三兄弟电视剧

夜深人静，郊外某所大房子的阁楼内却灯火通明。这时汤姆的工作间，他正通宵达旦设计一个铺鼠系统，复杂的设计图呈现在黑板上面，汤姆仍在做着最后的运算。当完成最后一步时，汤姆心满意足拖着疲倦的身体回到床上，脑中不断浮现与财大气粗的投资人签约、批量生产捕鼠系统最后成为一代富豪的美好景象。伴随着交替而出的幻想，汤姆进入甜甜的梦乡。就在这时，黑板上那只老鼠的草图竟然动了起来，它画了根绳子溜下地面，找到并叫醒熟睡中杰瑞，希望让他知道汤姆的设计将是多么可怕的一件事。杰瑞和草图鼠急忙展开行动，而黑板上的草图猫则目露凶光要吃掉他们……

取材自新文化運動先驅李叔同的年輕事跡。滿清末年國力衰弱，遭列強宰割。1905年，日本與俄羅斯兩大強權為爭中國領土，在東北戰場開打，知識份子忿忿不平。同年，熱衷文藝的上海富家公子厭倦紛擾，赴東京留學，欲尋淨土潛心精進藝術。他學畫、習樂、演新劇，並與日本女子相戀，異鄉成了溫柔鄉。然而，憤青好友力勸其加入革命黨，時局壓力亦步步迫近。亂世當前，誰能置身事外？

本作の主人公はかつて「ネイチャリング・シリーズ」という冒険番組でスターになった写真家の立花浩樹。バブル崩壊ですべてを失ってから15年、事務所の社長に背負わされた借金を返すためだけに生きてきた40代の彼は、夢も恋も何もかもあきらめた日々を過ごしていたある日、母親の友人から写真を撮ってほしいと頼まれる。そのことがきっかけでカメラを構える喜びを思い出しもう一度やり直そうと上京する立花。同じように人生に敗れた者たちとシェアハウスで暮らす中、心より欲しているものは何かを見つめ直そうとする。

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.