最后的灰姑娘
地区：日韩
  类型：黑帮
  时间：2025-07-16 00:43:58
剧情简介

威尔斯唯一一部公映的彩色电影，最后故事依旧奇情：最后澳门富商从秘书口中听到一个爱情传说，有人为了香灯有后愿意付钱找人与妻子上床。传说归传说，但澳门富商却要使这个不朽故事成真，找来美女珍．摩露，当正是自己妻子，要她找人轰烈地做爱做的事。乍听下来真是一场天方夜谭，但影片拍来感人至深，53岁的威尔斯与成熟的珍．摩露演出动人不已，最后一个镜头更被影迷形容是「魔术」，令影片入围柏林国际电影节竞逐最佳电影金熊奖。The only colour film by Welles publicly released is another showcase of the absurdity of human nature. A Macau millionaire is told a legend about someone who is willing to pay a huge sum for someone who would sleep with his wife in order to produce an heir. In an act to make the legend real and to immortalise it, the millionaire finds Jeanne Moreau to be his wife and starts to search for the man who would make love to her. A potent performance by Welles and Moreau makes the film purely magical; a Golden Berlin Bear nominee for Berlin International Film Festival.

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洪俊扬

发表于2分钟前

回复 :陆宝宝（徐天佑 饰）遭遇了失业打击，又被老爸（许绍雄 饰）在大街上喊出那个让他头疼的幼稚名字，幸好和好友阿南（黄又南 饰）再度找到了大厦夜间看更人的工作，二人更巧遇了陌生美女Priscilla（李茏怡 饰）。看更老伯在交接工作时嘱托陆宝宝看顾大厦地下室里收藏的两具木乃伊，陆宝宝父亲以开灵车为业，木乃伊自然吓不倒他。雨夜，陆宝宝约见Priscilla参观木乃伊，熟知这位美女居然是考古学专业，能够破解棺木上令木乃伊复活的信息，当晚阿南的恶作剧导致陆宝宝被木乃伊魂灵附体，自此他身上出现了一系列变化……陆宝宝和阿南为了争取Priscilla芳心暗中较劲，但是陆宝宝的怪异行为愈发严重，他的好友和家人团结一致，展开无厘头驱魔行动……


陈浩德

发表于2分钟前

回复 :影片以悲壮的笔触，描述了30年代时期，不丹国卡尔城金将军与日军勾结，在城里生产毒气，中国派遣特务“天字第一号”和现代镖局负责接出城主尤达。女镖师阿琼在爱慕尤达的金将军女儿芊芊帮助下，意欲和尤达一起逃走，但“天字第一号”力主要破坏毒气计划，结果被抓。金将军为救爱女，反过来帮助他们，与日军开始一场大战。


俞静

发表于1分钟前

回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.


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