簡(jiǎn)介： 50年代-60年代初波蘭電影學(xué)院派的經(jīng)典作品之一，堪稱(chēng)與同時(shí)代意大利導(dǎo)演安東尼奧尼的《奇遇》相比，改編自Józef Hen在社會(huì)主義波蘭時(shí)期被禁的小說(shuō)。 In 1960 his second film NIKT NIE WOLA / NOBODY'S CALLING, based on a Jozef Hen novel that was never published in Poland, described the fate of Poles on the Eastern Front. Kutz used the film to explore new formal solutions, collaborating closely with cinematographer Jerzy Wojcik to reveal the psychological landscape of a pair of lovers who are strongly affected by wartime events. The camera recorded the couple's inner experiences, contrasting their muted intimacy against the surrounding scenery of a ruined town. The film did not win over critics at the time of its release. It was not until later that critics recognized Kutz's effort to experiment with aesthetics in a manner akin to that pursued by filmmakers of the new wave. NOBODY'S CALLING came to be compared with Michelangelo Antonioni's THE ADVENTURE, which was produced around the same time.
50年代-60年代初波蘭電影學(xué)院派的經(jīng)典作品之一，堪稱(chēng)與同時(shí)代意大利導(dǎo)演安東尼奧尼的《奇遇》相比，改編自Józef Hen在社會(huì)主義波蘭時(shí)期被禁的小說(shuō)?！ n 1960 his second film NIKT NIE WOLA / NOBODY'S CALLING, based on a Jozef Hen novel that was never published in Poland, described the fate of Poles on the Eastern Front. Kutz used the film to explore new formal solutions, collaborating closely with cinematographer Jerzy Wojcik to reveal the psychological landscape of a pair of lovers who are strongly affected by wartime events. The camera recorded the couple's inner experiences, contrasting their muted intimacy against the surrounding scenery of a ruined town. The film did not win over critics at the time of its release. It was not until later that critics recognized Kutz's effort to experiment with aesthetics in a manner akin to that pursued by filmmakers of the new wave. NOBODY'S CALLING came to be compared with Michelangelo Antonioni's THE ADVENTURE, which was produced around the same time.展開(kāi)
