左手亲情右手爱

Volker Schlöndorff transposes Bertolt Brecht’s late-expressionist work to latter-day 1969. Poet and anarchist Baal lives in an attic and reads his poems to cab drivers. At first feted and later rejected by bourgeois society, Baal roams through forests and along motorways, greedy for schnapps, cigarettes, women and men: ‘You have to let out the beast, let him out into the sunlight.’ After impregnating a young actress he soon comes to regard her as a millstone round his neck. He stabs a friend to death and dies alone. ‘You are useless, mangy and wild, you beast, you crawl through the lowest boughs of the tree.’(🐤) 詹(🗃)(zhā(🕎)n )姆斯(sī )．高(gāo )曼编剧的本片描述(✳)俄(❗)国(➖)最后一(yī )位沙(shā )皇尼(ní )古拉斯(👪)二(⏯)世(🗺)晚年的生(shēng )平故事，从1904年(nián )开始(🎑)(shǐ(🧚) )描(🙈)述(🐶)(shù )至1918年俄国革命后他们全家(jiā(🧤) )被(🕦)处(🆙)(chù )决的(de )经过(guò )。是一部气氛沉重(🧥)的(🕯)史(🏵)诗式宫(gōng )闱影(yǐng )片，故事有点单调(😀)沉(🈲)闷(💻)。导演富兰(lán )克林(lín )．J．沙夫纳(🥗)的(👆)手(🤩)法比较庄重，出色(sè )的美(měi )术及(🎓)(jí(🛎) )服(🥀)装(zhuāng )设计使当年的俄宫景色得以(📰)在(🖊)(zà(🈂)i )银幕(mù )上重(chóng )现，迈克尔．杰斯(👔)顿(🕋)等(🐼)演员亦(yì )普遍(biàn )出色(sè )，本片曾获(👴)最(🦌)佳(♌)艺术(shù )指导、最(zuì )佳服(fú )装设(🚠)(shè(🥙) )计(🥍)两(liǎng )项金像奖。 Twenty-nine year old Caucasian Elgar Enders still lives at the estate of his parents, William and Joyce Enders, and off their vast wealth with their blessing, although his ultra-conservative father hopes that some day Elgar will have some drive and make a name for himself, much as he believes his eldest son, William Jr., has done. Elgar decides finally to move out, and buys a tenement house in Park Slope, Brooklyn, a rough neighborhood seemingly on the verge of gentrification. He plans to tear it down and build a new house for himself. Although they have no idea of his plans, the tenants of the building, exclusively black, do not welcome their young, lily-white new landlord with open arms. They believe he is just another slum white landlord who wants their money, although most of them are indeed several months behind in their rent. Despite their antagonistic beginning, Elgar, after spending time with his tenants and learning their stories, decides to be a proper landlord and fix up the building for them and for him to live in. Elgar's transition into liberal minded lover of his black brothers and sisters is not without its problems as he deals with some tenants who are indeed deadbeats, his parents who just don't understand and agree with this phase of his life, and race relations where the color of one's skin does affect how they are treated in life and in turn how they interact with others. The latter is epitomized by his relationships with Lanie, a biracial woman who he initially believed was white, and with husband and wife tenants Copee and Fanny to who he gets a little too close Lou Andreas Sand, a once famous model, recalls her past as she tries to make success in the modeling world of New York, her stressful workdays, her affair with Mark, an advertising executive, her friendship with photographer Aaron, and her downward spiral into ruin.By: After a nocturnal car accident in the English countryside, an unfortunate couple is invited to a mysterious house occupied by a creepy embalmer who throws sexy drug parties there. "Even more enchanting - as it is more meditative and melancholic, even funnier - than ZUR SACHE, SCHÄTZCHEN. Within the company of shopping mall arsonists and sausage thiefs, Werner Enke sums up the condition of the modern man with conclusively timeless words: "The old verve has gone down the drain."