三集电影

This is a fascinating, colorful and very-well made film that looks like an epic and is in fact an intelligent drama about sculptor-painter- architect-poet Michelangelo Buonarrotti. Here portrayed by the much taller Charlton Heston, and admirably, he is presented as a man who want only to create beauty, a man without "people skills" or interest in much of anything else--not women, nor war not the dynastic dreams of men--only the Renaissance idea of utilizing one's abilities. He even pays attention to religion only because the world interests him, and he equates his heaven with what men can achieve--and Earth with the same sort of place he expects to find as an afterlife. Carol Reed directed and produced this fascinating look at the Renaissance, with its warrior priests, its worldly dreamers and its subtle change toward a politics of gunpowder, secular pursuits and worldly morality. Philp Dunne, author of "David and Bathsheba" wrote this thoughtful spectacle film as well. In the cast besides Heston are Rex Harrison as Pope Julius, close-fisted patron, admirer and nemesis, Harry Andrews as his rival Bramante, Diane Cilento as the woman who would like to love him, Alberto Lupo, Adolfo Celli, Fausto Tozzi and a narration by Marvin Miller. The opportunity to see the real landscapes in which Michelangelo was born, worked and became inspired is a wonderful one for the viewer; the entire Carrara marble quarry section is stunningly beautiful. The film has battle scenes able done by Robert D. Webb, Leon Shamroy's cinematography, a prelude by Jerrald Goldsmith and sterling music by Alex North, production design by John Cuir and Jack Martin Smith and memorable costumes by Vittorio Nino Novarese. The basic thrust of the storyline is twofold; against the wars conducted by vigorous and all-too-worldly Pope Julius, the war to win secular hegemony for his Papal rule, the counter-current is Michelangelo's desire to further his career in Rome by obtaining a commission from the Pope. He does, an assignment to refurbish the Sistine Chapel for him. But after an attempt at some saints, he leaves Rome, and flees to his beloved Carrara. There, surrounded by mountains, he has a vision at sunset and suddenly knows what he must do. Obtaining Julius's reluctant permission, he sets to work covering that modest ceiling with tremendous figures, a bearded Jehovah, a recumbent Adam touched to life by a divine spark, the world's most famous fresco painted from a homemade scaffolding; in spite of illness, missed meals, filth, deprivation, cold, an injury that nearly costs him his eye and more, including the Pope's indifference to his intense passion for his art, Michelangelo endures. "When will you make an end?" Julius cries. "When I have done," the artist insists. And at the end, Julius, beaten on the field of battle, admits he may also have been wrong about the ceiling...that his fostering of Michelangelo's work may be the most important thing he has ever done. Of course the puritans of the era object to the nakedness the artist has depicted, but Michelangelo says he painted people as God made them. The movie, based on the biography "The Agony and the Ecstacy" by Irving Stone here concentrates on a seminal moment in the great artist's career. He may be a sculptor as he insists; but after seeing this moving and fascinating film, no one can doubt that he is also a stubborn and single-minded man--and a painter of genius. Most underrated; often fascinating fictionalized biography. Heston and Harrison are good, everyone else good as well. Worth seeing many times, if only for Dunne's dialogue and the scenery. Hundred years ago, three students at the Hellestads Boarding School were brutally slaughtered, the murderer drowned himself in a lake nearby and his body was never found. The story has become a legend for generations of students as well as a yearly festivity. Sara, a student, is writting an essay based on the legend and uncovers new facts from the event that will cast dark shadows on the family name of one of the school's main benificiaries. On the night of the hundreth anniversary, the festivities go awry, students disappear and something dark and unknown is moving through the schools corridors... 影(🔪)片分为(wéi )两个(gè )故(😛)事，全部根(👃)据爱伦•坡(⛎)的小(xiǎo )说(🚊)改(gǎi )编。 The spirit of an executed murderer enters the body of a physician, and forces him to do its bidding--namely, murder. 聪明(⛲)漂亮(lià(🐩)ng )的公(gōng )司女秘书玛尔(🌅)妮·埃德(🗑)加（蒂比·(🦓)海德(dé(🔙) )莉(🦇) Tippi Hedren饰(shì )）实际上(shàng )是(🔃)一(yī )名品(🐷)行不端的女(🐽)窃贼，嗜偷(🎃)如命。几个(gè )月后(hò(🐞)u )，她偷走(zǒu )了公(gōng )司保(⬅)险柜里的(🦉)将近一万美(💻)元的现(🦃)金(jīn )，恰(qià )好公(gōng )司的(😷)大主(zhǔ )顾(🦀)马(mǎ )克·鲁(🛒)德兰（(👮)肖(♊)恩·康纳利 Sean Connery饰）也(👅)(yě )在场(chǎ(🔢)ng )。他(tā )对这位(🐫)冷(lěng )艳神(⛔)(shén )秘的女人(🕟)有着浓(🏚)厚的兴趣。更(gèng )有缘(yuá(😦)n )分的(de )是，马(🎳)克(kè )就是(shì(😏) )玛尔(ě(🕥)r )妮(✋)的新任老板。玛尔妮(🗓)对红色(sè(🛍) )的东(dōng )西始(🍕)(shǐ )终有着(🐤)一(yī )种神(shén )经性的(🌷)恐惧，这更让马克觉得(🚩)这个(gè )怪(🥤)异(yì )的女(nǚ(🔷) )孩背后(🔶)一(yī )定有(yǒu )着什么故(🎿)事，企图接(🏤)近她。 四子从(📮)(cóng )小就(🚫)(jiù(👠) )是一(yī )名弃婴，捡到(🔭)(dào )她的夫(🏿)妇在她长大(📭)后将她卖(⛩)给了歌(gē )舞(🏬)伎(jì )，而(👊)(ér )在此她被(bèi )一名(mí(🕹)ng )和尚娶为(💆)妾，而在和尚(🤺)死去之(🈁)时(🐅)，婆婆(pó )认为她是一(📎)名(míng )会给(🐧)(gěi )男人幸运(💙)的“鸿运女(😝)”。她后(hòu )来改(gǎi )行在(💬)(zài )银行做(👣)事(shì )，在(zài )此(🛤)她遇到了(🧣)她所爱的男(🗃)人铃木(🏾)主水(shuǐ )，她(tā )也因(yīn )为(❎)会带给(gě(🍎)i )男人(rén )幸运(⚡)，不断地(🔦)牵(👸)入到男人为了成功(⏪)(gōng )不择(zé(☔) )手段(duàn )的肮(✴)脏旋(xuán )涡(🤼)中(zhōng )。从此片我们也(🚻)可以看到导演对于(yú(🔽) )政治(zhì )运(⏳)作(zuò )的大笔(🏾)金(jīn )钱(💱)关(guān )系，以及将女人视(🥡)作物品的(🧥)心态表(biǎo )露(🍤)无(wú )遗。