迷梦 미몽 (1936)

Name: 迷梦 미몽
Genre: 剧情
Released: 1936-10-25
Duration: 46 min
Rating: 6.2
Cast: 文艺峰 Ye-bong Mun

导演: 梁柱南
编剧: 崔独鹃
主演: Cho Taek-wo
类型: 剧情
官方网站: www.koreafilm.org/feature/100_1.asp
制片国家/地区: 朝鲜
语言: 朝鲜语
上映日期: 1936-10-25(朝鲜)
片长: 46分钟
又名: Sweet Dream / Death's Lullaby / 迷夢
IMDb: tt2082346

豆瓣评分

6.2

97人评价

5星

5.4%

4星

20.3%

3星

58.1%

2星

12.2%

1星

4.1%

想看看过

评价:

迷梦的剧情简介 · · · · · ·

　　Middle-class housewife Ae-soon (Moon Yae-bong) is excessively vain and neglectful of her duties as a homemaker. Unable to tolerate her any longer, Ae-soon's husband (Lee Keum-ryong) kicks her out, and she leaves him and their daughter Jeong-hee (Yoo Sun-ok) to take up with her lover in a hotel. One day, she finds out that her lover is not a wealthy bigshot after all, but a poor... (展开全部) 　　Middle-class housewife Ae-soon (Moon Yae-bong) is excessively vain and neglectful of her duties as a homemaker. Unable to tolerate her any longer, Ae-soon's husband (Lee Keum-ryong) kicks her out, and she leaves him and their daughter Jeong-hee (Yoo Sun-ok) to take up with her lover in a hotel. One day, she finds out that her lover is not a wealthy bigshot after all, but a poor lodger and a criminal to boot. She reports him to the police for a robbery he has committed, and decides to go to Busan after handing him over to the authorities. Speeding in order to catch her train, she accidentally runs over her own daughter. Jeong-hee is rushed to the hospital, where she safely regains consciousness, but Ae-soon is wracked with guilt and resorts to suicide.
　　"The oldest film in existence, and a valuable window into 1930s film grammar, as well as into discourses on New Women and modernity during the Japanese colonial era"
　　Sweet Dreamwas discovered in China by the Korean Film Archive (KOFA) in 2006. As of 2006, it is the oldest Korean film for which the film stock still remains. Director Yang Ju-nam's first film and the sixth "talking picture" from Kyeong Sung Studio, Sweet Dreamis an invaluable standard for examining the film grammar and technical progress of 1930s cinema. The movie's implausible two-dimensional characters, abrupt plot progression, and awkward camera angles and editing indicate that a stable film grammar had yet to be established at this point. Nonetheless, such devices as the aggressive sound montage, the insert shot of the birdcage, and the shot in which Ae-soon, angry at her husband, unsettles the vanity mirror that shows the reflection of her husband's face demonstrate the director's basic awareness of cinematic forms.
　　The movie was released sometime after Henrik Ibsen's A Doll's Housedebuted in Japanese-occupied Korea, when debates about "New Women" were particularly rife. As such, it reflects popular attitudes regarding New Women at the time. Ae-soon's unconvincing insistence on buying the most expensive items at a department store and the sudden castigation she is subjected to for the purpose of emphasizing maternal responsibility appear to be forced moves that were introduced into the unfolding narrative in an attempt to reductively portray the controversial New Woman as licentious, vain, and immoral. Other notable features of the film are the inclusion of modern elements such as the scenery of Seoul at the time and a chase scene between a car and a train. The movie also provides an opportunity to glimpse Moon Yae-bong, who was the most popular actress of the Japanese colonial period and the greatest actress in North Korea, during her debut years.

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我要写短评

迷梦的短评 · · · · · · ( 全部 32 条 )

3 有用豆友244287444 看过 2023-09-08 18:56:44 安徽

中国资料馆存留日文字幕版。勉强理解了情节，有几幕拍得挺雅致，结尾女主的面部演绎使人联想到《新女性》里的阮玲玉。 ps：谢谢友邻提供的片源🥰

2 有用鱼京_ 看过 2017-04-27 20:31:26

韩电分第一课。

1 有用翟墨子看过 2011-02-14 22:55:06

演员不叫演员叫“配役”，很明显是披着朝鲜皮的日本狼

1 有用 Meko 看过 2020-07-23 10:33:07

韩半岛的第六部有声电影，04年由台北电影资料馆复原。今人多看其在影史上的地位和再现日据朝鲜的史料价值。印象较深的是导演运用多种镜头语言的尝试，俯仰视角、镜子, motif的使用，前后景的布置，180度原则，足见其在外国电影技术学习上下的功夫，虽不似小津安二郎般为世界电影提供了独创性的语言，但作为影人的刻苦值得尊敬。而且从最终效果来看，学来西方电影的镜头语言，勾勒出的却是自身的静美和细腻。就内容而言... 韩半岛的第六部有声电影，04年由台北电影资料馆复原。今人多看其在影史上的地位和再现日据朝鲜的史料价值。印象较深的是导演运用多种镜头语言的尝试，俯仰视角、镜子, motif的使用，前后景的布置，180度原则，足见其在外国电影技术学习上下的功夫，虽不似小津安二郎般为世界电影提供了独创性的语言，但作为影人的刻苦值得尊敬。而且从最终效果来看，学来西方电影的镜头语言，勾勒出的却是自身的静美和细腻。就内容而言...情感之浓烈与其轻易挂在嘴边这点，真是贯穿了韩国影像的前世今生，与隔壁邻居有着天壤之别。 (展开)