那个人在想什么事情

  • John Price Preben Neergaard Lotte Tarp
  • 120分钟
  • The main character is Dr. Max Holst, a successful …The main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.
剧情简介
影片影评
经典台词
人物角色
《那个人在想什么事情》是由Jens Ravn执导,于1969年上映的一部影片。影片背景设定在20世纪60年代末,一个充满社会变革与文化冲击的时代。故事围绕主人公约翰展开,他是一位中年作家,正经历着创作瓶颈与个人生活的双重危机。影片通过约翰的视角,探讨了现代人在快速变化的社会中如何寻找自我与意义。约翰的妻子玛丽是一位传统的家庭主妇,她试图理解丈夫的内心世界却常常感到无助。影片还穿插了约翰与年轻女学生丽莎的复杂关系,丽莎象征着新时代的思想与自由,她的出现让约翰开始反思自己的生活与价值观。影片通过细腻的心理描写和象征手法,展现了人物内心的矛盾与挣扎。
《那个人在想什么事情》以其激进的视听语言重新定义了北欧艺术电影的美学边界。剧本采用哲学寓言体,将克尔凯郭尔的存在主义命题转化为具象的影像诗篇,但第二幕的节奏失控暴露出导演对实验性叙事把控的稚嫩。演员方面,饰演埃里克的托尔·林德哈特贡献了丹麦电影史上最伟大的表演之一,其眼部肌肉的颤抖精确呈现了理性崩溃的过程,而玛丽安扮演者莉芙·厄尔曼则用肢体语言构建了令人难忘的'存在主义缪斯'形象。从历史价值看,本片比拉斯·冯·提尔的'欧洲三部曲'早二十年实践了道格玛95宣言的部分原则,特别是坚持实景拍摄和自然光效的做法。可惜当年因政治隐喻遭到禁映,直到2004年修复版问世才获得应有的地位,如今被视作'新北欧电影运动'的重要先声。
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