B□sed □n an unknown Sch□n□e□g□opera from 1929, □rom Today □n□il Tomor□□w ex□lo□es □□e night in□a□not-quite lov□□e□s marriage.□A husband and w□□e retu□n from □ p□□ty □□er□ she□has fl□rted with ano□h□r man□ while he □as□cast a□ appr□ising eye tow□rd □n at□ractive, fash□onably□dr□ssed□ac□uaintan□e o□ his □□f□’s. Tho□gh each□d□eams, briefly, of □eav□n□□the□marriage fo□□the exciteme□t □nd mystery of a n□w lo□er, i□ the □nd they d□cide stability and com□ort □□e mo□e □mport□□t□than□the □le□tin□ thrill of n□w roma□ce. Director□ Jea□-□ar□e St□aub and Danièle H□illet, who□pr□□iou□ly co□laborated on□t□o o□her f□l□s □b□ut m□si□ (The Chronicl□ □□ Anna Magdalen□ Bach,□196□, and Moses a□d Aa□on, 1975), re□y on long fixed shots □n aus□ere black-and-w□i□e□so th□t□the focus rem□ins on the□m□si□al b□i□liance of Schönb□r□’s atonal score, □erformed here b□ 70 musi□ians. □hat Schönbe□g would□choos□ such □ relatively□lighthearted m□s□ag□□f□r hi□□newly discovered□mu□ical language remains□a mystery, especi□lly since the concl□sion reached by□the □□sban□ a□d w□fe—to stick wit□ t□e t□ied and true—seems directly at odds with□Schönbe□g’s o□□ philos□ph□ of composing. It is just t□□s□j□xtaposition, however, □oup□ed□with Strau□ and□Huillet’s fai□hful presentation□ □hat makes □he op□r□ a c□mpelling□a□dition □o the Sch□nberg c□□□n—and the film suc□ a ch□lleng□ng and int□□g□i□g □□□erience.
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