moorehead her Oscar glory, even in this retrofitted gallimaufry, a high-octane Moorehead holds our attention and buffets our perception of this tale of the undoing with her undying frustration, wrath and despair, a scathing, pulverizing performer that runs rings around all her co-stars. There is no “what if” is real life, one ought to come to terms with being saddled with an inferior art piece and peers into its glamor without being demoralized by its unfortunate alterations, that is as much as a contemporary viewer can do justice to the work per se.

referential entries: Welles’ TOUCH OF EVIL (1958, 8.0/10), THE LADY FROM SHANGHAI (1947, 7.7/10).

 5 ) Robert Carringer 的文章

The Magnificent Ambersons

http://www.criterion.com/current/posts/803-the-magnificent-ambersons

If events had turned out differently, The Magnificent Ambersons, Orson Welles’ second film, might well be widely regarded as “the greatest film of all time” rather than Citizen Kane. But in Welles’ absence, RKO Studios recut the original version of the film mercilessly—Welles said it looked like it had been “edited with a lawn mower”—reducing its running time from 131 to the present 88 minutes. Nevertheless, what survives is still one of the most strikingly beautiful and technically innovative films ever to come out of Hollywood. It also tells a good story—about the decline of a once powerful and wealthy turn-of-the-century Midwestern family—with a conviction and maturity that are rare for the old Hollywood system.

It was a well-kept secret that Citizen Kane left Welles so emotionally and creatively exhausted that he was sent away on doctor’s orders to undergo a rest cure. The only surprise in this is that he had managed to hold out for so long. Citizen Kane was the culmination of almost a decade of frenetic energy that included early fame on Broadway and in radio, a short-lived but widely felt revolution in the American theater, the international scandal of the “War of the Worlds” broadcast, and a Hollywood contract that virtually gave him carte blanche. In Kane, at age 25, he had taken on one of the most powerful figures in American public life, publisher William Randolph Hearst, and after the film was made, had had to resist crushing pressures from all sides to get it released.

When he turned to his second film, Welles was in a quieter, more reflective mood. Critics have puzzled over his choice of The Magnificent Ambersons. Perhaps we should see it as an episode of personal stock-taking after a prolonged interval of intense stress. With its strongly autobiographical elements—its setting at the time and place of Welles’ own youth, its brash and arrogant and supremely self-confident young hero, and its obsessive Oedipal concerns—clearly Tarkington’s novel is serving at one level as a means for Welles to delve into his own roots and search out the meaning of his own personal past.

In an earlier, simpler time, how many millions of American boys read Penrod, Booth Tarkington’s modern version of Huckleberry Finn? Welles did, and many other Tarkington works. Tarkington was a regular staple for Welles’ Mercury Theatre radio show, and on the Mercury Theatre broadcast of the novel he called The Magnificent Ambersons, “the truest, cruelest picture of the growth of the Middle West.” At 240 pounds and well over six feet, Welles was wrong for George, Tarkington’s college-boy hero, in the film. In a move that surprised everyone, he selected RKO contract player Tim Holt for the role. (Usually thought of as just a cowboy actor, Holt turned in several notable dramatic performances in his career, most especially in The Magnificent Ambersons and in John Huston’s The Treasure of the Sierra Madre.) For the mother, Welles brought silent star Dolores Costello, one of the great beauties of the 1920s and the former Mrs. John Barrymore, out of retirement. For George’s sweetheart, he selected an unknown starlet Anne Baxter—another inspired choice, as her subsequent career, especially in All About Eve, amply shows. The roster was filled out with Mercury Theatre players who had also been in Citizen Kane—most notably Joseph Cotten, at his most insinuatingly charming, and, unforgettably, Agnes Moorehead, who won the New York Film Critics’ Award for her performance. Although Welles did not appear onscreen himself, he was present in the role he perhaps coveted most—that of the voice-over narrator, intoning Tarkington’s elegant, old-fashioned prose. On the technical side, Bernard Herrmann, another hold-over from Citizen Kane, composed one of his subtlest scores; Stanley Cortez, a relative unknown, as cinematographer was responsible for the astonishingly beautiful lighting of the interior scenes; and veteran art director Mark-Lee Kirk was borrowed from 20th Century Fox to oversee the design and constructionof the Ambersons’ mansion, one of the costliest and most complex sets ever built on a Hollywood sound stage.

Midway through the shooting of The Magnificent Ambersons, Welles was recruited by the U.S. State Department Committee on Inter-American Affairs to make a film in South America as a gestureto promote hemispheric relations inwartime. He rushed Ambersons to completion, entrusting the final editing (according to his close in-tructions) to Robert Wise, another holdover from Citizen Kane, and departed for South America. When the Welles version elicited disastrous results in sneak previews, the RKO regime ordered Wise to recut The Magnificent Ambersons into “releasable” shape. More than 50 minutes of Welles’ footage were removed, and several scenes were rewritten and reshot by others. This radically shortened version was put into release, and the studio ordered all surviving footage from the original version destroyed. Welles was terminated from RKO, and never again in his career was he entrusted with the direction of a major studio feature.

Even in its truncated form, the brilliance of The Magnificent Ambersons is evident. This was demonstrated most strikingly in 1982, when leading international film critics voted it one of the ten greatest films ever made.

 6 ) 【译】标准收藏公司评《伟大的安巴逊》

【本文首发于《虹膜》公众号】

原标题:Loving the Ruins; or, DoesThe Magnificent AmbersonsExist?

作者:Jonathan Lethem

译者:覃天

校对:易二三

来源:《标准收藏》(2018年11月26日)

「加一减一等于零,所以你的意思是说我并无特点吗?」——伊莎贝尔

「我确确实实记得你。」——乔治

「乔治,原来在之前的生活里,你从来没有认识过我。」——尤金

上世纪80年代初的某个夜晚,影评人保罗·尼尔森为《伟大的安巴逊》录制了一个解说视频,在深夜的电视节目中向观众介绍了这部影片。我被荧幕上的影像深深地吸引了。这到底是怎么回事?我的朋友沉迷于那些长期以来被观众忽视的、受损的电影。他推荐我去看未经剪辑、更长版本影片,例如霍华德·霍克斯的《红河》和《烽火弥天》;坚持让我理解迈克尔·西米诺的《天堂之门》是荒谬的,这种共识本身就是荒谬的;执意让我看那些弗里茨·朗还未修复的《人之欲》和《蓝色栀子》。在保罗·尼尔森看来,奥逊·威尔斯是最神圣的一位电影人,然而彼时嘈杂的电影环境却影响着他的崇敬之情,电视里上演的是屠杀、主人公受挫和抢劫故事,而奥逊·威尔斯却创造出了一个独特的梦境。

最终,我们通过录像带回溯了威尔斯那些熠熠生辉的作品——《阿卡丁先生》《历劫佳人》《一切皆真》(暂译,It’s All True)《麦克白》和《不朽故事》,通过修复,它们的魅力被重新展现在观众面前。(当我在写这篇文章的时候,奥逊·威尔斯的遗作《风的另一边》经过修复后,即将上映。)在众多作品中,只有《伟大的安巴逊》——也许是威尔斯最伟大的一部作品——像一座黑暗中的高楼,从未被修复过。

《伟大的安巴逊》的主题为何会在观众心中激起如此深刻的苦楚?重看此片不仅是为了目睹其精巧结构的步步坍塌,它也反映了安巴逊家族可笑的神话及其脆弱面,他们追求的美国梦不过是一个幻象。世间残留美好的事物注定会被秃鹰叼走,而这些「秃鹰」可能就是我们自己。观看影片的过程也就成为了观众幻想过去的一种途径。开头主角提到,现在已经开始时兴「没有马的马车」——现代化的汽车,这么一看,安巴逊家族在昔日辉煌世界中的所谓贵族地位,难道不可悲吗?商业化带来的平等主义不也意味着要把他们扫入时代的故纸堆里吗?我们想从这样一个悲凉的故事中看到什么呢?正如尤金所说:「逝去的并不是一个年迈的时代,而是一个早已死去的时代。没有任何时代,只有新的时代。」

《伟大的安巴逊》既身处在一个死去的时代,又似乎从中抽离。中断剧情的场景变得越来越多,直到它们显得有些失真。制片厂最终还是替换了不少影片中的场景,似乎是为了稳定电影的美学基调。在好莱坞电影中,我们每次都看着一个活生生的人变成鬼魂;我们看着鬼魂穿过豪宅的各个房间,走向一扇打开的窗户;我们以为至少可以看到鬼魂离开房间,并哀悼它的无形。但是并没有,观众总是看到一半就能猜到结局,太快了,以至于让人无法接受;鬼魂们甚至还没走到窗前就已经消失了。但《伟大的安巴逊》却并非如此,它的独特性让它区别于那些固化的古典好莱坞作品。

好莱坞电影浮华的「废墟」永远吸引着人们的目光。《伟大的安巴逊》的前九分钟似乎都在为这幅古典绘画勾勒线条,其中充满了诱人、尖酸刻薄的叙述,以及群像的表演(这得益于阿格妮丝·摩尔海德、约瑟夫·科顿以及理查德·本内特等人的演绎)。所有这些似乎都是对美国社会光辉过去的一种回望。在第九分钟的时候,随着安倍逊家族大门的打开,一阵寒风吹过,我们发现自己陷入了更深、更不安的困境。旁白消失了,一场「伟大的、记忆中的舞蹈」缓缓展开。我们跟随着奥逊·威尔斯的摄影机,沉浸在自己的感知中,被层层对话所迷惑。威尔斯似乎就在我们耳边轻声说道:「你想和我一起回到过去吗?」我们不仅进入到了一个过去的世界,还开始了一次对美国黄金时代集体心理学的研究。我们徜徉在威尔斯的叙述中,既失忆又怀旧。

影片中伟大的舞厅场景(被中间的几分钟打断,但不是致命的)通过讽刺性的旋律层层递进,直到它的节奏逐渐加强,我们和角色一起登上楼梯,进入不断升级的黑暗氛围中。我们现在陷入了乔治愚蠢的行为中,每当范妮的狂躁症发作,她就会尖叫。她的神经质,在这一幕和之后奶油蛋糕的场景中,甚至包括之后的美国影片中,都前所未有的。(当然,《公民凯恩》中的一切也没有让观众做好准备。)多年后约翰·卡萨维茨的《面孔》中才出现了这样的角色。

通过反复观看影片,我们知道乔治和芬妮是影片的主要人物。这是一个依靠着「享有特权的弱者」的报复行为所驱动的世界。影片的象征性显得有些无情,即使这些人物在努力挽回他们对环境的洞察力:在晚餐聚会的争论中,尤金悄悄地把他的愤怒发泄在画面底端的汤勺上,同时平静地承认,汽车的发明可能是人类文明的一场灾难。还有哪位导演能像奥逊·威尔斯一样在《伟大的安巴逊》中那样对这些角色又爱又恨?他像库布里克一样「摧毁」着他们,又像让·雷诺阿一样崇拜他们。

《伟大的安巴逊》让我们无处安身。我们无法怀念这种等级森严、趾高气扬、自封的贵族制度,也不能忍受现代化的生活对过往生活的摧毁。我们和乔治以及范妮分享着相同的心境。尤其是范妮,这个被生活压垮的「怪物」。她无法得到尤金,沉浸在自己的过去。然而,她也无法忍受自己破坏了尤金和伊莎贝尔的关系,她让乔治和自己一起,把假正经和偏执的愤怒作为武器对付其他人。难怪《伟大的安巴逊》在洛杉矶举行试映会时,许多观众忍受不了这部作品。我想完整、修复过的《伟大的安巴逊》可能会「毁」了我们所有人。

文章来源://www.criterion.com/current/posts/6065-loving-the-ruins-or-does-the-magnificent-ambersons-exist

 短评

原来新浪潮好几部电影最后制作人员和演员表用念的就是从这部里学的威尔森啊!跟公民凯恩差不多都是自传吧,但这部有点点无聊呃。威尔森完全是菲兹杰拉德式的导演,或许他是最适合拍菲兹传记的人了吧,可惜没有,旧时光已死。

6分钟前
  • 还行

奥森·威尔斯的第二部影片,由布斯.塔金顿的同名小说改编而成,描绘安伯逊家族的兴衰史,并以男主角介入安伯逊家族母子之间后,牵扯出一连串爱恨情仇的故事作为主轴。这部“剪得支离破碎的杰作”仍在电影史上和威尔斯的作品中占有一席不容忽视的地位,被普遍认为是仅次于《公民凯恩》的“准杰作”。

7分钟前
  • stknight
  • 推荐

Another Hamlet Story. 剪刀无处不在,Orson Welles的口述饱含讽刺

12分钟前
  • Lies and lies
  • 推荐

奥逊·威尔斯第二作,因为被雷电华剥夺终剪权,目前只遗留下88分钟版本,不过,私以为现在能看到的版本也没什么大问题,稍许留白、混乱和破碎并未折损它的凄美,反而更契合于影片所呈现的家族没落——再盛大的辉煌,最终也不过是过眼云烟,徒留历史的碎片残存于世。贵族阶级的衰亡(富不过三代)与现代工业家的兴起(寄生继承vs.白手起家),自私、傲慢、恋母而游手好闲的末代公子,为了孩子和家族牺牲个人幸福的女性,还有终身不渝、或隐秘或公开、最终却只能停留于念想的爱情。影片的深焦摄影与运动长镜成效卓著,而且毫无炫技或喧宾夺主之感,形式和内容已经融为一体,不可分离。(8.5/10)

17分钟前
  • 冰红深蓝
  • 推荐

那么疯狂的买下来,放了3年才看...

22分钟前
  • UrthónaD'Mors
  • 还行

給我是威爾斯的話當年早跟萬惡的片商拚了!超過一半時長被強行剪掉,整齣電影基本是以肢離破碎的面貌示人!本來我還陶醉於威爾斯優雅大氣的長鏡頭及深焦攝影,可惜往後卻因劇情殘缺而越看越糊塗

24分钟前
  • 百年孤寂
  • 还行

果然支离破碎,从碎片推断其原有面目的盛大辉煌。

27分钟前
  • 欢乐分裂
  • 推荐

88分版剧情太浓缩不能很当真,倒是把注意力都收到电影语言了。安家人经常笼罩在阴影里不惜让你看不清脸,室内拍得嗲。长镜头一堆,从一楼大厅一路摇到三楼那个,炫技派~

32分钟前
  • paradiso
  • 还行

2012/12/17想看,是因为摄影还是什么?故事就是一个富二代熊孩子作死,要是没有最后几分钟结局就太解气了。剪成这样还是可以看到与众不同的气质的,毕竟那时候好莱坞这种描绘家族画卷感的时代剧很罕见。

37分钟前
  • \t^h/
  • 还行

原版到底是个啥样啊

40分钟前
  • 暗黑4出了吗
  • 还行

看的88分钟版明显不会是导演剪的版本,期望能看到148分钟的初始版

42分钟前
  • 蓝翼
  • 推荐

这个版本呈现出来的内容,不足以支撑威尔斯喜欢的宏大叙事,这恐怕不光是剪辑的问题。

46分钟前
  • 苏莫
  • 还行

非常不威尔斯的一部片,说教又happy ending。唯几个场景的运镜看出威尔斯的灵魂。另外这个88分钟的版本是不是剪乱了,节奏很跳跃。

48分钟前
  • scaryzion
  • 还行

本片提名奥斯卡最佳女配角和最佳影片等奖项

53分钟前
  • (๑⁼̴̀д⁼̴́๑)
  • 还行

原著小说作者是WELLES一家的朋友,这也是为什么ORSON WELLES想改编这部作品的原因之一。另外ORSON WELLES也一直怀疑里面GERGOE这个角色是以他为原型的,因为他的全名就叫做GEORGE ORSONWELES(乔治-奥森-威尔斯)。

58分钟前
  • 祥雪
  • 力荐

俄狄浦斯的小男孩不需要爱情。开头真是好“那时候镇上所有的女人都互相认识,每个家庭都互相认识彼此的马车”女人穿戴项链和手镯,男人带着各式帽子,裤子绝不能起皱,反正他们有的是时间。后半程断断续续被剪得不知所云了,像这场工业革命一样的快,赶着时间将安倍逊的辉煌和大宅一起丢进逝去的时代。

1小时前
  • Aby
  • 还行

窥见一斑,可惜是88分钟的

1小时前
  • 甘草披萨
  • 推荐

剪切略混乱,人物造型很精致

1小时前
  • 泰坦
  • 还行

the first montage sequence is very impressive

1小时前
  • 葱油饼
  • 推荐

外人拍摄的结尾不评价,但这可能是最黑暗肃杀的情节剧了,威尔斯在《凯恩》后似乎有意放慢脚步,以内化的人物关系展现背叛和时代变迁,即使被片厂删减大半依旧能看到威尔斯更进一步的调度与情绪。

1小时前
  • TWY
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