张贤亮作品剧情介绍
英俊(jun4 )而(ér )忧郁的上流社会(huì(🦈) )绅士(🚑)查理(🥈)(lǐ )•(🐉)斯万(🎯)（Jeremy Irons 杰(🦐)里米(🗾)(mǐ )•(🧀)艾恩(🏵)斯(sī(🥩) ) 饰）(👡)迷上了性感(gǎn )美丽宛如(rú )精灵般的(🚱)(de )犹太(🌦)女人(♒)(rén )奥(🍂)黛特(🎩)(tè )（(🚇)Ornella Muti 欧尼(👴)拉(lā(🔥) )•梅(🕝)蒂 饰(🚭)(shì )）(〽)。在(zà(🍠)i )贵族们的眼里，奥(ào )黛特如(rú )此(cǐ )轻(🐛)薄与(🤼)放荡(📭)，关(guān )于她不贞(zhēn )的流言也从未停(tíng )止。但这(zhè )一切从未熄灭斯万的爱火(huǒ )，他是如(rú )此渴望成(chéng )为奥黛(dài )特胸前(🛅)的那(👤)朵小(🔍)花(huā(😇) )，以时(🌪)(shí )时(🤖)(shí )刻(🎪)刻品(🕎)味她(🚞)摄人(🈺)(rén )的(🥄)芳香。他嫉妒，固执地(dì )打听着关(guān )于(🤼)奥黛(⏸)特的(🚓)一切(🐢)(qiē )，在(🧙)她面(🐡)(miàn )前(🏇)时而(🌁)像(xià(😻)ng )个孩(㊗)子，时(👼)而又(📞)(yòu )扮作尊严(yán )不可侵犯(fàn )的高傲(à(📳)o )绅士(🕠)。
故事(🤚)发生在(zài )遥远的(de )未(wèi )来，彼时，世界(jiè )的每个角(jiǎo )落都遭受到了核(hé )能的污染(rǎn )，生态被破坏殆尽，资源(yuán )急剧减少(👝)(shǎo )，人(🐳)类的(🎺)(de )生存(♿)遭(zā(🚏)o )到了(🕯)巨大(🅿)的威(⌛)胁。为(🍜)了削(♟)(xuē )减(🎀)(jiǎn )人口，政府规定(dìng )每一个家(jiā )庭只(🚍)能生(🎠)育一(🔹)次(cì(😵) )。约翰(🖇)（克(🐡)里斯(🔔)多弗(🧔)·兰(🏢)(lán )伯(👈)特 Christopher Lambert 饰(🦐)）曾(♍)经是一(yī )名特种兵(bīng )，一场(chǎng )意外令(🛏)他(tā(🤓) )和妻(👔)子凯(kǎi )伦（Loryn Locklin 饰(shì )）失去了他们的孩(hái )子，之(zhī )后(hòu )，凯伦再次怀孕(yùn )，为了生(shēng )下腹中的孩子，凯伦和约(yuē )翰踏上了(🔛)逃亡(⏩)的旅(💴)途。
一(🎩)(yī )部(🔉)清新(🔓)可(kě(🚁) )人的(📁)美国(🏷)(guó )恋(📜)爱电(🤮)(diàn )影。
Guns of the Trees de Jonas Mekas
한강변의 한 아파트에 고등학교(❎) 선생(😒) 곽승(😪)엽과(🍶) 매춘(🎯) 행위(💟)로 살(🌌)아가(👿)는 마(🎉)금자(🌄), 그리(😀)고 화(📰)가 장현욱과 그의 아내 한옥금이 완구(🥤)점을(🈵) 하면(🏔)서 살아간다. 곽승엽과 장현욱, 마금자는 가끔 만나 흉금을 털어놓는 술 친구이고, 마금자는 장현욱을 무척 따른다. 한편 강 건(🤮)너 아(🖨)파트(🏈)에 일(🧟)본인(☝) 현지(🔥)처 오(🀄)은주(🎡)의 비(🥟)둘기(🏉)가 곽승엽의 아파트로 날아들어 둘은 친숙(🚄)해진(⏹)다. 아(🕺)파트(🔌) 복덕(✂)방의(🔜) 농간(🎳)으로(💹) 마금(🥗)자의(🎭) 삭월(🖕)세가 올라가고 미장원 여주인의 농간으로(🧗) 한옥(🤘)금의 완구점이 큰 타격을 받는다. 그림에 실패한 장현욱과 마금자는 말다툼을 하다가 서로 사랑을 나누게 되고 그날 밤 장현(👭)욱은(🦌) 한강(🌷)에 몸(📼)을 던(👯)진다(🌇). 마금(🈁)자가(❤) 아파(🍚)트를(⛺) 떠나려 하자 한옥금은 재산정리를 하여 마(💨)금자(👯)에게(🐁) 전해(🕘)주고(💛) 남편(🧘)의 뒤(📹)를 따(😰)른다(⭕). 곽승(🆘)엽은(⛺) 은주를 찾아가나 그녀는 송암사의 여승이(🔛) 된 후(🍓)라 곽승엽도 아파트를 떠난다.
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.
在失去奖学金后(hòu )，铤而(ér )走(zǒu )险的大学生达伦(lún )为了支付(fù )学费，必须卖出(chū )50粒迷幻药(🌤)(yào )。不(😱)过在(🥗)这之(🛃)前他(🗃)的得(🥔)先(xiā(🤸)n )对付(📀)一个(👯)(gè )支(🧓)配欲很(hěn )强的女(nǚ )孩，完成(chéng )一片有关(guā(♟)n )“但丁(💅)(dīng )的(🎧)神曲(💈)（Dante's Inferno）(📼)”的重(🍲)(chóng )要(🕕)的稿(🍎)子(zǐ(⛑) )，让父(⛳)母相(🍇)信他(tā )不是同性(xìng )恋和避开三个错(cuò )认(✅)为他(🎡)是(shì )某人的恶棍——而所有这(zhè )些努力就(jiù )是为了让(ràng )一位心(xīn )仪很久的女孩动容(róng )。