雏菊1966

Destruction and Reflection in Objectification: Feminist Allegory in Daisies/ Sedmirkrásky [1] and The Girls/ Flickorna [2]In the male-dominated film industry, it is rare to see films made from the perspective of women. Thornburg complains that traditionally most media have provided limited role models for women and that most films objectify women and define them in terms of their relationship to men.[3] With the onset of second-wave feminism in the early 1960s in the west, more women got involved in the film industry as filmmakers and more films were produced from a feminist point of view. Examples of such films include Daisies and The Girls, which are both directed by and use women as protagonists. These films successfully broke down stereotypical portrayals of women in film and have presented women’s reflection on their condition under patriarchal society. Daisies is directed by Věra Chytilová, a preeminent member of the Czech New Wave film movement. This film can be interpreted in a number of ways and can also be considered as a feminist allegory which reconstructs the doll metaphor as the celebration of the female recalcitrance rather than the apparent condemnation of its heroines.[4] The Girls, which is more recognisable of its director - Mai Zetterling’s political commitment, inserts an ancient Greek comedy - Lysistrata as a feminist allegory to reveal the heroines’ reflection on their own lives. Focusing on the central notion in feminism - objectification, this study will explore the feminist values presented to the viewer in Daisies and The Girls. This will be achieved by carefully comparing and analysing filmic elements and techniques used in both of these films. Before we begin to analyse their respective film works, it is valuable to look at these female filmmakers’ authorship approaches first. Although Chytilová and Zetterling are both from Europe, they came from opposing parts of Europe divided by the so called “Iron Curtain” for much of the 20th century, leading to distinct cultural differences in their work. As one of the most innovative filmmakers in 1960s, Chytilová’s work is characterised by surrealism, grotesque satire and absurdism. She is very creative in her methods through which she utilises avant-garde and experimental techniques to establish her own unique film style. For a brief period the work she produced was critical of communism, due to the de-Stalinization policy of the Czech government in the early 1960s, a short-lived period of artistic freedom in the country. Her early career as a fashion model may also have influenced Daisies. Zetterling is perhaps better known in the west for her acting than for her directing, yet she has created a new image of women in film which has embodied the potential of filmmaking by women[5]. Her filmmaking style is deeply influenced by the Swedish Ingmar Bergman, who has achieved worldwide notoriety as a director. He has directed several films and TV series that focus on women and marriage such as Persona[6] and Scenes from a Marriage/Scener ur ett äktenskap [7] which are in the same vein as The Girls. Some of the actors from The Girls also star in some Bergman’s other films. Therefore, it is necessary to consider the influence of Bergman when analysing The Girls by Zetterling.Differences in film elements and techniques set apart the contrasting styles of Daisies and The Girls. When analysing the respective films’ cinematography, it is apparent that the change of colour in Daisies and The Girls sets essential differences in their film’s tone. The differences are not just confined to the fact that Daisies is cine-colour and The Girls is in black and white. Daisies has manifest colour change from filters change and colour effect. The heavy use of colour effect in this film does not follow any specific rules, setting a tone that resembles a disordered game. Hames remarks that Daisies does not take itself seriously as most experimental films do.[8] This is contrast to The Girls, which follows a clear rule of the change of colour contrast. To some extent, The Girls is a combination of acting, reality, imagination and reminiscence. However, it is notable that only the reality and acting on the timeline are presented in a normal contrast, whereas imagination and flashback are both in high black and white contrast. This indicates a strong tendency of gender opposition. A clear and firm tone has been stated from the manifest colour change.

Fig. 1 The dynamic colour effect of rail in Daisies.

As evidenced by the soundtrack differences in Daisies and The Girls, the feminist allegory is told in a subtle way and a direct way respectively in each film. Much like its visual style, Daisies’ soundtrack is an experimental mixture of dialogue, sound effects and music. The soundtrack is more independent in Daisies, it includes pop music and mechanical sounds such as the tik tok of a clock and creaking sounds. The creative use of contrapuntal sound effectively defines the attributes of the two heroines from the opening scene of Daisies: the movement of the two Maries’ bodies makes a mechanical sound. From the beginning of the film Chytilová has made it clear that two heroines are puppet-like, as evidenced from their stiff and unnatural movements. In contrast, the sound source used in The Girls is diegetic for the most part. The movie uses dialogue directly copied from the play Lysistrata for dramatic effect. The memories and imagination aroused by the theatre that three heroines perform in are juxtaposed with lines from Lysistrata, to show their understanding of the drama and reflection of their real lives. The psychological description of an old couple who Liz has treated like friends is shown as monologues which reveal the status quo of women under the male gaze. Compared to Daisies, the dialogue in The Girls is more revealing in terms of its political overtones. This is in contrast to the dialogue of Daisies, which is far more banal and mundane, therefore its subtext as a feminist allegory is presented in a far more subtle way. Another element that differentiates the style of Daisies and The Girls is the performance style. The performance in Daisies is mostly acted out by the two women, and they are both amateur actors. Their performance style is unique and unnatural, and is in keeping with the style of the film. Their body language and speech are also stilted, and these traits combined with their negative and selfish behaviour are superficially attractive. [9] This performance style helps to establish the image of the girls as being doll like, Hames argues that they ‘act out a puppet-like spectacle.’[10] In The Girls, the acting performances are more natural and professional. The characters’ behaviour noticeably diverges under different conditions. In the real world and in memory sequences, the heroines are obedient and weak. However in the scenes from the theatre and from their imagination, they are radical and strong. These inconsistencies in their behaviour show their strong desire to have these traits in the real world. For instance, Liz gives three speeches which are after the show, in the real world in front of the journalists and in her imagination. Her confidence level varies in each of her speeches, at the start of her after-show speech she is reasonably self-assured, but in her real world speech she is irresolute, lastly in her imagination she is fearless and intrepid, reflecting her ‘desire for power’.[11]

Fig.2 Liz’s three speeches in The Girls: after the play, in front of the journalists and in her fantasy.

To some extent, Daisies is about the consequences of poor decision making whereas The Girls is a reflection on the feminist allegory. Daisies and The Girls both criticise consumerism with food but in differing ways. In The Girls, Gunila has an unpleasant flashback where she goes shopping and buys a cake. She is treated disrespectfully by a male clerk in shop and then children start to chase her, leaving her feeling helpless. She drops the cake she bought and runs away. Gunila does not push back against the clerk’s behaviour and fears the kids even as a mother of four children herself. In Daisies, the two girls eat, cut and spoil food, and burn things with joy. There behaviours show the girls’ liberation from consumerism using hyperbolic imagery. Lim describes them as being ‘awaken to revolt’[12]against the worn out cliche that women are powerless and flimsy.The relationship between the heroines and men in these two films are portrayed using different techniques. In Daisies, the two Maries belong to no-one, and they enjoy the game of manipulating men because of their inability to love. In other words, they also belong to everyone. They are portrayed as both consumers and destroyers of food, but in reality they represent the typical woman who has been objectified to the point where they are no different to a product that is consumed in the patriarchal society. Chytilová further highlights this from other details in the film such as when the two Maries soak themselves in the milk bath and when they get into the food elevator. In Daisies, the two Maries use destruction to justify their existence. Nobody cares them so they decide to destroy. The Girls is for the most part about the struggle of three heroines against the men in their lives. They are deeply bothered by the reality that people are indifferent towards them even though they are successful actresses. The girls in Daisies parallel the mistresses of Liz’s husband in her fantasy scene in The Girls. Liz’s husband takes his mistresses out from his case and undresses them on the bed as though they are dolls, whilst persuading Liz to sacrifice her career to support him. Thornburg points out that Liz’s husband wants to objectify Liz in the same manner as his mistresses: to achieve an ‘expansion of his own ego’.[13]Clouzot states that the dominant trait of Daisies is its objective vision[14], which explains why Chytilová and Zetterling present the two Maries and the mistresses of Liz’s husband in a similar manner.

Fig. 3 Analogous characters in The Girls and Daisies: The mistresses of Liz’s husband and the two Maries are all like dolls.

The difference can also be seen from different character settings. In The Girls, the heroines’ conflict with the men in their lives is partly due to their successful jobs. However, in Daisies, the two girls never work but exist under an ‘economical parasitism’ [15]. The three heroines in The Girls are middle-class white women who can be related to by the audience from their different conditions: Mariamne is a mistress, Liz has a cheating husband and Gunila is a mother who has a boring and irresponsible husband. In Daisies, the young and beautiful Maries are an extreme representation of every woman who has been objectified in their life. Daisies and The Girls both operate within a double world structure but it presented to the viewer in different ways. The two worlds in Daisies, which are the realistic orderly world and the world of the two Maries’ abnormal behaviours, exist independently. The majority of Daisies is dominated by the second world. There are several parts of the film in which the two Maries encounter the real world. For example, in the nightclub scene, a female dancer becomes frozen with surprise upon viewing the two Maries’ farcical behaviour. One can assume that her reaction shows how she has become enlightened by the two Maries’ defiance against docility. In the countryside scene, the two Maries are passed by a group of workers who totally ignore them, which sparks Maries’ self-criticism about their decision to engage in this behaviour. Moreover, the dual protagonists are symbolic of the double world. The repeated use of symmetrical composition from the beginning correlates with the concept of double world. Daisies starts with the dual protagonists sitting on the ground and ends with them lying on the table after their punishment. Their rebellion is destined to fail because they are still stuck in the cage of patriarchal society. At the end of the film, their behaviour reverts to that of the stereotypical female, happy to be subservient in society. Their destruction can be interpreted as Chytilová’s criticism on objectifying women.

Fig. 4 The double world in Daisies: the female dancer is closely awakened by the two Maries’ unruly behaviour which shows an intrusion of th

In The Girls, the double world becomes mixed up together as the three heroines’ theatre acting, real life and fantasy combine. The nightclub scene in The Girls is a fantasy in which Liz leads the women to use their initiative to put themselves under the male gaze by taking off their clothes in front of male onlookers. Only in the imaginary scenes do the women rebel bravely, which is similar to the behaviour of the girls in Daisies. Apart from this, the heroines are passive and oppressed in the real world. Their fantasies are more like daydreams, compared to the practical revolt that occurs in Daisies. The Girls ends in an ambiguous manner. Liz’s decision to get divorced is not shown explicitly but is replaced by the imagery of distorted figures dancing in the mirror, which may indicate an acknowledgement by Zitterling that the challenges faced by women in the real world are still difficult to conquer. As Zitterling admits that ‘a woman is emotionally formed by men and never quite breaks free from them, even if she would like to.’[16]

Fig. 5 The colour contrast change in the last scene of The Girls when Liz declares she is getting a divorce, which calls into question wheth

Thanks to the efforts of generations of feminists, women have made great progress in the pursuit of gender equality in the west. However, today’s world is still dominated by men, and women in developing countries are still facing similar problems to what were experienced by women in the developed world in the 1960s. Winkler describes the three main actresses in The Girls as having a real ‘sense of frustration with balancing or combining work and family’ in 1995[17]. Women in the movie industry are still facing these same problems today. Chytilová has become renowned for her talent, skills and unique style. However, Zetterling cannot avoid being overshadowed by the more acclaimed Bergman as a director. Therefore, films like Daisies and The Girls are still hugely relevant as feminist allegories, not only because they show how women have awakened to reflect on their condition, but also to act as a benchmark when it comes to the representation of women in film today. Daisies and The Girls both have distinctive styles in presenting colours, sound and performance on screen. Chytilová tells the story of how women can be destroyed by objectification through an experimental comedy. Zetterling contrasts the reality and the political appeal of women who have become inspired by the play Lysistrata. They both reflect on the manner in which women have become objectified and go on to explore the real world demands of women. Although the five heroines in two films all fail in practicing, the double world in Daisies already interacts with each other and the three actresses in The Girls are awaken on the ideological level. These proclaimed feminist films will always inspire people to reflect and behave just as the female filmmakers had wished. Winkler highlights that Liz’s speech after her performance likely serves as Zetterling’s own views in regard to her film[18]. These films shot from the woman’s perspective in 1960s deserve more notoriety as they are invaluable in showing the potential of women as independent human beings. As Winkler argues that ‘in spite of Bergman’s influence, The Girls is Zetterling’s own.’[19]

Filmography

Bergman, Ingmar, Persona, 1966. Film. Swe: AB Svensk Filmindustri

Bergman, Ingmar, Scene from a Marriage/ Scener ur ett äktenskap, 1973. TV series. Swe: Sveriges Radio

Chytilová, Věra, Daisies/Sedmirkrásky. 1966. Film.

Zetterling, Mai. The Girls/Flickorna. 1968. Film. Swe: Sandrew Film & Teater

Bibliography

Anděl, Jaroslav, Alexandr Hackenschmied (Prague: Torst, 2000)Clouzot, Claire, ‘Daisies by Věra Chytilová’ Film Quartly, Vol.21, No.3, 1968, pp. 35-37.

Hames, Peter, Czech and Slovak Cinema: Theme and Tradition (Traditions in World Cinema) (Edinburgh University Press, 2010)

Lim, Bliss Cua, ‘Dolls in Fragments: Daisies as Feminist Allegory’ Camera Obscura, Vol.16, No.2, 2001, pp. 1-77.

Sloan, Jane, ‘Making the Scene Together: Mai Zetterling’s Flikorna/The Girls(1968) and Aristophanes’s Lysistrata’, Quarterly Review of Film and Video, Vol.25, No.2, 2008, pp. 97-106

Thornburg, Linda, ‘Mai Zetterling: The Creation of a New Mythology’ Journal of the University Film Association, Vol. 26, No. 1/2, 1974, pp. 13-15.

Winkler, Martin M, Classical Literature on Screen: Affinities of Imagination (Cambridge Press, 2017)

[1] Chytilová, Věra, Daisies/Sedmirkrásky. 1966. Film. [2] Zetterling, Mai. The Girls/Flickorna. 1968. Film. Swe: Sandrew Film & Teater [3] Thornburg, Linda, ‘Mai Zetterling: The Creation of a New Mythology’ Journal of the University Film Association, Vol. 26, No. 1/2, 1974, p. 13. [4] Lim, Bliss Cua, ‘Dolls in Fragments: Daisies as Feminist Allegory’ Camera Obscura, Vol.16, No.2, 2001, p. 38. [5] Thornburg, ‘Mai Zetterling: The Creation of a New Mythology’, p. 13. [6] Bergman, Ingmar, Persona, 1966. Film. Swe: AB Svensk Filmindustri [7] Bergman, Ingmar, Scene from a Marriage/ Scener ur ett äktenskap, 1973. TV series. Swe: Sveriges Radio [8] Hames, Peter, Czech and Slovak Cinema: Theme and Tradition (Traditions in World Cinema) (Edinburgh University Press, 2010), p. 152. [9] Anděl, Jaroslav, Alexandr Hackenschmied (Prague: Torst, 2000), p. 8. [10] Hames, Czech and Slovak Cinema: Theme and Tradition (Traditions in World Cinema), p. 154. [11] Sloan, Jane, ‘Making the Scene Together: Mai Zetterling’s Flikorna/The Girls(1968) and Aristophanes’s Lysistrata’, Quarterly Review of Film and Video, 25:2, 2008, p. 102. [12] Lim, Bliss Cua, ‘Dolls in Fragments: Daisies as Feminist Allegory’, p. 60. [13] Thornburg, ‘Mai Zetterling: The Creation of a New Mythology’, p. 15. [14] Clouzot, Claire, ‘Daisies by Věra Chytilová’ Film Quartly, Vol.21, No.3, 1968, p. 35. [15] Lim, Bliss Cua, ‘Dolls in Fragments: Daisies as Feminist Allegory’, p. 57. [16] Thornburg, quoted in Rosen, Marjorie, ‘Women, Their films and Their Festival’ Saturday Review (ed) ‘Mai Zetterling: The Creation of a New Mythology’, p. 15. [17] Winkler, Martin M, Classical Literature on Screen:Affinities of Imagination ( Cambridge Press, 2017), p.149. [18] Ibid. p.144. [19] Ibid. p.148.

#二刷 #01032023 #BFI #Sight and Sound Greatest Films of All Time 2022 长评 - 女人的内心世界。 距离一刷已经过了一年，与最近看的《赛琳和朱莉出航记》和同场的《午后的迷惘》对应着看效果是非常不错，还是坚持两个女孩是一个女人的两个意识体。开场与结尾的更多的是对于男性引发战争的批判，这次改变食物是欲望的表达的想法，感觉不光是欲望，更像是一种权力的表达，不论是戏耍老男人，暴饮暴食，还有最后的破坏，像是在展现身体权力一样，于此对照的则是男性创造的战争，剥夺他人的生命。视觉上还是感叹实验性较强的几次展现，剪纸身体，颜色切换，加速五彩多曝的火车，还有绚丽的角色多曝处理都太过惊人。也是头几天跟友邻线下聊起才得知里维特承认他的《赛琳和朱莉出航记》受到了《雏菊》的影响。

#一刷 #10032022 #BFIPlayer 女性主义超现实题材，摒弃了叙事的连贯性，重点放在视听上。开场就是共产主义齿轮、战斗机射击、爆炸等超现实画面剪辑，配乐则带有强烈的军事行动感。影片的几次转场都非常的有创意，黑白和彩色影像转场，利用机位的动作转场。还有几场非常先锋的声音视觉化表达，钢琴课上那伴随着钢琴曲音符的快速剪辑、电话铃和门铃响起的数字号码快速剪辑和剪刀那部分的画面碎片化处理可真强。片中桃子、苹果、香蕉都是带有强烈象征的水果。

我认为黑白少女似乎象征着一个女人的两个意识体。生活区域内的彩色画面更像是独自一人时女性的一种放松的状态（当向窗外扔桃核时响起了阅兵感觉的音乐，父权的外部环境？）。而黑白化妆间更像是意识输出前（包装）的缓冲地点。两种意识在后期着装出现了改变，从纯黑白变成了白底黑斑和黑底白斑。再在亲吻男子后，斑点瞬间变大，也是两个意识体有方向变化的一种表现。后期又回归纯“黑白”（我此时陷入了一种模糊的状态），但最后当玻璃杯被碰碎，画面“褪去”黑白变成彩色，并伴随着大量抽帧画面，展现现实二女的衣服颜色却是水泥色和深红色（完整意义的转变），像胜利者宣言般的配乐响起，二人开始一场饕餮盛宴（这一幕让我仿佛穿越到了《发条橙》的三人行的那段儿，配乐可以对照罗西尼的《威廉退尔序曲》，食物可对照Alex，果真是食色性也。这么一看，这段儿也能解读成一个女性在自慰）。当然…结尾被报纸包裹的二人，就比较明显了。感觉电影更像是讲述一个被"压抑"的女人的内心世界。

《雏菊》Daisies，1966. 捷克斯洛伐克

导演：维拉·希蒂洛娃（Věra Chytilová，1929-2014，捷克电影导演）

现在，是时候来深入研究捷克斯洛伐克新浪潮（Czechoslovak New Wave）电影中的瑰宝了，这些先锋艺术与杨·涅梅茨（Jan Němec，1936-2016）、杨·史云梅耶（Jan Švankmager，1934）等本土导演紧密的联系在一起。在20世纪60年代捷克斯洛伐克短暂的政治解冻期间，许多流媒体平台都有专门针对这一运动的主题放映。这些电影体现了著名的布拉格电影学院（FAMU）的创新前卫精神。有一则不确信的轶事称，奥森·威尔斯（Orson Welles，1915-85，美国电影导演）曾说过，除了FAMU，没人能够教授导演专业。

没有哪部电影能像维拉·希蒂洛娃的电影万花筒一样，体现出这场运动大胆的实验精神，它通常是通过肢体行为来上演。两名年轻女子假扮成顺从的女学生，引诱男人带她们出去吃饭。随着她们随后的无政府主义式的滑稽表演、过度的暴饮暴食和破坏派对的行为，她们把社会上对于女性的狭隘观念建构称为一场闹剧。看这部电影，不仅要看两位主演（出自非专业演员）的出色表演，还要看埃斯特尔·克伦巴赫乔娃（Ester Krumbachová，1923-96，捷克编剧和服装设计师）的奇装异服和雅罗斯拉夫·库切拉（Jaroslav Kucera，1929-91，捷克电影摄影师）的创新摄影，包括跳跃剪辑、突然变化的色彩，以及对于实验动画的插入。

也许这是“新浪潮”中最无政府主义的一幕，维拉·希蒂洛娃的荒诞主义闹剧讲述了两个鲁莽的年轻女人的不幸遭遇。她们认为这个世界是被“宠坏了”的，于是开始了一系列的恶作剧，其中没有任何东西、食物、衣服、男人和战争受到重视。《雏菊绽放》是一部具有政治美学和冒险精神的电影，被广泛认为是女性主义电影的伟大作品之一。

《雏菊》（1966）剧照。

“我想成为拥有蛋糕最多的女孩。”——考特尼.洛夫 “人只有从思想中获得快感，才算成为真正的人。”——维拉·希蒂洛娃

三十年前，美国另类摇滚歌手考特尼·洛夫（Courtney Love，1964）的音乐将女性的最高欲望与抛掷头饰时的狂怒融合在一起；而在更早先的时候，维拉·希蒂洛娃（Věra Chytilová，1929-2014，捷克新浪潮导演）的《雏菊》（Daisies，1966）便已在银幕上塞满了极尽丰盈的糕点、馅饼和奶油泡芙—— 所有的食物都被她电影中的女主人公们疯狂地吞噬，一口接一口地撕咬。两个喜欢穿着相配的小猫高跟鞋将乏味生活变得混乱的年轻姑娘，一位名叫玛丽的金发女子头戴花冠，另一位黑发女子也叫玛丽（两个主角都叫玛丽，分别由伊特卡·采尔霍娃和伊万娜·卡尔班诺娃饰演）。女孩们在电影中面无表情地诉说：“这个世界上的一切都在变糟，”从故事的进程上展望，她们将会面临许多糟糕的事情，这意味着她们需要寻找到尽可能多的方式来放纵自我。

这位捷克电影人的处女作作为新浪潮（New Wave）的杰作以及极具女性魅力的感官盛宴，同时，也是一部罕见的既包含政治寓意又拥有戏谑感的女权主义电影。黑发女子在热气腾腾的牛奶浴中对金发女子说：“你没有在这里登记，不用工作，没有证据能证明你的存在。”在某种程度上，《雏菊》试图证明了她们具有某种力量，她们少女般的滑稽动作是可以破坏官僚主义和父权秩序的。

《雏菊》（1966）剧照。

开场的黑白字幕为影片奠定了基调，尽情地使用了库里肖夫效应（Kuleshov effect，指苏联导演库里肖夫发现的关于蒙太奇的一种理论 —— 由此看到了蒙太奇构成的可能性、合理性和心理基础，他认为造成电影情绪反应的并不是单个镜头的内容，而是几个画面之间的并列）来彰显出一种男性主义的基调和严肃感。屏幕上旋转的铁齿轮切换到了空中轰炸的纪录片镜头；与这种带有节奏感的军国主义风格截然不同的是，下一个场景便是片名“雏菊”，以及两个女孩如玩偶般地坐在野餐毯子上，她们倚靠在木栅栏上。女孩们穿着无肩带的比基尼，双腿伸直成僵硬的V字形，眼睛睁得大大的，仿佛在暗示电影即将上映。“我连这个都做不到，”扎着辫子的玛丽哀叹道，她吹响号角，让她的伙伴和观者都能有所注意。过了片刻她又说：“我们无能为力，”这句话也是贯穿全片的另一种重复，其强化了她们对自我缺乏能动性的虚无主义意识。

《雏菊》（1966）剧照。

尽管《雏菊》在整体观感上总是故意呈现出一副泰然自若的姿态，但两位女主角们非常乐于将礼仪及传统的女性美德从“神圣的货架上敲打”下来。“你在做什么？”当其中一位双膝并拢时，另一位玛丽问道。“我是一个处女，我看起来像个处女吧，不是吗？”她回答说。此刻，两人面对面，背景中响起了鼓声，当一个人拍打着另一个人，画面逐渐从黑白变成了花丛中的彩色场景。

《雏菊》的镜头不断地在田园风光、城市通道和公共公寓的装饰内饰之间来回穿梭，陶醉其中的恶作剧者们尽情狂欢，把布拉格及其周边的乡村变成了一个荒诞的游乐场—— 一路上哄骗无知的老男人来买单。在一个场景中看似毫无歉意地懒散，在下一个场景中却转变成了四处游荡的活力：玛丽们在玉米地、火车隧道和码头上游逛，把Punch和Judy夜总会的摊位变成了属于她们自己的裸露狂剧场。

《雏菊》（1966）剧照。

食物，才是女孩们的最终目标，而男性的认可或关于异性恋的前景则对她们毫无诱惑，她们有时会公然嘲讽男性的性魅力。影片进行到一半时，当一个坠入爱河的年轻男子在电话里喃喃低语着情话时，玛丽们正大口大口地吃着香肠，叉着腌黄瓜，并把香蕉从皮上扯下来直接塞进嘴里。随着歌剧音乐在背景中响起，她们热情地切割、吞咽象征性的食物，仿佛正在蚕食着电话另一头的男人。“现在我知道什么是爱了……”男子谄媚地说，而坐在一旁他所谓的爱人却回答道，“还要再来一块肉吗？“，并用叉子戳了戳她女性朋友的肚子。

《雏菊》摒弃了线性叙事和社会现实主义，颠覆了苏联时代电影制作的陈旧观念，就像它轻率地颠覆了一部关于傻笑少女的电影是不可能具有严肃性的观念一样。不管希蒂洛娃声称《雏菊》是一部“道德寓言”，这部电影在今天之所以还能如此引人入胜的部分原因是，它的无政府主义女士们几乎都侥幸逃脱了一切惩罚。“让我们准备一场宴会吧！”一个人对着另一个人再次说道，在影片的最高潮之时，她们偶然发现了酒店宴会厅里的奢华筵席。这也许是电影史上最精彩的一场食物大战，直到戏剧的结尾，没有一盏吊灯、窗帘或桌布能够幸免。“这有关系吗？”其中一人举起一只破碎的杯子问向另一个。“不，没关系，”对方一如既往地回答道。

她们将自己在表演上的乏味与在公共和私人领域中的缺乏实质内容等同起来，玛丽们把妇女和女孩曾经扮演的那些微不足道的角色用欣喜若狂的方式展现出来（从某种程度上说，这仍然是有限的展示）。她们在最后一幕肩并肩地宣布：“我们真的很开心！” 《雏菊》对过度放纵和不守规则的享乐进行了无尽的歌颂，人们铭记住它的原因与其说是这部电影曾经受到过捷克政府的严厉审查，倒不如说是它预见了当今女权主义话语中超女性化的声音。

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始終覺得一部大師級的電影少不了各種看不懂，於是你就做功課，直到你恍然大悟。當然有人要個人主義，愛誰誰去，我都不懂了還看看看且不是自虐！但是不同的是，一部沒B裝B的電影和有B可裝的電影是不一樣的，所謂大師，就是有B了。既然有了B，咱就謙虛一點好了^_^ 今天看的是捷克的新浪潮幹將齊蒂諾娃之《雛菊》，講述的是兩個空虛放縱的年輕女子和她們怪異舉止的片段式的、令人眼花繚亂的的超現實主義描寫。73分鐘的先鋒實驗片，開啟了捷克新浪潮的大門，但是影片完成后據說因為“浪費食物”的緣由被社會主義當局禁映直到第二年解禁并在世界範圍內獲得好評。 電影是沒有常識思維的，一堆亂七八糟的炫麗圖片，沒有劇情，穿著除了領口哪兒都一樣衣服的兩個吃貨，各種驚世駭俗。哪怕是拿到四十多年后的今天來看，依舊不失其先鋒性。 我看到了波普。色彩，底片被染上多種顏色，隨意的剪切拼圖。藍裙子倚著綠大門或者綠裙子倚上藍大門。蝴蝶三點比基尼，自創抹胸，廢棄的鋼絲卷放到頭上就是一頂帽子，鏽跡斑斑的鐵絲網穿到了身上，還有舊報紙做成的衣服。那時候andy·warhol的《瑪麗蓮·夢露》還沒出世呢。 還有女權。男人在電話里傾訴衷腸，門外敲門說愛，兩個女傻丫卻在房間里剪香腸、雞蛋、香蕉吃。車站餐廳里各種各樣瞄準她們下半身的中年男子，卻只落得一個為兩個吃貨買單換來車站一惜別待遇。 蒙太奇。新浪潮也不是只有長盡頭。恰到好處的蒙太奇（當然是你所意想不到的）依然是叫人折服的。神作的火車軌道，伴隨始終的機械動作，各種畫外音，滴滴答滴的時鐘聲。 當然，整個片子，其實是達達。兩隻性感的怪仔妹發表宣言“既然世界已經如此糟糕，我們何不讓它變得更壞”！於是搞破壞、戲弄別人、糟蹋食物、肆無忌憚，笑的卻跟邪惡的小綿羊似地。適時的插入炮彈爆裂，飛機轟炸的場景，一切規矩都打破，所有的存在都要顛覆去？毀滅，被毀滅，荒誕和虛無。怪不得布拉格之春被老大哥鎮壓后，導演被禁拍好幾年電影。 影片結尾，導演說“這部電影先給精神生活完全混亂的人。” 哈，精神上的快樂才是永久快樂的唯一保障。 笑死了。然後，好餓~~