天山的红花

分类:剧情片剧情 地区:大陆 年份:1964 导演:陈怀皑刘宝德崔嵬 主演:法蒂哈阿力别克木特里夫萨黑妲周文杰热希妲巴亚洪别尔特罕 状态:HD中字

简介:《天山红花》是20世纪60年代拍摄的一部以新疆哈萨克族生活为主题的电影,片中“阿依古丽大嫂”、“阿斯哈勒大哥”等形象,曾深深定格在许多人的脑海里。30多年后,在新疆维吾尔自治区档案馆举办的档案展览
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正序
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内容简介

     反动牧主的儿子、大队兽医哈思木不甘心草原上的权力被剥夺,利用阿斯哈勒想“发家致富”和大男子主义的思想,挑拨他与妻子阿依古丽的关系      阿斯哈勒听信坏人谗言,对妻子打骂并以分居相威胁      阿依古丽意志坚强,毫不畏惧,积极带领群众搞好生产,当年夺得了畜牧业的大丰收      哈思木一计不成又生一计,对此,阿依古丽提高了警觉,暗中监视哈思木的活动      次年春天,正是产羊羔的旺季,突然气象台预报暴风雪即将来临,社员们积极做好防寒准备,以免羊羔受冻、蔓延肺炎,技术员沙发尔还从公社带来了治疗羊羔肺炎的药品——青霉素      社员们在队长的带领下,积极行动做好了防寒准备工作      哈思木乘风雪之夜捣毁了羊舍的门窗,并嫁祸于阿斯哈勒      由于羊舍被破坏,许多羊羔受到暴风雪的袭击,得了肺炎      哈思木假装给羊看病,实际上给羊羔注射的不是药品而是蒸馏水,使羊羔的病情加重      大批的羊羔病倒,引起社员们的极度不安,哈思木又散布谣言煽动落后群众,说什么春天“胡大”降下特大暴风雪,青霉素不起作用,这些怪现象是因为女人当了队长,触怒了“胡大”      这时技术员沙发尔到公社化验了哈思木用过的药品,证明是蒸馏水不是青霉素      哈思木得知自己的破坏活动被揭露,急忙乘马逃跑      阿依古丽奋不顾身骑马追赶哈思木,当阿依古丽将要追到哈思木时,哈思木开枪打伤了阿依古丽,幸好社员们及时赶来将哈思木抓获,送政府法办      事实教育了阿斯哈勒,使他认识到自己的错误      阿依古丽伤愈出院后,受到社员群众们的欢迎      阿斯哈勒诚心诚意地拥护她担任生产队长,将一束红花送给她,并补投了她一票      社员们欢呼阿斯哈勒的进步,欢呼他们爱戴的队长阿依古丽又回到了自己的岗位      该片的剧本没有能够摆脱当时政治思潮的影响,由原来描写牧民日常生活的矛盾冲突,改为以阶级斗争为主线,但影片在艺术上的成果还是明显的      导演崔嵬在原剧描写家庭感情生活的基础上深入进去,将主人公在家庭生活及面临各种矛盾冲突时的欢快、喜悦、委屈:痛苦细腻地表现出来,使之真实可信      在表现牧区生活、大山风光、雪山草原等极富民族风情的场面中,我们更可以看到崔嵬富于激情、豪爽明快的一贯风格      阿依古丽法蒂哈李梓阿斯哈勒木特里夫毕克大队支书乌买尔阿力别克程引卡依夏萨黑妲刘广宁哈斯木别尔特罕于鼎会计沙的克巴亚洪尚华公社萨书记周文杰胡庆汉生产队副队长苏莱曼木哈太富润生木沙拜克瓦里尤拉新兽医萨乌丽热希妲赵慎之卖草牧民努尔哈里阿乌巴克尔严崇德哈斯木妻子明娜婉儿苏秀模范技术员沙法尔阿布都勒戴学庐哈里社长努尔坦富润生老牧民甲苏勒坦老牧民乙木里塔夫< 上一页|1|2|下一页 ><|||>默认显示|全部显示刘宝德、崔嵬、陈怀皑欧琳聂晶、林景池宁、张井南陈燕嬉、洪嘉惠任子华、李先觉西安电影制片厂应该是成立于大跃进时代,到文革前拍摄的电影和北影、长影、上影相比,应该算少之又少,但是在我看来,还是在老大哥厂的帮助下,在较短的时间内生产出了几部优秀的故事片      其中和上影厂合拍的《桃花扇》、北影厂合拍的《天山的红花》、以及戏曲片《三滴血》最为成功,在观众中反响算是比较大的       《天山的红花》是一部反映少数民族题材的生产生活的故事片,包含了那个时代不可缺少的一些元素:阶级斗争,促进生产,繁荣发展等内容      故事从美丽的哈萨克姑娘阿依古丽当选生产队长开始说起,但是她的丈夫阿斯哈勒由于担心妻子关心集体不顾家庭,从而对阿依古丽的工作很不支持,而且在家庭中还有大男子主义的暴力倾向;暗藏的阶级敌人阿思木为了夺得大队的权力,一计不成又生一计,不断地挑动他们之间的家庭矛盾,并制造生产和工作中的困难      但是在阿依古丽的不断努力下,终于用事实教育了固执的老公,并揪出了阶级敌人,同时保证了生产的顺利发展       对于关注过中国老电影的观众来说,这样一个叙事结构并没有任何特殊之处,尤其到了文革时期,几乎千篇一律地拍摄成了这种题材      但是当我看完了这部影片,还是觉得相对于那个时代,《天山的红花》仍然拍出了不少新意      在我看来,这部电影将矛盾的激化和处理没有放在工作之中,而是放在了家庭      样板戏《海港》、《龙江颂》等都是通过一个单位内部党的干部和行政干部之间的矛盾,来折射与暗藏阶级敌人的斗争,从而有人认为例如方海珍、江水英等都是没有家庭、没有爱情的高大全      而《天山的红花》则把这种矛盾转入到了家庭,力图通过这样一个党的干部形象,同时处理好家庭单位、生产生活的矛盾      也许有人会说,《李双双》不是这样处理过了吗      没错,但是《李双双》将女方的形象过于高大化,她无论在家庭还是在单位,都是处于强势地位,而丈夫孙喜旺在家庭中相对来说处于弱势,变成了丈夫围着妻子转的滑稽场面      而《天山的红花》则正视了这种矛盾,没有处理成笑剧      尤其是拍摄丈夫阿斯哈勒拿着阶级敌人给的皮鞭,准备鞭打阿依古丽时,这个时候导演崔嵬、陈怀皑将镜头语言处理得十分讲究      阿斯哈勒用仰拍高高在上,手中举着皮鞭,但是背景是凝重的暗色,显得阴森恐惧;而阿依古丽蹲在地上收拾奶茶,用俯拍显得柔弱孤立,但是又身着白色的长裙,给人一种怜悯和同情      这样一个镜头,在“三突出”年代我们是绝对看不到的,即便是在大写17年期间,也很少用这样的镜头反映出党的干部形象      但是,导演这样处理,更符合场景和双方在家庭中矛盾的实际角色       《天山的红花》在选用场景、色彩运用等方面也很着力,把新疆、天山、牧场等地域特点都很充分地展现了出来,而在民族大会上的少数民族载歌载舞也有一定表现,只是还不是很充分      估计是怕冲淡了阶级斗争的内容      

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