恋爱的味道cut

故事以古德考瑞一家为中心，这个家族是一个充满了收藏热情的绅士家族，他们幸福地生活在祖传的宏伟城堡中，向往着宁静和祥和。然而，这份安宁在一天的宴会上被彻底打破了。在这个典雅的场合上，家族成员却相继遭受了残忍的谋杀，每一位成员都成了可怕事件的受害者。这一连串的血案让家人们开始怀疑起了他们信任的保险代理人。求助无门之际，他们决定寻求著名的侦探福尔摩斯（巴兹尔·拉思伯恩 Basil Rathbone 饰）和他的忠实助手华生（奈杰尔·布鲁斯 Nigel Bruce 饰）的帮助，以期能揭开谜团，找出真相。福尔摩斯得知，每位受害者都曾收到一个装有橙色果仁的密封袋，而在宴会上，这个袋子总会被送给下一个受害者。更让他震惊的是，他发现受害家族成员的保险金竟然会支付给生还的成员，这引发了他对这起案件更深层次的怀疑。坚信这是一场精心策划的谋杀案，福尔摩斯和华生毅然决定前往苏格兰，为了追寻真相而展开冒险之旅。这个故事充满了悬疑和紧张，福尔摩斯将动用他无与伦比的推理能力，为受害者伸张正义，同时揭开这个家族的黑暗面。

故事发生在二十世纪六十年代的美国，为了追求更加自由的生活，患有眼疾的青年多纳德（爱德华·艾伯特 Edward Albert 饰）毅然决定离开家乡，独立生活。尽管新的住所破败不堪，但新生活依然让多纳德的心中充满了快乐。多纳德的邻居是一个名叫吉欧（歌蒂·韩 Goldie Hawn 饰）的美丽女孩，她以为多纳德在偷窥她的一举一动，遂决定上门讨个说法。见面之后，吉欧才发现原来一切都是一场误会，与此同时，多纳德的坚强和乐观感动了吉欧，一来二去之间，两人的关系渐渐亲密起来，终成眷属。好景不长，吉欧和多纳德的平静生活被多纳德母亲的突然出现破坏殆尽，她看不惯吉欧的活泼与奔放，认定了她是个“骗财骗色”的坏女人。

电视台里，编剧秀贞（李恩珠 饰）爱上了有妇之夫的制片永硕（文成根 饰）。永硕的独立电影需要投资，秀贞便与永硕来到了永硕朋友杰勋（韩明求 饰）的画廊。这位朋友却对秀贞很感兴趣，更希望秀贞能成为自己的女朋友。秀贞开始与杰勋交往，一开始相处还算融洽，不久杰勋便想进一步与秀贞发展。仍是处女的秀贞对于性这件事颇为介意，杰勋见无法进一步得到秀贞，大感无奈。秀贞一直爱着的永硕也对秀贞示爱了，秀贞不知该把自己的身体交给哪一个男人。

Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.