芳心封鎖

   爱坤资源网 提供本片资源  The issue of War widow reresentation in Israeli cinema is one of the most comlex for the local industry for it seems to be unique and with a very local and secific iconograhy. The war Widow is a difficult character to digest. Because this is an esecially ainful toic in Israel, its mode of reresentation is almost always roblematic. Gila Almagor in Tofano#39;s quot;siegequot; is one of the first characters of the quot;modernquot; war widows to aear on Israeli cinema screens. The human and social comlexity of the status of widows was not reresented adequately and ersonally until her comlex and fine aearance in this film. It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their ersonal grief. quot;Siegequot; was directed by an unknown Italian director of that eriod. Although Gilberto Tofano was brought as a rofessional director on the wings of insiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great exectations from them and the social stigmas. Tofano wraed his leading lady with lots of warmth and gave a lace of honor to Almagor#39;s imressive resence in the film. This is without a doubt one of Almagor#39;s best and most accurate erformances. The restraint in her erformance lus the shooting and exressive use of angles by Tofano and his soft Euroean touch which was far off from the aggressive local roduct managed to roduce a sense of documenting an authentic tragedy with a tangible ersonal touch that minimized the national dimension. The result stands the test of time roudly several decades after its creation.