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四重奏剧情简介
《四重奏》是一部法国电影，它以一种诗意的方式探讨了爱情、欲望和自我发现的主题。影片通过四个角色的故事交织在一起，展现了一幅复杂而深刻的情感画卷。豆瓣内容: It has been said that most great twentiet《四重奏》是一部法国电影，它以一种诗意的方式探讨了爱情、欲望和自我发现的主题。影片通过四个角色的故事交织在一起，展现了一幅复杂而深刻的情感画卷。豆瓣内容: It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them. Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries. When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact." Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance. Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.在本片中，我们有四位主要演员：阿兰·贝茨、玛吉·史密斯、伊莎贝尔·阿佳妮和安东尼·希金斯。他们各自演绎了影片中不同层次的角色，通过对话与行动，推动着整个故事的发展。阿兰·贝茨饰演的角色，在一次偶然的机会下遇见了玛吉·史密斯饰演的女子，他深情地对她说：“你的眼睛里有着我从未见过的海洋。”这句台词不仅揭示了他对她的深深吸引，也预示了两人之间即将展开的情感纠葛。玛吉·史密斯饰演的女性，则以一句“爱情不是占有，而是理解”，展现了她对爱情的独特见解，同时也反映了她在影片中的独立思考和情感深度。伊莎贝尔·阿佳妮饰演的角色，则用一句“我想要的是自由，而不是爱”，表达了自己对爱情的不同态度，以及她内心深处对于自我价值和自由的追求。安东尼·希金斯则以他的角色为纽带，将这四个灵魂紧密相连，通过他的话语和行动，使得观众能够感受到他们之间的复杂情感联系，以及他们在面对爱情与自我时的挣扎与成长。这四位演员，通过精湛的演技，共同编织了一部关于爱情、自由与自我探索的动人故事，让观众在欣赏的过程中，也能够反思自己的情感世界和生命意义。详情
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