国四虎影永久去哪里了,日韩精品电影在线一区二区,久久精品国产亚洲av蜜屁股,亚洲成年人黄色小说网站

華為云

劇情簡(jiǎn)介

  It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.  Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.  When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."  Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.  Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.

猜你喜歡

  • HD

    兩極對(duì)立

  • HD

    大煙山之戀:國(guó)家公園浪漫史

  • HD

    九十歲。有什么可喜可賀的

  • HD

    愛(ài)在39度

  • HD

    魔法壞女巫

  • HD

    你的錯(cuò)誤2024

  • HD

    我們同在

  • HD

    外語(yǔ)

  • 全73集

    戴珍珠耳環(huán)的少女

  • HD

    女孩終究是女孩

  • HD

    墨菲

91久久久精品人妻| 2017中文字幕在线| 久草视频在线视频在线视频在线观看| 人妻熟女的高跟丝袜艳遇| 暗呦交小U女国产精品视频| 日韩一区二区三区日韩精品| 国产一区二区精品久| 日本成人在线不卡视频| 欧美日韩在线看免费看成人| 久久久久久久久久久久久久久久久久久| 在线一区欧美日韩国产| 欧美性猛烈粗大精品| 中文人妻精品一区在线| 欧美黑粗大长在线不卡| 国产成人欧美日本在线观看| 国产精品亚洲А∨天堂网不卡| 欧美高清手机一区二区| 色婷婷狠狠久久综合五月| 日韩欧美亚洲中文字幕区在高我| 午夜无码精品一区二区三区| 久久亚洲精品国产av| 日韩欧美一级视频观看| 中文字幕日韩欧美推理片免费观看| 成人午夜日韩看片后入| 国产一级r片内射老熟女| 日韩一二三区中文字幕在线视频精品| 亚洲国产精品无码久久久高潮| 亚洲91精品视频在线观看| 国产线精品视频在线观看| 国产A级三级三级三级视频| 国产精品va在线观看老妇女| 国产精品日韩在线亚洲一区| 日本欧美一区二区免费不卡| 欧美做爰猛烈大尺度| 花花草草寻亲记哪里看全集| 丰满少妇爽视频一区二区三区| 国产精品久久久久国产三| 日韩精品高清在线观看| 不卡在线视频一区二区| 亚洲综合色婷婷久久| 好看的福利电影在线|