失恋杀人
8.0 |04月17日 |已完结
简介:
明治时期,继承了父母遗产的男子南田收一(柳憂怜 饰)过着衣食无忧的生活。他的妻子都子(宮地真緒 饰)美丽雍容,气质不凡。只是夫妻间的关系似乎并不融洽,收一对妻子如痴如醉,几近疯狂;都子则对丈夫心存恐惧,一心逃离。此后不久,都子恋上收一的朋友——经营牙科诊所的琴浦(大浦龍宇一 饰),继而发生不伦之恋。有感于妻子的异常举止,收一决心调查,却被琴浦阻止。而琴浦却延请明智小五郎调查都子,以障耳目。小五郎的妻子文代(星野真里 饰)自告奋勇,但在调查过程中发觉这段三角恋情正在死亡的泥潭越陷越深……  本片根据江户川乱步的小说《妻に失恋した男》改编。
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9.0
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更新时间:04月17日
主演:Anna Neagle,Anton Walbrook,C. Aubrey Smith,Walter Rilla
简介:Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.  The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).  The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.  The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.  Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.  Roger Philip Mellor
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