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女儿的朋友在线看 相关解答

更新时间: 2024-06-13 9:58:55
Q问:妻子的朋友2
提问时间: 2024-04-19
Q问:热情的邻居在线
提问时间: 2024-04-03
Q问:朋友妈妈3
提问时间: 2024-05-19
A答:女儿的朋友在线看
解答时间: 2024-05-06



剧情介绍:  改编自叔叔杰西·祖拉斯基(Jerzy Zulawski)的科幻小说杰作《月球三部曲》,故事描述人类逃离毁灭的地球,飞船坠落在银色星球上,不久后有人开始在星球上进行造神运动,然信徒分化后一派奉此外来政权为神,另一派则视之为魔,人性贪婪的劣根性,在这星球上暴露的一览无遗……  本片被誉为是“一部拍给另一个世界的人看的电影”。影评人一致推崇这部片是导演安德烈·祖拉斯基电影生涯中,最具史观、野心勃勃且兼具后现代主义的科幻哲思电影,也是他重回故乡波兰拍摄的归乡代表作。  这部充满争议的杰作,安德烈以非常风格化又带着原始情欲的方式,传达其所钟爱的命题:一则后现代主义式的寓言。故事的结局,地球人不但改变原本的内在,连外在也慢慢变成介于人与鸟的中间物种。这种由内而外,进而转化成另一物种的隐喻,也为这部犹如政治寓言的科幻史诗,更添加了奇幻色彩。  1977年当影片拍好八成时,新上任的波兰文化助理大臣禁止此片拍摄,并下令销毁场景、布置和服装,直到1986年波兰民主化,本片才跟着其它禁片出土。本片同时也发掘了戛纳影后克里斯提娜·杨达的潜能,拍摄这部处女作不久,她成为基耶斯洛夫斯基及瓦伊达最喜爱的女演员,也成为波兰的国民影后。
Q问:免费激情
提问时间: 2024-05-23
A答:女儿的朋友在线看
解答时间: 2024-04-23



剧情介绍:1951年的好莱坞,胸怀大志却整日在片场忙碌无所作为的艾得伍德终于有机会上演一出由他自己导演的戏。然而这一事业刚一开始便以失败告终。   听说制片商乔治韦斯正在策划一部名叫《我改变了性别》的影片,艾得伍德又马上自荐担任影片的导演兼主演。艾得努力劝说已退休的影星贝拉卢格斯复出,并要自己的女友多勒瑞斯也参演此片。但尽管筹备工作已完成过半,影片的片名也一再更迭,艾得却仍然没有获得拍片合同。受到挫折的艾得并未放弃梦想,他又为了另一部影片《原子能新娘》的资金四处奔波。为了几万美元的赞助,他屈从于一个肉类批发商的要求,让批发商的儿子饰了片中的英雄角色。   艾得在事业上屡屡受挫,女友多勒瑞斯也离他而去。疲惫的艾得被迫进了医院。在诊所里,艾得遇到了美丽的凯西。两人一见钟情,艾得也因此得到了片刻的宁静。   出院后不久,机会终于再次降临。艾得得知有家教堂有意赞助影片的拍摄。他立即赶去为自己的科幻片剧本游说。为了让对方满意,艾得还特地让全体人员做了洗礼,并按照教会的要求改了片名。   尽管困难重重,艾得仍然在努力而乐观地做着。影片终于上映了。在首映式上,艾得兴奋不已。他自认理想已经实现,终于能被世人永记。然而影片却并没有受到人们的欢迎。艾得伍德最终仍然只是一个失败的造梦者。
Q问:湖畔的陌生人bd中英双字在线
提问时间: 2024-05-05
A答:女儿的朋友在线看
解答时间: 2024-06-02



剧情介绍:  Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.  The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).  The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.  The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.  Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.  Roger Philip Mellor
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