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Main| 1947年:凯瑟琳·拜伦在“黑水仙” »
Friday
May 15 2020

而这里的你,夫人罗宾逊

by克劳迪奥·阿尔维斯

Some days ago, as part of our 1981 coverage, we talked about Katharine Hepburn's famous Oscar record.She's the only actor to ever have won four statuettes, all of them in the Best Actress category.In that, the idea was put forward that, despite her amazing career, the actress wasn't deserving of most of those victories.She might have merited four Academy Awards, but not for those particular works.We didn't explore who should have won in the years Hepburn triumphed, mainly because there isn't a lot of consensus about the matter.Still, while that's true regarding the 1933, 1968 (a tie!) and 1981 Oscars, the same can't be said about the 1967 awards.In that Best Actress race, one performance has shined brighter than all others, gaining a legendary status that goes way beyond the Oscars.

Since her movie is newly available to stream on Hulu, it seems like a good time to talk about Anne Bancroft as Mrs.罗宾逊 in研究生


迈克·尼科尔斯' follow up to谁是弗吉尼亚·伍尔夫的怕什么?is a zeitgeisty phenomenon whose cultural importance is difficult to overstate.Even those who have qualms about the picture's quality can't argue against研究生's place in movie history.Born out of a transitional period in Hollywood, the 1967 flick is a quarter-life crisis synthesized in celluloid, a portrait of Californian alienation that still resonates with the audiences of today.Its music is era-defining, its story unforgettable, its images galvanize the imagination and the characters seem both painfully real and like eternal archetypes bound to live forever as cinematic myths.

That's never truer than when we're talking about Mrs.罗宾逊, the middle-aged suburban housewife that seduces the college-aged son of family friends.Often clad in animal prints, perpetually made up with winged eyeliner and rarely found without a drink or a cigarette in her hands, she is the prototypical cougar who preys on the affections and virility of younger men.She's a vampire trying to suck the liveliness of another, the symbol of an older generation attempting to forcefully absorb the newer one.At least, that's the stereotype she's come to represent in the decades since the film premiered.Maybe that's who she is as she appears in the script adapted from a novel by Charles Webb.

However, the smart lensing of director Mike Nichols and, more importantly, Anne Bancroft's canny performance elevate the character above that, mining her for inner depths and contradictions that aren't materialized on the page.太太。罗宾逊 isn't a clichéd type or part of a young man's masturbatory existential crisis.She's a complicated woman whose bruised soul calls to us.That's quite visible from her first big sequence, one aggressive seduction act that's never as straightforward as it may appear.We initially see Bancroft's seductress in the background of a shaky shot following Dustin Hoffman's Ben Braddock through a party at his parents' house.He's sweaty and insecure, anxious beyond belief, his body as unstable as the camera.She, on the other hand, is still and demands our attention, anchoring the shot, and the movie in one fell swoop of minimal acting.

As she follows him into his bedroom under the pretense of looking for a bathroom, Mrs.罗宾逊's presence is preternaturally self-assured, so much so that she seems bored while cajoling Ben into giving her a ride home.At her place, that sense of insouciant tedium only becomes more apparent, her expression rarely changing from its monotonous state, even as her words become more suggestive and frank.A confession of alcoholism is uttered with calculated disinterest, a provocation from a master who wants to destabilize her companion.One feels that, whether the plan works or not, Mrs.罗宾逊 will be indifferent about it.

Only when Ben starts to react panicky about the whole situation do we see something genuinely break through the stupor of middle-class intransigence – she's amused by him and she laughs.It's startling and it's sexy, her seduction working better than we have supposed.当天晚上,她对他的态度从去逗得不耐烦了,从干才子严师处理行为异常的学生的责骂面容。不管他知道与否,本已经上了当,因此有我们。从现在开始,甚至当她是不是在屏幕上,研究生由太太支配罗宾逊和她的危险的诱惑力。

后来,他们开始外遇后,奔惊喜她进一步亲密的个人需求。然后,盲目的诱惑力裂缝,她让我们看到更多的这个女人的脑子里发生的事情。在一个著名的场面,一个酒店房间的灯光一直被打开和关闭,班克罗夫特把她背到霍夫曼,对着相机,她让观众看到成太太的侧罗宾逊她可能不会让任何人在她的生活观。考虑她是怎么说在大学学习艺术,怎么样,一会儿,我们能看到她不是一个闷热的情妇,但由于本的危机镜像。在遗憾弯腰这一切耗时不满的是什么可等待他的未来。它寒心。


更镦是班克罗夫特扮演她的白炽灯愤怒一旦班去女儿出去约会,打破了曾经对爱人许下了承诺的方式。如果眼神可以杀人,达斯汀·霍夫曼会离开这个地球在1967年,这是肯定的。即使是这样,这并不针对破碎绝望的时候她的性联络显露她的后代准备的人的女演员的portrays。突然,就好像事情已经清空夫人她的灵魂的罗宾逊的身体,她的精神驱散,留下了紧张的壳里那远去的背影进入白色走廊的拐角处。她是彻底郁闷的在一个女人的形状的黑洞,一个形象,惊吓和常去的地方。

在此之后,班克罗夫特是不是非常的研究生和她的最后时刻的正式施工不允许女演员给她的性格全圆和圆弧满意。不过,这是很难想象任何其他的表演者,包括其他候选人像艾娃·加德纳的角色,做一个更好的工作。班克罗夫特的表现可能很短,但它是近乎完美的,标志性的瞬间,它的名气值得。所以稀疏是她的屏幕一次,有人说她应该已经竞争了作为一个女配角,她肯定得到一场胜利。考虑到她失去了凯瑟琳·赫本在猜猜谁来吃晚餐,这些人可能有他的道理。如果它是你的,就班克罗夫特已经在1967年得到胜利,以及在什么类别?

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Reader Comments (1)

这是文字优美。

我不清楚太太的性格罗宾逊缺乏一个完整的圆,弧满意。整个影片中,夫人罗宾逊是生气。班克罗夫特灌输每一行与生活感到失望,女人的控制愤怒阅读。本杰明和Elaine之间的相互利益的增长,本杰明透露,他已经与她的母亲睡。太太。罗宾逊告诉她的丈夫和女儿本杰明强奸了她。

伊莱恩然后离开洛杉矶的加州大学伯克利分校的大学。在那里,她已经有男朋友了。他抽烟斗。二十岁不吸烟的管道。图像告诉我们需要了解的一切卡尔。

为了阻止与本杰明的关系,罗宾逊从大学拉他们的女儿,并安排一个快速婚姻卡尔在圣巴巴拉。伊莱恩显然是不能思考自己的。这条道路并不比她的母亲是谁给了她艺术生涯的梦想,当她怀孕了不同。

本杰明进入教堂停止Elaine的婚礼。上的第二层门厅的前厅上方本杰明节拍上平板玻璃窗口和伊莱恩呼叫。他是为时已晚。他们结婚了。Elaine的父母和她周围的新丈夫集群喊气愤地说。

我觉得这是电影最有趣的镜头之一。对于整个电影,我们一直在等待夫人罗宾逊有一个时刻释放愤怒的一生。当她终于做,尼科尔斯静音配乐。看她的毒液,但不能听到。它是女性如何在一个父权制沉默强烈的声明。

伊莱恩呼吁奔涉及到谁抢夺她而去。太太。罗宾逊抓住她的女儿作为本使用跨从教堂的墙壁抵挡中年婚礼的客人。尼科尔斯不会忽略这。太太。罗宾逊恶意掴伊莱恩与发送她的牙齿剑拔弩张的功率。我们的眼睛扩大在暴力,但伊莱恩不退。很明显,之前,她已经打了这个样子。太太。罗宾逊咆哮,“这是为时已晚。” And Elaine replies, “Not for me.”

我认为这是洞悉夫人罗宾逊。她是一个苦涩的酒精。最喜欢的醉汉,直到她面对自己的网瘾,她无法改变她的生活。当她在snarks伊莱恩,这是为时已晚,她是不是真的在讨论她的女儿。她把她的她的生活,她的梦想,她的自我价值的评估。

当然,她是错的。

听这首歌,夫人的歌词罗宾逊,这在康复机构讨论了咒语。

“而这里的你,夫人罗宾逊
耶稣爱你胜过你就知道了,呜,呜,呜
上帝保佑你请,夫人罗宾逊
天堂适用于那些地方谁祈祷,嘿嘿嘿
嘿嘿嘿

我们想知道你对我们的文件一点点
我们想帮助你学会自救
看看你的周围,你看到的是同情的目光
直到你觉得在家里逛的理由。。。“

5月15日, 2020 | 未注册的批评家詹姆士

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