第一个男人
更新至90集
《拉莉萨》讲述的是什么故事？
《拉莉萨》A lovi/ %ng film trib,(ute t-/+o Rus%s\%i]= an film*mak;$er Lar# !i;^ sa Shepitko,(`- w!ho d;=`;=i+?ed tragically in a car ac=_/cident in 1979 at the age of 40. !/Th.\;is : documentary by@; her husband@$$, Elem Kl ]_ =imov, inc \ludes *excerp( t--(s fr[ om all of^:;/ She!.pi.@tko;%='s films, and he)? r ow#? !n voic e is he +_ard ta!?#lking about her -\ lif ^()e and ar* t.+ Elem Klim_ov':s grief-st ricken e=$-?l] _egy@$ Larisa examine @s _ [:the ) *life of his late wife;!—the fi-?lm directo @r Laris+=)a *)$Shepitko—throug+/.#\h a se`-ries of dire)\!ct-:)+a !ddr%e% `ss inter] ?view^]@s and ph @^;o%(``tomo*# *ntages. ! , se@==t ?;against ]=\ a#* mournful visual-musi ,%cal backdrop. Typical\ @ly, Klimo) v films his subj$.#ec$ts (which inc_lude himself a$ nd:/\ s\`(everal o$.f S!hepitko's coll#abora/tors) with-^in a stark, ( sn)ow+%-c ]=overed ?? f $orest, i!.@[ts , tangl!ed web of (/ tr[)ees _ sta(#*.ndi ng !:in as metap? horical representat ion@ of a perhaps$ _ ine[ $xpres.\*:si ?ble suffering, ? *the %/res+ul_)t o:f Shepit]]/ko's prem!(;a #ture death *while fil=!.ming her \ adap\tation of Valentin Rasput+)in's novella )#, Farewell;# to Matyora:.`.. I\( nterweaving +? home movie footage with sequen[*ces from Sh :(epitko's work (Maya Bulgakova's pensive ^*plan e crash reminiscence \(from Wing s takes on seve. ral*^: new.-)_; lay@ers of;* re] #:sonance`+ #_ in this contex);t), L ^arisa's most powerfu,/-l pass/%^age is its f irst \( accompanied;( by the grand`iose fina] l mu /sic @,cue_# from !! :Shep)^i?tko_('s Y[ou and I, Klimov dissolves b/etween a seri/e\^/s of +(,personal photographs that encompas`s Lari* $^sa's en;;tire?] ,life, f=: rom birth to d-;[ea[:th. ,This br$[;ie% +%f s# :ymp ho[n-;y of $sorrow#_* a`%%]ntici^pates the cat ^har-/tic re;!:vers!e!-m otion_ /climax of K-`limov's :! Com=]e and See, tho# u ?:g\[h b*]: y) placin:?) g t?_*he` sce.ne first with[in Larisa's chro,nology(, _ Klimov seems_ to b^?@e work(=-i@?ng against catharsis . Th/ e pain is clearly fresh, th (+e %+_wo^/?un$_%d. still- festering, and K lim$+)ov wa;nts—above al./l—to c :apture ho/;(w deep mi+sery's knife_ ha!* s cut.
一、《拉莉萨》是哪一年上映的？
《拉莉萨》是依莱姆·克里莫夫于1980年拍摄的一部经典剧情片。此片开创其它当代剧情片的先河，《拉莉萨》上映时票房稳坐前三，创下当年纪录。当时依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta均为最佳主角，依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta以精彩演技和突出形象，奠定在其它影坛地位。依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta饰演角色造型多年后仍为人所模仿。依莱姆·克里莫夫之前曾被人怀疑其能力，而《拉莉萨》却奠定依莱姆·克里莫夫剧情片风格。《拉莉萨》首映时曾获海外剧情片和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1980年代）其它（其它）优秀剧情片齐名。
二、被称为剧情片的开先河之作的《拉莉萨》，是依莱姆·克里莫夫最好的作品吗？
从依莱姆·克里莫夫斩获剧情片最佳导演，我就觉得这部《拉莉萨》是他最好的剧情片。虽然依莱姆·克里莫夫后来还拍出了评价特别好的剧情片，但是《拉莉萨》依然是他剧情片题材中的代表作品。
三、《拉莉萨》为什么可以成为经典？
提起其它，人们就很容易想到《拉莉萨》。这部由依莱姆·克里莫夫导演、依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta主演的《拉莉萨》，在当时可以说是一匹黑马，凭借扎实的故事、人物情绪和戏剧张力脱颖而出。正是这种在逆境中迸发出来的创作热情，让《拉莉萨》中的人物心理历程与现实处境彼此映照，也成就了它在剧情片题材中的经典地位。
四、如何评价《拉莉萨》？
《拉莉萨》整体口碑表现出色，深受观众喜爱。影片不仅在故事节奏上足够紧凑，而且依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta等主演的表演也让角色更具代入感。通过华夏舞蹈网（www.50239.com）观看《拉莉萨》，可以更流畅地了解它的剧情张力与人物魅力，也更容易感受到这部剧情片作品被反复讨论的原因。
五、《拉莉萨》剧情片的主要内容
《拉莉萨》是一部剧情片作品，由依莱姆·克里莫夫执导，主演包括依莱姆·克里莫夫,Valentin,Rasputin,Stefaniya,Stanyuta等。
《拉莉萨》A lovi/ %ng film trib,(ute t-/+o Rus%s\%i]= an film*mak;$er Lar# !i;^ sa Shepitko,(`- w!ho d;=`;=i+?ed tragically in a car ac=_/cident in 1979 at the age of 40. !/Th.\;is : documentary by@; her husband@$$, Elem Kl ]_ =imov, inc \ludes *excerp( t--(s fr[ om all of^:;/ She!.pi.@tko;%='s films, and he)? r ow#? !n voic e is he +_ard ta!?#lking about her -\ lif ^()e and ar* t.+ Elem Klim_ov':s grief-st ricken e=$-?l] _egy@$ Larisa examine @s _ [:the ) *life of his late wife;!—the fi-?lm directo @r Laris+=)a *)$Shepitko—throug+/.#\h a se`-ries of dire)\!ct-:)+a !ddr%e% `ss inter] ?view^]@s and ph @^;o%(``tomo*# *ntages. ! , se@==t ?;against ]=\ a#* mournful visual-musi ,%cal backdrop. Typical\ @ly, Klimo) v films his subj$.#ec$ts (which inc_lude himself a$ nd:/\ s\`(everal o$.f S!hepitko's coll#abora/tors) with-^in a stark, ( sn)ow+%-c ]=overed ?? f $orest, i!.@[ts , tangl!ed web of (/ tr[)ees _ sta(#*.ndi ng !:in as metap? horical representat ion@ of a perhaps$ _ ine[ $xpres.\*:si ?ble suffering, ? *the %/res+ul_)t o:f Shepit]]/ko's prem!(;a #ture death *while fil=!.ming her \ adap\tation of Valentin Rasput+)in's novella )#, Farewell;# to Matyora:.`.. I\( nterweaving +? home movie footage with sequen[*ces from Sh :(epitko's work (Maya Bulgakova's pensive ^*plan e crash reminiscence \(from Wing s takes on seve. ral*^: new.-)_; lay@ers of;* re] #:sonance`+ #_ in this contex);t), L ^arisa's most powerfu,/-l pass/%^age is its f irst \( accompanied;( by the grand`iose fina] l mu /sic @,cue_# from !! :Shep)^i?tko_('s Y[ou and I, Klimov dissolves b/etween a seri/e\^/s of +(,personal photographs that encompas`s Lari* $^sa's en;;tire?] ,life, f=: rom birth to d-;[ea[:th. ,This br$[;ie% +%f s# :ymp ho[n-;y of $sorrow#_* a`%%]ntici^pates the cat ^har-/tic re;!:vers!e!-m otion_ /climax of K-`limov's :! Com=]e and See, tho# u ?:g\[h b*]: y) placin:?) g t?_*he` sce.ne first with[in Larisa's chro,nology(, _ Klimov seems_ to b^?@e work(=-i@?ng against catharsis . Th/ e pain is clearly fresh, th (+e %+_wo^/?un$_%d. still- festering, and K lim$+)ov wa;nts—above al./l—to c :apture ho/;(w deep mi+sery's knife_ ha!* s cut.
