啊马大

  • 经典 爱情
  • Eslinda Núñez César Évora
  • 120分钟
  • SetinHavanain1914,animportantperiodinthehistoryofC… SetinHavanain1914,animportantperiodinthehistoryofCubaasitmovedfromfeudalismtoanewsocietythatwouldbeforevermarkedbyothersignificantworldwideeventsandthegrowinginfluenceoftheUnitedStates,Amada’sportrayalofthedownfallofthewealthyVillalosafamilyhasagreatdealofpotentialforpoliticalandpersonalintrigue–mixingromanticpassionsandimpossiblelovewithgreedandnakedambitionintoanexplosivecombination.Itsperiodclassicismanddepictionofanaristocracythatiscaughtupinitsownintrigues,unawareoftherealsocialchangesgoingonintheworldoutsideinevitablyevokesDeSica’sTheGardenoftheFinzi-Continis,butthefilmstrivesalsoforthedecadentcharacterofVisconti’sL’Innocente.WhereasVisconti’streatmentofGabrieleD’Annunzio’sliteraryclassicsimmeredwithitsrepressedemotionsandasenseofawiderimpendingtragedyinitspersonalmelodrama,HumbertoSolás’sbodice-rippingMillsandBoontreatmentoftheseissuesinAmadahoweverfeelsfaintlyridiculousandunbalancestheunderlyingsocialcontextofthefilmthatshouldunderpinit. TheVillalosafamily’swealthhasbeenfoundedonslavetrading,butsincethedeathofherfather,Amada’saging,blindmotherhasallowedtheirHavanaestatetoslipintodecline,failingtocollecttherentfromtheirimpoverishedtenants.Amada’shusbandDionisio,aLiberalpoliticianseekingcandidacyfromhisparty,hashisgrandambitionshoweverandreliesonherfamily’snameandmoneytofurtherhiscareer.Togetherwithhissecretary,withwhomheishavinganaffair,andthecomplicityofthefamily’shousekeeper,DionisioplanstoconvincetheoldwomantosellofftheestatetoAmericaninterests.Amadaisundernoillusionsaboutherhusband–itisalovelessmarriage–butsocialrulesandexpectationspreventherfromrespondingtotheadvancesofherhandsomecousinMarcial,arevolutionaryjournalistwhoplanstoexposethewholecorruptsystemofthesocietytheyliveinandtakeAmadaawayfromitall. That,asI’msuretheoutlineindicates,shouldbeafairlyexplosivemixofloveandlife,ofblindidealismononesideandlyingduplicityontheother,ofpoliticalambitionandprinciplesrunningupagainstsocialrealities.Theproductionvaluesatleastmatchthecontent–theirwealthfoundedonadarksecretpast,Amadaandherfamilyliveinthefamily’smansionofafadingglamourthatisshroudedindarkness,thelightandrealitiesoftheoutsideworldbarelypiercingthegloom.Intothisenclosedworld,rottinginitowncorruption,unabletoseebeyondandescapethebondsofitspast,Marcialrepresentstherevolutionthatisgoingtosweepthroughit.TheproblemwithSolás’streatmentofthishoweveristhatallthisisexplainedtoyouinflorid,declarative,heavy-handed,expositional-orsimplyjustbad-dialogue.Youdon’tneedtoworkanyofthisoutorattempttounderstandthecharactersorwhattheyrepresent,sincetheyaremorethanhappytotelleachotherandbyextension,theviewer;Amadabemoaningherfate–“Youdon’tknowwhatitisliketobeawoman–aslavetothewhimandwillofothers.Nolifeofherown.Shecanonlyescapewithinhermind.Inherfantasies”;andMarcialexplicitlyrevealinghisrolestatingthat,“Iproposeanarchy,sothathumansarefreedfromtheirchains,frompaternalism,fromoppression”.Whenalltheyreallywanttodoisgetitonwitheachother,thesekindsofdeclarations-accompaniedbyagonizinglooks,furtivegrapplingandasweepingscore-comesacrossasquitelaughable.

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