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内容简介
电影海报(3张)艾格尼丝(哈里特·安德森饰)、玛丽亚(丽芙·乌曼饰)和卡琳(英格里德·图林饰)虽然是三姐妹,她们的内心却有着积重难返的隔膜与疏离感 当艾格尼丝身患绝症,生命将近,守护在她身边的只有女仆安娜(卡莉·塞尔万饰) 艾格尼丝从来没有得到过母亲完整的爱,临死前她妄想让关系紧张的姐妹变得珍爱彼此,却一再事与愿违 玛丽亚是最得母亲宠爱的孩子,因此遭到姐妹的嫉妒,而她自己的感情生活也处理的一塌糊涂,在丈夫和情人之间徘徊周旋 卡琳的生活更是充满压抑,和丈夫的关系陷入僵局,令她沉沦于自虐 姐妹三人想摆脱生活的阴影,重新拉近彼此的心,却发现和解的愿望太过遥远,隔膜似乎已不可打破 艾格尼丝哈里特·安德森玛丽亚丽芙·乌曼卡琳英格里德·图林安娜卡莉·塞尔万大卫厄兰·约瑟夫森Isak安德斯·埃克JoakimHenning MoritzenFredrikGeorg ÅrlinStory tellerInga GillMaria as a childLena BergmanSpectator英格莉·冯·罗森Anna's daughterMalin GjörupUndertakerGreta JohanssonSpectatorAnn-ChristinAgnes as a childRosanna MarianoKarin as a childMonika Priede< 上一页|1|2|下一页 ><|||>默认显示|全部显示英格玛·伯格曼、Lars-Owe Carlberg英格玛·伯格曼Arne Carlsson英格玛·伯格曼斯文·尼科维斯特Siv LundgrenMarik Vos-Lundh、Britt Falkemo、Börje LundhCecilia DrottMarik Vos-LundhSven Fahlén、Tommy Persson、Owe Svensson(以上资料来源)艾格尼丝艾格尼丝演员哈里特·安德森哈里特·安德森配音-大姐,身患不治之症,自知时日无多,她对人人恐惧的死亡早已习以为常,抱着全然无所谓的态度生活 艾格尼丝没有得到过母亲完整的爱,临死前她希望能缓和姐妹间紧张的关系,却一再事与愿违 玛丽亚玛丽亚演员丽芙·乌曼丽芙·乌曼配音-小妹,她是最得母亲宠爱的孩子,也因此遭到姐妹的嫉妒 玛丽亚虽然已经结婚,却还是摆脱不了感情方面的困扰,在丈夫和姐姐的主治医生之间徘徊不定 卡琳卡琳演员英格里德·图林英格里德·图林配音-二姐,卡琳有着难以理清的烦恼和麻烦,内心感到非常压抑 她和丈夫的关系陷入僵局,也因此开始频频自虐 卡琳试图摆脱生活的阴影,想要重新拉近姐妹间的距离,却发现有些事已无法改变 安娜安娜演员卡莉·塞尔万卡莉·塞尔万配音-女仆,心地善良、忠心耿耿,一直照顾着重病的女主人艾格尼丝 安娜是唯一真心为艾格尼丝着想的人,她希望能为艾格尼丝减轻痛苦 (以上资料来源)1 片中用于拍摄的房子Taxinge-Nasby已经很多年没有人居住,剧组用光滑的红色油漆把墙面重新漆了一遍 2 导演伯格曼自费制作了该片,但在美国却没有一个发行商愿代理发行,他们一致认为该片很难盈利 3 片中安娜怀抱安妮的姿势是受到了米开朗琪罗创作的雕塑“圣母怜子”的启发 4 该片摄影机使用的方式很特别,远镜头被用于冷漠与拒人于千里之外的姐姐卡琳,而强烈的近镜头则被用于十分热情的妹妹玛丽亚 时间奖项类型奖项名称获奖者备注1974第46届奥斯卡金像奖最佳摄影斯文·尼科维斯特获奖最佳影片《呼喊与细语》提名最佳导演英格玛·伯格曼最佳原创剧本最佳服装设计Marik Vos-Lundh第18届意大利大卫奖特别奖哈里特·安德森、卡莉·塞尔万、英格里德·图林、丽芙·乌曼获奖最佳外国导演英格玛·伯格曼第27届英国电影和电视艺术学院奖最佳女演员英格里德·图林提名最佳摄影斯文·尼科维斯特1973第26届戛纳国际电影节技术大奖英格玛·伯格曼获奖第30届美国金球奖电影类-最佳外语片《呼喊与细语》提名制作公司SvenskaFilminstitutet (SFI) [瑞典]Cinematograph AB [瑞典]发行公司Reserva Especial [巴西]标准收藏 [美国] (DVD)New WorldPictures [美国]Continental HomeVídeo [巴西] (2001) (DVD)Kinowelt HomeEntertainment [德国] (2006) (DVD)Home VisionEntertainment (HVE) [美国] (2000)(DVD)CriterionCollection (2001) (美国)(DVD)Moskwood Media (2005) (荷兰)(DVD)Gutek Film [波兰] (2007)(all media)Palisades-TartanAcquisitions (2008) (英国) (DVD)《呼喊与细语》沿用伯格曼前作《沉默》的方式,在钟表的滴答声中开始,用五种不同的钟表声音配以指针和钟摆的特写,时间在片中具有非同一般的重要性,钟表的特写画面被穿插在影片的各个部分 尼克维斯特的摄影让影片散发出了全部的魅力,在银幕上创造出了“油画般的质感” 不过实际上片中的色彩运用是“不自然”的,红色为基调的大色块过于浓烈,然而这一“缺点”却正好符合影片的内在需要 色彩是与角色的心理与情感相联系,因此那些通常会显得做作和生硬的画面,在片中却显得格外贴切 伯格曼近乎自然主义地描写了晚期癌症病人在衰弱和剧痛中一步步走向生命的终结,为此他必须用唯美的画面和鲜艳的色彩来加以调和,才不至于让人彻底堕入对死亡的恐惧和对生命的绝望 死去的艾格尼丝和她的日记述说着理想生活的美好,使得影片结尾三姐妹与安娜在铺满金黄落叶的林间散步的画面更加感人(《外滩画报》评) 网站评分参评人数统计截止日期豆瓣8 6327322023-12-11时光网7 83922023-12-25