科里奥兰纳斯
2.0 |05月20日 |片长123分钟 |正片 |共1集
简介:

《科里奥兰纳斯》由莎士比亚的作品改编。原作发生在古罗马时代,大将军科里奥兰纳斯战功累累,却因为倔强的脾气被放逐。科里奥兰纳斯因此纠结过去的敌人进攻罗马帝国,最后他终于被自己的母亲说服,却因此献出自己的生命。电影版把背景搬到了现代的伊拉克战场,“伏地魔”也变身成大将军科里奥兰纳斯。拉尔夫-费因斯把莎士比亚的著名悲剧选作自己首部导演长片的素材并不是偶然,十年前他在伦敦的Almeida剧场首次出演了科里奥兰纳斯,自那以后,“我对这部作品和它的人物着了魔,我一直有种强烈的直觉,觉得可以把它放到现代的背景,拍成一部电影。”影片在巴格达取景,但台词则完全摘取自莎翁的原著,费因斯表示“在911事件前后,总是能在媒体上看到各种关于战争的画面,从车臣的兵变、雅典示威,到巴黎的暴乱,经济也陷入动荡,一切都像是发生在戏剧里的情节。”莎翁笔下的《科里奥兰纳斯》也是由一场经济危机作为引子展开。费因斯很自信把莎翁悲剧搬到现代社会不是难事,“Deborah Warner(注:英国著名舞台剧导演)05年曾把他的《凯撒大帝》现代版搬上戏剧舞台,我在里面扮演了安东尼;96年,巴兹·鲁曼也拍了一部《罗密欧与朱丽叶:后现代激情版》,放在现代的环境里,但说的还是莎翁的原创台词。”影片以伊拉克战争作为背景,编剧约翰罗根表示“我们的第一任总统-乔治·华盛顿-是军人出身,后来的艾森豪威尔、布什等也是如此,原来军队与政治一直与美国文化息息相关,对我来说,这就是最值得探讨的主题。”至于莎翁作品的政治性,费因斯却认为:“他留给观众的是问题,而并非单一的答案,他的人物总是处于思想的困境,任凭观众去想象命运的去向、问题解决的方法。”尽管《科里奥兰纳斯》才刚亮相,记者们也忍不住打听费因斯是否会再次把莎翁的作品搬上大银幕,他想了想才透露道:“我们之前谈过这方面的东西,虽然我不知道可能性有多大,但我想选《安东尼与克莉奥佩特拉》,不仅仅因为它是个伟大的爱情故事,也因为它的写法很电影化。我想如果莎士比亚生在今天,一定能在电影业如鱼得水。”《科里奥兰纳斯》成本只有1千万美元,费因斯在发布会上也表示,“我不知道什么时候能再拍一部莎士比亚的电影,为电影拉投资太难了”,他也借机感谢三位制片人。影片在电影节期间被美国的韦恩斯坦影业买下了北美发行权。

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  一年一场风,从春刮到冬,从春种到夏,到秋一场空。这是流传在毛乌素沙漠的一首歌谣,是老百姓对当地恶劣自然环境的无奈和叹息。石光银就出生在这个黄沙漫漫的不毛之地。在石光银早年的记忆里,不到三四年,黄沙就要埋没一次房屋,小时候他跟随父亲搬了九次家,都是为了躲避风沙的侵蚀。7岁那年,石光银和邻居家五岁男孩在野外放牲口,忽然沙尘暴席卷而来。狂风呼啸,遮天蔽日,天空一片漆黑,两个小伙伴瞬间被沙尘吞噬了。风沙过后庄稼被连根拔起,房屋被吹倒在地,草原被淹埋殆尽。三天以后,家人在30多里地外找到了石光银,但邻家男孩已不见踪影。石光银从此立下志向:我要跟沙子作斗争,斗一辈子。从18岁担任村大队党支部书记那天起,石光银就开始了与风沙的斗争。一次失踪、九次搬家的痛苦记忆,激励着他要跟风沙斗争到底。1984年,国家出台政策,林场、荒山、沙地,个人可以承包治理。石光银第一个站出来,联合七户人家组建了一个治沙公司,承包了三千亩沙地,成为全国个体承包治沙第一人。从此拉开了治理荒沙的序幕。为了筹集资金采购树苗,石光银趁婆姨不在家,偷偷将家里的84只羊和1头骡子赶到集贸市场。走到半路,婆姨和孩子追上来哭天喊地,跪在他面前,求石光银不要卖牲口,全家人的所有开销都靠它们呀!石光银说:你这婆姨,自己吃的沙子还不够,还要让子子孙孙吃下去?这恶沙不除,穷根不拔,我石光银枉活一世!为了治沙,石光银举家搬到风沙最大的四大号村;全乡干部群众上下议论纷纷。面对家人的担心以及亲朋好友的好心劝阻,石光银治沙的决心没有动摇。周围人说:石光银疯了吧?在风刮沙动的荒沙梁上栽树,就是给沙窝里撒钱,撒出去容易,收回来难。但石光银不为所动。那年春天,石光银带领七户人家齐上阵,在三千亩荒沙地上全部栽上旱柳、沙柳、杨树。这年天公作美,雨水好,树木成活率达到85%以上,三千亩荒沙变成绿洲。这次成功坚定了石光银治沙的壮志雄心。接着,他与国营长茂滩林场,签订了承包治理5.8万亩荒沙的合同。面对乡亲们质疑的声音,他在海子梁乡政府的门口贴出了招贤榜,榜告四方父老乡亲:有人愿来与我一起治理长茂滩荒沙者,不分民族,不分身份,山南海北的,一概欢迎。

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简介:

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简介:Out of the fifties 'B' Science-Fiction monster movies, this easily ranks as the best. It's most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance.  The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he'd have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here Most movies of this nature usually begin with the ship leaving Earth, enroute to its otherworld destination, while, in this case, the story is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity).  Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can't prove it, and 50's space authorities were not very alien conscience at the time. (As a side-thought, unseen menace may remind you of that highly original BLAIR WITCH).  As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him) hears something in the lower compartment. Despite your futile don't go down there, you jerk! pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim's case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does.  The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, 'IT!' also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn's forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie's suspense is blunt and right to the point IT!' has to kill them or starve, hence they have to kill IT! or die. Nothing like those no two ways about it choices. Rent it, or check for it on cable if you wish to know the outcome.  For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters' helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot's scary ambience. The black white photography (Yes, it's one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic If the creature hadn't stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him.  The intelligent script (see what I mean about rareity) was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone's It's a Good Life) The picture's taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche UNNECESSARY!!!)  Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio's commercial insistance, it is a little over-revealed at the climax, but I haven't claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying.  This film's story is not really totally original (what is), for it is based on A.E. Van Vogt's VOYAGE OF THE SPACE BEAGLE. All ALIEN fanatics should track down an old used copy to see where the initial influence came from.  As long as you're not craving another CGI wind-ding, you may find it worthwhile. Just don't expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.
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