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Duras's first work of short fiction, Des journées entières dans les arbres (Whole Days in the Trees and Other Stories), was published in 1954. Consisting of four stories, Des journées entières dans les arbres touches on several themes that Duras explored more fully in her later work—particularly the developing sexuality of young women—but in form and structure is more similar to her earlier works, which tend to be realistic and conventionally structured. 这(😉)部跟(gēn )风恶搞经(🕸)典(diǎn )怪(guà(🌘)i )兽电影#金刚# （King Kong）(🛶)的英(yīng )国(😜)喜(🥐)剧B级片，可能是(🥅)(shì )史上最(🦖)烂(🚱)的(de )电(diàn )影之一(🌭)。剧情和金(🍤)(jī(🍷)n )刚(gāng )如出一辙，只不过性(xì(🌚)ng )别发生了颠倒(dǎo )，一只(zhī )母(🤫)猩猩爱上(shàng )一(yī(💞) )枚帅男…(👄)…(🐳)值得一提(tí )的(💷)是，此片在(✔)日(🔘)本引(yǐn )发了一(🏺)小股的(de )cult风(🛷)潮(🥜)。 昭和25年，正(zhèng )是(shì )二战结(🤟)束(💂)之初。曾经(jīng )的贵妇人鹿内(🚩)玲子（谷ナオミ(🎾) 饰）家道(🦓)寥(liáo )落，父亲患(huà(🔣)n )病(bìng )在床(🍔)，丈(😩)夫得治（花(huā(🌦) )上晃 饰）(⏬)的(🤞)企(qǐ )业举步(bù(🤓) )维艰。为了(🛅)(le )帮(🙅)(bāng )丈夫筹(chóu )措资金，玲(líng )子(📉)(zǐ )不得不抛头露面，拜(bài )托(💡)当年家中的(de )司机(❄)山(shān )本吾(🥋)平(🌌)（高(gāo )桥(qiáo )明(🛸) 饰）借款(🛴)。得(🤹)治的(de )妹妹琉璃(🍪)子（水城(💬)ゆ(🍵)う 饰）对待嫂(sǎo )子雍容(😱)(ró(⛪)ng )高贵的做派(pài )不(bú )以为然(🏌)，因此设计让(ràng )美(🚯)国大兵侮(🈚)辱了玲子(zǐ )，而这(🤪)不堪的(de )场(📋)面(🤜)刚(gāng )好又让山(💽)本(běn )看(kà(🌯)n )在(🔛)眼里。 Mytyl and her brother Tyltyl are peasant children who are led on a quest for the Blue Bird of Happiness by the Queen of Light, who gives them a hat with a magic diamond that allows them to call forth the souls of all things, both living and inanimate. On their journey, they are accompanied by the human personifications of a dog, a cat, water, sugar, bread, light, fire, and the like. They visit the kingdoms of the past and future and the queendoms of night and luxury, at each place absorbing more wisdom. Eventually they discover the blue bird they've been seeking has been in their own backyard all along. The Big Racket benefits immensely from a strong leading performance courtesy of Fabio Testi (star of What Have They Done to Solange). Testi's portrayal of the angry police officer is perfectly judged to fit the movie, and I don't think there is an actor who could be better suited to playing the lead in this movie. He heads a strong Italian cast, who all do well in bringing their characters to life, as well as providing the movie with the Italian style that it revels in. The script is really good, and finds time to flesh out its characters as well as deliver witty dialogue that is always a part of this movie's bigger budget American cousins. The plot builds well throughout as there's always enough going on to keep things interesting. It all boils down to a fabulous conclusion which serves in ensuring the movie gets the bloody end it deserves, as well as rounding off the story perfectly. The Big Racket features a great sleazy atmosphere, in which the story is able to flourish, and the catchy music score helps to make sure that the film is technically sound. 此片是《Westworld》的(📖)续集，由彼(💴)(bǐ(⛪) )得．方(fāng )达、尤．伯(bó )连(🥄)(lián )纳、布(bù )莱思．丹纳(nà(🎂) )等(děng )主演。内容介(👕)绍阴谋(mó(✒)u )者(🕑)借机械人乐(lè(🏋) )园再次(cì(🍗) )开(🍃)幕之际，以(yǐ )机(🥝)械人取代(🧔)来(⛸)参观的(de )巨商政要，企图藉(🕣)此(🗯)(cǐ )控制全世界，不料他(tā )们(🌺)的野心被(bèi )两(liǎng )名记者予(🎳)以揭穿。该(gāi )片在(🚻)内容上没(📔)有(🎫)上集(jí )那么新(🍀)奇热闹(nà(🚑)o )，但(🔧)在(zài )剧情上增(🅿)加(jiā )了(le )悬(🦀)念(🛀)性，高潮性亦拍(pāi )得相当(🛀)紧(📣)张刺激。 Probably the most controversial of Woolley's films, because of an audio rape sequence with flashes of nudity that split critics and viewers (especially feminists) right down the middle – some saying it was exploitative, others saying it was essential to get the formalist message (that we are all voyeurs in the cinema, often viewing at the expense of women) across. The film tells the tale of a housewife (who we never totally see, but can hear) trapped in her luxury house at the mercy of a husband and ruthless police team investigating an illusory political crime that she may or may not have committed. Her husband (the only character we see in a conventional manner) comes in and out of the story and alternates between patronising solicitousness and cold anger. The whole is constructed around a relentlessly repetitive sequence of shots that, in the course of the film, moves ten times from wide shot exterior to intimate interiors, with the story being updated and narrated every time we return to the exterior. In each sequence, there is one POV handheld shot that varies and is usually from the wife's point of view; otherwise the story is told within the confines of the repeating images (same framing and camera movement) with only the action varying. Voiceovers narrate and reflect on a woman's position, as well as dominant male perspectives, in society. Jeong-ah is forced to take a job in a textile mill in her early teen years because she is unable to enter a highschool.