中国电影
鬼子来了 (2000) 豆瓣 TMDB
鬼子来了
9.4 (1374 个评分) 导演: 姜文 演员: 姜文 / 香川照之
其它标题: Devils on the Doorstep
二战期间,中国河北唐山挂甲台村的农民马大三(姜文 饰)在日本人的统治下过着平静的生活。一个晚上,游击队绑架了日军陆军士兵花屋小三郎(香川照之 饰)和翻译董汉臣,把他们捆绑塞入麻袋放在马大三家里,并吩咐马好好看管,几天后的大年三十来带人。马大三和村民战战兢兢地看守两人,花屋小三郎和董汉臣数次发出求救信号,皆被村民化解。半年过去了,村民们担心事情暴露,却又不敢把花屋等放了。
马大三最终被董汉臣说动,把花屋和董送到了日军宪兵队驻地,以换取粮食。日军宪兵军官酒冢猪吉是花屋的同乡。他表面上对马等人客气,但背后指责花屋让皇军蒙耻并殴打了他。宪兵队整队去马的村子里和村民联欢送粮,酒到酣时却乍露杀机……
2005年6月12日 看过
2005年12月10日 评论 谁的悲剧? - Devils on the Doorstep is set in a small dusty Northern China village during Japanese occupation, at the end of WWII. The director is Jiang Wen, who is banned from directing any movies for seven years (till 2007) by the Chinese government, because he took this film to Cannes voluntarily without obtaining the “proper” blessing from the authority. Regardless, it won Grand Jury Prize from Cannes in 2000. Both M and V have seen it and both of them have urged me to see it, and told me it was dark but also humorous. Then again, it was not really dark humor. At the end of August, I finally saw it at M’s place. When the final credit started rolling, I was still emotionally trapped in the ending’s “dark humor”, M remarked sullenly, “The tragedy of China.” That sentence pulled me out of the contemplating mood right away, “Why China?” I was puzzled. “If it is anyone’s tragedy, it is the tragedy of human race. It is good versus evil, and the innocence versus the ’sophisticated’ calculating mind. It is not just China versus Japan. It is universal. And that is what made this movie such a masterpiece. Or it could be struggle between the bright and the dark sides within each and every one of us… but China?” What it really reminded me of, actually, was a story I’ve read in Magus, where an old man recalling his dark secret during WWII, when he was the head of a village in southern Europe, under occupation of the Nazis. One day, some Nazis came to their village and they gave him, the head of the village, a choice. He could pick one of his fellow villagers and shot him or her himself, or the Nazis will shoot the entire village including him. He was hunted by that choice and his ultimate decision ever since. Then there was the story of Sophie’s Choice. And a line I remembered from the movie The Green Mile, “Devil uses the goodness in you to kill…” Evil certainly didn’t seem to be partial to China. But M had a point, too. It was the national character of China as a country to make Japanese occupation possible. Their satiable nature and middle-road philosophy taught over the thousands of years, made the mass of China not a very ambitious or aggressive bunch, while their tiny neighbor on an island always has a much grander scheme in mind. Still, I wanted to argue, whatever the Chinese did in the movie represented their goodness, while whatever the Japanese did was evil and criminal-court-worthy. “So? Who is dead at the end?” M won’t budge. “I know it was not fair. But would you feel better or worse if the characters traded places in the movie? Would you prefer the Chinese characters to be evil? Won’t that be even more a tragedy for China?!” I knew I had a rhetoric advantage. M’s frustration alarmed me still. So I thought of this topic some more. If there was any one character in the movie that I found especially hateful, it had to be the Mr. Gao (高某人) at the end. The one that was put in charge of the city after Japanese surrendered. He represented all that was bad about Chinese society, hypocritical, self-congratulatory, contemptuous toward the poor and the less educated, and was always on a power-trip. I was just going to say if the movie really showed a Chinese tragedy, then this Gao Mou-ren was it. But I suddenly remembered Robert Kaplan. He mentioned a class of people he met during his travel in Middle East, from Egypt to Turkey to Iran. He called them the “most dangerous” educated class. They were educated in the west, but they were dismissive toward human rights. They respect power and money above all else. So, you see? Even the Gao Mou-ren was not unique to China. What’s even more ironic was the entire episode happened AFTER the movie was made: the fact that Jiang Wen was black-listed and wasn’t allowed to direct any movie till 2007. Isn’t that absurd? Apparently the successor of Gao Mou-ren is still in power. That, my friend, is truly a tragedy of China. More information on Jiang Wen from Time Asia: JUNE 24, 2002: Back in Action http://www.time.com/time/asia/magazine/article/0,13673,501020624-263045,00.html JULY 24, 2000: Devils on His Doorstep (you can still read the cached version from google, i’ve also copied it below.) ~~~~~~~     JULY 24, 2000 VOL. 156 NO. 3     Devils on His Doorstep     In Cannes, Jiang Wen’s new film got a top prize, but in China it may get him seven years on the blacklist By RICHARD CORLISS     His name sounds like “John Wayne,” and Jiang Wen has a solid star bearing to go with the cowboy stubbornness. Mainland China’s most famous actor (Red Sorghum, Black Snow) and most vigorous director (In the Heat of the Sun), Jiang delivers his sharp opinions with an implacable stare that could turn the nastiest gunslinger into cornmeal. But now he is up against a marauding posse of film bureaucrats. The showdown may get bloody.     Devils on the Doorstep is Jiang’s scalding tragicomedy set in a Chinese village during the wartime occupation by the Japanese. One villager, Ma Dasan (played by Jiang), is told to hold a Japanese officer and his Chinese translator as hostages. The film, which traces the villagers’ fear and the soldiers’ brutality, won the Grand Prix (second place) at this May’s Cannes festival’a high honor, and a victory for Chinese cinema.     The censors at the Film Bureau didn’t see it that way. They were furious that Jiang had entered the film in the festival without their permission, after receiving their detailed critique of the script and the finished work. They sent two officials to Cannes to try to dissuade the festival from screening Devils and demanded that Jiang hand over the negative (which was not in China). Now, according to reports from Asian film circles, the authorities plan to punish Jiang’s film, and his defense of it, by forbidding him to work in China for seven years.     Jiang says he has not been handed such a document. (”So far,” a Bureau spokesman says, “no formal decision concerning his case has been made.”) Nor have they answered his pleas to discuss the matter. “I’ve asked seven times for a meeting with Film Bureau officials,” he declares, “but with no success.” The censors seem to resemble the villagers in Devils, reluctant to speak, or face, the truth. “The film shows that people must express their feelings frankly and openly, instead of bottling them up inside while smiling and nodding. This is a fault of most Orientals. If we wish to have genuine peace, we must speak openly.”     There’s no use pretending that Devils is a sweet puppy of a movie crushed under the wheels of the censors’ tank. The film is both outraged and amused at the carnage (several brutal deaths of the innocent and weak) the soldiers wreak on civilians; it has a God’s-eye view, a kind of humanist misanthropy, of the disasters of war.     Yet the Film Bureau’s view is rustic in its naivete. “The language used in the film is offensive in many places,” the report notes. (A frequent epithet is “turtle-f—er.”) “There is also a shot of a nude woman. In general, the style of the film is vulgar.” It also says Devils is too nice to the Japanese and too critical of the Chinese. “The evaluation basically accuses Jiang of intentionally vilifying the Chinese and beautifying the Japanese invaders, of being a neo-fascist and national traitor,” says a Chinese producer. “That’s a very serious accusation.” It is a mirror of charges from Japan’s ultra-right groups, which see the film as a slur on its military. These groups are reportedly trying to keep Devils from being shown in Japan and threatening to harm the Japanese actors who appeared in it.     The Film Bureau in Beijing is slated to be dismantled as the state bureaucracy is streamlined; some film people believe that, by stoking this controversy, the censors are trying to make themselves appear indispensible. “It seems I am caught in a political power play,” Jiang says. The officials are also telling producers of a new project not to hire Jiang as a star. “They may not have the guts to tell him, ‘You’re banned,’” says an industry observer. “But they could put him on an implicit blacklist.”     Jiang is not the only prominent filmmaker to be corraled by the censors. Chen Kaige and Zhang Yimou have seen many of their films cut severely or banned from theatrical showings. Tian Zhuangzhuang was denounced so fulsomely in 1993 for his poignant drama The Blue Kite that he has not been able to make a film since. But Jiang is the auteur most likely to shout out his grievances. He will not be the next Chinese filmmaker to bite the dust. He’s more likely to spit the dirt in his accusers’ faces.     “I feel like Ma Dasan,” Jiang says wryly. “The film has become real life. But I hope I won’t have as tragic an ending as his.” That would be a shame, for when the Kuomintang take over the village at the end of the war, they make an example of Ma and cut his head off. That never happened to Duke Wayne.     -Reported by Jaime A. FlorCruz/Beijing
中国电影 姜文 故事片
城南旧事 (1983) Eggplant.place 豆瓣 TMDB
城南旧事
8.9 (353 个评分) 导演: 吴贻弓 演员: 沈洁 / 张丰毅
其它标题: My Memories of Old Beijing / South of the old
本片根据林海音的同名短篇小说改编。
小女孩林英子(沈洁 饰)住在五十年前的北京南城,在他们家院子附近住着一个疯女人秀珍(张闽 饰),秀珍的丈夫因参与学生运动被杀,孩子也不知所踪,因此落下了疯病,时常把英子当做自己的孩子“小桂子”看待,英子也喜欢秀珍,答应帮她找回小桂子。英子有个苦命的小伙伴妞儿,学戏时常遭干爹打骂,英子偶然发现妞儿有小桂子的胎记,帮助她们母女相认。英子上小学后,一家人搬到了厂甸。在家门口荒废的院落里,英子发现了一个小偷(张丰毅 饰)藏赃的草堆,小偷为了供弟弟读书只得干不光彩的勾当,英子却不把他看作是坏人。不久,女佣苏妈返乡,父亲去世,英子的童年,彷佛一下结束了……
2005年10月5日 看过
长亭外,古道边,芳草碧连天, 晚风拂柳笛声残,夕阳山外山天之涯, 地之角知交半零落,一杯浊酒尽余欢,今宵别梦寒
中国电影 北京 童年 经典
苹果 (2007) IMDb 豆瓣 TMDB
苹果
6.7 (304 个评分) 导演: 李玉 演员: 梁家辉 / 佟大为
其它标题: 迷失北京 / Lost in Beijing
刘苹果(范冰冰饰)在北京一家洗脚城里做按摩妹,丈夫安坤(佟大为饰)是负责清洗高楼落地窗的工人,二人生活贫困,却相亲相爱。
洗脚城老板林东(梁家辉饰)是个好色的港商,时常找不同小姐满足生理需要。老婆王梅(金燕玲饰)不能生育,经营一家美容院,两人感情冷淡。
一日刘苹果的好友小妹因为得罪客人而被开除,二人喝得酩酊大醉。神志混乱的苹果误打误撞走到一间足浴客房,正好是林东的休息室,二人发生关系,却被正在刷窗的安坤看到。
安坤欲借此敲诈林东,并前去找王梅谈判,愤怒的王梅要林东也尝尝“戴绿帽”的滋味,于是与安坤发生关系。
而在这时,一个更大的变故产生。苹果怀孕了,而到底谁才是这个孩子的父亲成了林东与安坤赌博的筹码,四人签订协议,如果是林东的骨肉,他将给二人十二万元的补偿费,而如果是安坤的,则双方互不相欠......
2007年12月27日 看过
李玉的电影看过这个和红颜,制作粗糙。但是故事情节还是有看头。另外,小妹演的不错,演员是曾美惠孜,很费劲才查到,留个记录。
中国电影
梅兰芳 (2008) 豆瓣 TMDB
梅蘭芳
6.6 (305 个评分) 导演: 陈凯歌 演员: 黎明 / 章子怡
其它标题: 梅蘭芳 / Forever Enthralled
京剧艺术大师梅兰芳先生的传记电影,但多处描写与史实不符。
唱了大半辈子戏的大伯因在西太后寿辰中顾及家中出殡未穿红被赐一纸枷锁后,少年梅兰芳将他临死留下的一封书信随身携带,开始跟随与梅家有世交的京剧老生名角十三燕(王学圻)学唱戏、做人。十年后,梅兰芳(余少群)在梨园崭露头角,想着能一辈子清清白白唱戏、做人。
对戏剧艺术有颇深研究的留洋司法局长邱如白(孙红雷)满腹牢骚于传统京剧,却在看过梅兰芳的演出后难抑激动,提笔给他写下鼓励、建议书信。梅兰芳也想创新表演,对邱如白十分感激。两人封封书信往来、见面促膝长谈中,梅兰芳对京剧的理解日渐加深、翻新,并收获“三哥”邱如白持续一辈子的单纯情谊。
但梅兰芳也因此与十三燕生出分歧。两人在好事者的怂恿下决定对打擂台,梅兰芳大获全胜,迎来自己的时代。梅兰芳能成功,除了自个有非一般的悟性、邱如白时刻在艺术上将他鼓励外,尚因大银行家“六爷”冯子光(英达)在财力上慷慨相助。
之后,梅兰芳(黎明)迎娶福芝芳(陈红),开始试图过台上销魂女子、台下一般男子的生活,却注定如身戴“纸枷锁”般难如愿:结识当红须生孟小冬(章子怡)后,他与之结成精神上的伉俪,却抱憾擦身;抗日时期,为了表气节,他蓄须忍痛离别心爱的舞台。期间助他在国际舞台上大放光彩的赴美演出,亦是好事多磨。
赵氏孤儿 (2010) 豆瓣 TMDB
赵氏孤儿
5.6 (360 个评分) 导演: 陈凯歌 演员: 葛优 / 王学圻
其它标题: 천하영웅 / Sacrifício
2500多年前的春秋时代,是中国历史上纯真和无所顾忌的时代,也是想象力勃发的时代。以战功起家的晋国贵族赵氏家族,权势和声望不断膨胀,甚至让国王晋灵公都艳羡恐惧不已。心高气傲的将军屠岸贾(王学圻饰),一直遭赵氏的轻视和排挤,在国王的默许下,他诬陷赵氏家族谋反,一日之内诛杀了族长赵盾(鲍国安饰)和其长子赵朔(赵文卓饰)在内的赵氏一门300多人。能够免死的不过赵朔的妻子,也就是国王晋灵公的姐姐,美艳无双的庄姬(范冰冰饰)一人而已。
杜拉拉升职记 (2010) 豆瓣
6.5 (56 个评分) 导演: 陈铭章 演员: 王珞丹 / 李光洁
受不了无耻老板的骚扰,胸怀远大志向的美丽女孩杜拉拉(王珞丹 饰)专而进入世界500强的企业DB公司。刚刚进入行政部担任助力的她,却晕头转向承担起公司装修的主持任务,虽然困难重重,家庭、爱情等方面有状况不断,但拉拉凭借一股韧劲最终圆满完成工作,也得到同事和领导的好评和赏识。在此之后,她坚定信念,一路向前,躲过各种明枪暗箭,最终胜任行政部经理。薪水保障的同时也从市场总监王伟(李光洁 饰)那里收获美好的爱情。不过美国那位经常爬墙的老师曾说过,“能力越大,责任越大”,杜拉拉不仅要应付工作上越来越大的挑战,感情上也面临前所未有的困局,她最终能否解决这一切呢?
本片根据同名畅销小说改编,该小说还被改编为电影、话剧等。
师父 (2015) 豆瓣 TMDB
师父
8.1 (831 个评分) 导演: 徐浩峰 演员: 廖凡 / 宋佳
其它标题: The Master
民国年间,佛山咏春传人陈识(廖凡 饰)来到天津,为在武术界开馆立足,结识了天津武术泰斗郑山傲(金士杰 饰)。郑山傲建议陈识用“教徒弟踢馆”的传统方式达成目的。几经周折,陈识娶了一名天津绝色女子赵国卉(宋佳 饰)为妻,还收下了本地青年耿良辰(宋洋 饰)为徒代其踢馆。夫妻二人暂居在贫民窟,防被踢馆的仇家前来寻仇。陈识与妻子原本看不上好勇斗狠的耿良辰,但接触后也发觉了耿良辰的可取之处。随着第八家武馆邹馆长(蒋雯丽 饰)和军界人士林希文(黄觉 饰)的介入,天津武术界面临着一场巨变。靠武术复兴家业的愿望、对妻子的爱意,以及作为师父的责任,让陈识陷入了两难之境。
2016年1月18日 看过
好看!内行的朋友说主角的武打都不好看样子都不对。可是我这个外行看得很嗨。故事讲得好,演得好拍得也非常精致。很喜欢古龙小说风格的对白和打斗设计。
中国电影