If you've seen other films by Jacques Rivette, you might wonder, just as I do, what this Victorian novel adaptation was all about. If you've seen other films by this unique director - especially "Celine and Julie go boating" or newer ones like "Secret Defense" and "Histoire de Marie et Julien" - this mid-eighties try just doesn't fit.

Take the 1974 masterpiece "Celine and Julie" for comparison. In it, two very open-minded young women (both practitioners of different kinds of "magic") get tangled in a mysterious old-fashioned love triangle story, taking place in a archetypal haunted (Victorian) house. When they figure out that the 10-year old daughter of the house-owner is going to get murdered out of love madness, they decide to sneak into the house and rescue her.

The thing is, you know from the beginning that the pathetic melodrama in the haunted house is not real in the sense that Celine and Julie are. It's rather they invented the whole story just to kill time & have some fun with out-dated storytelling. It's essentially a illustration of what is called "deconstruction". The melodrama just serves as something that can be manipulated or even laughed at. Rivette (respectively, Celine and Julie) play very freely with a kind of narrative that doesn't seem to work anymore.

Unfortunately, "Hurlevent" has just the feeling of the haunted house sequences of the earlier movie - and that means, the characters are not likable, seem like marionettes, bloodless, dull. It completely lacks the light-hearted (though very intellectual) sophistication that made "Celine and Julie" so enjoyable. Maybe Rivette wanted it just like that. Even if this is so, it doesn't make sense for me.

第二篇：呼啸山庄影评

呼啸山庄影评

作者 电影评论 来源 52影评网 浏览 73 发布时间 12/03/02

山庄冷冽是因为缺乏爱？四周，苍冷阴黑。

凯瑟琳邀请被爸爸领养回家的希斯克里夫共乘马，兜在山野间。她飘飞的长发拂颈，他坐在她身后，随风，以嗅觉感受……

在潮湿的树林里，她为他背上被鞭笞的血痕吸吮伤口，他感受着……。年龄相仿的孩子，早已种下不同于一般的感情。

第一次他离开她，是自尊心、是偷听到她对女管家说：“若不是哥哥贬低希斯克里夫，我不会答应别人求婚。若与希斯克里夫在一起，是贬低我自己。他永远不会知道我爱他，我不是因为他长得好看，而是他比我了解我自己。”

多年后，他穿着体面，也显然多金。乍见她时，阳光在她身后的发颈间闪着光晕。凯瑟琳已是生活富裕的少妇，他没立即看出她已有身孕。他俩知道任何光线、天候都无法掩藏住彼此的情感呼唤。但她无法与他远走天涯。他索幸情挑早已喜欢他的女孩，那女孩是凯瑟琳先生的妹妹。

第二次他离开她，她变得神智不清醒。再见面时，她幽怨地死在他怀里。女管家对希斯克里夫说：“希望她在另一个世界安祥醒来。”他愤恨着对女管家回应：“希望她从痛苦中醒来。”却是独自在大树下对天地怒恐：“别丢下我在没有你的世界。”

潜入置放凯瑟琳遗体的房间，悲恸地抚抱住她，尝试以她的手勾住自己的颈子，不断地哭泣，与死亡与苦痛结合下，进入她的尸身。

也从凯瑟琳暴虐失意的哥哥手中，取得合法的山庄产权。始终没人知道他消失的这几年去了哪里、他像个王子般返回山庄、识字、懂得看财务表。他的生存是为了报复、为了爱；

为了她、却又失去她。

女导演安德莉阿诺德的前作《红路》、《发现心节奏》都是以女性的角色看内心的痛苦。取镜以喻示法突出角色的困境。《呼啸山庄》多次被改编为影视作品，在安德莉阿诺德的改拍中，希斯克里夫变成黑人，受尽凌虐、歧视，感觉上，她不再表述这部经典小说，而是以镜头里的树、树叶、昆虫、光影代述主角的内心状态。跳接的时光事件，不是作为剧情的连贯，而是闪现人物存于脑存于心的某段回忆。是需要耐心、静心看待的作品。

当他伤心欲绝的哭喊：“别丢下我在没有妳的世界。”改变不了事实、改变不了他强烈的复仇心。即使他“成功”了，仍被太太哭着讥讽他：“你怎么不去像只狗一样，趴在她坟墓上。如果不是你，她不会死。”

这句话似是轮回的宿命，山庄随着终年呼啸的风，吶喊着命?运。