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天龙影院

人怕出名
大陆其它2007
  古往今来,大千世界,芸芸众生,大凡皆为名来利往者,淡泊名利者又能有几许?  楚明(郭涛饰)是个报社的小编辑,怎料一次意外,竟然“名”从天降,名与利同时“砸”向这个甘于清新寡欲平淡生活的小人物,在妻子金晓燕(何赛飞饰)的软硬兼施下,楚明走上了银幕,成了一个小有名气的主持人。自此他一夜成名,也挣了不少钱,可以说是名利双收。  俗话说“人怕出名猪怕壮”。“出名”后不但没有带给楚明一家更多的美满和幸福,却颠覆了他从前生活的平静,原本祥和的生活转眼化为泡影,随之而来的却是接二连三的烦恼与痛苦,一切都被“出名”搞得一团糟,他和妻子金晓燕的生活并没有如期望的一样越变越好,夫妻俩的距离却越来越大,甚至使夫妻俩的情感走到了尽头;成天怀着追星梦的女儿不满父母的争吵与离异,愤然离家出走;一心梦想成名的兄弟楚天,不再安于现状,一番折腾,不但没能成名,却导致家庭支离破碎,成名后带来的所有矛盾和烦恼,让他们苦不堪言;社会的舆论,让他们不堪重负;奸人的挑拨,使他们不断地隐入误解之中……  经历了一番挣扎与徘徊,他们能否悟透生活,走出生活的阴影,挽回久违了的幸福?名利之外,什么才是生活的真谛所在?《人怕出名》将为您娓娓道来……

天龙影院

不安
其它其它1954
  Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.

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