德拉/[克的回归

剧情简介

　　与Stefan Uher和Elo Havatta一样，Ed=#uard )G.$ $recner也是60年代_]_(斯洛伐克新浪潮电影的缔造者之^一。他的, 三部影片《一),(周七天》（1964）《^/%尼绒月亮》]\
（1965）和这/=部《!@徳拉]_克的回归》都是斯).洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显_ 意识流风格的黑白影片甚至间接 [影响到;;*:$了后来法国导演格里耶在][[捷克拍摄的两部影片《说谎的$ 人》和《E den +%and Afte/,r》。　 !　A s^.$pe\ cial pl;?ace in the development *of fe*ature film[ -s is r[e]se;[=?r\,ved for Edu]ard Grecner, the creator of jus@%.t
 on%#!e g+
ood /
f/i:;lm, ?Dr;ag/on Returns (Drak sa vracia, 196*: )7), titl-ed`- after the nickname of t-he lead c;(^haracter. After his initial work]! (/_w[;.i(:th U#her, Grecn
er m-!_a#de .)his mark as a p*-roponen,.:t )of the so,*-called &qu--o
)tintellectua -#l +&qu.?ot .film, the an.tithesis o\f the=# s!oci](ologica^
lly, or rathe%r, @socially `%^critical film. Gr]e cner&#)*%^39s\ great role m*_o$del was Alan Re]%snais, a\() yo%u?ng Frenc!=#h fi,lmmaker who sought to introduce Slova.kia to ;the-_) idea! o`f film=!# as a la-)byrinth i@;n which meani n_gs are;*: %,@creat?[.ed no;t by stories, but by co:!(mple
(x co; -^nfigura.:tions of dialogue, sho-_`ts
, and various l^#`ayers of time, : thus
)#differentiatin?_
#g #(film _$f^r=om bo;@`+th literature a#$ nd_ the #)`ater. In Dra!gon Retur]ns―the s]tory of a sol!`it#ary hero :who :+
is nee_+^ded by?() villagers livi(@ng f@#^ar in the mou$ [ntains, #_but who is,) rejec .+ted by#/ _them at th].e same time because of his de*(tachment―Grecner brought t[h)#e ]traditio;]%/n- of $/lyrici_`zed pr,,ose to lif\+e throug[h a wh:ole series of formal a$ .=esthe/tic techniques*-. $]Alai [
n?^. Rob ;_\be-Grillet!$ immediatel %y deve!(#loped!.( this :$idea in th.e\ fi ^lm shot i_n @
,Bratisla va The Man Who Lies (Slovak__: Muz, !)@=kto.;[ry luze F
rench ` title:\:?[ L'hom^?me qui ment %)19:!68), and :p
erfec*#ted it in Eden and After (Ede- -n )a potom, 1970).