北极光
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北极光

HD中字

5.0|04月30日|HD中字
简介:

  安妮(玛丽娜·亚历山德罗娃 Marina Aleksandrova 饰)从小就和母亲过着相依为命的生活,她从来都没有问过妈妈有关于父亲的事情,妈妈也从来都没有主动提起过。安妮即将和相恋多年的男友携手步入婚姻的殿堂,在这个人生最重要的关头,安妮终于鼓起勇气,想要知道自己父亲的下落。
  母亲告诉安妮,她的父亲目前生活在莫斯科,是一名医生。于是安妮请了两天的假前往莫斯科,打算再婚前见一见自己的生父。很快,安妮就凭借着母亲告诉她的种种线索,将目标锁定在了一个名叫谢尔盖(米哈伊尔·乌里扬诺夫 Mikhail Ulyanov 饰)的男人身上,而谢尔盖则误将安妮认为了自己的一个病人。在两人相处的过程中,他们都开始察觉,他们的内心里觉醒了不应该有的感情。

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  趁着还来得及,彼特不顾一切地奔向多琳达。

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简介:

 故事发生在一九三九年的夏天,克里姆(沃尔特·皮金 Walter Pidgeon 饰)和妻子米尼佛夫人(葛丽亚·嘉逊 Greer Garson 饰)住在英国郊外,两人结婚多年,生了三个孩子,生活幸福美满。克里姆的大儿子韦恩(理查德·内伊 Richard Ney 饰)爱上了花会创办人的孙女贝尔(特雷莎·怀特 Teresa Wright 饰),情投意合的两人很快走到了一起。战争开始了,韦恩想要为国效忠,赶往了前线,而克里姆和米尼佛夫人则在后方支援。某日,一名德国飞行员受伤闯入了米尼佛夫人的后花园,米尼佛夫人凭借着自己的勇敢与智慧协助警察成功将其捉拿。米尼佛夫人和贝尔小姐在送韦恩前往驻地的途中遭遇了空袭,一时间凶多吉少。

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简介:

  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.

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