玉置浩二
发表于9分钟前回复 :这是一部充满音乐表演的无厘头喜剧。杰克(约翰·贝鲁西 John Belushi 饰)和艾伍德(丹·艾克罗伊德 Dan Aykroyd 饰)曾经是音乐狂人,组乐队搞演出是他们的拿手好戏。杰克却因为一桩抢劫案而坐了牢,从此荒废了音乐事业。出狱那天,艾伍德前来接风,二人兴致勃勃前往自幼长大的孤儿院探望玛丽修女,却被告知这个孤儿院已经欠了一大笔税款面临关门,除非有人能在十一天内凑齐5000美元。二人对孤儿院情比金坚,怎能眼睁睁看着孤儿院“沦陷”?哥俩从长计议,决定重拾自己的音乐事业,为孤儿院巡演揍钱。于是,以前的乐队又重新组合起来,热热闹闹的一大队人在舞台上开始了磕磕绊绊的演出。凑钱还是其次的问题,他们得先解决意外碰到的一大堆麻烦事,比如警察的误会、黑帮的追杀……挽救孤儿院的动力让他们所向披靡,魅力四射,同时也找回了他们自己的音乐梦想。
甜梅号
发表于8分钟前回复 :It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
小刚
发表于5分钟前回复 :故事写的是在一个临海的小渔村,一个老妇人被病魔夺去了生命。这一来,原本非常平静的小渔村立刻起了变化,汇拢来的女眷们簇拥着遗体,毫无忌惮地放声痛哭。不久,吊唁的客人和村民纷纷沓至。亡人是个著名作家的母亲,所以也惊动了中央及地方的要员。时光流逝,夜入三更,人们举杯落盏之余,有的已是横躺竖卧,烂醉如泥。但也有人或醉心赌牌,或大嚷大叫,或出拳动手打骂起来。丧家乱哄哄的,一片狼藉。天亮了,送葬的时刻到了。人们抬着棺舆,排着队列,唱着挽歌,向墓地进发。下葬结束后,回到丧家的人们,将死者的遗像安放在灵堂,最后照纪念照。大家神情凝重,照相人的一句玩笑,才把大家逗得笑了起来。活动结束了,小小的渔村又恢复了往日的平静。