千叶早智子。One of three films that Mikio Naruse made with his wife-to-be Sachiko Chiba in 1936,Morning’s Tree-Lined Street came at a time that Naruse began to notice a supposed lapse in the quality of his films,a problem he ascribed partly to his relationship with Chiba。
天吶,千葉早智子最後那一個微笑!L'amour fatal pour l'instant, c'est l'amour à jamais.(千葉早智子片中清唱《旅愁》(李叔同《送別》之日本版))
四星作品
喜欢这部的外景,以及又见千叶早智子
作为和诗意现实主义的对照文本还颇有点意思,成濑的侧重点保持在女性,城市和乡村的对立,被挤压的个人,无望成为救赎的爱情,最后跳出故事反倒多了点喜剧意味,回到了庶民故事中来。树林逃亡一段相当耐看。
千叶早智子。One of three films that Mikio Naruse made with his wife-to-be Sachiko Chiba in 1936,Morning’s Tree-Lined Street came at a time that Naruse began to notice a supposed lapse in the quality of his films,a problem he ascribed partly to his relationship with Chiba。