剧情简介
《灰色的灵魂》改编自菲利普·克罗代尔同名小说(2003年雷诺多奖)。影片追溯到一战时期，亚洲讲述那个时代的故事。1917年，亚洲在一个紧邻前线又尚未被战火烧灼的村子里，一个小女孩被杀害了。她被害的地点离检察官的住所咫尺之遥。多年来，这位检察官独自一人守着自己的秘密过着封闭的生活。案件的调查正好由一直备受检察官藐视和侮辱的法官米尔克领导。于是，调查成为了一场罪恶游戏，制造嫌疑犯比找出事实真相更加重要。在这样一个横尸遍野的年代，到底谁是受害者？谁又是杀人犯？
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《灰色的灵魂》改编自菲利普·克罗代尔同名小说(2003年雷诺多奖)。影片追溯到一战时期，亚洲讲述那个时代的故事。1917年，亚洲在一个紧邻前线又尚未被战火烧灼的村子里，一个小女孩被杀害了。她被害的地点离检察官的住所咫尺之遥。多年来，这位检察官独自一人守着自己的秘密过着封闭的生活。案件的调查正好由一直备受检察官藐视和侮辱的法官米尔克领导。于是，调查成为了一场罪恶游戏，制造嫌疑犯比找出事实真相更加重要。在这样一个横尸遍野的年代，到底谁是受害者？谁又是杀人犯？
回复 :George Peppard plays a hard-driven industrialist more than a little reminiscent of Howard Hughes.While he builds airplanes, directs movies and breaks hearts, his friends and lovers try to reach his human side, and find that it's an uphill battle.The film's title is a metaphor for self-promoting tycoons who perform quick financial takeovers, impose dictatorial controls for short-term profits, then move on to greener pastures.The Carpetbaggers is the kind of trashy classic most people were too embarrassed to admit they enjoyed back in the early 60s.But this Harold Robbins adaptation is so cheerfully vulgar, it's hard not to have a good time - especially given the thinly veiled portrait of Howard Hughes at its center. George Peppard plays the heel-hero, who founds an airline company in the 1920s and buys a movie studio in the 1930s, crushing friends and mistresses along the way.The high cheese factor is aided by the good-time cast Carroll Baker as Peppard's hot stepmom, Bob Cummings (quite funny) as a cynical agent, and Elizabeth Ashley, who married Peppard, in her debut -uncharacteristically, as a good girl.One sad note is Alan Ladd, looking and sounding very end-of-the-line in his final role, as a man's man cowboy star.Elmer Bernstein's swaggering score helps goose the action along.
回复 :《游泳吧！儿子》是农村现实题材电影，该片讲述郭松涛小时候的一次溺水事故，导致继父的儿子身亡，童年在后爸的毒打中长大，心理产生阴影，长大成家后郭松涛发誓绝不让悲剧在儿子身上重演，冲破重重阻力教儿子游泳避免溺水事故，郭松涛自编防溺水题材电影剧本，四处寻求合作均遭到拒绝，仍坚持不懈争取机会，在他罹患绝症，妻子背叛，仍然执着用爱心感化身边人，他选择在生命最后日子做出最大的努力帮助身边人增加防溺水意bbb。本片会让观众寓教于乐，产生了很大的社会意义。
回复 :与Stefan Uher和Elo Havatta一样，Eduard Grecner也是60年代斯洛伐克新浪潮电影的缔造者之一。他的三部影片《一周七天》（1964）《尼绒月亮》（1965）和这部《徳拉克的回归》都是斯洛伐克新浪潮电影的代表作。这部叙事方法独特带有明显意识流风格的黑白影片甚至间接影响到了后来法国导演格里耶在捷克拍摄的两部影片《说谎的人》和《Eden and After》。A special place in the development of feature films is reserved for Eduard Grecner, the creator of just one good film, Dragon Returns (Drak sa vracia, 1967), titled after the nickname of the lead character. After his initial work with Uher, Grecner made his mark as a proponent of the so-called "intellectual" film, the antithesis of the sociologically, or rather, socially critical film. Grecner's great role model was Alan Resnais, a young French filmmaker who sought to introduce Slovakia to the idea of film as a labyrinth in which meanings are created not by stories, but by complex configurations of dialogue, shots, and various layers of time, thus differentiating film from both literature and theater. In Dragon Returns―the story of a solitary hero who is needed by villagers living far in the mountains, but who is rejected by them at the same time because of his detachment―Grecner brought the tradition of lyricized prose to life through a whole series of formal aesthetic techniques. Alain Robbe-Grillet immediately developed this idea in the film shot in Bratislava The Man Who Lies (Slovak: Muz, ktory luze; French title: L'homme qui ment; 1968), and perfected it in Eden and After (Eden a potom, 1970).
