停车是导演雅克·德米对让·科克托1948年的杰作《俄耳甫斯》的致敬。正如在科克托的电影中，德米在当代背景下讲述了俄耳甫斯和欧里代斯的传奇故事。奥菲斯爱上了尤丽黛丝，在这个版本中，尤丽黛丝是个女雕塑家，而不是公主。电影的其余部分都沿用了那个熟悉的故事。欧里代斯是死亡的化身，他召唤俄耳甫斯进入地狱，表面上是为了复活他死去的爱人。停车比它的原始材料更明亮、更轻快，是雅克·德米(Jacques Demy)通常将美丽的意象和虚假的对话融合在一起的产物。—— 哈尔·埃里克森，所有的电影指南
Jacques Demy had been making some very sneakily gay shit up till this point— then he went (comparatively) wild with Lady Oscar and Parking. It’s pretty obvious from a quick peek at his films that they usually reflect the anxieties that he’s facing as he makes them, and that makes Parking especially sad. It opens with a tribute to Jean Cocteau, an artist and fantasy filmmaker who wasn’t particularly private about his relationship with Jean Marais. And from there, the rest of the film in large part owes its conception to Cocteau’s Orpheus, even going so far as recasting Marais in the role of Hades, a throwback to his performance in the titular role of Cocteau’s film. As the plot is set in motion by a series of unusual occurrences and a few slow and somber pop songs, it appears as though many of the original’s queer undertones have been erased; unusual for a Demy flick. That is, until you come to realize just what part of his soul Demy’s putting on display here.
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