午夜情挑
西德尼謝爾頓以塑造一系列的;自強不息、與社會作決死拼斗的女性 rdquo;而著稱,《午夜情挑》是他的第二部小說,1977年被改編成電影。故事里面的 Noelle Page,就是這么一個不惜一切代價和社會斗爭的女性,只是,在抗爭中她徹底的丟失了她的價值。她的生命的全部目的,是復仇,而復仇的背后,是渴望那個絕望時瞬間照亮過自己的太陽。可惜,命運并沒有偏向于迷失了自己的Noelle。 Catherine是另一種悲劇。女孩子們總是熱衷于花花公子,甘愿迷失和上當,有時候明知他說的這一套,和他與別的女人說的一樣,而他今天說給你的,明天也一定會再說給別人,這樣也不能拒絕,幻想自己是一個特例他當然說你是唯一的你是不一樣的。即便今天我們的周圍,這樣的例子也是在日日上演,甚至正在上演,面對這些悲劇和即將發生的悲劇,也只能哀其明明知道不幸,卻又自以為是的不爭。 片中有兩個女性都很失敗,男主角的結局也是罪有應得。主要人物里,有兩個卻在這個時代里獲得成功。一個是Catherine的公關公司老板,他周旋于正要之間卻有自己的原則,不受于各種誘惑;另一個是希臘大亨,他心胸狹窄,睚眥必報,最后整死了背叛他的人。在利用和被利用的社會關系里,西德尼希爾頓展現出強烈的社會達爾文氣息。 本片由女星蘇珊;薩蘭登主演,在好萊塢眾多女明星中,蘇珊 middot;薩蘭登可以說是最獨特的一個。她從影時間極長,卻大器晚成。命運總是與她擦肩而過,她早已成為大眾心目中的明星影后,但奧斯卡大獎卻屢屢不垂青于她。在她年歲已高之時,反而終獲殊榮。蘇珊 middot;薩蘭登的身上始終散發著一種優雅溫和而不造做,含蓄內斂卻又非常堅毅的特質,那是做為一個女人所特有魅力所在,而蘇珊把它發揮到了極致,在這個浮躁的世界中,我已無法用言語來形容我的贊賞 hellip; hellip;
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等待方舟
耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.