儿子与情人
1.0 |09月08日 |HD中字
简介:
剧情描述年轻矿工保罗个性文静而敏感,其母葛楚因与时常酗酒的丈夫感情不睦,竟转向儿子寻求爱的寄托,情感超过了正常的母爱。这种情形影响了保罗跟女朋友米莉安的交往,米莉安因家庭严格的宗教观念影响,使她只想追求精神恋爱而排斥肉体的热情。保罗为了摆脱母亲的控制与女友的感情打击,竟一头投入与夫分居的女工克莱拉的怀抱,但旋即发现两人在精神上缺乏沟通。最后,保罗抛弃了这座单调乏味的煤矿小镇,到异乡另闯天下  根据D.H劳伦斯自传体原著小说改编的英国文艺片,由杰出摄影师出身的杰克·卡迪夫执导,曾获奥斯卡最佳摄影奖。本片对保罗的复杂心理状态刻划得相当细腻,迪安·斯托克韦尔、特雷弗·霍华德和温迪·希勒这一家三口也演得出色。
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简介:Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.  Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)  As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisonerpenitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone (I'm a mechanic), yet the symbolism is rich he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.  The scene between Josh and Jane (a wonderful, young Edie Falco . . . You need a woman not a girl) is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly arty and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual am notare too argument).  Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the unbelievable truth of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.
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