1945年雅克·贝克的《装饰》堪称法国诗意现实主义与心理剧的巧妙融合。它更适合那些对“人为什么要假装”感兴趣的朋友，或者喜欢在缓慢的镜头里琢磨人物细微表情的影迷。雷蒙·鲁洛饰演的设计师在激情与算计间的摇摆，被克制的肢体语言放大，与米切林内·普雷斯利近乎神经质的脆弱形成张力。影片的叙事节奏平实而节制，没有大起大落的情节冲突，反而通过细腻的环境与物件细节（比如反复出现的墙纸、窗台布景）来映衬人物内心的微妙波动，这种“以物写人”的手法在当年颇为大胆。 ☻。导演偏爱中近景与固定机位，迫使观众在演员克制的面部表情中捕捉微妙的迟疑与失落。

Philippe Clarence, a famous Parisian dressmaker, seduces his friend's fiancee. But, for the 1st time in his life, this is for real. The film is also a sharp picture of the fashion world. 　　A philandering young dress designer plays fast and loose with the hearts of all the fair maidens he encounters, and leaves them in a Paris lurch. But when he meets the fiancée of his best frien...

相关搜索：