卡比利亚之夜

关于电影：
《卡比利亚之夜》是费里尼现实主义阶段的巅峰之作，代表了他早期电影的最高成就。本片与54年的《大路》、55年的《骗子》合称为“孤寂三部曲”。主演茱莉叶·玛西娜是费里尼相伴一生的妻子，她出演了多部费里尼的影片，塑造出很多令人过目不忘的角色。费里尼的妻子玛西娜饰演了女主角，玛西娜有着一张神奇的富有表现力的脸与喜剧表演天才。费里尼写道，她有“十分自然地唤起人们白日梦的天赋，仿佛连她自己也不知道。带着她那小丑般的模仿天赋，她在我俩的关系中表达了我对天真无邪的怀念。”影片结构随意，用一段段小故事编织而成，但每一段都让人了解当时社会的一个侧面，如一个住豪宅的大明星、一个给她催眠的魔术师、一个追求她的年轻人等等。女主角的单纯、善良和直爽颇有几分梅艳芳的神情，她这种个性让她吃了很多亏，但同时也增添了影片的感动指数。跟该主角相似的是，影片并没有太多玩技巧的地方，而是以情动人。获奥斯卡最佳外语片奖。后改编成百老汇音乐剧《甜蜜的仁慈》（Sweet Charity）。
剧情简介：
这是费里尼最感人的作品，描写一名罗马妓女卡比里亚虽然不是妙龄女郎，但纯真未泯，心直口快，轻信他人，常常遭人占便宜。影片开始就是卡比里亚被她所爱的人抢走了钱，并被推入河里差点淹死。此后她认识了一个男演员，与他有着短暂的美好的一夜。可是，这位男演员的前女友回来了。他们俩很快和好如初，伤心至极的卡比里亚只能一个人躲在浴室里苦咽泪水。不久之后，她又和一个名叫铎菲利奥的男人在一起。善良的她觉得这个人诚实可靠，打算和他结婚，谁知道当她把自己所有的财产拿出来的时候，铎菲利奥露出了邪恶的真实面目，抢走了她的全部积蓄。可怜的卡比里亚不但险些掉下悬崖，而且失去了所有的一切。这时，一群青年男女从大路上走来，他们边走、边唱、边跳。仿佛受了他们的感染，卡比里亚渐渐恢复了生气，她的脸上又绽出微笑。
电影评论：
卡比利亚梦想过上好日子的希望注定要破灭。影片开始时，她受到她“男友”的羞辱。他抢她的钱包，并把她推进了河里。这本来没有什么好笑的，但是卡比利亚的纯真与幻想的天性，加以她被人愚弄时那种矮脚鸡般的愤怒表情，使得它成为一个极好的喜剧场面。在影片中，卡比利亚的冒险经历，大多数是与她的男人在一道的苦难经历，被当作一幕幕游荡的画面插曲般地加以组织。影片几乎让人觉得是未加计划的，好像也没有什么方向感，但是突然，一切都走到了一起。这个结局让美国大作家亨利·米勒大为感动。他写信给费里尼说，三天之内他看了两遍《卡比利亚之夜》，影片结束后10多分钟，他还在当着朋友们的面揩拭自己的眼泪。
费里尼执导本片时年仅36岁，它使他捧回了第二座奥斯卡最佳外语片奖。玛西娜也凭此片夺得戛纳电影节最佳女演员奖。费里尼曾说，回顾他创造的所有角色，卡比利亚是唯一让他感到忧心匆匆的。1992年，当费里尼被授予奥斯卡终身成就奖时，他从领奖台上俯视坐在第一排上的玛西娜，告诉她别哭。镜头切换成她的面孔，她饱噙眼泪，勇敢地微笑着。那就是卡比利亚。

Introduction
 
In this essay the film styles of these two films will be mainly discussed through several aspects that affect film styles significantly: techniques of the medium, the society and culture background, and personal taste of the two directors of each films.
 
As David Bordwell says “Style is, minimally, the texture of the film’s images and sounds, the result of choices made by the filmmaker(s) in particular historical circumstances.” Objective and subjective factors influence film style, and in objective factors, there are two aspects: material fact and spiritual fact. Material fact is the sources that are available for filmmaking, whereas spiritual fact is the psychic needs of the spectator. They are very much essential that filmmakers use limited material to make a film for their spectator’s psychic needs. For example postwar films are limited by material availability, and they meet the particular psychic needs of spectator. It is these objective factors distinct one film style from the other. And the subjective factors of filmmakers’ personal decisions are always restricted by the objective factors. There’s no such a film style that can exist without the influence of the period of time during which it is made.
 
Film techniques in the two films will be compared and contrasted briefly, due to the highlights of these two films are not technique achievement, but the themes and their explored ways. More emphasis will be put on arguing whether or not they are realism or idealism films. This argument will be set on analyze both the objective and subjective factors which affect them in style. And finally their film styles will be concluded comprehensively from different angles of view.

1. An overview of the two films
 
‘Le Notti di Cabiria’ (Nights of Cabiria) and ‘Nuovo Cinema Paradiso’ are both Italian national films, and both of them featured by their regional culture.
 
Fellini’s ‘Le Notti di Cabiria’ was released in 1957, which has been considered as one of the most interesting films of the post-war Italian cinema. It tells a tragic story about the life a little naive prostitute Cabiria, who lives in her little house at the outskirt of Rome. Although she’s been drowned by her lover for money, and treated unfairly by a famous actor, she keeps her simple and candid soul, and never gives up hope of living a happy life. Her optimism makes people laugh with a bitter feeling in the heart. She ends up with the same situation as she was in the beginning of the film, which is very much ironic ending. After robbed by her “fiancé” she walks down the street with street with the tears of despair. But gradually there appears more and more young and happy people singing and dancing around her to cheer her up, and then she smiles and cries at the same time. And at this moment, the audience can feel the same way as she does. Life is a tragedy with self-deception.
 
Giuseppe Tornatore’s ‘Nuovo Cinema Paradiso' is released in 1988, three decades later ‘Le Notti di Cabiria’. Passed its golden age, Italian cinema has been in its recession since 70s’. But no doubt that ‘Nuovo Cinema Paradiso’ brought a warm current to Italian film industry. Following Fellini’s ‘Amarcord’ in 1974,it won Academy Award for Best Foreign Language Film of 1989. Italy came back to the front stage of international cinema again. The story reviews the golden age of Italian cinema by telling a director’s childhood memory. The eternal friendship between Toto and Alfredo is the most touching theme of this film.
 
The ending of the film has its similarity to ‘Le Notti di Cabiria’, it is also a recall of where the story begins. A whole roll of kissing scenes edited with the negatives he asked from Alfredo when he was six. Using this gimmick to end a film is more powerful then traditional dramatic causality ending. In ‘Le Notti di Cabiria’ the recall of beginning shows an endless tragic circle that Cabiria walks on. Whereas the ending of ‘Nuovo Cinema Paradiso' presents us with an endless love that Toto received from his friend Alfredo.
 
Different film styles can be seen through how the film ends. The ironic and meaningful within Federico Fellini’s films is cold, and the emotional and seeking of eternal within Giuseppe Tornatore’s films I warm. They are in contrast, but both of the styles has their sparkle of their discussion of humanity. If ‘Le Notti di Cabiria’ is satirize of how weak is the relationship between people in this material world, then ‘Nuovo Cinema Paradiso’ is the opposite.
  
2. Film Technology
 
Colour
Fellini had never thought ‘Le Notti di Cabiria’ is an Italian neo-realism film, though film critics think so. The budget of this film was not very much, and the crew was not very big either, but these can never stop him making a good film. Under the limited budget, the film was shot in black and white，though in 1957 color film has been invented for several decades already. Try to imagine if it was shot in colour, what difference would it be? More visual information would be given to us, but is that necessary? At lease the last shot of Cabiria walking down the street with tears and smile would be less ironic than it is now in black and white. The colour of crowd would disturb our tension on the mood. Sometimes colours create mood, however sometimes they destroy it. Black and white itself is a visual style, it leaves out unnecessary information, and focus your attention on the movement on the screen.
 
Black and white films are considered as the feature of old films, there are even some audiences who are used to watching colour films find that black and white films are boring to the eyes and make them asleep. But to be honest, I cannot remember any particular colour in ‘Nuovo Cinema Paradiso', though it was shot in colour. And when I try to imagine if ‘Nuovo Cinema Paradiso' was shot in black and white, I don’t have many concern about enjoy it.
 
Colours do give a difference to the films style, but for these two films, the difference is hardly noticeable, though one of them is black and white, the other has colour. And you can never imagine if films like ‘Transformer’ without colour. So from this point of view, the unnoticeable colour is also a part of their film styles.

Cinematography
 
It is obviously the moving ability of cameras in the two films was quite improved by time and budget. Under the economy condition of 1950s， there wasn’t any crane and hardly any zoom in ‘Le Notti di Cabiria’, relatively there are more long takes and pans. ‘Nuovo Cinema Paradiso' has kept the tradition of using long takes and pans, and included zooms and cranes together. Both of the films use one direction to describe the same subject rather than use multiple camera positions. The camera can get a shallower depth of field in ‘Nuovo Cinema Paradiso' than the camera in ‘Le Notti di Cabiria’, so that it achieves a better effect when has many background crowd in shots. There are deep compositions in both of the film, which are always designed with western aesthetic preference of one thirds rule. There are no extreme angle or handhold style shots in either of the films. They share a similar shooting principle follows the classical western aesthetic， which is pleasant to watch and doesn’t feel as formalistic as the symmetrical composition.
 
Editing
 
Montages and long takes, close-ups and wide shot were all edited together with beat in both of the films. Andre Bazin’s opinion is long takes and wide shots show a more realistic vision than montages and close-ups. But montages run a faster speed and close-ups focus the attention. Long take imitates the way in which human eyes see, it doesn’t stop montage imitates the way how human brain do the job of selective memory. Not every piece of information that we see necessarily can be memorized. Montages and close-ups cut and crop out those unnecessary information is reasonable and pleasant to watch.
 
It will turn out a varied speed, if montages and long-takes edit together. And this editing technique makes the stories develop in a speed that neither too fast nor too slow.
 
There’s a difference on the timelines of the two films. ‘Le Notti di Cabiria’ has only one timeline, whereas ‘Nuovo Cinema Paradiso' has two timelines, the narration is interspersed with flashbacks. As the film is not about mystery and suspense, this editing method applies nostalgic sentiments to the whole film. The narrative styles of these two directors cannot be explained just by editing method. It is more of their personalities than the technologies terms, so it will be discussed later in this essay.
 
Sound and music
 
From 1950s to 1980s, sound recording technology was the biggest developed department of film industry. ‘Le Notti di Cabiria’ used mono sound recording tech, and 15 years after which ‘Nuovo Cinema Paradiso' recorded its sound in Dolby sound system. Dolby sound technology provides audience with a much realer hearing experience when watching images. It brings films to life. But mono sound systems can be more stylistic than 5.1 Dolby stereo sound systems, because they are hardly used.
 
Background music plays a very important role on film style. Nino Rota’s music gives a light comedy taste to ‘Le Notti di Cabiria’ despite the hypnosis scene and the ending, where the music was not exuberant. The background music illustrates an ironic style that Fellini plays the best. It makes you laugh while you want to cry, cry while you want to laugh. On the other hand, the background music in ‘Nuovo Cinema Paradiso' is deep soulful and full of nostalgia. It shapes the atmosphere with its power of tenderness. If the style of ‘Le Notti di Cabiria’ is loose and undisciplined, then ‘Nuovo Cinema Paradiso' is agglomerate and serious.
 
3. Realism or Idealism
Seeing a article says“ …the zero evidently there to remind us of the archivist’s unvanquishable enemy – empty vistas of empty time (see Fellini or Tornatore’s Cinema Paraiso for a nostalgic sentimentalizing of this self-same idealization of a cinema teeming with affective life).”, to my surprise, regarding as a realism filmmaker, Tornatore’s Cinema Paraiso is described as made from empty vistas of empty time, moreover Fellini cannot escape this judgment neither.
 
 
On the other hand, a strict realism film critic like Andre Bazin himself wrote in his “Cahiers du cinema” with full of regards. Although the last shot of ‘Le Notti di Cabiria’ is as artificial and symbolic as it can be, Bazin loved it. Though the idea of a fairy-tale prostitute is hardly realistic, but he put her in the real world, where the people surround her are very much taken shapes from reality. It is a fiction but shot in real location with naturalistic style of lighting(so as ‘Nuovo Cinema Paradiso'), conforming to the principle of simplicity. The film in my point of view is an ironic drama made in the Italian Neo-realism way. And differing from other drama films with their dramatic causality, the incidences in this film build up analogy and echo on its spectators. It is more about the theme he wants to discuss rather than the cause and affect.

 
I will never agree on the saying of “empty vistas of empty time”, because every thing in human mind reflect the life he lives in, fiction is always based on reality, otherwise we wouldn’t create alliances all with eyes, nose and mouth referring to the creatures we knows. And filmmakers would never escape from time neither. There’s always something affects him during the period of time that he is alive. A realism filmmaker, is the person who try to set his story in reality, no matter how good he does it. It is the direction that matters.

 
Conclusion
The film styles of ‘Le Notti di Cabiria’ and ‘Nuovo Cinema Paradiso' are complex. They are fictions but made in a realistic way. They try to explore the real world with their tales. The former is ironic and the later is glorifiable. Both of them put emphasis on the themes rather than dramatic causality. They are similar in technique styles, but in contrast of their themes. They are also both affected heavily by period and their national culture.
 
written by Feini Dong

费里尼的老婆茱莉叶·玛西娜实在不够漂亮，矮小，大头，饼脸，塌鼻，阔嘴，姿态举止无论如何也称不上优雅。但就是这样一个人，在银幕上却奇迹般放出光来，那一双饱含泪水的圆眼睛，能让观众的心为她激荡，为她破碎，为她死心塌地。

在电影《卡比利亚之夜》中，茱莉叶·玛西娜饰演妓女卡比利亚。这个天真愚蠢的家伙不知道天高地厚，常常夸夸其谈；而因为不谙事故，每每对爱情激情投入，可又常常受骗。不过卡比利亚最大的优点就是乐观，她身上仿佛有一股子永不知疲倦的活力，大事小情大亏小亏过去了，便全不在话下。她那“明天会更好”的劲头，比《乱世佳人》中的郝思嘉还要单纯强烈。卡比利亚是一株真正的野草，野火烧不尽，春风吹又生。

这家伙一出场，就被小白脸的骗子男友推下河谋财，差点淹死。但这点儿小挫折对草根的卡比利亚来说不算什么，很快，她就又兴致高昂的每晚出门拉客了。她不如别人美艳，被嘲笑的时候唯一值得骄傲的就是自己一个子儿一个子儿积攒下的房子，虽然简陋，但这就是她独立的全部，甚至在与偶像大明星邂逅，被带回豪宅，也不带半点卑微的夸耀着自己仅有的财产。这个把所有心情都写在脸上的家伙在上了名车之后那份洋洋得意小人得志的劲儿，让人看了真忍不住笑——这就是卡比利亚：卑微、市井、聒噪、快乐。

但哪怕再没心机，卡比利亚也有细腻柔情易伤的一面。她打扮得花枝乱颤招摇过市，迎面两位修长优雅明艳的高级妓女鄙夷的斜眼瞟她，继而昂头而去。卡比利亚拼命的挺胸抬头，回头瞅美女的背影，满脸关不住的沮丧。被情人欺骗，镜前对着离人的照片，长吁短叹暗自神伤，转而愤懑，甚至暴怒。卖了房子后在旧屋徘徊，眼前的陋室草台激起无限回忆，哀伤与憧憬百感交集，终于噙着眼泪，奔赴未知的生活——这个常常撅着嘴，满脸委屈，眼神中偶尔闪现一抹迷茫的小女孩，就是卡比利亚。

但卡比利亚还有另外一个名字，一个叫作玛丽亚的姑娘。玛丽亚长发垂肩，随母亲去教堂做礼拜；遇见了心仪的好男人，她腼腆，纯洁，端庄，蹲下去采花献给心上人。玛丽亚遇到了救助穷苦人的教士，无以为报，郑重的告诉他自己的真名。玛丽亚与恋人约会，小心翼翼不露出半点儿卡比利亚的影子，为了爱情，甘愿卖掉自己唯一的房子去追逐爱人。她在夕阳下的树林中欢喜的摘花插在皮包上，她在拥挤的教堂里面对圣母玛利亚流下最为虔诚的泪水，她纯真的像个孩子，她是卡比利亚的心。

这样子的卡比利亚，让人怜悯，同情，可她那些坏毛病臭德性和大嚷大叫的彪悍模样儿却怎么也难说可爱，更何谈认同。但就是这么一个人，一次一次为了那么一丁点儿的爱与尊重奋不顾身的跳进去，跳进去，那个矮小平庸的身影，逆着风，迎着雨，在千万的人潮中，在电闪雷鸣中，头破血流也还要去爱，去追，毫无保留，绝不退缩。卡比利亚的执着让人想起《千年女优》中的千代子，但她的赌注大得多，而现实也比舞台上一次次的梦境残酷得多。她没有奇迹在前方等待，她面对着一次次的践踏与嘲讽只有自己能够依靠，她碾不死，压不碎，她就是卡比利亚。

然后，在夜幕降临的分界点，在帷幕降落的瞬间，最后的狂欢终于上演，我已经分不清那个望着镜头泪光闪烁的人是卡比利亚，是玛利亚，还是玛西娜自己。她的眼线被泪水糊得晕开，那一滴缓缓流下的东西在她脸上划出一道黑线，暮色中微光如萤如豆，又似彗星掠过天宇。银幕上她转过头微微的笑了，而黑暗中我在哭泣。

我这才发现，原来卡比利亚就是你，是我，是每一个永不停息的逐爱的灵魂。

电影《尼罗河上的惨案》结尾大侦探波洛说，“女人最大的心愿是有人爱她。”卡比利亚当然也不例外，但妓女的身份让她被疼爱的心愿成为无法企及的蜃楼。在肉欲交换的夜幕后还存留爱情意志的妓女在电影史上并不少见，可不是每一个柳飘飘都能遇到尹天仇。

妓女

妓女让沟口健二想到自己的姐姐，是自己被百合子捅了一刀后流淌出来的一地猩红。她们是苦难的、悲伤的、微弱透着暖气的血。妓女在费里尼看来是意大利母亲不可或缺的对照，是自己欲望和幻想的拥抱者。她们是无所不知又天真无邪的地狱动物。因为懂得，所以疼惜。身体成为男人们流浪的地方，卡比利亚在心灵的依傍上则有更固执的渴望。幕布上都是她朝圣爱情的虔诚剪影，越是期待越是失望，越是等待越是空白，在遥遥的反差之间，孤独显出了形状。

缘起

《卡比利亚之夜》的灵感来自一则社会新闻：一个妓女被她的情人推到河里溺水而亡。一个又泼辣又感性的妓女形象在费里尼和编剧皮内利的心里扎下了根。拍摄《骗子》时，费里尼在郊区的棚屋里遇到一个疯女子。她向费里尼讲述了她自己的故事，穿插着残忍和丑陋的事实，以及一听就知道是捏造出来的情节，但这些丰富了费里尼对卡比利亚人生画面的想象。费里尼知道自己制作电影和这个女人叙述人生并无不同，都是将记忆和想象揉搓在一起，都是为了让自己心碎地去相信自己编造的谎言。就这样，有了《卡比利亚之夜》。

轮回

电影戏剧地开始，卡比利亚和情人在河岸边袅袅地走。突然情人夺过她的提包将她推进河里跑走了。险些淹死的卡比利亚财色两空，重新回到夜色的街道兜售身体。路过一些爱情的可能，期盼的后面还是期盼，仍然没有一个爱情的结果。这时奥斯卡的出现让卡比利亚相信自己的祈祷终于得到回应，雀跃地卖掉了房子和奥斯卡双宿双飞。现实再次露出残忍的面容，卡比利亚所有的积蓄被奥斯卡抢走，自己还差点被推下悬崖。

暮光

在《卡比利亚之夜》里你将看到费里尼电影最好的结尾。只剩下性命的卡比利亚哭泣地走在树林间，这时出现一群少年载歌载舞地将她围绕。卡比利亚被他们的歌声与欢笑感染，渐渐露出了笑容。你原本已经成为卡比利亚眼角的那滴泪妆，起伏着她的悲伤，却发现此刻她正直视你的眼睛，为你赋予的同情向你道谢。她用微笑将你从伤感中打捞出来，让你明白卡比利亚不会嫉恨生活，在每一次失望后依然会选择执着。只有相信才有可能，费里尼说，“我永远惦记着，卡比利亚最后找到真爱没有……”永远惦记着，走出影院，才发现梦是唯一的现实，真正刺眼的永远是城市的天光。




====================阿欢说我冷血又自私，是不是真的====================


孤独三部曲

里尔克说过，人到世界上来，是艰难而孤单。一个个的人在世上好似园子的那些并排的树。枝枝叶叶也许有些呼应，但它们的根，它们盘根在地下的摄取营养的根却各不相干，又沉静又孤独。孤独与生俱来，又连绵不绝地贯穿人的一生。费里尼的“孤独三部曲”都是环形设计的故事结构，故事的终点呼应着记忆的起点。《大路》的结尾赞巴诺在海边懊悔哭泣，他就是在海边遇到杰索米娜并带她上路的。《骗子》的最后奥古斯都又扮成教士行骗，在电影的开始他成功了而这一次他丧命了。《卡比利亚之夜》的首尾都是卡比利亚遭遇感情陷阱财色两空的骗局。三部曲变成循环往复于世人之间的三种孤独：杰索米娜爱人无法同步的孤独、奥古斯都父女无力依靠的孤独和卡比利亚身心无所依托的孤独。费里尼这个高大的喜欢热闹喜欢与人分享笑话的老头深刻地知道孤独是什么。孤独是人身上的一个器官，割除它人就不会完整。孤独是神和兽才能怡然自得享受的境界，而在人的身体里则是绝望的源泉。《卡比利亚之夜》为孤独三部曲写下最后的感悟，人必须学会与孤独同行共生，只有对生活保持微笑才不会被灰暗轻易吞噬。