基恩1924

《基恩1924》并非单纯的大仲马剧作影像化，沃尔科夫以精巧的戏中戏结构，将舞台与银幕边界揉碎重组——开场时剧院帷幕缓缓拉开，摄影机却悄然侵入后台，打破第四面墙的手法早于戈达尔近半个世纪。默片嘛，全靠演员的肢体和表情撑场面，但伊万·莫兹尤辛太绝了——他演那个疯疯癫癫的天才演员基恩，眼神又狂又脆弱，喝醉酒瘫在台上的那场戏，浑身都在“说话”，你能感觉到那种燃烧又孤独的劲儿。导演沃尔科夫用考究的室内光影和推拉镜头，把舞台剧的“第四堵墙”彻底打破——你仿佛坐在包厢里看大仲马笔下的传奇演员如何在爱情与自尊间挣扎。如果你也曾被某种“必须在人前逞强”的感受压得喘不过气，或者喜欢那种古典戏剧式的悲怆美学，这部电影会让你像看了一整晚的独幕剧，散场后默默发呆。他爱上了一位贵妇人，同时被一位纯真少女倾慕，而他的艺术野心与私人欲望不断碰撞，最终在戏剧与现实的边界上寻找自己的位置。适合喜欢老电影、想感受默片时代演员怎么用身体讲故事的观众。

　　By 1820, Edmund Kean is the most admired Shakespearan actor. But if his art is peerless, his free lifestyle is ill thought of, particularly by the high society. Kean has fallen passionately in love with Countess Elena de Koefeld, the wife of the ambassador of Denmark. Elena loves him too but hesitates to give up her rank in society and follow Kean. On the other hand, Anna, a rich heiress who refuses to marry Lord Mewill, the husband chosen by her parents, confesses her love for Kean and decides to become an actress like him... The aristocrats, outraged by Edmund's profligate ways, decide to boycott his performances and his career is broken. Kean does not recover from such a blow and, on a stormy night, dies in Elena's arms.

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