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火山邊緣之戀 Stromboli (1950)
導演: 羅伯托·羅西里尼
編劇: 羅伯托·羅西里尼 / Art Cohn
主演: 英格麗·褒曼 / Mario Vitale / 蘭佐切薩納
類型: 劇情
製片國家/地區: 意大利
語言: 意大利語
上映日期: 1950-02-15
片長: 107 分鐘 / France: 103 分鐘 / Sweden: 106 分鐘 / USA: 81 分鐘
又名: 荒島怨侶

琳戰爭結束時住在意大利的一個難民營裡，她沒有錢離開那兒去別處謀生，在難民營她遇到了意大利士兵安東尼奧並和他結了婚，隨他回到了家鄉斯特隆波島。在荒涼的火山島上，當地人的生活習慣和習俗讓卡琳感到非常失落，她所做的一切都被認為是有悖民風的，是個壞女人，卡琳想逃離海島，她逃到了火山上，昏迷後醒來，孤獨的她唯有祈求上帝給他幫助和啟示…

幕後製作

褒曼因拍攝本片拋棄丈夫，跟本片導演發生戀情，影片遭到主流社會的抵制。美國放映的81分鐘版有不同的結局。

英格麗·褒曼與義大利導演羅伯托·羅塞里尼為了拍攝《火山邊緣之戀》（Stromboli）而互相認識，當時褒曼已經在美國觀賞過他前兩部作品，並且為他著迷。在拍攝這部電影期間，褒曼與羅塞里尼展開了婚外情，並在1950年2月7日生下他們第一個孩子勞勃·英格利·羅塞里尼。

因為褒曼當時是全美國的偶像明星，所以這個事件在美國演變成一大醜聞。後來甚至導致她被民主黨參議員愛德溫·C·強森（Edwin C. Johnson）在美國參議院中所譴責，並稱她為「女人之中一個糟糕的範例並受到邪惡巨大的影響」。除此之外，褒曼也被選為不受歡迎人士（persona non grata）。因為這次事件，褒曼將自己放逐到義大利，離開美國的丈夫及女兒。最後她的丈夫彼得‧林斯壯對於褒曼的離棄提出控告，並因此贏得他們女兒的監護權。

The first collaboration between Roberto Rossellini and Ingrid Bergman is a devastating portrait of a woman’s existential crisis, set against the beautiful and forbidding backdrop of a volcanic island. After World War II, a Lithuanian refugee (Bergman) marries a simple Italian fisherman (Mario Vitale) she meets in a prisoner of war camp and accompanies him back to his isolated village on an island off the coast of Sicily. Cut off from the world, she finds herself crumbling emotionally, but she is destined for a dramatic epiphany. Balancing the director’s trademark neorealism—exemplified here in a remarkable depiction of the fishermen’s lives and work—with deeply felt melodrama, Stromboli is a revelation.

Critical reception

In Italy, Ingrid Bergman won a Nastro d'Argento (6th edition 1951) as Best foreign actress.

Director reception for Stromboli in America, however, was quite negative. The staff at Variety magazine gave the film a mixed review. They wrote, "Director Roberto Rossellini purportedly denied responsibility for the film, claiming the American version was cut by RKO beyond recognition. Cut or not cut, the film reflects no credit on him. Given elementary-school dialog to recite and impossible scenes to act, Ingrid Bergman's never able to make the lines real nor the emotion cooked motivated to seem more than an exercise ... The Only visible touch of the famed Italian director is in the hard photography, which adds to the realistic, documentary effect of life on the rocky, lava-blanketed island. Rossellini's penchant for realism, however, does not extend to Bergman. Clean and well-groomed. "

At the simplest level, the film may be viewed as a severe historical snapshot of the way the Island's living lived less than seventy years ago.

In an expansive analysis of the film, critic Fred Camper wrote of the drama, "Like many of cinema's masterpieces, Stromboli is fully explained only in a final scene that brings into harmony the protagonist's state of mind and the imagery. This structure ... Suggests a belief in the transformative power of revelation. Forced to drop her suitcase (itself far more modest than the trunks she arrived with) as she ascends the volcano, Karin is stripped of her pride and reduced - or elevated - to the condition of a Crying child, a kind of first human being who, divested of the trappings of self, must learn to see and speak again from a personal "year zero" (to borrow from another Rossellini film title).

The Venice Film Festival 's Sight & Sound critics' poll also listed it as one of the 250 greatest films ("100 film italiani da salvare") from 1942-1978. In 2012, the British Film Institute's Sight & Sound critics' Of all time. 

3 Films by Roberto Rossellini Starring Ingrid Bergman
  

In the late 1940s, the incandescent Hollywood star Ingrid Bergman found herself so stirred by the revolutionary neorealist films of Roberto Rossellini that she sent the director a letter, introducing herself and offering her talents. The resulting collaboration produced a series of films that are works of both sociopolitical concern and metaphysical melodrama, each starring Bergman as a woman experiencing physical dislocation and psychic torment in postwar Italy. It also famously led to a scandalous affair and eventual marriage between filmmaker and star, and the focus on their personal lives in the press unfortunately overshadowed the extraordinary films they made together. Stromboli, Europe ’51, and Journey to Italy are intensely moving portraits that reveal the director at his most emotional and the glamorous actress at her most anguished, and that capture them and the world around them in transition.

羅塞里尼&褒曼