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更新时间: 2024-05-22 18:31:03
提问时间: 2024-03-17
解答时间: 2024-03-09

剧情介绍:  Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.  The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).  The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.  The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.  Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.  Roger Philip Mellor
提问时间: 2024-03-12
解答时间: 2024-05-02

剧情介绍:  本片聚焦于1920年代的早期好莱坞,电影工业从默片发展到有声电影时代的过渡时期。本片聚焦于一对男女主角的事业与情感,并追随了这一时期其他三位虚构角色的起起落落;他们都有各自的历史原型。  1926年的洛杉矶,墨西哥裔移民Manny(迭戈·卡尔瓦 饰)作为打杂工来到Kinoscope制片厂高管举办的放荡狂野的派对工作,在这里他邂逅了来自新泽西底层的金发女孩Nellie LaRoy(玛格特·罗比 饰);她刚来到洛杉矶,狂放粗鲁,却又野心勃勃,希望在好莱坞成为一个电影明星,而Manny也对她一见钟情。  参加这场派对的还有当时已声名大噪的中年男演员Jack Conard(布拉德·皮特 饰)和华裔女演员朱菲(李丽君 饰),还有尚在打拼的非裔爵士小号手Sidney(约翰·艾德坡 饰)。在派对上,Manny还结识了Jack,并在后者的引荐下来到了电影的拍摄现场工作,并因其过人的工作表现而受人赏识。同时,在片场的另一边,Nellie也因其惊艳的舞蹈和表演而被发觉,拍摄了一部让她声名鹊起的无声电影。  在后来的1927年,第一部有声电影《爵士歌手》上映,这永远地改变了电影工业与好莱坞的格局。Manny把握住了时代的机会,逐渐成长,成为了电影制片人;Nellie却因为自我放纵,无法再跟上有声时代的步伐,逐渐沉沦,被制片厂要求强行改造。Jack因其表演能力已不再适应有声时代,进入了备受煎熬的中年和事业双重危机。朱菲因其同性恋身份,无法再被日趋保守的好莱坞包容。Sidney成为了黑人爵士音乐片的演员,却被要求“把脸涂得更黑”以迎合刻板印象。  在此之后,五人的命运都急转直下。声貌诡异、行为变态的洛杉矶的黑帮头目James McKay(托比·马奎尔 饰)因Nellie欠下的赌债突然介入,打断了Manny的美好人生,电影也在此时进入一种黑暗的氛围。好莱坞的黄金时代,似乎在此逐渐消逝。那些曾经在影史上留下自己名字的人,也在变革的阵痛中被历史抛弃,在时光流转之下被世人遗忘......
提问时间: 2024-03-02
提问时间: 2024-04-06
解答时间: 2024-05-21

剧情介绍:  A chilling mystery thriller, blessed by stirring imagination and striking acting performances, especially by child actors. Among witty scares invented by the director herself, we get closer to untreatable true sins of the Catholic religion. Skilfully raised fantasies about exorcism, possession and resurrection slowly transform into breath-taking horror, which may not leave your thoughts for a long time after the screening.  A devotedly faithful family mourns their elder son Han-byul. Both parents sincerely believe that it is the hand of good lord Jesus that tests them with painful suffering. The reverend advises adopting a child with special needs and sharing all the love they still have in their wounded hearts after the tragic accident. So the grieving parents embrace visually impaired charismatic Isaac, who quickly finds his place in their spacious two-storey house. The acutely sensitive boy counts that the kind family still consists of seven members, and witnesses how the crying Han-byul constantly visits them. Confused by incredible revelations, the mother starts to notice previously unseen guiding signs.  Guilt confronts sanity. Grief transmits into fear. Doubts bring home obsession. New clues expose hurtful lies. Divine faith opens all gates to powerful devilish manipulations. The prolonged process of healing disperses into drowned secrets. How long can you believe something whispered by someone who is not entirely trustworthy? How far will a loving mother go to protect her adopted child who suddenly uncovers not-so-pleasant truths?  源自:https://poff.ee/en/film/the-other-child/
提问时间: 2024-04-14