剧情简介
1918年，幸福捷克斯拉夫成立，幸福这是捷克人民首次拥有自己的祖国。伊利·曼佐藉古喻今地运用了出身卑微、亟欲挤身上流阶层的暴发户，总是能让女人们神魂颠倒的风流公爵，一群被利欲薰心的凡夫俗子，以及热恋中的年轻男女，编织出这部甚具魅力的卧房喜剧。新时代来临了，还是美好的往日不复存在呢？曼佐完成本片的同年，捷克也发生了“丝绒革命”。
幸福的眼泪
1918年，幸福捷克斯拉夫成立，幸福这是捷克人民首次拥有自己的祖国。伊利·曼佐藉古喻今地运用了出身卑微、亟欲挤身上流阶层的暴发户，总是能让女人们神魂颠倒的风流公爵，一群被利欲薰心的凡夫俗子，以及热恋中的年轻男女，编织出这部甚具魅力的卧房喜剧。新时代来临了，还是美好的往日不复存在呢？曼佐完成本片的同年，捷克也发生了“丝绒革命”。
温岚
回复 :迈克尔·法拉第（杰夫·布里吉斯 Jeff Bridges 饰）是一名乔治华盛顿大学的历史系教授，单独抚养着9岁的儿子，他的妻子原是FBI探员，前不久死于一次执勤。最近，迈克尔家街对面搬来了一户新人家，奥利弗（蒂姆·罗宾斯 Tim Robbins 饰）和雪柔（琼·库萨克 Joan Cusack 饰）以及他们的儿子布雷迪。然而不知是由于正在讲授恐怖组织一课的职业惯性还是第六感作祟，迈克尔总是对这户新邻居心存怀疑，当然，周围没有一个人相信他的荒谬推理。迈克尔开始对奥利弗一家明察暗访，渐渐发现了原来奥利弗一直在用假身份生活，家族史也颇有疑点，但是奥利弗和雪柔的警惕始终让迈克尔的调查寸步难行。直到一天，迈克尔的女友无意在奥利弗的车后发现了一只可疑的包裹，然而就在他们还来不及弄清楚事情原委的时候，谋杀已经笼罩了这座城市……
回复 :斯苔芬尼（Elzbieta Starostecka 饰）虽然出身平凡，但拥有着聪慧的头脑和善良的内心。她前往马修公爵（Czeslaw Wollejko 饰）家中担任家庭教师的职务，在一次偶然中邂逅了马修公爵的孙子瓦尔迪马（莱赛克· 泰来钦斯基 Leszek Teleszynski 饰）。斯苔芬尼不同寻常的气质和谈吐一下子就吸引了瓦尔迪马，令他坠入了爱河之中。然而，这段贵族和平民之间的感情很快就遭到了瓦尔迪马的姑妈的强烈反对，她看中了一位名叫梅拉尼（安娜·迪姆纳 Anna Dymna 饰）的贵族小姐，认为她才是成为瓦尔迪马的妻子的最佳人选。然而，马修公爵对这段感情显然有着不同的看法，因为他年轻时也经历过同样的抉择。
李云迪
回复 :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.
