剧情介绍
酒代理商伏尔夫对大城市里一层不变的生活感到厌倦,他十分爱好社交。一天,他在街上偶然认识了一位配角女演员克丽斯特,两个人相谈很愉快,伏尔夫便邀请她星期天一起外出郊游。当晚伏尔夫与开出租汽车司机的朋友埃尔温在一起打牌,同样邀请了埃尔温带上女朋友安妮星期天一起外出郊游。可是安妮不喜欢外出,宁可一个人待在家里。碰巧的是,克丽斯特带来了一位女友布丽吉特,她是一个销售员。四个年轻人一起结伴到郊外坐船,散步,太阳浴,大家玩得非常尽兴。伏尔夫对布丽吉特简直就是一见钟情,他抛下了克丽斯特,与新结识的女友躲进了森林。傍晚四个年轻人又回到了城里,埃尔温发现安妮仍躺在床上,她睡了整整一个星期天。
Edwin, a taxi driver, lives with Annie, a neurasthenic model. They plan to spend Sunday at the Nikolassee beach with Wolfgang, an officer, gentleman, antiquarian, gigolo, at the moment a wine salesman. After an argument, Annie stays at home while Edwin joins Wolf. Wolf has brought along a new girlfriend, Christl. Brigitte, Christl's best friend, joins the group. Brigitte is the manager of a record shop. At the beach Wolf tries to kiss Christl but she rejects him and he turns his attentions toward Brigitte, who is more receptive. Wolf and Brigitte go off together and he seduces her. Back on the beach, Wolf and Erwin, now tired of their dates, flirt with two other women as Brigitte and Christl look on, appalled. They have small satisfaction when the men have to borrow money from them to pay for the paddle-boat they were renting. As they part at the end of the day, Brigitte hopes Wolf will see her next Sunday, but he and Erwin have other plans. The bond between the two men is the one that counts. They have really spent the Sunday with each other. Edwin returns to his flat to find Annie still in bed. The next day he is driving his cab. Wolf is selling wine, and Brigitte is selling records, all waiting for next Sunday.
补标(毕业论文的材料电影都没标过..
法国新浪潮的启蒙,反表现主义的“横断面电影”。这部散发着一股小资情调
不是,我这都啥时候下的片子.
这个恐怕不是纪录片吧,但里面一张张特写的笑脸太动人了,感谢默片封存了最原始最纯粹的生命力。
散文
德国横断面电影是所谓新客观派的一支,其实很尴尬的拍法,既不现实也不记录。四人郊外约会,打打闹闹,然后下周继续。展现魏玛政府时期的稳定局面,可惜浸淫着表现主义和古典史诗片成长起来的德国电影这时还不懂得什么叫现实主义,权且是个过度时期的尝试。
People.on.Sunday.1930.CC
法国新浪潮的启蒙,反表现主义的“横断面电影”。这部散发着一股小资情调,相比柏林城市交响曲差太远了。
以星期天為背景,描寫了柏林的普通人在二十四小時里的生活細節,展現了城市人為逃避現實中的刻板生活而逃跑到郊外,卻並未得到真正的自由和解脫。影片鏡頭真實感極強,穿插的戲劇化情節也打破了作為默片的沉默。突然想起某樂隊一首歌中的某句歌詞:"誰能帶我去空島?!“
这片太考验剪辑的功力了,四人游好有爱;日常的诗意
片头写着“a film without actors”,非职业演员半纪实风格,德国默片晚期佳作。初露锋芒的编剧罗伯特·西奥德梅克、埃德加·乌默、比利·怀德及导演弗雷德·金尼曼等人日后辗转至好莱坞,均各自成就了一番辉煌事业。青年才俊聚首于此,真是温暖人心的影坛佳话。
承前启后的影史意义,半记录体市井一角。
“細節”。其實對於電影的定義和概念完全有多個角度去理解,這個截面也相當有意思。
星期天泡妞才是正经事
《星期天的人们》的纪实风格,对社会现实的展现,以及对业余演员的使用,使其不仅成为那个时期一部时代记录文献,而且是德国无声电影末期出现的现实主题电影潮流的一部重要作品,在德国现实主义电影史上占有特殊地位。入选了1995年评出的“最伟大的一百部德国电影”。比利·怀德参与编剧。