帝国[电影解说]

《帝国[电影解说]》讲述的是什么故事？

《帝国[电影解说]》　　Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation…　　Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self.　　This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol.　　The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.

一、《帝国[电影解说]》是哪一年上映的？

《帝国[电影解说]》是亚历山大·索科洛夫于1987年拍摄的一部经典电影解说。此片开创其它当代电影解说的先河，《帝国[电影解说]》上映时票房稳坐前三，创下当年纪录。当时Alla Osipenko均为最佳主角，Alla Osipenko以精彩演技和突出形象，奠定在其它影坛地位。Alla Osipenko饰演角色造型多年后仍为人所模仿。亚历山大·索科洛夫之前曾被人怀疑其能力，而《帝国[电影解说]》却奠定亚历山大·索科洛夫电影解说风格。《帝国[电影解说]》首映时曾获海外电影解说和媒体广泛称誉，被认为其优秀程度，是足以与同时期（指1987年代）其它优秀电影解说齐名。

二、被称为电影解说的开先河之作的《帝国[电影解说]》，是亚历山大·索科洛夫最好的作品吗？

从亚历山大·索科洛夫斩获电影解说最佳导演开始，很多观众就觉得这部《帝国[电影解说]》是他极具代表性的电影解说。虽然亚历山大·索科洛夫后来还拍出过评价很好的作品，但是《帝国[电影解说]》依然常被认为是他电影解说创作中的重要代表。

三、《帝国[电影解说]》为什么可以成为经典？

提起其它，不少观众都会想到《帝国[电影解说]》的名字。这部由亚历山大·索科洛夫导演，Alla Osipenko主演的《帝国[电影解说]》，在当时凭借鲜明的人物塑造和紧凑的电影解说叙事获得了不错反响。正是人物命运、情绪推进和故事节奏之间的相互配合，让《帝国[电影解说]》在同类型作品中具有较高辨识度，也让观众对其中的情节留下深刻印象。

四、如何评价《帝国[电影解说]》？

《帝国[电影解说]》口碑表现稳定，深受广大观众喜爱。不仅Alla Osipenko的表演有看点，而且该电影解说故事情节紧凑，影视6（6.hnttlq.cn）观看起来流畅，同时还能保持较强的剧情吸引力。虽然不同观众对《帝国[电影解说]》的评价各有侧重，但该片目前的受欢迎程度已经名列同类作品前茅。

五、《帝国[电影解说]》电影解说的主要内容

《帝国[电影解说]》是一部电影解说作品，由导演亚历山大·索科洛夫执导，Alla Osipenko主演。影片围绕主要人物的经历展开，通过人物关系、情节推进和情绪变化，呈现出一段具有观看价值的电影解说故事。

《帝国[电影解说]》　　Short film Empire is based on a radio drama Sorry, Wrong Number by the American writer Lucille Fletcher. Actually, Sokurov draws on a single theme forming the background for the story of the thriller — the woman's illness… The heroine is bed–ridden and her only means of communication with the outside world is her telephone — until a killer interrupts the conversation…　　Sokurov removes all the dialogues, leaving us alone with the heroine — “a living skeleton” among the refined, with a touch of Modern–style, furnishings — who is listening to a radio broadcasting of Traviata, with its pleas for mercy and love. An elegant coffin–home is the spatial centre and symbolization of the entire film. And inside the coffin we certainly see the actress — the famous Russian ballerina Alla Osipenko who plays not only the heroine but also her own self.　　This metaphoric cinema–image bears an allusion to the great “handicapped” Sarah Bernhardt who was reported to sleep in a coffin, as well as to the entire complex of aesthetised Decadence, converting an apology of Death into a lifestyle. Here is the key to the code of the title. Empire is a style that attempted to reanimate the dead ancient harmony. The heroine of Sokurov's film communicates with her phone as the only partner, and sort of interferes with the beyond, attracting this air — intangible yet saturated with danger. It is from the radio air that she accumulates both pleasure and tranquillity — the aria of dying yet beloved Violetta, while the killer's silhouette materializes from the phone air. A chamber pot, overturned and spilt by the killer in haste, remains the only evidence of human activities in this boudoir of Death. Sokurov's metaphor, clad in naturalistic details, produces the effect of ironic disclosure: “a wet spot” is left after a symbol.　　The film was shot as a study work of a VGIK student S.Sidorov. At that time Sokurov did not have a chance to launch a project of his own, therefore he used this possibility to work. Visual conception of this film anticipates a considerable number of Sokurov's future experiments: light that models the space, levelling of colours, correlation of contrasting textures.