對羅斯費爾德來說,這件作品像一件具有挑釁性的早期女權宣言。將這一闡釋作為對《深金》理解的起始點,他的版本展示了一個充滿慾望的世界,作品中無所不在的女性性徵讓懦弱的男主人公感到不知所措。 最初那個為愛情自殺的傻瓜進入了20世紀20年代一個異乎尋常的場景:男主角縱身跳下窗檯,在一條煙霧瀰漫的街道上逐漸清醒——…對羅斯費爾德來說,這件作品像一件具有挑釁性的早期女權宣言。將這一闡釋作為對《深金》理解的起始點,他的版本展示了一個充滿慾望的世界,作品中無所不在的女性性徵讓懦弱的男主人公感到不知所措。 最初那個為愛情自殺的傻瓜進入了20世紀20年代一個異乎尋常的場景:男主角縱身跳下窗檯,在一條煙霧瀰漫的街道上逐漸清醒——在這一超現實環境中充斥著酒吧、妓院、妓女、流氓和赤身裸體漫步閑逛的人。他既震驚又困惑,橫衝直撞,最終來到了一家名為「深金」的夜總會,那裡毫不晦澀的色情演出讓他大開眼界,並使他徹底走火入魔。在這家夜總會,當不受行為規範限制的亂交和自由被過分慶祝,來自拘謹壓抑的資產階級世界的男主角,如迷路的陌生人一般,四處遊蕩。整部影片中,主人公象徵了布努埃爾在20世紀早期抨擊的受束縛的現代社會。 Rosefeldt interpreted this episode as an early and provocative feminist manifesto. Taking this understanding as a starting point for Deep Gold, his version shows a world full of lust and desire, in which a weak male protagonist becomes overwhelmed by an omnipresent female sexuality. The initial suicide of a fool in love marks the entrance into a bizarre 1920s setting: Rosefeldt's Modot jumps out of the window and awakes in a foggy street – a surrealistic environment rife with bars, brothels, whores, hustlers and naked people strolling around shamelessly. Stunned and confused, he continues his rampage and ends up in a nightclub (Deep Gold), where a lascivious performance widens his eyes and once and for all drives him mad. Promiscuity and freedom from behavioural codes are excessively celebrated at the club, while the protagonist wanders around like a stranger – used to the inhibited bourgeois world he derives from. Throughout the film he embodies a symbol of the constrained modern society Buñuel assaulted in the early twentieth century.詳情