嘿朋友，说起《一曲相思未了情》，这片子挺有意思的。最让我绷不住的是后半段李斯特在修道院弹奏旧曲，指尖刚触到琴键就猛地缩回，那一下迟疑，像把半生的遗憾都按进了琴箱里。德克·博加德饰演的李斯特既有艺术家的激情，又有凡人面对抉择的犹豫；卡普西尼的卡洛琳则用眼神和沉默传递出压抑的深情。德克·博加德演李斯特，他把那种天才的孤傲和情感纠葛演得特别自然，没有用力过猛的感觉。与此同时，李斯特的创作也陷入瓶颈——他渴望跳出炫技的桎梏，却找不到通往新风格的入口。它不赶时间，把李斯特的创作与爱情揉成细碎的日常——他弹琴时手指在琴键上颤抖的特写，比任何台词都动人。
In a confused welter of artistic licence, this is the classical music biopic which makes 'Song to Remember'look like a masterpiece. Bogarde succeeds in diminishing the reputation of the musical colossus who spanned European music for most of the 19th Century. The absurdities of the plot, the sequoia-like quality of the acting and the prevalence of historical,musical and linguistic anachronisms combine to elevate this offering to the status of an A1 turkey.How a pianist of the stature of Bolet came to be mixed up in this fiasco can only be guessed at. The characterisation of Liszt fails to convey even a minute impression of his magnetic personality and the overwhelming effect that he had on not only his audiences, but also his pianistic rivals.Clara Schumann herself said that 'we toil over that which Liszt reads at sight!' Whilst the emphasis seems to focus on his romantic prowess,rather than his status as the greatest pianist of the century or,arguably, of all time, one feels,nevertheless, that this was an opportunity lost.相关搜索：
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