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Apart from the light-hearted scenes, dialogue is limited. Under Kim’s direction, the film is surprisingly peaceful and chaste.
除了轻松场面以外,剧中的对白也十分有限。在金泰勇的执导下,整部影片彰显出的令人赞叹的平静与质朴。
However, it is during the narrative’s silences and pauses that deeper feelings have a chance to emerge. For example there is a scene at a bus stop, in which the camera circles Anna as she mills about in the mist looking for Hoon. Her distress and sense of loss echoes the opening shot of her staggering down the road the day she killed her husband.
而正是故事中的这些静默与停顿,使得一种更为深邃的情感得以流露出来。比如在长途汽车站的一幕,当安娜在迷雾中漫无目的地找寻着勋的时候,镜头围绕着她的一举一动。她的那份痛苦和失落感也呼应了影片开始时她杀死丈夫那天,踉踉跄跄走在街上的那一幕。
In Late Autumn, Tang replays her sullen, repressed character in Crossing Hennessy, and Hyun’s performance is impressive–for not underplaying the dandy, narcissistic side of his personality.
在《晚秋》中,汤唯延续了自己在《月满轩尼诗》中沉闷压抑的人物性格。而玄彬的表演同样令人印象深刻,他将勋这个人物身上那种花花公子而又自恋的性格表演得淋漓尽致。
Last but not least, there is the third main role in the film–the city of Seattle, which appears beautiful and romantic, yet foggy and drab, with hardly any color or smell of autumn.
最后要值得一提的是,该剧中还有一个主要角色,那就是西雅图,这个看上去充满美丽和浪漫,却又朦胧且单调的城市,几乎找不到秋天的色彩和气息。
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