玻璃丝袜

传统歌舞片辉煌的时间说长不长，说短不短。从1929年诞生，它伴随着美国观众从30年代的经济大萧条一路走来，历经了二战时期的辉煌年代，又到了1950年代的全盛时期。但是凡事都有终结的一日。 到了50年代中期，受到麦卡锡主义的影响和新式摇滚乐的双重夹击，还有以迪恩和娜塔莉伍德带领的青年叛逆文化，传统歌舞片终于开始逐渐衰败。 这部Silk Stockings是MGM的两大舞王舞后Fred Astaire和Cyd Charisse第二次合作的电影，也是两人在MGM拍的最后一部歌舞片。这部电影也一直被称为歌舞片时代的最后一部，是很重要的分水岭之作。我之前看过原版的【妮诺奇卡】，但是很奇怪我并不是很喜欢，虽然怀尔德的台词挑不出刺，但是嘉宝真心不适合演喜剧。 作为一部典型的古典式歌舞片，silk stockings充斥着华服和美女；主旋律是优雅的爵士（因为故事设在巴黎所以带着香颂的味道）和华尔兹。Fred就像过去拍歌舞片时那样，几十年如一日得整洁和优雅，Cyd作为传统的美人也是高贵典雅型。在1956年以后，这部电影所有的元素，终于慢慢成了古董一样尘封的存在。 Fred最后的一支歌舞表演是为他量身定做的，因为所有人都知道这是他最后一部MGM歌舞片。他穿着燕尾服，白领结，戴着大礼帽，就像他年轻时的那样的古典绅士形象，用爵士的旋律唱着关于摇滚的歌——确实太适合他不过了，毕竟作为一个老牌舞者，属于你的传统年代已经远去。而他也以这种方式谢幕，谨此纪念自己在MGM跳舞16年。虽然日后Fred的电影和电视事业依旧成功，但不得不说这依然让人觉得感伤。 而作为50年代电影界的头牌舞后，Cyd的突出之处不仅仅在于她那双价值500万美金，无与伦比的长腿。她美丽修长，气质高雅，更重要的是她跳舞的时候会和观众有communication，而不是自顾自的跳舞。拍这部的时候她已经35岁了，一般歌舞女郎跳到一定年龄就会息影，但岁月的沉淀使她更有韵味。 这部电影我最爱的两个舞蹈，一个是Fred深情款款地对Cyd唱的那首all of you。这个是典型的“阿斯泰尔风格”——只是一个简单的场景，一支动人的旋律，和一对通过舞蹈来抒发爱意的男女。另一个景就是妮诺奇卡的蜕变，用这么优雅，美好的方式。 说实话我并不是歌舞片的粉丝，大部分歌舞片用现在的眼光看的确俗艳脑残无比，但是Fred和Cyd对于歌舞片就是优雅的象征，尤其是Fred。Cyd说他是所有时代最有品位的绅士。 这部电影上映后取得巨大成功，票房大卖口碑也不俗。这样的结局对传统歌舞片本身来说也算是个圆满的终结了，用这样一种还算有尊严的方式退出历史舞台。 之后以猫王为代表的摇滚时代终于到来，更美国化，更适应青少年的需求。电影也会随着社会风潮而改变，但这也是电影迷人的地方之一：）所以也没什么好遗憾的~

真理是赤裸裸的一个交织成网状的绝对有时她过于喧腾的胸部屁股上匆匆的手型暗记只留下五厘米的金属高跟间或忘却了她身体的重量准确地说，像根钉子刚好楔进男人多余的那根肋骨。就连他们都是多余的像唯物论者构筑的天堂除了中产阶级的一点黑色然后空荡荡地什么都没有两条蛰伏在夜里的蛇每天都要蜕上一层皮

Don’t let the sentimental factor fool you, SILK STOCKING, Rouben Mamoulian’s film adaption of the namesake 1955 stage musical, a reiteration of Ernst Lubitsch’s NINOTCHKA (1939), starring Astaire in his last musical role for MGM, at the age of 57, it is high time for this iconic hoofer to hang up his dancing shoes, is a clunky dud. Viewed today, reunited with Cyd Charisse from Minnelli’s THE BAND WAGON (1953), Astaire’s American film producer Steve Canfield is too wizened to pass off as a romantic suitor to Charisse’s prim-faced, blunt-spoken but rigidly stunning Russian envoy Ninotchka Yoschenko. Steve’s courtship is cringeworthy and condescending, and the whole affair’s denigration and mockery of the Soviet Union’s “robotic” personality is simply offensive and mean-spirited, that is the awful reminder of Cold War dichotomy, which makes SILK STOCKING far more difficult to stomach than NINOTCHKA, but, yes, there is always a “but”, since it is a musical, why not throw its repulsive plot out of the window, and rejoice in the razzle-dazzle. Fo’ shizzle the razzle-dazzle doesn’t disappoint, Charisse spellbinds us with an improbable transfiguration from a hardened collectivist to a girl succumbing to occidental decadence, i.e. getting togged up in gossamer gowns and other fineries, but her acting bent is nil. A glamorous fashion plate who is only enlivened when she moves, that reflects one major hindrance for a musical film, if it has a rather dramatic plot arc to bring off (here is Ninotchka’s proselytization), it scarcely works because of the jovial nature of the genre and the technique requirement of its players (who should be able to act and entertain, like Judy Garland), SILK STOCKINGS is guilty as charged. A nimble-footed Astaire (his feet is the first thing we see) doesn’t really bring down the house until his final number "The Ritz Roll and Rock”, ended with a symbolic gesture of smashing his top hat, for audience then, it is a nostalgic capper. While the rest of the cast is composed of three buffoons (Peter Lorre sticking out like a sore thumb) and a simpleton Russian composer (Sonneveld), Janis Paige has a field day when she can steal the limelight from the ill-sorted leads, her all-out va-va-voom is just what the doctor has ordered. Cole Porter’s show-tunes are in his usual frou-frou register and Mamoulian isn’t particularly enthused to show off his directorial virtuosity, as if getting wise the dawn of its own genre, for most of its duration, SILK STOCKINGS is conspicuously tame and self-consciously chipper, a relic to reminisce about rather than knock you socks off. referential entries: Ernst Lubitsch’s NINOTCHKA (1939, 7.3/10); Vincente Minnelli’s THE BAND WAGON (1953, 7.9/10); Mamoulian’s QUEEN CHRISTINA (1933, 7.9/10).

Title: Silk Stockings Year: 1957 Genre: Musical, Comedy, Romance Country: USA Language: English Director: Rouben Mamoulian Screenwriters: Leonard Gershe, Leonard Spigelgass based on the book by George S. Kaufman, Leueen Macgrath and Abe Burrows Music: Conrad Salinger Cinematography: Robert J. Bronner Editing: Harold F. Kress Cast: Fred Astaire Cyd Charisse Janis Paige Peter Lorre Jules Munshin Joseph Buloff Wim Sonneveld George Tobias Rating: 6.3/10