[LastFilmIWatched]SummerandSmoke(1961)7.5/10
A sultry, clammy celluloid adaptation of Tennessee Williams’ searing gender study SUMMER AND SMOKE directed by the UK thespian-turned-stage-regisseur Peter Glenville (his third fe...
電影《夏日煙云》豆瓣評分高嗎?
豆瓣評分7.2分,屬于中等偏上水準。影片細膩刻畫了1960年代保守女性對愛情的隱忍與渴望。推薦觀看《朱門巧婦》——同樣由杰拉丹·佩姬主演,深刻探討家庭關系與情感壓抑。
電影《夏日煙云》在哪里可以看?
可在主流影視平臺或通過DVD渠道觀看。這部1961年的黑白劇情片,聚焦青梅竹馬間微妙的情感博弈。推薦觀看《相見恨晚》——同為經典黑白愛情片,講述克制的婚外情與道德掙扎。
電影《夏日煙云》的結局是什么?
(微劇透)結局是開放而現實的,阿爾瑪與約翰的關系在夏日相處后并未走向傳統結合。影片以細膩筆觸探討了愛情、孤獨與自我認知。推薦觀看《去年在馬里昂巴德》——同樣以曖昧敘事和開放式結局探討記憶與情感的真實性。
電影《夏日煙云》評價怎么樣?值得看嗎?
值得一看,尤其適合喜歡細膩心理描寫的觀眾。杰拉丹·佩姬憑借此片獲奧斯卡提名,表演極具層次。推薦觀看《野餐》——同樣改編自威廉·英奇的作品,描繪美國小鎮的情感壓抑與欲望覺醒。
A sultry, clammy celluloid adaptation of Tennessee Williams’ searing gender study SUMMER AND SMOKE directed by the UK thespian-turned-stage-regisseur Peter Glenville (his third feature film).Living in Glorious Hill, Mississippi in the early 20th century, Alma Winemiller (Page, parlays her stage success into cinema), a minister’s daughter, has been carrying a torch for her neighbor John Buchanan, Jr. (Harvey) ever since she was a little girl.
Weaned on a puritanical upbringing and encumbered with a kleptomaniac mother (Merkel, facing off grandly with a full-throttle Page, and is given a career-commemorating Oscar nomination) who is off her trolleys, a maiden Alma dreads that her youth will soon get shrouded into spinsterhood. One summer, when Johnny, now a medical practitioner like his father (McIntire), the prodigal son returns to Glorious Hill, Alma’s feelings for him are rekindled, but for a gadabout Johnny, Alma’s modesty cannot rival the exotic allure of Rosa Zacharias (Moreno, oozing strangely touching empathy in her feral presence), a wild Mexican girl who revels in their carnal knowledge, and affectionately admits that he smells really good, their liaison is basically corporeal but there is candor in it.
Be that as it may, Johnny is not at all chaste towards Alma, but makes a blunder when he tries to liberate her torrid soul (Alma means“soul” in Spanish) from her prissy manacles. A consequential tragedy further drifts them away (from our vintage point, Alma is quite blameless for its unexpected but vacuous fallout) but subliminally the disparity between them starts to squarely influence their respective perspectives about themselves (although in Johnny’s case, his metamorphosis is obviously more associated with his personal loss).
Therefore, emboldened by a trading-places scenario, the drama takes a heart-rending turn in the “right people, but wrong time” finale, which bestows Ms. Page a crowning showpiece of self-liberation mingled with a smorgasbord of emotions, her rejoicing aspiration, segueing to a heart-opening tête-à-tête, thenfollowing by revealing dismay and heartbreaking, the karma is holy stiltedly designed, but Ms. Page’s flair holds its own when her southern mannerism is sublimated into something like a tenable institution, a flesh-and-blood being. Laurence Harvey, on the other hand, beautifully plays out his raffishness and ekes out sensitive gesticulations incessantly, but most of the time, he keeps Johnny’s morality ambiguous.
In company with Elmer Bernstein’s bespoke score measuring up protagonists’ internal flickers, SUMMER AND SMOKE is humble in its material construction but a deep-fish psychological balancing art between two polarized species inhabiting in the same biome, a bone-fide heartstring-tugger among Mr. Williams’ canon.
referential points: Daniel Mann’s THE ROSE TATTOO (1955, 7.3/10), John Huston's THE NIGJT OF THE IGUANA (1964, 7.7/10), Joseph L. Mankiewicz’s SUDDENLY, LAST SUMMER (1959, 7.4/10).

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