فصل الدراما ، الممثل ٣-a .. كتاب فهم السينما

Stewart. Audiences assume the star will dominate the entire movie, an assumption that Hitchcock was building on when he violently murdered Janet Leigh just before the middle of his movie "Psycho".

There are some great actors who sometimes claim "stars" because of their voluntary popularity, but they are not stars in the narrow sense that we have used. Laurence Olivier, Betty Davies, and Marlon Brando are all closer to the Dawes model than to the Bernhardt model, i.e. they subjugate their characters in order to fathom the aspects of the character they represent. For example, as Brando was cast in the role of a young, working-class sexual type in A Streetcar Named Desire) and (On the River Front), then he turned the image into a Shakespearean role (Julius Caesar) and a comic musical role in Men and Dolls in the movie The Tea House of Moon Ab) as the role of a young Japanese servant And in the movie (The Lions) (as small as the role of a sterile German aristocrat. His role as Fletcher Christian in the movie Revolution) on the Bounty ship was not a composite of the standard star before which Clark Keble had made him out of the role in the previous version of this film, but it was a performance that emphasized sensitivity The personality and its feminine arrogance in the movie (The Godfather) Brando amazed his audience by playing the role of the old Mafi Sheikh and in his amazing performance in the movie The Last Tango in Paris) such as the role of the romantic, neurotic, sexually obsessed old man.

Among the great actors who are not stars in the sense of Albernharti Liv Ullman, Joanne Woodward, Jack Nicholson, Vanessa Redcrieff, Dustin Hoffman, Anne Bancroft, John Voigt, and Marcello Mastroianni, and these are the names of some of the famous ones. Few actors have spent years acting in diverse roles to finally achieve superstar status in their work after one particularly popular role. These include George Scott, Lee Marvin, and Rod Stecker are notable examples. There was a time when the term "George Scott's role" did not make sense, but today this term is very different from its predecessor.

Some directors prefer to use non-professional actors because they have not been seen in re-runs of familiar roles. Such actors appear neutral in the eyes of the audience, and the film-maker can exploit only the aspects of their personality that are related to the character as they appear in the film, and this is usually the physical aspects in general. We associate her with his previous roles. The Last Tango in (Paris) film, Bertocelli was able to take advantage of these mechanical associations, as the film, on one level, is in its summary an exploration of Brando's various artistic and private roles. However, these associations in other types of films can be a disaster.

The directors of neo-realism in post-war Italy were particularly fond of using non-professional actors (7 ،17) in view of the background Roberto Rossellini Returning to cinema, he created the principle of using non-professionals in fictional films in his film (Open City). Then he followed it with the movie (Bayzan), where he presented only non-professional actors, but this was done with less success, as the voices of some of his actors revealed that they were amateurs. Vittorio Decica's "The Bicycle Thief" was an artistic success, mainly because its characters were real. When Desika tried to finance the film, one of the producers agreed to offer the money, provided that he plays the main role in the film, which is the role of an ordinary working-class individual, actor Cary Grant. Needless to say, Desika could not imagine an elegant and attractive actor like Cary Grant in this role, so the director went Wisely to another hand for financing. The role was finally given to a real worker, Lamberto Majorani. Other directors used non-professional actors for the same reason, which is that they appear more real. Robert Bresson, for example, feels that a movie can be made by overriding the will of those who appear in it, by not using what they do, but using what they are. Antonioni agrees: “A film actor does not have to understand, just be. Eisenstein once asked why would an actor be used to impersonate a peasant when we can go out and portray the real peasant? .

This is whether the director prefers to use stars, an ordinary actor, or a non-professional. The cinematic representation depends almost entirely on how he handles his material. In general, the more realistic the director is in his techniques, the more he relies on the abilities of his actors. Realists tend to prefer distant shots that keep the actor's whole body in the picture. Camera distance that matches the aperture of a traditional stage. The realist also prefers long camera sessions, thus allowing actors to prop their performances over relatively long periods of time without interruption. In short, the more realistic the directorial techniques, the more theatrical theatrical techniques. From the audience's point of view, it is easier to evaluate acting in a realistic film than in an impressionistic film, since we can see continuous scenes without any apparent directorial involvement. In fact, the more impressionistic the director is, the less likely it is that he will be evaluated which of the representative's contribution. For Bresson, the actor, for example, is not an interpretive artist, but merely one of the raw materials in cinema. In fact, Bresson avoids professionals for the same reason, for which they want to communicate their feelings through acting. Bresson, like Budovkin, feels that the feelings and ideas in the film should not arrive theatrically, but rather arrive cinematically with adjacent shots that produce connected connections for us, so we see in his movie (Sweet Woman) that a violent family struggle reaches us in its entirety through the use of images of doors and windows only next to the neutral features of the main actors who are not The professionals at the time, in the same film, film a suicide scene through a series of unstage photos. We see the young wife in a distant shot looking out from the balcony, then we see a shot showing us the empty balcony, and finally a shot showing us the woman's thin scarf flying in the air behind the balcony fence.

Antonioni once states that he uses his actors only as part of the composition: "like a tree, or a wall, or a cloud". Most of the themes of his films are delivered through distant shots, where the juxtaposition of people and their surroundings suggests complex spiritual and psychological states. So the significance of the line from the dialogue can change completely if the actor delivers it while standing in front of a brick wall instead of on a deserted street. Antonioni also indicated that a line delivered by the actor while turning half his face to us may be completely different from a line delivered facing the camera ( 7 ،18) meaning

Although Hitchcock is not only an impressionistic director, some of his strangest cinematic effects are achieved by minimizing the input of the actors. The event included a murder, where the heroine, sympathetic to her savage husband, was killed in revenge for the murder of her young brother on stage. Of course, she would have expressed her feelings and thoughts by exaggerating her facial expressions. However, he does not allow her to represent