月亮上的洞
简介: 详情 ∨
A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.
A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.
Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.
The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
剧情简介
一、《月亮上的洞》讲述的是什么故事？
《月亮上的洞》A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.
A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.
Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.
The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
二、《月亮上的洞》是哪一年上映的？
《月亮上的洞》是Uri,Zohar于1964年拍摄的一部经典剧情片。此片开创以色列当代剧情片的先河，《月亮上的洞》上映时票房稳坐前三，创下当年纪录。当时Arik,Lavie,Shaike,Ophir,Avraham,Heffner均为最佳主角，Arik,Lavie,Shaike,Ophir,Avraham,Heffner以精彩演技和突出形象，奠定在以色列影坛地位。Arik,Lavie,Shaike,Ophir,Avraham,Heffner饰演角色造型多年后仍为人所模仿。Uri,Zohar之前曾被人怀疑其能力，而《月亮上的洞》却奠定Uri,Zohar剧情片风格。《月亮上的洞》首映时曾获海外剧情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1964年代）以色列（以色列）优秀剧情片齐名。
三、被称为剧情片的开先河之作的《月亮上的洞》，是Uri,Zohar最好的作品吗?
从Uri,Zohar斩获剧情片最佳导演我就觉得这部《月亮上的洞》是他最好的剧情片。虽然Uri,Zohar后来还拍出来了评价特别好的剧情片，但是《月亮上的洞》是他剧情片的代表作品。
四、如何评价《月亮上的洞》?
《月亮上的洞》口碑非常好深受广大观众喜爱，《月亮上的洞》一经播放立刻引来无数人点赞，不仅Arik,Lavie,Shaike,Ophir,Avraham,Heffner演的好而且该剧情片故事情节也非常紧凑，优酷影视（hhyy1123.com）观看起来特别流畅同时还能扣人心弦，虽然目前《月亮上的洞》收视率一般但是该片目前受欢迎程度已经名列前茅。该剧情片主演Arik,Lavie,Shaike,Ophir,Avraham,Heffner，她在该剧情片中的演技可圈可点，受到观众认可。
五、《月亮上的洞》剧情片的主要内容
《月亮上的洞》是一部剧情片，由导演：Uri,Zohar执导，主演：Arik,Lavie,Shaike,Ophir,Avraham,Heffner。《月亮上的洞》A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.
A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.
Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.
The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
六、《月亮上的洞》为什么可以成为经典？
提起以色列，人们就肯定会说出《月亮上的洞》的名字。这部由Uri,Zohar导演，Arik,Lavie,Shaike,Ophir,Avraham,Heffner主演的《月亮上的洞》，在当时，真的是成为了一匹黑马，杀出了一条血路，创造了一个奇迹。为何会这么说，我想，就连Uri,Zohar导演和Arik,Lavie,Shaike,Ophir,Avraham,Heffner，都没想到这部剧情片会得到这样好的反响。Uri,Zohar先生曾说过，这是一群失意的人凑到了一起创作出来的一部作品。因为在《月亮上的洞》开拍之前，Arik,Lavie,Shaike,Ophir,Avraham,Heffner已经有几年无戏可拍，而Arik,Lavie,Shaike,Ophir,Avraham,Heffner主演的剧情片，票房始终不理想，这样的几个人凑在了一起，也真是缘分！所以，正是这样的失意感和强烈的自尊心，他们在剧情片中投入的热情，是我们难以想象的，其实《月亮上的洞》中的人物心理历程和感人的剧情，何尝不是现实中他们的真实写照呢？所以，他们怀着一腔心有不甘的英雄气，用他们的实力和人情成就了这部经典剧情片，也成就了他们自己！
