A posteriori, it is plumb conceivable why Garbo proactively facilitated a biopic of Queen Christina of Sweden (1626- 1689) at the peak of her games, not just because of her parentage, our Swedish goddess must have been profoundly attracted by the similarity between them in a more personal way, the uncanny life paths both chose, Queen Christina abdicated her throne and converted to Roman Catholicism in 1654, whereas Garbo, bowed out from the screen once and for all in 1941 at the age of 35, both unmarried and childless, no to mention their alleged queer proclivity.
Raised as a boy as an heir of the throne, Christina becomes the Queen at the age of mere 6 when her father lays down his life in the Thirty Years’ War, her pacific attitude takes shape during the drawn-out warfare, and an adult Christina yearns for some sort of freedom unshackled by her monarchical duties and patriotic notions. During a secret outing under the disguise of a young man, Christina bumps into a Spanish envoy Antonio (Gilbert), who is on his way to meet the Queen in the capital, and after a jocose gender-revealing episode apropos of sharing a bed in a snowbound inn, they are smitten with each other, but Christina withholds her real identity, only to Antonio’s chagrin when they meet again formally, he is tasked with a marriage proposal from the King of Spain, but Christina reassures him that she only loves him and declines the proposal.
Impelled by her excitable and xenophobic subjects, who are whipped up by the envious Count Magnus Gabriel de la Gardie (Keith) and demand a pure-blood heir from their queen and Antonio should be expelled from Sweden immediately, Christina has a cardinal decision to make, a choice between her birthright responsibilities and her own free will. but what awaits her is a so-near-and-yet-so-far scenario due to a sorry quirk of fate and bad swordsmanship.
Here, under the ever-spectacular guidance of Rouben Mamoulian, Garbo makes the most of her epicene carriage to redefine what femininity entails: sharing a pre-Code mouth-on-mouth kiss with Christina’s favorite countess Ebba Sparre (Young), washing her face with a fistful of snow to embrace a new day, toying with fresh grapes and intoxicatingly memorizing everything in the room she has been sharing with Antonio; and when her duty calls, she is a gallant sovereign who can placate her people with words only, and in the climatic abdication scene, she augustly twins steely resolution with a thin but delectable air of reluctance.
John Gilbert, a silent-era matinee idol in his penultimate picture, who failed to sail through the transition to the sound cinema, and would die prematurely at the age of 38 three years later when his health is devastated by chronic alcoholism. In his fourth collaboration with Garbo, to whom he also stroke a romantic relationship before, Gilbert remains game and spry, but has no will to countervail Garbo’s towering pizzazz and charm. Only Lewis Stone, as the loyal statesman Axel Oxenstierna, manages to eke out a sustaining presence of great gravitas and gutted despondency on the side lines.
Mamoulian’s direction is meticulous but never unwieldy, his frictionless camera movement effectually counterbalances the film’s lofty setting, and the masterful soft focus on Garbo’s immaculate visage alone can leave QUEEN CHRISTINA enshrined as the ne plus ultra in her filmography, not to mention it is also such an emotional paean about pursuing what one’s heart desires, a freedom that few are lucky enough to own, shored up by its star’s unbowed strength and volition.
referential entries: Ernst Lubitsch’s NINOTCHKA (1939, 7.3/10); Mamoulian’s DR. JEKYLL AND MR. HYDE (1931, 8.0/10)
1.为了美。这个不必多言。
2.为了点出主题。唯有伯爵死了,才能向观众明确地证明女王的出海,不仅仅为了男欢女爱,而是一种更崇高的理想——摆脱命运的束缚,热爱自由和体验生命。
所以,大家不用吐槽大使之死,把目光放到爱情以外的地方吧,这个片子是有点深度的。尤其是嘉宝的表演,有几段是真的好,像是一种来自灵魂的渴求,呐喊着——"做真正的人,比做符号更可贵"。她塑造了一个特别的国王形象,睿智下有纠结和疑惑,责任下有欲望和冲动,这个形象充满了生命力。
在结尾,国王以坚定的决定诠释自己的意志——抛弃王冠,去大千世界当一回真正的人。西班牙人的死就是为这一景而服务的。
此片是嘉宝一生艺术的巅峰之作,后来息影应该是知道自已再也不能拍出更好的影片了。
能让女王放弃王位的该是多么英俊潇洒温柔多情高贵典雅的使者,吉尔伯特也很好的演译了这角色。西班牙特使真的英俊潇洒,温存浪漫,两人对戏很有感觉。嘉宝选对了对手,如果用劳伦斯,感情上会不够热烈。
在旅馆里面对露出女身的惊喜,他慢慢的走近,生怕惊动了女神,无比温柔的说“当然应该是这样,生活如此美好“,极尽宠溺他的女孩。
在皇宫重蓬,知道了女王的身份,他以为他们的爱情只是女王的一时的心血来潮,他悲痛不已,请求女王放过自已,他知道他的爱情不存在了,他愿藏起滴血的心,埋葬心中终身渴盼的爱情。
女王迫于内阁的压力,也担忧特使的安全,最后觐见告别祝他一路顺风时,特使的眼神悲痛欲绝,慢慢的走向女王,吻手后深深的看一下女王,永别了我的爱人。
结尾不喜欢,一国的特使不足以让女王放弃她的冠冕和她的子民,这种安排没有说服力。只会觉的女王做死,她的表哥和众臣子民都如此爱她,她令所有爱她的人和她自已都活不好。
那个年代的片子,从剧本来说,Bug实在是太多了,当然我们不能以现在的一夜情后遗症+爱德华八世退位来阐释这个片子的内容走向。在豆瓣能上8分+是因为大家为了标榜自己的品位,可以说泰勒好莱坞感太强、鲍曼像个木头美人、赫本永远端着。因为嘉宝足够历史久远和相比较小众,她未婚夫吉尔伯特完全没有说服女王成为赵敏的说服力,嘉宝在这个片子里太自私了,如果她不是非要让她未婚夫而是奥利弗来演……我相信是有足够说服力的。最后一个镜头零表演?我觉得嘉宝真是是被电影人捧得太高了,虽然我也认同罗兰巴特对嘉宝的脸的评价:嘉宝给人一种人类生灵的柏拉图式意念,是不是人类进化的终极我觉得这是仁者见仁的事,看过好几部嘉宝的片子,总觉得她比赫本还要放不开……也许是她绝世容颜和绝世独立的性格以及她的同性恋传闻为后来的文艺青年们提供了YY滋养地
年青时的嘉宝有着一副温柔、秀美的面容,她的面庞和济慈在诗的幻象中看到的一模一样:迷人、娴静
片子拍得没啥特别之处,看的完全是嘉宝的个人魅力,太合适这个角色了(比茶花女还完美),本身便是女王气质啊,而那句“我将孤独终老” 竟也戏谑的印证了嘉宝自己的人生,影片最后与情人告别使人潸然泪下,迎风出航却也不失豪迈自在
“雪就像一片宽广的海,一个人也许可以走出来,也许会迷失,最后忘掉这个世界,忘掉他自己。”故事前面很能让人入戏,后面就萎了,但在那个年代这样的中性扮相已经很超前意识,嘉宝表演经典,方额广颐,皇族风范,充满古典美德脸部线条使得那个年代朗诵式的念白从她嘴里念出来很自然不做作。心水~
1933年约翰.吉尔伯特已经被有声片淘汰,此时的嘉宝坚持要求制片方让吉尔伯特当<瑞典女王>的男主角,2011年,相同的戏码在<艺术家>的剧情中出现.但是与<艺术家>不同的是,<瑞典女王>并没有拯救吉尔伯特的事业.他因酗酒过度而早早陨落.可以这样说,吉尔伯特的逝世间接导致了嘉宝以单身终生的宿命!
格蕾丝·凯利是女性进化的终极样本。奥黛丽赫本则是天使下凡。而嘉宝分明就是天神。哦,我的女王!我的神!
林青霞,哪儿有~~ 故事有点不咸不淡,然而嘉宝绝对是女王,比“The Girl King-2015”好。
没啥好说的,超级经典的老片,迷一样美丽的嘉宝留下来的最美丽的形象。。。连女人也会为她疯狂和尖叫。。。
历史上的克里斯蒂娜女王退位原因是改信罗马天主教,电影里改为和法国大使的为爱私奔。仅仅表现出她好学爱民,放大了女性和国家责任的冲突,却降低了她本人的政治、文学、神学才华。其实后半生四返罗马,二度退位也很值得一写,这个安东尼奥原型是不是红衣主教阿佐利诺呢?
影史经典一刻:“什么都别想”。她失去了国家,她失去了爱人,她“将独身死去”。PS:多年以后,贝尔托鲁奇的“梦想家”向这部影片致敬,Eva Green模仿了Greta Garbo抚摸房间柜子的镜头。
这部影片告诉大家,做名女人难,做名女人的男人更难。在三十年代的好莱坞,头号女神竟然演了一部爱情悲剧,为了恋人放弃王位,最后恋人却死了。嘉宝真美,她出现的时候光一定是柔和明亮的。
挺一般的故事,却被嘉宝的个人魅力生生抬高了几个层次,据说本片当年在商业上取得巨大成功,还有那无数人慕名而来的最后一分钟的表演自不必多说。以及,葛丽泰·嘉宝的美貌真是放在哪个时代都不会过时啊。
除了她谁还能演?!
嘉宝演的冰雪之国的女王,喜男装,好骑射,不愿结婚,憧憬着自由,因为对一个西班牙使臣的缱绻,退去王冠的桎梏,载着被杀的使臣的尸首,到那产葡萄的国土去了。阿佳妮的玛戈王后,满裙血迹,伸出手轻轻摸割下来的爱人的头颅,手指触及他冰凉的脸。嘉宝和阿佳妮,我爱的两个伟大女演员。眠去
在我的眼中,此后(特别是80年代后)的那些浮华空洞的女王爱情戏没有一部达到这样的水准。能够和女王最后伫立船头特写相提并论的,我看也只有卡比利亚之夜最后的微笑。构图造型非常精心,人物塑造也很成功。虽然这是理想主义的浪漫梦幻。似乎不怎么看的出来当时好莱坞积累剪辑的模样,镜头转换和景别变化都相当流畅。那个柔光镜打的呀。。。
其实故事是很老套的,但成为殿堂级的理由只因为嘉宝那张毫无表情却表达千万的脸。
小时候电视上看的,感觉最后她伏在他身上恸哭的镜头,一直跟随了记忆很多年
从现在的角度来看,剧情比较单薄,就是一个女王面对江山还是男人之间做出的抉择——退位、私奔——然而私奔对象决斗被杀了。但是优点是:嘉宝很帅、这部片子也没有像同时代的一些电影那么冗长,整体氛围把握得还算是不错。
传说中的“零表情”结尾,一人气场撑起整个故事甚至从根本上改变影片质量的的前无古人、目前还是后无来者的典范
Media Resources Center的DVD。人物塑造的分寸感把握得极好——剧情既没有陷入宫斗阴谋的泥潭、也没有堕入苦情窠臼,典范的“没有表情”——容纳了一切未曾说出却可在观者心中延展的思绪。