中国梦想秀20130419

Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

<리허설>은 주인공 승혜(박영선)가 공연하는 하나의 연극(지방을 순회하는 3류연극 공연)과 또 하나의 연극(<내 사랑 히로시마>라는 제목의 국립극장 공연)을 위한 리허설 동안 승혜와 민수(최민수)의 '사랑'의 리허설이 함께 진행되는 구성으로 짜여져 있다.지방 순회공연이 끝나는 때에 주인공 두 사람은 같이 서울로 올라온다. 다음 공연 리허설이 시작되면서 두 사람의 동거가 시작되고 연극연기를 다듬어가듯 두 사람은 서로를 침범하기 시작한다. 승혜는 민수에게 연기지도를 하듯이 민수의 일상을 간섭하고, 민수는 이전과는 다른 삶의 방식을 서툴게 연습한다. 리허설이 끝나는 날 이들은 헤어진다.

根据王峰原著改编。清代同治末年，朝廷腐败，官场更加黑暗。“杨乃武与小白菜”的“奇案”就发生在这时的浙江省余杭县。余杭县知县刘锡彤之子刘子和看中豆腐房葛小杜之妻毕秀姑。她容貌甚美，绰号“小白菜”。刘子和贪恋姿色，暗用迷药玷污了葛毕氏，毒死她丈夫葛小杜。案发后，刘锡彤为开脱儿子罪责而陷害新科举人杨乃武。皆因杨乃武曾与葛毕氏相识有情，并给葛小杜治病，刘锡彤便买通师爷钱如命，用“移花接木”之计，嫁祸于杨。懦弱无知的葛毕氏被百般威逼欺哄，诬杨乃武为奸夫，杨乃武“被屈打成招”定为“谋夫夺妇”之罪。余杭县生员不服，上诉至杭州府，但因知府宝贤与刘锡彤是儿女亲家。徇情得贿，仍酷刑枉断，杨乃武遂冤沉海底。众生员仗义扶危，再至浙江巡抚杨昌溶府衙鸣冤。葛毕氏痛悔自己放真凶，污良善，企图翻供。怎奈三大宪俱已受贿，官官相护，贪赃枉法，葛毕氏翻案不成反受酷刑旷世奇冤活路断，铁案铸成何能翻?杨乃武胞姐杨淑英曾在刑部尚书夏同善府中做过绣娘。为弟伸冤，千里跨涉赴京求援。时正值清室东宫与西宫互争权势，西太后之心腹醇亲王欲乘机除去东宫之亲信杨昌漕，因而接受杨淑英状纸，将全案人犯与原审官员提京勘审。但由于刘锡彤再逼葛毕氏，致使刑部大堂未能审出真相。于是夏同善设“密室相会”之计，使葛毕氏与杨乃武倾吐实情，招出真凶。杨乃武三载冤狱才获昭雪。

凯伦（梅丽尔·斯特里普 Meryl Streep 饰）是一个爱慕虚荣的富家女，为了得到一个男爵夫人的称号她离开故土丹麦远嫁东非肯尼亚，然而男爵夫人的称号并没有给凯伦带来美满的婚姻生活。幸运的是在那片广袤的土地上，凯伦可以经常外出打猎、探险，她渐渐的爱上了这片神奇的土地。 在一次打猎遇险时，凯伦邂逅了年青的英国贵族邓尼斯（罗伯特·雷德福 Robert Redford 饰）。在遭遇婚姻的破裂和丈夫出走之后，凯伦独立承担起经营庄园的任务，在劳动的过程中，凯伦渐渐的与种植园里的仆人们产生了深厚友谊，而她与邓尼斯的关系似乎也有了进展。然尔命运之神并没有从此让凯伦一帆风顺，一次大火让她不得不出卖庄园从而缓解经济的拮据，后来邓尼斯驾机意外身亡又一次给了她沉重的打击。在经历了生命的磨炼之后，凯伦最终告别了那片她洒下青春和热情的土地……该片在1986年的第58届奥斯卡上荣获了包括最佳影片、最佳导演、最佳改编剧本在内7项大奖。