电影欣赏

演员表

Flavio Bucci .... Total
Luigi Antonio Guerra ....
Julien Guiomar .... Bank director
Jacques Herlin .... Bank employee
Daria Nicolodi .... Anita
Orazio Orlando .... Pirelli
Cecilia Polizzi .... Mafalda
Ada Pometti ....
Gigi Proietti .... Paco
Salvo Randone .... Total's father
Mario Scaccia .... Albertone
乌戈·托格内吉 Ugo Tognazzi .... The Butcher

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获奖情况

电影别名 Also Known As (AKA)

剧情简介

A young bank worker Total (Flavio Bucci) witnesses a robbery, in which one of the thieves gets caught and beaten by an avaricious, rich butcher (Ugo Tognazzi). He can't come to terms with the fact that in spite of being always a righteous man, he has never managed to gather as much money as all other people including the above-mentioned man. He vows to prosecute him and drive him insane by stealing everything that belongs to him, along with his lover Anita (Daria Nicolodi).

In this third part of "the neurosis' trilogy", Petri tackles inequality in society, the issue of property and last but not least money itself. None of Petri's movies is straightforward and this one is no exception. While among Petri's works are more and less demanding ones, this one must be together with A Quiet Place In The Country (1968) and Todo Modo (1976) his weirdest creation. Therefore, there is nothing strange about the fact that the film wasn't acclaimed in its premiere. It's a bold, remarkably modern satire which is bound to leave you confused and make you think about it long after it's over. Apart from his usual collaboration with A-grade cinematographer Luigi Kuveiller (Argento's Deep Red, 1975), the director utilizes a really grotesque plot and a perfect illustration of this is our protagonist who is allergic to… money. In addition to this, there is a frequent use of stagey scenes, therefore the ensemble looks everything but ordinary. A soundtrack is composed by Ennio Morricone. It is very "avant-garde" and owing to some creepy whispers included (Io ho – I have, tu hai - you have, egli ha – he has, essi hanno – they have) already comments the events that are occurring on the screen.

The cast isn't too bad, unfortunately Flavio Bucci, who is surely a good actor, appears to be a bit inexperienced in comparison to Volonte for example, thus the film lacks a strong leading actor. Daria Nicolodi and Ugo Tognazzi give strong performances. One can spot Salvo Randone as well, who as always plays his role very well.

With this flick, Petri shows that human takes part in the rat race in order to become more powerful, socially accepted and approved, irrespective of all hidden necessary, immoral ways. The character of the butcher represents the rich and Petri points out that all those people who want to dominate, are unscrupulous and pitiless, as the poor who often are honest ones will never achieve better life conditions, since either they are limited by religious as well as state laws or on breaching overtly all those moral boundaries they are banished from the society. The only way to render their life acceptable is to obey the rules and submit to opulent people, who are protected on account of their wealth and power. Another interesting aspect of the movie is comparing a bank, which is heart of consumerism, to the church. To make this allusion even more visible, the bank is full of images depicting the Holy Trinity. Also, just like in the "Holy Church", in the rat race, which is called here a "religion of property", there is a certain hierarchy and blasphemies (when the clerk Total sets a banknote on fire, the director is disgusted and almost throws a tantrum).

However, it's more fascinating to analyze it than to behold it, as the plot seems to flow quite slowly, there isn't enough black humor to keep the climax amusing. The script with its full resonance overwhelms the viewer to the extension that one feels a bit tired and the twisted Marxism - Madrakism message appears to be slightly too radical. Nonetheless it does have plenty of splendid ideas, electrifying score of Morricone, erotically-tinged atmosphere, strong direction, and hence this is a good piece of political cinema. Although it isn't as marvelous as his previous films, it certainly encapsulates the political situation of those times in Italy perfectly. (Here)

由于这部电影的情节发展缓慢，缺少足够的黑色幽默以达到高潮，似乎分析这部电影比观看它更有吸引力....不过它确实有很多出色的创意，莫里康内令人兴奋的配乐，情欲色彩的氛围，强劲的导演，它是一部很好的政治电影。虽然它并不像他以前电影那样奇妙，但是它确实完美地概述了那个时代意大利的政治形势 （IMDB)

1950，弗洛姆搬到墨西哥城，在墨西哥国立自治大学出任教授，并在那里的医学院建立精神分析部。另一方面，他从1957年到1961年担任密歇根州立大学心理学教授，又从1962年担任纽约大学文理学院心理学客座教授。1965年弗洛姆退休，然后在1974年搬到瑞士穆拉尔托。1980年，弗在八十岁生日前五天于家中去世。弗洛姆一生坚持临床实践，出版了一系列著作。

弗洛姆于1941年发表他的第一本重大著作《逃避自由》。1947年出版其续集——《为自己的人》。这两本著作概述了弗洛姆的人的本性理论中人的性格理论。弗洛姆最流行的著作是1956年出版的《爱的艺术》，他在这著作中概括并补充了《逃避自由》和《为自己的人》及其他著作中的人性理论。

弗洛姆从小学习《塔木德经》（犹太教的法典），人生观受深远的影响。年轻时跟随犹太教祭司J. Horowitz学习《圣经》，后来在海德堡大学修读社会学博士时跟随祭司Salman Baruch Rabinkow学习 。在法兰克福读书时又跟随过Nehemia Nobel和Ludwig Krause。弗洛姆的祖父及其两个哥哥都是祭司，一个舅公是著名的《塔木德经》学者。可是在1926年，弗洛姆离开正统犹太教，转向以人本主义解释《圣经》的典范.........他讨论了资本主义社会中人们应付孤独感的几种心理机制，他称之为性格的动力倾向性：

接纳倾向性——这种倾向性的人没有生产或提供爱的能力，他所需要的一切完全寻求别人帮助、依赖别人，是接受者而不是给予者。
剥削倾向性——这种倾向性的人，并不期望接受，而是依其暴力、诡计等，从他人处巧取豪夺，以满足自己的欲望。
贮藏倾向性——这种倾向性的人把外部世界视为威胁，通过贮存和占有而获得安全感。
市场倾向性——这种倾向性的人的价值观是在市场上把自己当作商品，使自己具备适合雇主所需之性格特征。
创造倾向性——这种倾向性的人充他发挥其潜能，成为创造者，对社会可以作出创造性的奉献........(请见维基）