剧情简介
本武侠片拍于1971年，国产由郑昌和自编自导。故事描述，国产明皇身染恶疾，驾崩在即，却无子可继帝位；皇姪世子杰本可继位，惜不成器，难当大任。皇弟徽王想起明皇曾与东宫宫女生有子女各一，现时藏匿于东阳县，遂命锦衣卫刘玄平(金汉 饰)寻找公主与王子的下落。刘玄平路上屡遭世子杰爪牙追杀， 幸得侠士来如风(罗烈 饰)相助……
国产爆操
本武侠片拍于1971年，国产由郑昌和自编自导。故事描述，国产明皇身染恶疾，驾崩在即，却无子可继帝位；皇姪世子杰本可继位，惜不成器，难当大任。皇弟徽王想起明皇曾与东宫宫女生有子女各一，现时藏匿于东阳县，遂命锦衣卫刘玄平(金汉 饰)寻找公主与王子的下落。刘玄平路上屡遭世子杰爪牙追杀， 幸得侠士来如风(罗烈 饰)相助……
王冰洋
回复 :从小生活在贫穷当中的玛丽萨•文图拉（詹妮弗•洛佩兹 饰）十分坚强，如今她需要独自抚养儿子泰勒，她没有丈夫，没有幸福的家庭，而是每天都要为着儿子与自己的生活奔波劳碌。玛丽萨在曼哈顿一间高级酒店内当清洁女工，工资微薄。玛丽萨梦想自己与儿子的生活能有更大的改善，也希望自己能遇到一个真心爱自己的人。就在这时，她与英俊优雅的贵族公子克里斯多佛•马歇尔（拉尔夫•费因斯 饰）在酒店内相遇了，他误会了正试穿名贵时装的玛丽萨是一名社会名媛。两人对彼此都有好感，可是当进一步发展感情的时候，玛丽萨的真实身份成为了最大的障碍，玛丽萨又能否苦尽甘来，得到自己最想要的生活呢？
回复 :为了爱情和男人，女大学生索尼娅，一步一步从一个清纯的学生蜕变为没有尊严和廉耻的妓女。是因为她的生活态度不够严谨，还是命中注定？蜕变的过程很真实，学生到情色主播，再到手枪女，再到有选择的卖淫，最后为了40欧与4个男人群P。生活最终会撕裂华丽的光环，在一切表象上吐上一滩大姨妈。
回复 :转自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub“The end of paradise on earth.”—Jean-Marie StraubThe 33rd verse and last chant of “paradise” in Dante’s Divine Comedy. The film starts with verse 67, “O somma luce…” and continues to the end. “O Somma luce” recalls the first words uttered by Empedocles in Danièle Huillet and Jean-Marie Straub’s 1987 The Death of Empedocles—“O himmlisch Licht!…” (O heavenly light!). This extract from Hölderlin’s text is also inserted into their 1989 film Cézanne.“O somma luce” invokes utopia, or better still “u-topos,” Dante, Holderlin, Cézanne… the camera movement, recalling Sisyphus, in the film’s long shots, suggests its difficulty.In O somma luce, with Giorgio Passerone’s Dante and the verse that concluded the Divine Comedy, we find at the extremity of its possibilities, the almost happy speech of a man who has just left earthly paradise, who tries to fully realize the potential of his nature. Between the two we find the story of the world. The first Jean-Marie Straub film shot in HD.So singular are the textual working methods of Straub-Huillet, and now Straub on his own, that it is hard to grasp how far reaching they are. Direction is a matter of words and speech, not emotions and action. Nothing happens at the edges, everything is at the core and shines from there alone.During the rehearsals we sense a slow process by which ingredients (a text, actors, an intuition) progress towards cohesiveness. It is, forgive the comparison, like the kneading of dough. It is the assembling and working of something until it becomes something else… and, in this case, starts to shine. Actually it’s very simple, it’s just a question of opening up to the light material that has been sealed up. Here, the process of kneading is to bring to life and then reveal. The material that is worked on is speech. So it is speech that becomes visible—nothing else. “Logos” comes to the cinema.The mise en scène of what words exactly?The process of revealing, “phainestai”; “phainomenon,” the phenomenon, is what take splace, what becomes visible to the eye.Is “Straubie” Greece?This mise en scène of speech, which goes beyond a close reading of the chosen text, is truly comes from a distant source.—Barbara Ulrich
