穿制服的女孩

第19届法罗岛电影节第9个放映日为大家带来《穿制服的女孩》，下面请看前线规矩苛责的学校中的女生们试图抗争的评价了！

果树：

影片合格地还原出了一种节制的律动感，与全片的主题不谋而合。

Pincent：

给女孩们的一个个面孔特写！能感到僵死的制度下电影对她们的爱。

Morning：

很美，人美情美，但几次情节的递进脱离不了狗血，略微可惜。摄影很出彩，得益于这个空间，这个楼梯，做出了很艺术化的上下结构。也很会拍人，朦朦胧胧的滤镜，如果这所封闭的学校，她们虽没但不是真实。嬉闹的戏也拍得很有朝气不油腻，我几度想起《萍小姐的主意》。但确实就是在让人感觉好美好的时候就像突然电击一下的刺激一下情节，很扫兴。

一桶猫：

世界上第一部女同电影，核心在于批判，而人物略显扁平。

折射入网：

在自由、爱与强权、纪律中选择哪一个，不言而喻。

Her Majesty：

那个年代同性元素在电影里还没有变成符号性质的东西，所以整部电影的关注点和叙事方式和都与现在的同性片大不相同。

#FIFF19#DAY9的场刊评分将于稍后释出，请大家拭目以待了。

通过很直白的方式体现了寄宿学校中女孩们受到的普鲁士式教育的摧残，因为拍摄的年代很早，黑白画面还有低画质让整个氛围显得有些阴森……严苛的校长认为纪律与饥饿才能让普鲁士重获荣光，作为士兵的子女，寄宿的女孩们不仅不允许拥有自己的零用钱，出行和着装被严格限制，连发出的信件也要受到审核。印象很深的是校长让各位学生排队站好，一排排走过去检查仪容仪表，与其说是“检查”不如说是在“检阅”，当然，学生们并没有因学校的纪律而磨灭自己的个性以及年轻人所有的热情、好奇心、乐观，电影中出现的配角都相当有个性，伊尔莎喜欢收藏当红明星的海报，嘲讽不近人情的校长。伯恩博格老师与校长不同，她坚信仁慈才能感化孩子们，她在睡前亲吻每一个女孩，用包容的心对待她们。我觉得玛奴薇拉爱上老师这件事是必然的，她缺失的母爱在温柔的老师那里得到了弥补，她与老师的血液里同样流淌着的叛逆因子，她们是普鲁士畸形教育的挑战者，玛奴薇拉难以独自挑战强大畸形教育的卫道士，她依然选择用最惨烈的方式（自杀）表达自己的不屈，她的努力唤醒了其他受残害的女孩，虽然这场对决实力悬殊，但最终她们获得了胜利。玛奴薇拉和伯恩博格老师之间的感情圣洁如白百合

两个女生。在同样的年纪。共同出演了一部伟大的电影。

一位是十几岁青春的学生。赫塔提勒。很好的演绎了少女的心思和纯真。比现在的玛丽苏不知强多少倍。

一位是成熟稳重的老师。多萝西维克。把这位老师演绎的非常有魅力。因为本身的气质就很美好

那一天从楼梯拐角。相遇的那一刻。就已经注定了。会有很多的事物围绕着两人发展。四目相对时。虽然是老师的权威和学生的青涩碰撞在一起。有些尴尬和害怕。

《但更多的是藏不住的温暖与美好。然后一点一滴汇聚成包含了那一整个时代的美》

毫不夸张的说。是跨时代的意义。那个时候的爱真的很美好。如果不是战争。她们也许会有更好的发展。也不至于找不到其他电影

《跑题了。但战争岂是某些人可以避免的？更不会因为某些人而停止。只在正义真正到来之时。才会停息》

回到角色上来。玛努薇拉对冯.博恩伯格夫人。给我的感觉。是一种依恋。是一种崇拜。也包含着爱。的单纯情感。因为本身年龄就只有十几岁。

《母亲的早逝。使她幼小的心。受到了伤害。渴望得到关怀。但又有些敏感与怯懦。》

而冯.博恩伯格夫人。正是这样一位温柔的女性。虽然有时候也带着严肃。在学生犯错误的时候，但更多是温柔的一面

冯.博恩伯格夫人。对玛努微拉区别于其他人的关怀。并不是没有同等对待学生。而是出于自己心的喜爱。《就像喜欢一个人。但不会是喜欢所有人一样》

从那个吻可以看出。从老师的眼神也可以看出。对马努微拉是和其他学生明显不同的。甚至包括内心活动

可以说老师爱的是，这个女孩儿。而不因任何的身份。这样就很容易理解。但当时那个时代背景。年龄的限制。职业的道德。几乎不会有结果。

《所以重点就放在了批判教育上。太过严厉的教育是应该不在那么沉重和刻板》

没有绝对服从。才是真的遵守。才能有更好的学习环境。

《老师是真的爱玛努微拉。如果有第二部的话，学生长大了。明白了什么是爱情？如果在一起，将会是多么美好啊！》

Double features time! German female filmmaker Leontine Sagan’s MÄDCHEN IN UNIFORM is a vanguard of queer cinema made in 1931, and William Wyler’s THESE THREE, arrived 5 years later, is based on Lilian Hellman’s sapphic play The Children’s Hour, but lesbianism is completely effaced due to the Hays Code, and Wyler would later remake a “veritable” version in 1961 starring Audrey Hepburn, Shirley MacLaine and James Garner.

MÄDCHEN IN UNIFORM is adapted from Christa Winsloe’s play and old hand Carl Froelich is credited as the artistic director to lend a helping hand to Sagan’s first feature. Corralling an all-female cast, the story is exclusively confined in an all-girl boarding school in the dog end of the Weimar Republic.

Governed by a prim and property headmistress (Unda, an exemplary schoolmarm adorned by a pair of pince-nez), the school aims to groom young daughters from military families to be child-bearers of future soldiers, the headmistress exclaims that they should be raised on hunger and discipline. But where there is oppression, there is revolt, not all the girls are toeing the line, especially the vivacious Ilse von Westhagen (Schwanneke), a mischief-maker whose misdeed (smuggling letter to her parents for more money because them girls are always hungry, even in Sundays), doesn’t deteriorate only because the caring intervention of Fraülein von Bernburg (Wieck), the judicious, tender governess who doesn’t see eye to eye with headmistress’ imperious command.

Fraülein von Bernburg is the star teacher that every girl admires and adores, and her goodnight kiss is a ritual of utter bliss. For a 14-year-old Manuela (Thiele), her attachment to Fraülein von Bernburg is more intense, unlike others, their goodnight kiss is on the lips, and she falls in love with her (she can barely speak in front of Fraülein von Bernburg, a fool-proof sign of infatuation), but as an adult, Fraülein von Bernburg knows better not to spoil this fragile bond and overstep the boundary. When Manuela is the worse for drink after a successful school play, she lets slip her secret in a fit of euphoria, and its repercussions are resoundingly pathos-stricken, yet, the film is anything but a misery porn, after flags up its anti-Fascist message, it propitiously brings down the curtains and leaves the denouement in ambiguity rather than anything more concrete. That said, its "love is love" affirmation ought not to be eclipsed by its vehement political opprobrium.

Wieck has a very peculiar presence of mind and impassive mien which suggests charisma, mystery and indissolubility, and Thiele possesses that photogenic and expressive visage of innocuousness, youthfulness and vulnerability, it is very hard to credit they have the same age, both were born in 1908. Kudos to the casting process! Then, speaking of Sagan’s directorial endeavor, it is to her credit that we do not feel constrained in a single location, her camera never feels plodding, her sense of composition is overall felicitous, like the vertiginous shot which foreshadows where a tragedy might occur, or the remarkable close-ups foregrounded in soft focus. Moreover, her female identity also helps to reassure the young female cast and elicit most spontaneous reactions and outburst from them, not to mention the jubilant solidarity. Sagan’s proficiency can contend with those from any member of the other sex, yet she only made three movies in her entire life, which makes MÄDCHEN IN UNIFORM such a puissant hue and cry to redress the inequality in the director’s chair, and individually, it is an endearingly stirring film completed with true grits and pluperfect tact.

THESE THREE, on the other hand, except for being marred for its inborn cop-out, is almost identical with THE CHILDREN’S HOUR (1961), Hellman’s dialogue remains largely intact even if the central Uranian affection is debased to a heteronormative love triangle. Two best-friends-cum-school-teachers, Martha Dobie (Hopkins) and Karen Wright (Oberon), both attract to the wholesomely handsome doctor Joseph Cardin (McCrea), but he takes the shine to Karen, so Martha has to hide her feelings.

But a vicious lie from one of their care, the bratty, self-serving, manipulative Mary Tilford (Granville) will shatter the fabric of their school and relationships, as simple as that. However, poetic justice might arrive belatedly, it is never absent. But by that point, audience might be too despondent and benumbed to toss a care. Most afterthought can be aptly copied from my review of THE CHILDREN’S HOUR (1961), but there are some divergence.

For one thing, Granville’s Oscar-nominated performance of an obnoxious bad seed is so extreme and single-minded (Patty McCormack gives a more superior impression of spill-chilling apathy in Mervyn LeRoy’s THE BAD SEED, 1956), a sense of awe actually transpires when she finally gets a whack in the face, in the hands of none other than the fearsome Margaret Hamilton, how satisfactory it is! And in the realm of prodigious child actors, Marcia Mae Jones’ extraordinary embodiment of the patsy Rosalie Wells is every bit as stupendous if not more. Tellingly, those young girls' copious theatrics may betray the difference whether they are handled by a man or a woman.

While THESE THREE is unexceptionable in its narratology and stock soundstage artificiality, no one should deny Hellman’s script is a fertile land for its actresses, Catherine Doucet’s highfalutin and exceedingly self-serving Auntie Mortar (a role played by Hopkins in the 1961 remake) might be bracketed as one of the most odious characters ever on the screen (with Granville’s Mary hot on her heels), yet her unrepentant carriage and locution is fabulous to gape. As a different kind of irritant, Amelia Tilford, Mary’s doting grandmother, stage thespian Alma Kruger, in her very first screen role, presides over with utter composure and later, registers a dignified pang of guilt and pain that comes to save the day.

Among the three leads, McCrea ekes out just adequate charm to convince us he is a catcher, he has more fun throwing sideswipes at Auntie Mortar than spouting sweet-nothings; and Oberon, right in her prime and is game enough to be chipper but also has that essential demureness as a classic Hollywood diva, almost virtuous to a fault. So, we can only rely on Hopkins to ginger up a semblance of perversion that goes missing in the revamped story, and she is there does what she does best, adding layers and layers of pent-up emotions (both to Joseph and her aunt) even there is nothing happens exteriorly. Why her Martha shouldn’t have a darling of her own? There must be a man for her in Vienna too, perhaps a woman even? In THESE THREE’s gynophobic backwater, Martha is an echt heroine and the film fails her cravenly.

referential entries: Wyler’s THE CHILDREN’S HOUR (1961, 7.3/10); Josef von Sternberg’s THE BLUE ANGEL (1930, 7.4/10).

Title: Mädchen in Uniform

Year: 1931

Country: Germany

Language: German, French, English

Genre: Drama, Romance

Director: Leontine Sagan

Screenwriters: Christa Winsloe, Friedrich Dammann

based on the play by Christa Winsloe

Music: Hanson Milde-Meissner

Cinematography: Reimer Kuntze, Franz Weihmayr

Editing: Oswald Hafenrichter

Cast:

Hertha Thiele

Dorothea Wieck

Emilia Unda

Hedy Krilla

Ellen Schwanneke

Gertrud de Lalsky

Erika Mann

Annemarie von Rochhausen

Else Ehser

Rating: 8.1/10

Title: These Three

Year: 1936

Country: USA

Language: English

Genre: Drama, Romance

Director: William Wyler

Screenwriter: Lillian Hellman

Music: Alfred Newman

Cinematography: Gregg Toland

Editing: Daniel Mandell

Cast:

Miriam Hopkins

Merle Oberon

Joel McCrea

Catherine Doucet

Bonita Granville

Alma Kruger

Marcia Mae Jones

Carmencita Johnson

Walter Brennan

Margaret Hamilton

Rating: 6.7/10