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首頁(yè)電影玫瑰圍墻評(píng)分7.4分

玫瑰圍墻

導(dǎo)演:瑪加蕾特·馮·特羅塔 編劇:瑪加蕾特·馮·特羅塔 

主演:卡蒂婭·里曼,瑪麗亞更多

年份:2003 類型:劇情  

地區(qū):德國(guó) 

狀態(tài):高清片長(zhǎng):136分鐘

《玫瑰圍墻》劇情介紹

《玫瑰圍墻》是由瑪加蕾特·馮·特羅塔執(zhí)導(dǎo),瑪加蕾特·馮·特羅塔編劇,卡蒂婭·里曼,瑪麗亞·施拉德,于爾根等明星主演的劇情,電影。

故事發(fā)生在2001年的美國(guó)紐約,露絲(尤塔·蘭佩JuttaLampe飾)剛剛失去了自己摯愛的丈夫本(RomijnConen飾),這令她的精神瀕臨崩潰的邊緣,為了悼念丈夫,露絲決定恪守猶太教傳統(tǒng),將哀悼日延長(zhǎng)到30天,這也就意味著,露絲的女兒漢娜(瑪麗亞·絲奇拉德MariaSchrader飾)將錯(cuò)過(guò)和男友路易斯(費(fèi)德賈·范·胡艾特FedjavanHuêt飾)原定的婚禮日期了,這讓漢娜感到十分的不滿?! h娜前往柏林,在那里,她撿到了母親曾經(jīng)的好友麗娜(卡嘉·瑞曼KatjaRiemann飾),從她的口中,漢娜了解了母親和父親從相知到相愛的艱辛歷程,也終于名為了母親內(nèi)心里的執(zhí)念。

《玫瑰圍墻》別名:羅森斯塔塞街的女人們,玫瑰大街,Rosenstrasse,TheWomenofRosenstrasse,于2003-09-18上映,制片國(guó)家/地區(qū)為德國(guó)。時(shí)長(zhǎng)共136分鐘,語(yǔ)言對(duì)白德語(yǔ),該電影評(píng)分7.4分,評(píng)分人數(shù)735人。

《玫瑰圍墻》演員表

《玫瑰圍墻》評(píng)論

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《玫瑰圍墻》影評(píng)

1有用

哪個(gè)民族的歷史不是一部血淚史

這篇影評(píng)可能有劇透

Margarethe von Trotta employed a set of literature techniques to appeal to the audience. The seven-day event that shaped Ruth’s personalities was shown in a series of flashbacks. The movie started by planting many questions into audience’s mind. Why did Ruth act so weird after her husband’s death? What happened to her? Why did she insist on separating her daughter Hannah and Hannah’s fiancé, Luis, when they appeared to be so much in love with each other? With these questions left unanswered, Trotta then led the audience into a period of Jewish history.

The film tried to achieve a balanced view. It portrays the non-Jewish German women, such as Ruth and Frau, as strong-willed persons that would risk anything to have their husbands saved. However, meanwhile, through Ruth’s expressive eyes, minor gestures and the fact that she tried to seduce one of the top Nazi commanders to release her husband, Trotta showed us the soft side of these women as well. One of my favorite movements was when Frau’s husband, Nathan, was released from Rosenstrasse. The first sentence Nathan said to Frau was, “Sorry to keep you waiting.” It was sweet. But at the same time it was heartrending. They were not the people who were supposed to feel sorry. They were all victims of their time. Also, not all the husbands were saved. The director’s intend was not to glorify the history, but to point out that some kind actions, although very small in scale, was carried out in the darkest period of time. There were husbands who divorced their wives to “get out of trouble”, but there were also wives that would wait tirelessly for their husband to come back. Such understandings of human nature were reasonably justified.

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