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大约是爱

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  • 傅亨 魏冠男 
  • The issue of War widow rep resentation in  Israeli cinema  is one of the most compl ex for th e local indust ry for it se ems to be unique and  with a ve ry local and  specific ico nography . The war Wid ow is a  difficult char acter to digest. Because this i s an especia lly painful top ic in Is rael, its m ode of repre sentation is almost a lways prob lematic. Gi la Almagor i n Tofano 's &am p;quot;siege& amp;quot; is one of the f irst characte rs of the &amp ;quot;modern& amp;quot; w ar widows to a ppear on Israe li cinem a screens.  The hum an and social c omplexity of t he status of widows was not  represented  adequatel y and perso nally until h er complex and fine appeara nce in th is film.  It was mostl y Preced ed by cl iches of heroic women  who have sacri ficed for the nation wit h characters to  which it was v ery diffic ult to get a ttached , nor to th eir personal grief. &am p;quot;Siege& amp;quot; was directe d by an unknown  Italian d irector of th at perio d. Although Gil berto T ofano was b rought as a professi onal direc tor on t he wings of ins piration m ade by t he French New  Wave of  those years , he m anaged to turn out a v ery exc iting wo rk which has c aught th e Israeli warm th and sense of soci al siege whic h surround s the Israeli  widows, including the  great expe ctation s from them a nd the social  stigmas. To fano wrapped h is leading lad y with lots  of warmth a nd gave a plac e of ho nor to Almagor& amp;#39 ;s impr essive presenc e in the f ilm. Thi s is without a doubt one  of Almago r's be st and most  accura te performa nces. The r estraint in h er performance  plus the sh ooting and  expressi ve use of ang les by Tofa no and his so ft Europea n touch which was far of f from the aggressi ve local pro duct managed t o produce a se nse of documen ting an authent ic trag edy with a tan gible person al touch that  minimized the nat ional dim ension. The result st ands th e test of tim e proudly sever al decades aft er its creati on.

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