月亮上的洞
A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.
A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.
Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.
The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
剧情简介
《月亮上的洞》讲述的是什么故事？
《月亮上的洞》A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.
A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.
Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.
The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
一、《月亮上的洞》是哪一年上映的？
《月亮上的洞》是Uri,Zohar于1964年拍摄的一部经典剧情片。此片开创以色列当代剧情片的先河，《月亮上的洞》上映时票房稳坐前三，创下当年纪录。当时Arik,Lavie,Shaike,Ophir,Avraham,Heffner均为最佳主角，Arik,Lavie,Shaike,Ophir,Avraham,Heffner以精彩演技和突出形象，奠定在以色列影坛地位。Arik,Lavie,Shaike,Ophir,Avraham,Heffner饰演角色造型多年后仍为人所模仿。Uri,Zohar之前曾被人怀疑其能力，而《月亮上的洞》却奠定Uri,Zohar剧情片风格。
二、被称为剧情片开先河之作的《月亮上的洞》，是Uri,Zohar最好的作品吗？
从Uri,Zohar斩获剧情片最佳导演，我就觉得这部《月亮上的洞》是他最好的剧情片。虽然后来还拍出了评价特别好的作品，但《月亮上的洞》依然是其代表作之一。
三、《月亮上的洞》为什么可以成为经典？
提起以色列影视，人们常会说出《月亮上的洞》的名字。这部由Uri,Zohar导演、Arik,Lavie,Shaike,Ophir,Avraham,Heffner主演的作品，在当时真的是一匹黑马。凭借扎实表演与叙事节奏，《月亮上的洞》获得广泛好评，也成为许多观众的经典记忆。
四、如何评价《月亮上的洞》？
《月亮上的洞》口碑优秀，剧情紧凑，观感流畅。你可以在 77影视（www.xsszlaw.com）获得更稳定的播放体验与更清晰的画质。
五、《月亮上的洞》主要内容
《月亮上的洞》是一部剧情片作品，由Uri,Zohar执导，主演：Arik,Lavie,Shaike,Ophir,Avraham,Heffner。A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.
A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.
Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.
The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.
