安在懋
发表于9分钟前
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:盗宝毁陵事件被公诸于众,孙殿英惊惶失措,急于将珍宝出手。他密遣张厚歧经青岛去日本拍卖珍宝。这消息被朱绶光获悉,立即派侦缉队长刘清林在青岛码头绑架了张厚歧。孙殿英惊闻珠宝被截,唯恐赃证落在他人之手,又派手枪连去劫回张厚歧。途中,手枪连与侦缉队发生枪战,张厚歧被乱枪射死,珠宝被手枪连夺回。刘清林身重伤逃回平津司令部,朱绶光害怕泄密将刘清林秘密处决。事态在继续扩大,孙殿英一面派心腹加紧四出活动,一面授权谭温江在北平举行记者招待会,诡称盗墓为土匪所为,借以欺世惑众,遮人耳目。朱绶光为报复孙殿英,秘密将谭温江活捉,施以酷刑,逼他供出珠宝的下落。第六集团军司令徐源泉对孙殿英捅的漏子不肯卷入,经孙殿英三番五次求其援助,不得不亲自出面向朱绶光要人,同时派兵干扰平津。这时,刘清林的弟弟刘清森为报杀兄之仇,将秘密窃得的朱绶光与阎锡山二姨太之间的密信,及私生活的照片,给了徐源泉,徐以此胁迫,朱绶光才放回谭温江。与此同时,孙殿英已将珠宝、文物以两吨黄金、五个师的装备为代价,和美国诈骗犯华莱士达成交易。那辛庭得信后,在宴会上以酒醉为名摆脱了孙殿英,夺出了珠宝、文物。不料转移时被孙殿英发现,派兵扣住了那辛庭。双方正在苦战之中,两伙蒙面人自天而降,抢走了全部珠宝文物,劫走了那辛庭。
张翰
发表于2分钟前
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: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
姜贤秀
发表于2分钟前
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:戴安娜(朱莉·克里斯蒂 Julie Christie 饰)是一个活泼开朗充满了魅力的女人,一次偶然之中,她结识了电视台记者罗伯特(德克·博加德 Dirk Bogarde 饰),罗伯特的聪慧和机敏深深的吸引着戴安娜,令她坠入情网。虽然戴安娜和罗伯特都有他们的家庭,但是两人还是决定在外面买了一套公寓,开始了短暂的同居生活。最终,两人都离了婚,名正言顺的成为了夫妻。戴安娜希望能够成为一名电影明星,她结识了导演迈尔斯(劳伦斯·哈维 Laurence Harvey 饰),决定利用他。在戴安娜的勾引和诱惑之下,迈尔斯沦陷了,戴安娜就此得到了女主角的位子,而她所做的一切都被罗伯特知道了,后者失望的离开了她。