女朋友1955

很难相信像你这样的女孩

会悄悄爱上我这样的男人

你拥有世界上最美的笑容

如果我能把它画下来

那我就能达到世界的最顶峰了

对你来说，罗赛塔和别的女孩没什么不一样。

所以这种形式是为了证明每个人只是每个人嚒

这也就是分切长镜头的意义？

就像你不会为你生活中的任何一位朋友分手而真心难过一样；何况电影里的人物呢

这片子绝壁让新浪潮的那帮逼们研究过了。

55年

50年代末的新浪潮

有里程碑的意义啊。

去掉对话

加强形式感

不就是马里昂巴德？

毕竟不是一天就从新现实主义到新浪潮的。

忧郁的配乐可以证明

但是如果你和我在一起

我确信我们之中会有一个不开心的

安东的台词一直都是顶好的。

他透露出buxiangqu送她的表情

而他最终也没有按时来

而是在暗中观察。

人的这种纠结（要与不要）

被表现得淋漓尽致。

《龙虾》

最后那个想说话的新人

为全篇做了最好的总结。

Antonioni’s fourth feature, LE AMICHE (“The Girlfriends”) corrals five well-to-do young women in Turin, in the center is Clelia (Rossi Drago), who returns from Rome to her hometown to open a fashion salon branch, strikes up friendship with Momina (Furneaux), a divorced socialite, albeit they first meet under the misfortunate occurrence of a suicide attempt fro Momina’s friend Rosetta (Fischer), anyway, the latter survives, and it turns out, she is infatuated with a painter named Lorenzo (Ferzetti), whose companion is their common friend Nene (Cortese), a talented sculptress, also in the fold is the flirtatious Mariella (Pancani).

Rosetta’s defeatist dysphoria does not bid well for her declaration of love to Lorenzo, but it is Nene’s philosophical consideration is more empathetic and precious for a woman doesn’t luxuriate in spite or vengeance for losing her man to her friend, only that judicious impression is smashed to smithereens in the next chapter, when Lorenzo, in the wake of a tragedy he should at least partially answer for, begs for forgiveness, Nene relents and takes this feckless man back, even if it means she has to sacrifice her budding career to allay a man’s bruised ego, a backward-looking woman who prioritizes her man over everything else, surely will do that, and be capable of sweeping his demerits under the rug, but through Cortese’s pathos-driven affection and resignation, Nene comes off more than that, she is a composite of contradictions, that is quite a defining character to pin down, in both men and women alike. Ferzetti’s Lorenzo, on the other hand, is a ball of frustration, anxiety and ill temper, it is not at all palatable to see him get away with his self-involved narcissism.

Momina is completely a different kettle of fish, who does not decline frolics from Cesare (Fabrizi), an acquaintance she befriends through Clelia, yet, if her ex-husband beckons, she is smart enough not to be tied up to one tree only, and her cynical attitude also rubs off on a susceptible Rosetta, Antonioni doesn’t shy away from the discordance among female friends, only, it is always man-oriented, that certainly betrays and is pertinent to the story’s ‘50s temporality, but a bit of foresight might leaven the magic here.

As for a fancy-free Clelia, fetchingly played by a self-possessed Drago reminiscent of Ingrid Bergman’s high-toned elegance, inexorably she falls under the spell of a handsome Carlo (Manni), whose working-class backdrop differs from hers, and tentatively, she tries to sort out her feelings and propose a future with him, but being a career woman who tries not to be defined by marriage, or the man she marries, she thinks better of it when a new occupational perspective opens up, Antonioni might not above to break the class barrier, but highlighting Clelia as the opposite of both Rosetta and Nene in terms of their attitude towards the stronger sex, shows that the progress has taken its pace.

While the interpersonal drama and narrative-heavy structure is not Antonioni’s forte, his keen sense of fashion, natural landscape (a beach side outing shows up the cracks of their little clique) and patient observation and compositional fluidity of his camerawork can all be espied in this neorealism lodestone that luminously throws light on the changing mores of womanhood.

referential entries: Antonioni’s STORY OF A LOVE AFFAIR (1950, 6.0/10), IL GRIDO (1957, 7.2/10); Federico Fellini’s THE WHITE SHEIK (1952, 7.5/10).

● 作者╳朵莲 ● 来源公号╳朵莲说

《女朋友》是安东尼奥尼的第四部长片，凭借此片得到了威尼斯电影节银狮奖，于电影导演来说，这实在是一种幸运。那届威尼斯电影节不知为何有四部影片同时获得银狮奖，余下的导演经过岁月的洗礼大多寂寂无名、唯有安东尼奥尼脱颖而出，历久弥香。

说来《女朋友》的电影也和安东尼奥尼一样，初初看时昏昏欲睡，连我看过许多文艺片也不免如此，更不要说其他只爱看强情节的商业片的观众了。电影的情节倒也不复杂，一位少女自杀未遂，后来经过情人的薄情冷落后，彻底死亡的故事。只用一句话可以说完的故事，安东尼奥尼花了105分钟，但这并不拖沓。

安东尼奥尼用一场事前张扬的死亡，批判上流社会人群中，小布尔乔亚式的矫情。

自杀的女孩因为爱人离开她自杀，但她身边的朋友没一个真心为她哭泣，反而用此来羞辱嘲笑她。而当女孩真的死亡后，却摆出一副悲天悯人的样子，这是上流社会的矫饰。

建筑师和女孩在海滩上拥吻，转眼又和另一个已婚妇女偷情，她们口中的爱如此重要，却如此廉价。一切都是用来偷情的场所，当丈夫回来，却可以安然无事的继续和丈夫生活，她说这就是丈夫。拥有花不完的钱，显赫的家世，她们眼中工作只是为了打发时间，遇上爱人就可以抛弃。

可家境平凡的女主没有这样的权力，不工作就会饿死，这不是可以选择的。这是上流社会的轻视。

片尾女主因为感情而失去了工作，情人求她留在都灵，但女主拒绝了。她没有那么好的运气，也不想过安逸的太太生活，工作塑造她的人格，这是她耐以支撑的动力，为这她也必须选工作。

片中出现了一个特别的乞丐角色，名字叫安东尼奥，和导演的名字一样。很明显导演将自己的态度投射到了这个乞丐身上，那个乞丐做了什么事，他祝大家身体健康，以求吃一顿好饭。

有钱人能在餐馆里打架不过后果，女主在工作室吵架一次就要被解雇，原本就是两类人。那些不算漂亮的低矮楼房她曾度过漫长的童年，居住的中年妇女提醒她未来，她知道。

战后的都灵破败不堪，人人却崇尚富丽辉煌的礼服，如同张爱玲笔下精美的长袍，里面爬满虱子。

拍完这部片子后，很快安东尼奥尼就拍出了著名的疏离三部曲《奇遇》、《夜》、《蚀》，同样直指上流社会的伪饰。