曼迪摩尔
发表于8分钟前回复 :李大理是一名穿梭闹市的跑腿员,在不大的跑腿公司拥有着高达999单的准时送达记录,然而就在他即将以为能够刷新人生记录的时候,这个第1000单的包裹却变成一场彻底打破他平静生活的浩劫,也正因此,让他卷入了一场匪夷所思的绑架案中。一时间,围绕在李大理身边的各式人物纷纷粉墨登场。其中包括李大理的三个一直想要帮他恢复记忆的“挚友”:倾慕李大理的王语嫣、摩托车司机赵德柱、自诩为雕刻艺术家的刘生;以及两个误打误撞的“笨贼”常富贵、郝争气,和极度抠门的跑跑公司老板谢顶。整个事件也因为这样一群各怀目的的人所引发的闹剧,朝着不可控制的方向发展下去。引发了一幕幕让人啼笑皆非的闹剧,却也各自悟出了生活的真谛。
女子十二乐坊
发表于1分钟前回复 :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