故事发生在十九世纪的英国,皮普(杰瑞米·艾文 Jeremy Irvine 饰)从小成长于贫苦家庭之中,看着他长大的是个性暴躁的姐姐和杰夫乔(杰森·弗莱明 Jason Flemyng 饰)。一次偶然中,皮普来到了一幢神秘的庄园之中,在那里住着的是他的雇主哈文森姆小姐(海伦娜·伯翰·卡特 Helena Bonham Carter 饰)和她的侄女艾斯黛拉(霍利·格林格 Holly Grainger 饰)。
随着时间的推移,皮普深深的爱上了性格冷艳高贵的艾斯黛拉,深知自己配不上她的皮普在内心里燃起了想要跻身于上流社会的念头。一笔突然到来的神秘财产让皮普得以实现了他长久以来的愿望,他来到了伦敦,开始了自己的“变身计划”,而此时的他并不知道,本以为是时来运转,但自己不过只是棋盘上的一颗棋子而已。
Raynor is an undercover narcotics cop. For his next assignment he chooses the more inexperienced but tough and good-looking Kristen. Their ultimate target is Gaines, a renowned but very elusive drug dealer. While doing their work they unexpectedly fall into a morase of drug-addiction and fall in love with each other. Despite subjecting themselves to the life of low class, one track junkies they do not get the evidence they want to convict Gaines, and instead are forced into using false evidence in court.
比夫(詹姆斯·贾克内 James Cagney 饰)和雨果(杰克·卡森 Jack Carson 饰)曾是感情十分要好的朋友,可是,两人共同爱上了名为维吉尼亚(丽塔·海华斯 Rita Hayworth 饰)的性感女郎。为了能够和维吉尼亚约会,雨果叫上了比夫,而维吉尼亚则带着自己的好友艾米(奥利维娅·德哈维兰 Olivia de Havilland 饰)。为了追求维吉尼亚,比夫几乎花光了自己的所有积蓄,可是,最终他得知,维吉尼亚已经和雨果私奔了。比夫崩溃了,艾米留在他的身边安慰和陪伴着他,久而久之,产生了感情的两人走到了一起。
当雨果和比夫再见面之时,他已经成为了公司经理,可当雨果的公司因为贪污受贿而遭到指控时,比夫却成为了替罪羊。
琼(贝蒂·戴维斯 Bette Davis 饰)是衔着金汤匙出生的千金小姐,她的生活虽然富足,但并不快乐,因为她缺少一样东西,那就是自由。一次偶然中,琼邂逅了名为艾伦(杰克·卡森 Jack Carson 饰)的乐队指挥,琼一下子被他的风度翩翩给吸引了,两人火速发生了关系,并且决定私奔结婚。
女儿的失踪令琼的父亲感到非常的着急,他找来了技术十分了得的飞机师史蒂夫(詹姆斯·卡格尼 James Cagney 饰),委托他驾驶飞机将自己的女儿带回德州。哪知道琼误以为史蒂夫是绑架犯,千方百计的想要从飞机上逃走,闹出了一连串的笑话。祸不单行,在沙漠上空,史蒂夫的飞机发生了故障,一行人被迫降落在了茫茫的沙海之中。
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 Straub
The 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
Danny is a content truck driver, but his girl Peggy shows potential as a dancer and hopes he too can show ambition. Danny acquiesces and pursues boxing to please her, but the two begin to spend more time working than time together.
Shortly after the United States enters World War I in 1917, a Broadway actress agrees to let a naive soldier court her in order to impress his friends, but a real romance soon begins.