The Road
.....(USA) (literal English title)

◎IMDB链接　http://www.imdb.com/title/tt0047528/
◎IMDB评分　8.1/10 14,971 votes

◎字　　幕　简/繁/英文 + 中英双字幕
◎编　　码　x264 + AAC
◎视频码率　840 kbps
◎音频码率　49 + 49 kbps
◎视频尺寸　704 x 480
◎文件大小　730 MB
◎片　　源　The Criterion Collection DVD9

(这里)

In short order Gelsomina's naive and clownish instinct emerges, although Zampanò's methods present her with a callous foil. He trains her to play the snare drum and trumpet, dance a bit, and clown for the audience. Despite her willingness to please, he relies on intimidation and even cruelty at times to maintain his dominion.

Finally, she rebels and leaves, making her way into town. There she watches the act of another street entertainer, Il Matto ("The Fool"), a talented high wire artist and clown (Richard Basehart). When Zampanò finds her there, he forcibly takes her back. They join a ragtag traveling circus, and find Il Matto already working there. For reasons he himself cannot understand, Il Matto maliciously teases the strongman at every opportunity. After getting drenched by a pail of water, Zampanò chases after his tormentor with his knife drawn; both men are put in jail.

Il Matto is released first. He shows Gelsomina that there are alternatives to her servitude. Despite this, he talks her out of leaving Zampanò, imparting to her his philosophy that everything and everyone has a purpose, even a pebble, even her. She decides that hers is to take care of her unappreciative master. After Zampanò is freed, she asks if he wants to marry her, but he brushes her off.

Both men are fired from the circus. During the course of his travels, Zampanò comes upon Il Matto, fixing a flat tire on an empty stretch of road. He punches the clown several times and, satisfied with his revenge, starts to leave. Il Matto complains that his watch has been broken, then unexpectedly collapses and dies. Zampanò hides the body and pushes his car off the road.

Zampanò is relieved to get away unseen, but the killing breaks Gelsomina's spirit. After ten days, she is still unable to deal with her grief. When he cannot bear it any longer, he abandons her while she is taking a nap.

Four or five years later, he is drawn to a woman singing a tune Gelsomina often played. He learns that the woman's father had found Gelsomina on the beach and kindly taken her in. However, she wasted away and died. Zampanò gets drunk and wanders to the beach, where he breaks down and cries uncontrollably. (See wiki)

弱智姑娘杰尔索米娜被母亲卖给了流浪艺人藏巴诺，开始了卖艺生涯。生性粗暴的藏巴诺缺乏常人的理智与情感，对杰尔索米娜也十分粗暴，两人一路卖艺，厌倦了这种生活的杰尔索米娜一天乘藏巴诺找女人过夜的机会逃走，在路上遇到表演走钢丝的流浪艺人“傻瓜”，这时藏巴诺追至，将杰尔索米娜抓回。杂技团老板看中藏巴诺和“傻瓜”，让他们参加自己的剧团同台演出。表演结束后，“傻瓜”拉起了琴，吸引了杰尔索米娜的注意，她沉浸在琴声中，“傻瓜”却不想惹事，与杰尔索米娜总是保持距离。一日，“傻瓜”想让杰尔索米娜和他合作演出，引来藏巴诺与他斗殴，结果藏巴诺被关进监狱，“傻瓜”也被辞退，杰尔索米娜想和“傻瓜”一起走，“傻瓜”却让她留下等藏巴诺出狱，但走出监狱大门的藏巴诺看到杰尔索米娜后，却没有任何表情。两人继续流浪演出，杰尔索米达对藏巴诺日久生情，一日，她主动藏巴诺可不可以娶她，藏巴诺却毫不理会。在公路上，藏巴诺偶遇“傻瓜”，两人又打在一起，“傻瓜”被打死，杰尔索米娜再也承受不了打击，她不吃不喝，藏巴诺也不想再带着她上路了，杰尔索米娜主动拿下自己平时睡觉的破布，藏巴诺则将她的旧衣服打成包放在她身边，开车离开。多年后，藏巴诺随着马戏团到了一个小镇，偶然听到杰尔索米娜曾唱过的歌，循声而去，发现是个年轻女人在唱，她告诉藏巴诺，杰尔索米娜到了这个小镇后不久就过世了。夜色中，藏巴诺来到无人的海滩，像一头受伤的野兽一般嚎叫、痛哭……(这里)

The three main characters make an odd and interesting mix of personalities. Anthony Quinn gives plenty of life to Zampano, who is hard to like, but hard not to have compassion for. Fellini's repeated filmings of Zampano's chain act bring out the pitiable side of his character even more so than the dramatic scenes do.

Giulietta Masina gives a rather stylized performance as Gelsomina, at times bearing a surprising resemblance to comics such as Harpo Marx or even Harry Langdon. Yet she is completely engaging and sympathetic, and she creates a memorable character. Richard Basehart likewise manages to make The 'Fool' an idiosyncratic, rather annoying, but again sympathetic character.

Fellini's approach, of course, adds much to the characters and to the story. Some of the vignettes, such as the wedding banquet sequence and the convent sequence, would stand up very well on their own with just a minimum of outside context. The camera is often used in subtle ways to bring out the symbolism or significance of the scene.

Nino Rota's music is also an essential part of making "La Strada" what it is, at times establishing an atmosphere all by itself. (And, while it is completely extraneous to an appreciation of "La Strada", there are moments when it is hard not to be reminded of Rota's score for "The Godfather".) Probably the only real weakness of the movie is the dubbing, which is too noticeable not to become distracting at times.

Finally, the movie is a worthy classic not least because Fellini, his cast, and his crew all work together to turn the lives of some very ordinary human beings into a worthwhile and sympathetic look at humanity.(IMDB)

扮演她的是费里尼的妻子，经常和费里尼合作拍片。在本片中，她将杰尔索米娜这个“天使般的白痴少女”演得超凡脱俗，令无数观众为之一洒同情泪。扮演藏巴诺的安东尼·奎因也是著名演员，表演上很有造诣。

<大路>是五十年代名震世界的一部電影, 不是因為它獲獎無數, 而是因為很多人都被里面的女主角那種坎坷的命運和她純樸的心靈所感動. 導演費里尼用小丑這個第二身份間接讓觀眾提前感受到一種嚴肅性和從心里萌發出的悲憐, 這從電影的海報就可以知道.

劇情:
Gelsomina是個有點弱智的女孩, 母親把她賣給了流浪賣藝者Zampano. Zampano是一個品德差勁, 性格惡劣的男人, 他乃以生存的伎倆就是要自己的胸肌爆開一條鐵鏈. 他強橫把Gelsomina變成自己的妻子, 并且一路上帶著她謀生, 只是, 這個男人對待Gelsomina的態度一直都很差, 他四處嫖妓, 在那些女人面前, 只會說Gelsomina只是他的幫手, 但是在某些需要求助的環境下, 例如別人的婚禮, 修女們的教堂, 他才會做回Gelsomina的丈夫這個身份. 是的, 不管怎樣看, 他都是一個很壞的男人, 只是, Gelsomina愛上他了, 她無怨無悔地跟在這個男人身邊, 而且一直幻想著自己可以得到他的喜愛. 直到Gelsomina的朋友”fool”被Zampano打死之后, 她變瘋了, 這個刺激對于Gelsomina來說實在太大, 因此, Zampano偷偷把Gelsomina留在一個廢墟當中, 離去了. 多年之后, Zampano無意之中聽到有人在哼Gelsomina所喜歡的歌曲時, 他才得知, 當年, 他離開Gelsomina不久, 她就因病去世了. 最后Zampano來到大海放聲痛哭.

费里尼曾称《大路》(LaStrada)是“我的电影的总揽”，认为这部作品具有诗意超现实主义的评论家用超现实主义的手法，罗列了其中的意象，诸如：马，棕发，嫉妒，婚宴，歌声，小丑，圣母像仪式，翅膀，大海，修女，风……当然还有马戏团。它们几乎反复出现在费里尼作品中。

人们对《大路》充满了各式各样的读解。文学家看到了自《奥德赛》以降的“自我追寻”的主题；社会学家看到了现代社会“零沟通”的隐喻；幻想家看到了《美女与野兽》类的永恒而诗意的童话；太太小姐们看到了一个不幸女人悲惨遭遇的通俗剧；当然更多人看到了一宗圣方济涵义的救赎之旅——因此影片上映时受到了教会的赞美与左派的挞伐。而费里尼只是说，《大路》谈的是人的孤寂，以及孤寂感如何在两人紧密结合侯消失不见了，在表面上看最不可能结合的男女，却在灵魂深处发现了这样的关系。

我个人同意一种说法，这部电影之所以能打动各个阶层的人，是因为以上这些读解都相互交织在一起，被画面与音乐输入我们的潜意识中。孩子一样、小丑一样、天使一样的杰索米娜的不幸固然令人悲伤，但是赞巴诺最后扑倒在海滩上哭泣的一幕将这种哀痛推向更高的境界。没有什么比目睹一个粗暴野蛮、只有兽性的人在爱的启示下，终于发现了自己的人性来得更震撼的了。

“当你是个孩子，二十四小时就像整个人生”：无因的反叛，1955