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费里(lǐ(🔶) )尼1969年作品，意(🕷)大利、法(🚍)(fǎ )国(👍)合(hé )拍(🤣)，片(piàn )长138分钟(🕣)。《爱情(qíng )神(😜)话》原(🎼)名(míng )《萨(🌙)蒂里孔》，根据公(📊)(gōng )元一(🍓)(yī )世(💉)纪罗(luó(📎) )马人阿尔比特(🚖)罗(luó )的同名(🚓)小说(shuō(🔊) )改编，影片向人(🍐)们描绘(huì )了(Ⓜ)罗马帝国(guó )荒淫无度(📣)的享乐(lè )生(💨)活。在公(gōng )元一世(shì )纪(👶)的罗马，Encolpio和他(🧟)(tā )同学的Ascilto，正(zhèng )在争论(💪)着男孩Gitone的所(🌑)有权(quán )。他(tā )们分了(le )自(⛷)己的(📥)财物并(🏔)打(dǎ )算各奔(🐓)东西(xī )。男(⚪)孩可(🐄)以选择(🧑)跟从谁(shuí )，他(🎰)(tā )选择了(🎹)(le )Ascilto。已经(🐷)决定(dì(💆)ng )要自(zì )杀的Encolpio，因(❌)为(wéi )一(🎏)起突(🤺)如其来(🗞)的地震而(ér )幸(🌚)免(miǎn )于难。接(🌳)下来随(🚾)着在Encolpio身(shēn )上发(🔖)生的一(yī )系(♿)列冒(mào )险经历，导演费(⬆)(fèi )里尼用近(🥞)乎(hū )漫画的笔法将自(🎹)(zì )己幻想(xiǎ(🤥)ng )中的(de )古罗马(mǎ )生活展(🍌)现在观众(zhò(🙉)ng )面前，他并(bìng )没有对影(👬)片中的道义(🛀)进(jìn )行批(pī(🗞) )判或者(zhě(🕦) )赞许(😮)。难怪他(🛩)在(zài )影片拍(🎤)摄之(zhī )前(💤)就发(🌳)表声明(💐)，《萨蒂(dì )里孔(kǒng )》将不(bú(👭) )是一(🌷)部古代(😊)历史(shǐ )题材影(💾)片，而是一部(🐯)科学幻(🌰)想片。整个(gè )剧(👍)情支(zhī )离破(🤰)碎，涉及很(hěn )多古罗马(🕙)的(de )风土人(ré(➡)n )情，尤其是当时(shí )在道(💼)德、性(xìng )行(🚡)为、饮食及表(biǎo )演方(📈)面(miàn )的习(xí(📅) )俗，堪(kān )称古罗马的“饮(🍞)(yǐn )食男女”。 11日(🏍)，据有关人士(🎚)透露："今(📥)天(tiā(🕛)n )朴 海镇(🚑)(zhèn )开始了电(💿)影《Doctor异(yì )乡(🥁)人》的(❄) 拍(pāi )摄(🎖)。14日，李钟硕和中国(guó )模(📃)特(tè(🔵) )张亮 也(🌪)(yě )将进行最后(🦁)的拍(pā(♊)i )摄。" 살(🥋)인죄로(🚴) 복역중이던 모(➡)범수 혜림은(👗) 형기를 2년 남기고 특별(🚰)휴가를 받아(⏳) 어머님 산소에 가려고(🦂) 강릉행 열차(🛑)를 타는데, 그곳에서 범(🔚)죄조직에 휘(🤨)말려 쫓기던 청년 민기(🌧)를 만난다. 민(🆎)기의 집요한 접근으로(🏅) 수형(🧒)생활중(🥗) 얼어 붙었던(🌮) 마음이 녹(🐝)은 혜(🔬)림은 민(🍿)기와 사랑을 나누는데(⚫), 멀리(🥒) 도망가(🤗)자는 민기의 권(🈺)유를 뿌(🌴)리치(🧓)고 혜림(🈚)은 교도소로 돌(🎷)아 온다. 혜림(😺)은 2년전 오늘 호숫가 공(🚣)원에서 다시(🤼) 만날것을 약속하고 출(✔)옥하여 눈을(🗡) 맞으며 민기를 기다리(😔)나 민기는 경(⏪)찰에 체포되어 형무소(🌻)에 갇혀있고(🐶), 기다림에 지쳐 상처받(🍍)은 혜(🍻)림은 어(🎞)디론가 간다(🍕). Die sonst so erfolgsverwöhnte Fotografin Cora Hübsch durchleidet gerade Höllenqualen. Vergeblich wartet sie bereits den dritten Tag auf einen Anruf ihres Traummanns, Dr. med. Daniel Hoffmann. Mit diesem hatte sie am Mittwoch den besten Sex ihres Lebens. Und fü(🛵)r Cora steht außer Frage: Der Mann muss anrufen. Allerspä(🥌)testens nach drei Tagen – und mittlerweile ist schon Samstag! Sonst ist das vergangene Tête-à(🦈)-Tête für den “Doktor” nur ein kurzfristiger Ausgleich seines Hormonhaushalts. Das besagen ganz ausdrücklich die Spielregeln, an die man sich in Sachen Liebe strikt zu halten hat, sagt ihre liebste Freundin Jo. Und Jo kennt sich mit diesem Thema besten aus und rät ihr, den Kerl einfach zu vergessen. Das allerdings, ist leichter gesagt als getan! 女儿艾玛(mǎ(🆕) )（德(🐺)(dé )博拉(💊)•温格 Debra Winger 饰）是(👛)妈妈(mā(🖐) )奥罗(💦)拉（雪(👜)(xuě )莉•麦克雷(💞)恩 Shirley MacLaine 饰）的心(💜)(xīn )肝宝(bǎo )贝，自(zì )小开(💋)始，奥罗拉(lā(♏) )就帮艾(ài )玛安(ān )排好(🛤)一(yī )切，艾玛(📽)的言谈(tán )举止、修饰(🐷)(shì )打扮、学(🔇)习、玩(wán )耍、交(jiāo )朋(😤)友(yǒu )等等都(🈵)(dōu )必须经过奥罗拉(lā(😇) )同意(🥞)。 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.