马丁·弗罗斯特的内心生活

  • 生活
  • 大卫·休里斯 伊莲娜·雅各布 迈克尔·因佩里奥利 Sophie Auster
  • 120分钟
  • whatmotivatedmeuptothenewdirector'sfestivaltocatch… whatmotivatedmeuptothenewdirector'sfestivaltocatch'martinfrost'tonightwasthebrutalreviewthatitgotyesterdayfromtheleadcriticofthenewyorktimes,brutaldismissal,tobemoreaccurate,'thelesssaidabout(it)thebetter',shesaid,andifiguredthatanymovieabletoteachMsDargisthevirtueofsilenceforevenafewcolumnincheswouldbeworththetrip. andworththetripitwas.wearebroughtintoaparadiseoflimpidlybeautifulvisualtextures.theoakenrhythmsofacountryhouseensconcedinaspringtimeparklandofluxurianttreesandluminousskiesbestowthesoothingnaturalblessingneededbythemaincharacter,martinfrost(DavidThewlis),awriterrubbedrawbythemechanicsoffinishinganovelinnewyorkcity.(Thewlismakespalpablethecasualtyofintrapsychicmachinerysawedintodaemonicreverbagainstthebanausichive).thenparadisemorphsintopurgatory,leavenedcomedically,inDante'ssense,bythepostmodernangelicvisitationsofClaire(IreneJacobs)andAnna(SophieAuster). unfortunately,tomytaste,theverbaldimensionsofthefilmareflaccid,thelogicmorefancifulthanimaginative,thenarrativearccrippledbysomeirredeemablycreakyplotting,especiallyatthecrucialinitiationoftherelationshipbetweenmartinandClairewheretheseedsofcommonsensearethrowntothemagpiesoftheatricality. butsobeguilingisthewillfulvulnerabilityofauster'sfantasy,andtheedgyinterplaythatitpotentiatesbetweenThewlisandJacobs,andthecamera,andlaterSophieAuster,andthebroadcomedyofaruraleveryman(MichaelImperioli),thatitisverypleasanttobecarriedalongonthevisualfoamofuncertainsensualdelight,eddyingintoafeelingthatthisfilm'soddlylouchelighttouchisuniquelyadeptattracingsomegravelineamentsofthehumanheart. goinnocently.

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