杰拉德巴特勒

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.

今年的诺贝尔文学奖即将颁奖，所有人的目光都聚集在了那些有可能获奖的作家们身上。让大家都没有想到的是，最终的大奖落在了一个名叫安德鲁（保罗·纽曼 Paul Newman 饰）的年轻人头上，这个看上去就不太靠谱的作家似乎将更多的热情放在了女人和酒身上，而并没有放在文学创作上。安德森小姐（艾尔克·萨默 Elke Sommer 饰）成为了安德鲁的朱莉，将打理他在颁奖典礼上的一切大小事务，美丽的安德森很快就吸引了安德鲁的注意。和安德鲁一起领奖的还有一个名叫马克思（爱德华·罗宾逊 Edward G. Robinson 饰）的男人，他带着他可爱的侄女艾米丽（黛安·贝克 Diane Baker 饰）一同前往瑞典。

钟点工李素珍为了给女儿购买参加模特比赛的礼服，长途跋涉来到服装城大连。好不容易找到了雅俗公司，李素珍却发现人人都活得不得劲。展示部经理杜梅面临升职的苦恼、唐总父子反目多年、小职员吴浩的梦中情人竞是名模林嘉、而林嘉的恋人居然是个浑身充满铜臭的小人。李素珍不经意闯入了他（她）们的世界之后，使得这一切矛盾发生了变化，而李素珍，千里买衣乍喜乍惊，也有情理之中的结局。

性格开朗，绝不轻易说放弃的大学毕业生仓泽英雄（二宫和也 饰）的就业情况可谓难上加难。22岁的他患有小儿麻痹症，早年丧父，和母亲美津江（樋口可南子 饰）一直相依为命长大。想让妈妈过的轻松点的英雄非常渴望拥有一份工作，而这时经营净水器的社长给了他一个机会，去购买力不高的社区做推销。得到这份工作的英雄开始了他的销售征程，可一开始因为自身的状况，让英雄比常人更加四处碰壁。但不言放弃的英雄还是开辟了自己的一片天，得到了社区人民的支持和认可。正当一切向好的方向发展的时候，妈妈却倒下了，而自己工作的公司也出现了问题，英雄该怎么办呢？本剧是“感动电视剧”系列的第三弹，取材于美国的真实故事，有同名电影版。