Jeanne莱奥·麦卡雷
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Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.'
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Sam(MatthewBroderick)isthereasonablemaninacrazyurbanworld,themanofthoughtfulnessandrefinedtasteinalandscapeofLeroyNeimanpaintingsandbeercommercials.Theguywouldsoonercookforanhouroverahotstovethansay`supersizeit.’Bydayhe’sastoreclerkinanupscalegourmeteatery,andthesescenesraiseasmile,especiallyforanyonewho’svisitedtheactualchaininNewYorkCity--theportrayalisn’tfarofffromthereality.OurmanisbesiegedbyhoardsofcustomerswhowanttheirimportedFrenchcheesecuttoimpossiblyexactstandards.Hiseffortstoremainoutwardlypolite(whileyouknowhe’dliketotakethecleavertotherelentlessclientele)areprettyfunny,andwillwarmtheheartsofclerkseverywhere.Ingeneral,Broderickisingoodformandprovidesthemoviewithmostofwhateverlightnessitpossesses.Sciorra’slovelorndentalhygienist,Ellen,isfineenough,too,andherunknowinginteractionwithourcheese-slicingheroshowssomehopefulchemistry,andyoumaybegintofeelyouwanttoseethesetwogettogether.Oneofthemaincompetitorsforourlady’saffections,astockbroker(KevinAnderson),isplayedascaricature:he’sthebeerswillingfrat-boywhoseideaofafter-sexsensitivityisflippingonthefootballgame.He’skindoffunnyattimes,butthemoviemightbestrongerifhewaswrittenoractedforustolikehimmore,insteadofhavingusmerelyrecognizehimastheflat-out`wrong’guyincomparisontoBroderick’ssensitiveman.ThinkofJohnCandyinSplash,takingacigaretteandbeercantotheracquetballgame;weknowhislifestyleisnottheoneourheroshouldemulate,butwecan’thelpbutbecharmedbythelikeablegoon.Whereasthischaracterismerelyagoon,andprettyunlikableallaround.Whileit’saniceenoughlightmovieforthefirsthalf,formethestorywassomewhatderailedbyitsunbelievable(Hollywood)presentationofsexandadultery.(SPOILERAHEAD,skiptonextparagraph.)WhenEllenreturnshomeafteranevening’smisadventures,sheisnaturallyfacedwiththequestioninghusband(MichaelMantell).Quicklyadmittingherownindiscretion,shethenimmediatelyturnsthesituationaround,demandingtoknowwhytheguyhadgoneaheadandboughtahousewithoutdiscussingit.Granted,it’savalidissue,andgranted,manypeopleusethiscounteringmaneuverinarguments.What’sunbelievableiswhathappensnext:theguystartsrespondingtoherquestion,addressingthehouse-issueinaquiet,thoughtfulmanner.WHOA.You’dbehardpressedtofindamarriedpersonintheworldwho,whenfacedwithhis/herpartner’stotallyunexpectedadultery,wouldbereadytoaddressanythingsocalmly.Theguywouldsurelybebouncingoffthewalls,orelsecrushedintosilenceandtears-butsee,thenwemightactuallyfeelforthepoorschnook,andwe’dseeSciorra’scharacterinapoorlight.Andsincethatparticularaudiencereactiondoesn’tservetheromanticcomedy,thestorytriestosneakaroundit.Youmaystarttofeelthat,likethehusband,you’rebeingtaken.Furtherdissatisfactionisjustaroundthecornerintheending.Werealizethisiswheremisunderstandingswillgetsortedout,andourcouplewillfinallyseeaclearpathtooneanother.Wewantthesatisfactionofrootingforthem.Butit’smarredbyanotherunbelievablecharacterreaction,followedbyanabruptconclusionthatfeelsrushedandforced,tooeasyandunearned.Youmayfeelasthoughthemovie’scheatingonyouagain...
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威尔斯唯一一部公映的彩色电影，故事依旧奇情：澳门富商从秘书口中听到一个爱情传说，有人为了香灯有后愿意付钱找人与妻子上床。传说归传说，但澳门富商却要使这个不朽故事成真，找来美女珍．摩露，当正是自己妻子，要她找人轰烈地做爱做的事。乍听下来真是一场天方夜谭，但影片拍来感人至深，53岁的威尔斯与成熟的珍．摩露演出动人不已，最后一个镜头更被影迷形容是「魔术」，令影片入围柏林国际电影节竞逐最佳电影金熊奖。 The only colour film by Welles publicly released is another showcase of the absurdity of human nature. A Macau millionaire is told a legend about someone who is willing to pay a huge sum for someone who would sleep with his wife in order to produce an heir. In an act to make the legend real and to immortalise it, the millionaire finds Jeanne Moreau to be his wife and starts to search for the man who would make love to her. A potent performance by Welles and Moreau makes the film purely magical; a Golden Berlin Bear nominee for Berlin International Film Festival.
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19世纪，描写美与丑的文学作品风靡一时。“美”之古怪亮丽，有供人欢愉的脱衣舞会所，有病势严重的私生子，有麻木不仁的上层人士，有父亲之命的婚姻，还有未遂企图的凌辱糟蹋，以及其他。“美”之感情丰富，既有美丽者如真爱，也有残酷者如恐惧与恨。被身处社会上层的爱人无情抛弃之后，可 怜的女人为了支付儿子的医药费，无奈旋舞于众人之前，卖弄色相。受迫于父亲之命，心早有所属的姑娘不得不面对即将于一位年逾古稀者结为夫妻的残酷现实。 摄于1921年，法国马塞尔·莱皮埃导演，片头字幕中特别注明：这是一出“闹剧”，表达了莱皮埃对汤玛斯·英斯那种平凡的轶事式的题材的轻视，他以标新立异的形式讲述了西班牙舞女西比拉的悲剧命运。莱皮埃从法国的印象派画家和美国的格里菲斯以及瑞典的斯约斯特约姆的艺术成果中吸取营养，把特技作为重要的电影表现手段。影片中精练而完美的摄影技巧，使西班牙的户外风景和室内布景协调一致，并对剧情发展到起重要作用。影片还探讨了艺术技巧抒发激情的方法。
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不是巧合，相依為命的父女、愛酒的父親、起眼的道具，都衝着小津而來。ClaireDenis（《影舞者瑪德》）獻給小津之作，如果不說，你只能認得出運鏡如寫詩的簽名樣式，也不會知道兩人可以這麼近。憂鬱的藍夜，迷宮似的公路網，交織樓房之間的地鐵路軌，高超的場面調度先寫孤寂的城市個性，然後人物放進去，不用多話，戲便自然在了。不放心女兒的父親，不想去愛的女兒，宛如親人的鄰里，凝聚成親和力極強的世界，展開連綿故事。小津會認同：生命有時，人要懂得放下。
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一位来自纽约的编辑对一本暴力小说的作者着迷，她私下里调查了他的过去
