第一电影网每日更新大量最新电影电视剧，如果喜欢本影院欢迎分享给身边的朋友，顺祝您观影愉快！，影片被点击了531次，该片由达尼埃尔·于伊耶,让-马里·斯特劳布执导，影评3.0，该片语言其它，于1997上映播放，从今天到明天自上映以来，已经可以在腾讯视频、优酷视频、爱奇艺等在线视频平台观看，由参与本片主演，你将要在线观看的喜剧《从今天到明天》于1997年开始在喜剧热映。, Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.
第一电影网每日更新大量最新电影电视剧，如果喜欢本影院欢迎分享给身边的朋友，顺祝您观影愉快！，影片被点击了531次，该片由达尼埃尔·于伊耶,让-马里·斯特劳布执导，影评3.0，该片语言其它，于1997上映播放，从今天到明天自上映以来，已经可以在腾讯视频、优酷视频、爱奇艺等在线视频平台观看，由参与本片主演，你将要在线观看的喜剧《从今天到明天》于1997年开始在喜剧热映。, Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.
